Beginner's Skyscape Challenge for 20 Days

1. Beginner's Skyscape Challenge for 20 Days- About the Class: The sky and the sun are always there. It's the clouds that come and go. Well set by Rachel Jones What color is a very fabric and bright medium? But with that, it has been really intimidating. Many of you might have faced challenges. Why? You wanted to paint some of the skies and clouds. This class is going to build your confidence to play medium and paint 20 beautiful as well as different sky scales. I am Cana an artist instructor, mother skillshare, teacher and brand owner of vibrant parcels, where we manufacture handmade sketchbook, artist grade paints and much more. I even give out videos every week on Youtube by the name watercolor dot illustration. You can find many of my artworks there, as well as on Instagram with the same name. We start with basics like knowing our art materials, moving on to the importance of paper, if you can use a one fatSM paper or a 300 SM, and how important it is to use cotton paper. Along with that, we are going to cover simple aspects of techniques like wet on wet, wet on dry radiate washes and how you can use gradient along with wet on wet techniques. The next is all about using your brush chokes for making the cloud formations how we have different clouds, directional cloud and nondirectional cloud, as well as how you can use that particular information to make these clouds on paper with the help of your brushes. As you guys know, this is going to be an art. Hence, the first ten days where we are going to focus only on painting simple skies and clouds. The first day is all about getting a gradient wash, a very simple, basic horizon, and going ahead with some clouds in the middle of the painting. Day two is almost all the same lines where we are focusing on the clouds being there in the bottom part. All these paintings have very, very simple horizons. Day three is all about a bit of the left thing techniques and all the techniques that we have learned in day one. Day two, we will be applying our knowledge in day three. Like this, we continue to move into separate days and hence we keep on with this art challenge. Photos of all the projects have been uploaded in the resources section. Please feel free to go ahead and download them. Use it as a reference for your paintings, as well as. In case you have any doubt, do post it in the discussion section. Welcome to a brand new art Challenge of Painting, Sky Scapes. 2. Key Pointers Before We Start: Before we start, I want to tell you a few things that you should keep in mind. One is that, do watch this video, each and every part of it on a bigger screen. Bigger screen will give you an idea about each and every small detail that I'm adding onto my paintings. Or even the brush, the kind of paper taping down. And a lot of it. The second part is all about watching the class. Now how I usually do it, I watch the first part or maybe a particular section at 1.2 or two week speed just to understand how the instructor is going ahead and painting the whole part. Then I usually pick up my brushes, paints, et cetera, and start out with the painting. You can follow the same process. That way you already know what the final result is and there is no chance by which you are going to go wrong. Third and the last most important aspect, do not skip any part. This is very important. The whole class is done in a step manner where we have talked through the paper, 185 SM 300 GSM. Why it is important to use cotton paper. The kind of materials that we're going to use, how brushes can help you in cloud formation, The different kind of techniques that you are going to explore. Like some of it is wet on wet, wet on dry gradient washes. How you can use gradient washes plus wet on wet to create the clouds. All of it is done in such a manner that even the bigness, intermediate, advanced level can find something of use. It also helps to build a lot of confidence with which you can go forward with each and every project. We even work through the formation of clouds direction, or non direction, that is really, really important as we progress with any kind of cloud paintings. Let's move on to the next lesson now. 3. Materials Everything We Need: Let us go through all the materials which we need for completing all our paintings. I start with the paper. The first is cellulose paper. Now you can see the top part of a cellulose paper, or not 100% cotton paper. This will not allow the color to stay on top of it or the water also to stay on top of it for a longer period of time. It would just go ahead and absorb the water very, very quickly, leaving us with very less time to work on it. The second kind of paper is your Fun. 85 GSM, 100% cotton paper. These are pretty thin you can see, but they are seriously amazing for working. This is from the brand arches. I have taken a huge sheet of imperial size and then I did cut out smaller pieces from it. The most used out of them all, I would say would be this 300 GSM, 100% cotton paper. This is from the Brand arches. This allows the water to stay on top of the surface for a longer period of time. You can see that I did paint on top of it. But yes, the texture of the paper is like this. This is again 300 GSM, 100% cotton. You can see how thick it is compared to what we are using as 185. I will go ahead and show you the thickness is very different. This is more fast through the light passes through it more compared to this one where it passes through varies. That's the basic comparison. Now let's go ahead with the other supplies. I would be using my Vinci Casino brush and this is zero size. Then my silver 00 brush, you can go ahead with any of the other zero brush. Vince, three by zero brush, flat brush size ten. Or you can say this is one by three inch size, not exactly very thick. So that's the thing. 1 " Princeton brush, very important for quick washes. This is basically my wash brush. I think overall, we just need these four brushes for your clouds painting. This is majorly for blending your horizon line. Lastly, I will keep a pencil and eraser by my side tissues for picking up any extra paints or cleaning up the sides of the paper. Those are the things that I would be doing. Push tape is something that I have always, always suggested to everyone. The reason is Washi tape will not stick to your paper for a longer period of time. Allowing it allowing any kind of paper, whether it be a 185 GSM or a 300 GSM to get off it, and it would give you crisp edges. That's why the washing tape, keeping a spray bottle handy. This is not required during the first 7810 paintings, but I will use it as we progress with our paintings. Two jars of water, one for fresh supply and another for washing your brush. I have a big palette with me and there are a lot of colors which I have been using from them. You can have a similar palette or whatever colors are available with you. You can use that for all your paintings. Usually colors come in two different variations. One is the tube that I'm showing you, and another is this small small half pants or these pants structure that you get. Now what happens is in case you are trying to pick up colors from the pants, you need to go a bit deeper and have more thicker supply of paints. Whereas if you are going ahead and opening up your tubes, any of your tubes, they usually have very creamy colors. Now you can see how creamy it is. Once you pour it on your palette, it becomes very easy for you to just go ahead and paint with it. Many of the colors are from different brands, and we will even see as we progress, how the pigments change with the branch. All of that is coming soon. Now let's go ahead with our next lesson. 4. Paper - Choosing the Right one: Having a bit of understanding about 185 GSM paper and 300 GSM paper is very important. Both of these paper. One is 185 GSM that is on the left, and the other one is 300 GSM that is on the right. The 185 GSM paper, of course, is thinner, and you can see that the water is on top of the paper. Now for this kind of a paper, the water will not stay on top of the paper for a longer period of time. Hence, you might need to go ahead and work quickly. This works best when you have more humid kind of a climate where it needs a lot of time for the paper to dry up. I'm mixing some amount of my telo blue into the shape which is ultramarine. And then adding it on top of the part of the sky. This is a very, very simple sky which I'm going to paint. And I would tell you the basic differences between both of these people. First difference is that the water will stay on top of 185 GSM paper for a lesser period of time compared to the one that you see on the right side, which is a 300 GSM paper. Though this paper has worked wonders for me in case I'm working with any kind of cloud painting, or I'm going ahead even for florals or any other kind of urban sketching. But for really, really heavy washes, this might not be the best one you can see. I've gone ahead with my wash brush and applied some water towards the bottom side again, Before I go ahead and add some amount of the brush strokes for the bottom part of the sky. I am doing an absolute random sky with no exact idea where we will land at. It's majorly to show you that how the strokes can be seen better when you are using a 185 GSM paper. As well as the colors will move lot lesser compared to if you are going ahead with 300 GSM paper. But if you are a bigger, it might be a bit difficult for you to work around with this paper. It takes a bit of an experience as it is quite thin and dries off way more faster than the other one, that is 300 GSM. I have a particular clouds painting where I have gone ahead and added some spray, then again painted on top of it. There are a few advantages as well as there are disadvantages too. I'm going ahead with simple greens for my bottom area. Any kind of sap green you can go ahead with add a bit of the darker value of green. It can be a mix of indigo and sap green for the darkest value of green that I'm adding on top of the horizon line. Let's have a quick look at all the advantages and disadvantages. Brush strokes can be seen well on top of the paper. Colors don't move a lot. Easy to control as the water stays less on the top of the paper. Blending is easy till the paper is moist. Few disadvantages need to work quickly or else the painting may get spoiled. Good for humid climate conditions. Don't work directly under the fan, may lead to try strokes and patches as some of the parts of the paper may start drying up quickly. Let's now work on a 300 GSM paper. Again, this has a few advantages and disadvantages too. I'm applying generous amount of water on top of the paper, and then I would just pick up some amount of the same color that I did apply for the other clouds on 185 GSM paper. You will see that here, the colors will move more. Now, why the colors will move more? Because it is a 300 GSM paper and the water stays on top of the paper for a longer period of time. It is difficult to control anytime you want to have more control. Skies and clouds. This might not be the best paper that you can use. I usually prefer 185 GSM, but that also might need some amount of spray or water at some interval. Or you may lead to a difficult situation, which I would show you in one of the upcoming days where I did spoil a bit of my painting and then again had to rework on top of it, going ahead with a similar mix of color and shades. You can see that this brush strokes, which were much better seen once we have applied the lighter values on the left part and then applied the darker values. Whereas in this part of the painting, the lighter and the darker values are blending more with each other, and hence the strokes individually are not seeing them. Having said that, you do not need to apply any amount of water on top of the sky area or any area which is drying up quickly. Water stays on top of each of the area for a longer period of time, giving us much more opportunity for working. As well as this is more of a bigger friendly paper. When you are more experienced, I would say as an intermediate artist or an advanced artist, 185 GSM is more suited. Whereas if you are starting out though, you might not get the exact strokes marks exactly the way you see on a 185 GSM paper. But it is much more controlled and easier to handle in terms of the paper that you are looking forward to. 300 GSM paper are more expensive. But I can tell you once you start investing on good paper, you will have better results. Choose your paper and let's start. 5. Pigment Comparison and how it effects your painting: In water colors, there is a lot that you have to do with pigments. This particular part is only going to tell you and enlighten you about it. You have seen that the left side, I am using my neutral tint from the brand sinar, whereas on the right hand side I'm using the same neutral tint from the brand, which is Winsor and Newton. Now the senular one has these colors. That is PB 60, PBK 7r209, which is PR means red, PBK black, and PB means blue, which is 60. The other one that is your Winsor and Newton neutral tint. It has PB 15, PBK six, PV 19. It has violet in it rather than having red in it, which actually does a lot of change to the flow of pigments in the left one, you will observe that the colors will flow to a great extent and we frankly cannot control it. I was shocked to see how difficult it was for me to control any of my strokes when I was using this particular shade of neutral tint from scenario. Having said that, you may have a different set of experience depending on the amount and the percentage of these pigments that have been used in any of your paints. Do not always just blame yourself for any painting or if you do not get desired results. Sometimes it's a lot to do with the flow of pigments, which means that if your pigments flow to a great extent, a particular area will become more patchy and dry compared to the other areas where you will see the pigments flowing. Wherever I've applied the pigment with my brush, you can see that area. Go ahead, and it will become dry completely within a few seconds. Whereas the other part that is in and around it, will become more wet and will stay wet for a longer period of time. It's just like a bit of a salt effect that we usually get when we sprinkle some salt. In the area where you sprinkle the salt, it becomes more dry quickly compared to in and around it, where usually the colors move. This particular paints also work similarly to Frank, though the paints still do remain in that area. But yes, there's a lot of flow which I do not see in my other pigment from Winsor Newton. And that's one of the reasons Winsor Newton is the kind of pigments that I've gone ahead with for all my paintings. Lastly, I want to say do not, do not Go ahead and blame yourself, because now you know there are a lot of reasons behind a watercolor painting, and you might have to look into a lot of them. 6. How to prepare colors Mixing Different Hues: Let's go ahead and understand how we prepare this particular shade that is coral. Now, I would just take a bit of coral now. You can directly take it from the tube or pick it up from the particular palette that you have and see how it works for me, this is the color and shape that I'm getting. To get this, let's just prepare something on our own and get a color which looks similar to what you right now. See on the paper. I will take a bit of my quinacdone coral and some permanent yellow deep into it. We will mix a bit of a naples yellow too. You can see a shade that has come similar to the one which we are using now, mixing some bit of red pallette into it. I have a pretty similar shade, this coral has some amount of white into it, and hence I'm pouring some Chinese white. There is a difference between the Chinese white and titanium white. Chinese white will leave your color more transparent. You can use this particular shade for your coral color. Let's go ahead and check if we can use it for our coral color. This shade is pretty similar to what you see on the left side, and hence you can use this as an alternative shade for coral. Let's prepare another shade. It is my neutral tent. Now this neutral tent is Winsor and Newton. I would pick up a bit of it from here. Let's see how the shade this is from the brand. And Newton as I did tell you, and you can see the shade. Do I use any kind of black? I will not. I love to use some amount. Again, I will just turn my palette a bit. It's not so clean because I don't like to just wash away all my paints that I have on the palette, and hence, it is not so clean. I will just go ahead with some of my indico into it. Bring a bit of my red palette, it will give me a shade like this, adding a bit of my burn sienna to get that dirty mix. Then some more indico, and a bit of red violet again, again, a bit of indico. This is also experimental, you cannot get the color absolutely similar in the first four. It takes us a while. I know the basics of Enson and Newton shade. It has three of these colors. B, 15 VK five, PV 19. Though I am not using any black as of now. I'm just preparing for shade of my own, which can work similar to what I have already on the left side, which I can see on the left side of my paper. Now, going ahead and preparing a color that looks similar to the one that I have on the left. If you're not getting something similar, just alter the value a bit more. Go ahead with some more of your brown. Go on N. Then again, just try to see the color. I think this looks much more similar to the one that we have over here. Hence, you can always experiment and prepare your shades on your own. 7. Basics for Beginners - Techniques: Let us understand a few basic techniques which we need for completing all the clouds that we are going to paint in this particular class, starting out with a gradient wash. Now for a gradient wash, either you can apply water on top of this area and then go ahead with two different colors to create the gradient. Or else even go ahead with one single color. You apply the darker part on the top area and the lighter part on the bottom area. Whereas what I'm going to show you is doing a gradient with two different colors. One is your royal blue on the top, and we will go ahead with a peach shade towards the bottom. Let's start out, I am adding some of my royal blue. The color that I'm going to use on the top. It's a really small paper. I do not need to think much while I do this exercise. Towards the bottom, I'm creating a peach mix. I will mix a bit of Opera and add it in the bottom area like this. You can see a beautiful gradient getting created this way. Again, you can go ahead with your royal blue, like this over the top area. Even take it towards the bottom so that the blend is absolutely smooth. Now this way, you have already created a gradient wash. The first one that we did was wet on dry. But when you go over the entire area which was a wet, it becomes a wet on wet technique. What is wet on wet technique for creating the clouds? I will tell you this is a very easy way in which I go ahead with apply some water on the top area. And then we are going to go ahead with simple blue color that is masually your ultra manan, a shade that I'm going to use over here and get you. Just go ahead and make some simple clouds while I go towards the bottom. You know that my clouds will become more and more lighter in value and they would be more simpler in shape and size. Right now, my movements are absolutely horizontal and I'm not going ahead with any another movement. I'm playing with the white of the paper for creating my clouds. You can repeat this process a bit more to create your clouds over here, I'm going ahead with my thickest brush for creating all of these. That's absolutely okay. Not anything more on top of it. You can use any sap cream to create a small horizon line for showing the bottom part of the painting. You can mix a bit into it to give the darker value. Okay, This is a very simple wet on wet technique cloud that we have created for our watercolor clouds painting. Let's go ahead with another cloud. And it is wet on dry. Now, wet on dry is when I have wet colors in my brush. And I will go over this entire area with my wet brush. I will keep a blending brush handy. In this case, I would love to blend my edges, but you can also leave the clouds as such if you are happy with the hard edges that we will get in the painting, going ahead with the same mix of some ultramarine and on three Taylor, whatever color you have, you don't need to think much while we do this. You can see the colors are spreading to a lot extent. By the way, in the wet or wet technique, in this case, you can go ahead and just pick up the colors in few of the places wherever you want. Even apply a bit more of your darker values. As your paper is still wet, you may not be in a position to work on it after this. Make sure that if you are even trying to work on any kind of paper, it has to be when your paper is wet enough. I'm just blending the colors a bit as I don't want all the lines to remain. I'm pretty happy with how the cloud turned out earlier, so let that be. Now, working on the third one, okay. You can see that this is another kind that we are going ahead with. I will just add some of the colors like this. Absolutely random randomness is so much required for any cloud formation, will just go like this in few of the areas. And leave some like this. I will go below and just add a bit more towards the bottom area where it is dry and blend it. That's it. I'm going to do just reinforcing some amount of paint over here as I don't want the colors to remain the way it is a few of the spaces over here. Let it be even there are white patches, you do not need to worry. We are almost done. We will go ahead on the part again. Just add a bit of blue towards the bottom here. Once this part is done, we will go ahead with some of our dark green value. You can mix and you can create this line over here. I will go with some more of my sark green and reinforce it. This is very good for creating any rainy or you can say water laden cloud. That's what this will help you to do. Sorry, this is the brush. We are going to go ahead with our thinnest brush. You can also use a size palm brush for me. Ruby is the thinnest brush that I'm going to use and I'm going to mix it with some of indico. Just add a bit of me sub green into the indico, which I have a really, really dark mix somewhere, and then add it towards this area. You can see it's just about creating lines. I will go with the deepest value right now. Oh my God, it's just going a bit below than what I would have thought the line is going. But that's absolutely okay. The clouds formation are the easiest to fall, whereas when we are big nurse, we are not seriously aware of it, but slowly, steadily as you start painting and as you start getting into, get to understand it in a much, much better way. This is a wet on dry method that I use for my paintings. Let's understand gradient and wet on wet. Okay, going with a simple gradient, it would be my Naples yellow that I would like to add. Once I have added my naples yellow towards the bottom area, I would go ahead with some of my neutral tint towards the top. The neutral tint that I'm using is from the brand Winsor and Newton, I am truly in love with this brand. Great extent, you will see that I will just make a very simple gradient over here. Of course, the gradient is done in a wet corn or dry a method. The space is really small. But if you have a larger area, I would always ask you to go ahead with some of your easier ways that is wet, wet. You should always, always apply. Okay, now it's time to create a bit more of a gradient. Just wash your brush again, blend it with the background, okay? I guess this is it that you need to do. Then go with your simplest way of creating wet on wet clouds. You have to understand that there is a lot of water that I have right now on my paper. That's one of the reasons you can see that the water is dripping a bit. I will go ahead and just take it off this way. I have already cleared out some of the space over here, and I will work with my smallest brush to create some lines. You can even mix a bit of indigo in it if you like. There's no harm in always trying the shades and colors, which you want to go ahead with. A bit of brown is also not bad. Yeah, I love to try out a lot of colors when I am working on clouds. You can always have a base color even for the clouds and then go over it with a darker value. You will see me doing that in day one of our clouds. Once this part is done, we will go ahead with very, very simple brown like this is more of a red brown shade that I'm choosing. And I would be working on the pace part, which is my horizon line. I don't need to always define my lines over here simply because it's all about clouds, it's not about your horizon or any kind of thing that you need to add for your base area. I think it's important to just go ahead with a bit more in, because this looks really brown. And I don't want so much of brown into my finger. Now what happens is sometimes the water flows a lot. Or the colors, which are the pigments, they flow a lot. Because of which, you may find them moving a bit towards the top and you might have to take it off in some or the other. Hence, we have learned four different kinds of clouds, really in an easy way in this seeding. Let's go ahead and learn some more of these techniques in terms of the directional clouds and the clouds which are there in one single direction only. There is one single direction and there are multiple directions in which you can have cloud formation. And I would like to show you that with a very, very easy and simple technique, by using only blue color. 8. Brush Strokes - Use it for Cloud Shapes: This is a basic level of brushstroke understanding, which we all need to have for creating the clouds. I am exactly going to tell you how you can create easy clouds with simple brush tokes. Now here I am taking a mix of colors, like your bird Siena. Then some amount of your purple and indigo to create a color that looks similar to neutral tent that we have used in many of the paintings that are coming up in our project section. First I'm going ahead and I'm making a few lines. Now, this is a pretty thick brush size zero casino brush, which I'm going to use. I'm going to use the tip of the brush to create thinner lines. These all can be used for creating the clouds. When we do a wet on wet technique, let's go ahead and again start adding the same sheets and color to create a similar neutro tent. And see how we can create more cloud, right, structures which look like cumulus or more water laden, which are more together in one place. I'm going with absolute random stroke. You can see I move from the right and take it to the left again. Move from the right, take it to the left. The same process when I am going to make the cloud on the right hand side. Whereas you will see, we will do a wet, wet process of straight lines being drawn into a wet, wet surface. As we continue to paint the clouds, go ahead and wet your surface with a flat brush. This is my 1 " Princeton brush, which I'm going to use on the entire surface. I have added water. This is a 300 GSM paper that I'm using. You can go ahead with any GSM of your choice. Let's go ahead and start adding some more of our brown into the shape that we had. And then add some of our blue or indigo into it to create a neutral shade or a neutral tint. Always, you do not need to own the color. As I say, you can create that shade on your own. Going ahead and making some smaller lines, you can see as we go towards the bottom, the top part will be more of heavy or more dense clouds and hence it is more darker in value. Now going on the right and I'm adding from right to the left, you can see the strokes. As I go towards the bottom, it will become more line like structure. I will add a few of them why this happens, because as per the rule of perspective, you can see broader clouds towards the top as it moves towards the bottom area. From a particular eye level, you can see the clouds are becoming smaller and smaller. Now going ahead and getting a color of blue, this can be any blue of your choice. I'm just mixing some random blue shades over here and creating a color towards the top area. Again, it would be more darker in value. I will extend this color towards the left as well as towards the right. Most of the parts of the shades that we have already applied in Neutro tint, I'm not going to touch upon it, I will just make the colors more lighter. As we go towards the bottom atheum, towards the top, I will keep it darker. You will be in a position to see how both of these kind of clouds are very different from each other. If you are working around with water colors, one of them you can always adopt. But most of the time we would be working with both of them and creating our own kind of clouds and sky shapes and size. Let's move on to our next lesson now. 9. Cloud Formation - Non Directional & Directional: Let us understand a bit about nondirectional clouds and directional clouds. For my nondirectional clouds, what I would do is I will just add a bit of water on the entire part. Both we will be doing wet on wet. Non directional means that either your clouds will be concentrated in the bottom area or they would be concentrated in the top area. Now any place it can be concentrated on, only one thing that you need to realize is as you come down towards the bottom, your clouds will become smaller and smaller because of the rule of perspective. Okay, going ahead and starting out with royal blue. I will mix a bit of my tail or any other blue you can use into this royal blue and get on mix lighter and lighter. Once that is done, go ahead on top of the area like this, I will go with a darker shade towards the top and go towards the bottom. With my lighter values, I'm adding some more of my darker values here. You can see as I will go towards the bottom, I will have more smaller and thinner clouds. Let me just explain it to you. I will use the tip of my brush to add these. With only one single brush, we are going to do the whole of the plan. It is non directional. It means that we do not have any particular direction in mind when we are going ahead in the cloud formation. That is it. You can have a bit of a value while you are going towards the bottom. This is basically where my horizon line would be. I've made it going over it with some of my green and then allowing it to dry off. Of course, you can mix it with your blue. Get really dark shade. Go over this space and create some of your bushes. Okay, Creating some. That's it. I'm not going to complicate it any further. This is my non directional cloud. Just the cloud formation is happening horizontal way. Let's understand how we are going to do directional cloud. For my directional cloud, I will go ahead and move my brushes like this. Okay? The whole direction of the cloud would be this way. We will move from the top, go towards the bottom. And move from the top, go towards the bottom. Now this I have already explained in one of my earlier classes about painting clouds. You can go ahead and check out that class two. But yes, sir, this is a way more easier. But the way I'm explaining it over here, it is a longer paper and it should be easier for you to work around with it. Smaller, yet longer is what is my idea for this kind of painting. I am adding some generous amount of water on top of it. But having said that, I would remove the extra water from the sides. Always clear up your sites whenever you're painting. We don't want the paints to get back on the paper and hence, I will clean up the edges as much as possible. When I go ahead with any of my watercolor paintings for my clouds, I would again, just go over this place with my brush and then start out with my paints. Okay, let's just mix a bit of indico into the mix that we already have. As I want the clouds to be a bit more darker and some more purple into it, like this one. Let's just see, I have color like this one. Always test your color on a paper like this. Go over it. I would just start out with my directional clouds. I am going over it, you can see that my directions are moving towards this area. From here, I would make it more flat. That's how I go about it. Some of the areas, of course, I would leave it in white just to show my direction in a better way. There is no particular thought process in which I am doing it. I will just add some more of my royal blue, a bit of indico and some purple into it to get a mix and just reinforce in a few places wherever I think it's necessary, just add some more of my darker clouds. These are more directional clouds. I can't work over this paper anymore because my paper is becoming more and more, uh, dry and I don't want to work on the top part anymore. So we go to the bottom and see if we can work upon it for a bit longer or else we have to just let it go and not work on it anymore. I'll just leave a few lines and drops over here for my clouds. Go towards the bottom area again. I will go ahead with my sap green to finish the sof. Towards the top I will x some amount of my green again. You can see how it works and over here we will just some more of our greens. Exactly what we have done in our last painting. Of course, both paintings are different and he, ours are also a bit different in this case. But you can see how it is nondirectional and how completely direction based cloud that you observe. I will show you a few examples over here where it is more of a non directional and directional clouds. This is pretty much concentrated in few spaces. This is absolutely non directional. And it's all over here that you see, again, this is more of non directional. You will see only the clouds concentrated towards the lower part. This is also nondirectional. We are just adding some of the clouds towards the bottom area. These are also similar, but starting from here, you can absolutely see that there are some directions that we are adding to our flux. Again, this is more direction basis where you will see that the clouds are merging to one single point over here. Hence, you can of course, now get what we're going to learn in our future paintings and how it becomes a bit more complex as we progress with our paintings. This is how the whole of the paintings are going to turn up. 10. Day 1: Very excited. And let's look at all the colors that I'm going to use. First is the coral color now. This is also known as brilliant pink from the brand Ma Jello mission Gold. This coral is from your brand. White nights, I'm going ahead with purple and the next is my Indico. Now as both of my hands were moving and there was a bit of difficulty in capturing the colors, the next color that I'm using is neutral as well as sap green. You can go ahead with any of the other shades. For the darker value of the greens, I will mix some indico with my sap green to get that shade. Starting out with the first painting, it's always very exciting as well as per nervous. This is a very, very easy one. We just have a blank canvas or you can say this is your blank paper. You have to go ahead with the coral color. Once you have added the coral color, just x some amount of purple into it. And this is a pretty huge flat brush of 1 ". You can also use 1.5 inch. I would leave that decision up to you. Then I'm going ahead in the top area, which has majorly the indico color and some amount of neutral tent. You can also add into it all the shades that you're observing right now on my paper are diluted. You can see the shades that I'm using and how much amount of water that I have on the paper, it doesn't have a huge shine on top of the paper. That's one of the reasons I wanted to mention this within the first painting itself. That if your paper is shining a lot, then your colors will also flow a lot, which is not the idea for our first painting. You are staying in an area which is really humid. 185 GSM paper can work. I'm also using my 185 GSM arches paper. In case you are living in a very dry climate. I would request you to go ahead with 300 GSM paper. As I've already shown you the difference between the strokes of a 300 SM paper and a 185 GSM paper. You can always follow that and then work along and see which paper works the best for you going ahead with the bottom area, and that's the green. You can also use some yellow into your green or greenish yellow, any shade color the sap green is a bit of the shade. And you can also make some amount of yellow to get the shade of green which I am using going ahead with some amount of my neutritent. Then I will also mix a bit of purple in it. I'm very excited as this is simple stroke, my paper is having the right amount of moisture or you can say it is just damp enough to get these clouds. It's important to always, always have an understanding about the paper as well as the water that you have on top of the paper. If both of them you can understand, then I guess all the paintings that you do can work out well. Let's understand how to create the purple. You can also mix some amount of your opera into the indigo color. And create a purple as directly pick up the purple from your palette. Now this is a decision which I would say is up to you. You can use multiple colors to create the same color shade, et cetera. I'm using my thinnest brush now to add the darkest value in few of the spaces and areas, You can see the clouds that we are creating, pretty big in size and they are huge. While I go towards the bottom area, I would create a few smaller and thinner clouds just to end it up, I would really tell you how the perspective of the cloud works and how it has really impacted any kind of painting that you do. While you are towards the top, the clouds are really big. While you go towards the bottom, the clouds become smaller and smaller. Those effect you have to always keep in mind while you paint. Some of the darkest values are now getting added. This is my thinnest brush. This thinnest brush really helps me to have a good control over my paints. And the paints don't move a lot. I really don't want this paint to move a lot, and that's one of the reasons I am using the neutral tint from the brand Winsor and Newton. I have used both the brands that is your Seneliar as well as Winsor and Newton. The Winsor and Newton is way more easier to control compared to the color that you get from Sceneliar. Always, always check your colors, the flu of the colors on the paper before you go ahead with your final painting. Adding some more dots in some of the areas, and then you can see how soft these clouds have turned out. Few of the places, of course, are more darker and some of the places would be lighter. That's how exactly usually you will find the clouds are, some places are more water laden if they are more of below a clouds or kimlus clouds, if they are not those kind of clouds. Still some of the areas would be more into the shadow and they would be darker compared to the ones that are more ladd. Going ahead with some of the smallest of the strokes, you can see my paper is now drying up and I really don't have much time to work on my clouds anymore. It's time to really leave the painting at this stage and mixing some amount of my green into the purple. You can see that I mix a lot of colors and whatever color is existing on my palette, I use almost the same shades. Now, this is the lightest value of grain that I did apply, but over that, we are going ahead with the sap green. It was just what the glow that I wanted for my background. I tried to go ahead with the lightest value. Go ahead and add some amount of your darkest value of grain. How do you prepare the screen? Into the same colors or into the indico? You can make some amount of your Sab green and you will get the shades and colors which you want. Now adding some of the darkest value towards the top area, towards the horizon line. You already know that we have marked our horizon line and it is still wet. I'm going over that wet color with the darkest value to create some of the background trees or bushes. That's it we are going to do in this painting. It's been very, very easy. I would say just that You need to know a bit about water control before you create this. I would ask you to use a 300 GSM paper in this kind of weather because I know that our weather is changing and many freezes are becoming more warmer compared to what it was earlier. But you can go ahead and freely use 185 GSM if you are more comfortable with it, going ahead with some of my further bushes and then letting the whole paper dry off. Once it is, try just take off the tape at an angle and you are done. I am super excited to invite you even for day two, which is even more exciting than what you have done today. See you tomorrow. 11. Day 2: Color palette for this painting. I'm going to use my permanent yellow, deep, as well as Opera to create a shade that speeches, which you see towards the bottom of the painting. Now you may have this existing shade with you or you may create it exactly the way I'm using, or else you can go ahead and use orange shade in case you cannot create this speeches shade, that's absolutely fine. Mix some amount of yellow and red to get that color. Going ahead with royal blue. Now in case you do not have this royal blue from the brand Senala, you can of course, go ahead with any kind of erlian blue that can also work as an alternative color. Going ahead with indigo. In case you do not have indigo, please go ahead with any kind of a Prussian blue mix, a bit of black in it, or else just go with the other shades of paints. Gray, where you have more of blue in it. The last would be my neutral tint. These are all the shades I'm going to use. Neutral tint will be basically used for my clouds. I have already taped down my paper and I'm making a mix of this particular shade, which is the beautiful peaches shade. Do note that the color will dry just one shade lighter because we are going ahead with wet on dry method. Now, what is wet on dry method? I have this big flat brush which is having my wet pigments. I'm applying it on the dry paper and hence you are getting this. I would highly recommend if you are a big ner to go ahead and check out the techniques section where I've explained all of these techniques in various detail. Before you go ahead and attempt this data now, blending the royal blue color with the peaches shade that we have already added towards the bottom area. Along with it, I would go ahead with some of my go. Indigo and the royal blue are going to be lighter in values. Hence I'm not using a really, really dark value of both of them. Towards the top area, you will see that the blending only happens horizontally. It really doesn't happen vertically, so do not try to add it vertically. You will get patches which we really don't want in this painting. Adding some more of my royal blue towards the middle part and then blending it. Blending it to get that beautiful blue shade of the royal blue color that looks more soft and nice. Once this part is done, I have to just add some more of the color towards the bottom area. The bottom area needs to be a bit more wet compared to the top area where I am not adding any more of the water. Now, water is being added only with the color in this painting and clearing off the edges. Now this is the portion where I am going to actually concentrate on the clouds and that's one of the reasons that I am keeping this area more wet compared to any other areas. On the top you can see I'm going ahead with a mix of my Indico, some of the Neutrotant. I'm also using a bit of opera as well as royal blue into it. I'm using mostly all the shapes that we have used in the top and the bottom part of the painting, going with non directional cloud. And hence, you can see that I am making some structures which look more circular in shape while in the middle, whereas when I go towards the bottom, it would be more horizontal. A structure you have already learned some amount in terms of the cloud formation from all my bite size lesson which are given initially. Hence, this part will become easier for you to follow along. I am again going ahead and using my thicker brush, because my thinnest brush cannot hold a lot of colors. Right now, I think I have the correct amount of moisture on the paper which can help me to paint these clouds. I'm not going to touch it over here to a great extent and you will see that I'm going to leave it as such. All the clouds painting that you are doing right now is done within four to 5 minutes time. We do not want to keep adding the clouds or keep working on the cloud or the sky area if the paper is dry. Now when the paper trans dry, what happens is that you will get patches and that is really not required in a soft watercolor clouds painting. Continue to add few more lines as you go towards the bottom. It would be more thinner clouds compared to what we have added a bit towards the top Aum. Once this part is dry completely, we will go with a bit of my horizon. Horizon is very simple. We are going to go ahead with the same mix of the clouds and some amount of your beach color that you did prepare earlier into it. To get a lighter value, we will have one more line of our mountains in the foreground. There are two lines, one is in the background and one is in the foreground. We are going to concentrate only on these two kind of our mountains. Of course, I have kept my horizons very simple. In most of the paintings, hardly there are paintings where you will see the horizon changing to a great extent. Or the landscapes changing in the horizon because the whole concentration is the clouds. Then why do we need to think much about the horizon? Some buildings, some lines, and maybe mountain scapes. Whatever I could think of is what I have added and sometimes just simple line to show that there are fields which are existing. I'm using the 185 GSM paper, which actually makes the paper go dry very quickly. But if you are not confident enough with the 185 KSM paper and you are just a big note, please go ahead with a 300 GSM paper. I'm pretty sure about it. You would be in a position to name all paintings that you are doing. 185 GSM paper stays wet for a lesser period of time and it will give you less time to work upon it. Having said that, if you are more experienced or if you have worked with 185 GSM, I would strongly suggest you to go ahead and work with only that paper. You will be in a position to get or achieve great results. Even with the kind of, um, cotton paper, I'm suggesting you, GSM. Yes, to an extent it is important, but around 200.5 is great to go ahead with. For handmade papers, I would request you to go with only 300 GSM or more rather than going with less. I think I am happy with how I have added the foreground mountain. This is majorly with the same color, that is neutral tint which we had on the palette. Let's remove the pattern angle once the paper is tried off and have a look at this final painting. 12. Day 3: Let's have a look at all the colors. I'm going ahead with my lightest value right now. And that's a bit of red. I will mix it with my Quinacdone coral. It's almost the same shade that you see over here. Then would be a beautiful color, which is opera. If you don't have Opera, you can use any other pink of your choice along with it, I would use my end blue. Now they both move into each other in a very pretty and easy manner. You can see how beautifully they would blend to get this color of the cloud over here. We will add some amount of our indico into it. Finally, our favorite shade, which is our neutral tent. These are all the shades we are going to use in this painting. You can see the shade card and you can see the colors over here. They match with each other. This particular part, of course, is a lifting technique, which I will show you later on. Day three is very exciting as we are going to learn a bit about varricatedhow, what does varricated wash mean? It is basically a wash where we have various values, et cetera, of different color adding onto each other. I am directly going to teach you through this painting. Be confident it's going to be really simple, Easy. We will go ahead with our largest brush to apply a single layer of water on top of our paper. And then I'm mixing some amount of micuinacrodone coral with the red. Then we are going ahead with Opera has the next color along with it. You will see me adding some amount of my blue which is Don Threme blue. But you can go ahead with any other blue that is available on your palette. Barricaded washes are usually uneven in nature, which means that they will not be, um, equally blended with each other. Just the way we did our gradient washes in few of the places you can see I am adding my opera and some of the places I would go ahead with my Don frame Blue. Add it so that they are not in equal values each and every place. As I did tell you, Olio along with it. Make sure while you go towards the top it is a bit more darker. You can go ahead with Indico and mix it with the blue that is already existing. Use your flat big brush to apply the colors this time. Last two paintings were all about wet on dry, where you did go ahead with your wet paints on top of the dry paper, whereas this particular painting is all about wet on wet, where we have already applied one set of water on top of the paper and now we are going ahead with our wet paints over it to create the background. I know that many of you might be bigners, this might be just the start. Please go ahead and check out the techniques section. In technique section, I have detailed out various parts where you have wet on wet, wet gradient washes and much more in terms of how to use your gradient washes plus wet on wet techniques. Going with some of my opera and making a few lines. As I did tell you, this is absolutely varricdd, where the concentration of the color is not same at each and every place. There's no blend that we are doing. It's simply going ahead with any shades, colors of your choice. Go with the flow. This is the painting where you need to go with the flow for creating the backgrounds. We have to be a bit more particular when we are creating our foregrounds. The paper is 185 GSM, 100% cotton as always, which I have been using for this entire series. You can go ahead with any other paper of your choice. Do not worry about the paper, et cetera, just it needs to be 100% cotton paper and you should be comfortable using that paper. That's very important. The brushes should be your comfort. The paper should be your comfort. The color should be a comfort. So that's all I have learned in my watercolor journey. The more comfortable you are with your paints, brushes, et cetera, the better would be the outcome. I'm going ahead with my darkest value. And this is my neutral tint, using my smallest brush that is 00 ruby satin from the brand silver plack velvet. You can go ahead with any other thinner brush of your choice. We are just dropping a few dots here and there. I'm making the clouds towards the middle area first and then we will go towards the bottom. The major and other important part that we're going to explore in this technique section of this particular painting is lifting out the colors, but that can be parked a bit right now, let's blend our sky a bit wherever it is needed. That's one of the reasons I keep this brush, which is majorly my flat brush, for the painting, to make it more blended. That is, some of the clouds a bit more blended with the background. Adding again mineutrotn to the background that we have already created some more dots here and there, and then some further dots towards the top to make the clouds. The clouds are really pretty is all I can say. There is very less to do in this painting. The whole painting comes together within eight, 9 minutes. And you have just a beautiful and amazing outcome with your Quinacridon coral. Really giving the whole of the painting a different look and a beautiful outcome. But do note that a wet on wet technique, which we are exploring, hence your wet on wet technique will be to shade lighter than what you have seen in the last two paintings. Be ready to apply some more darker values. If you want some dark, I would say outcome, Feel free to go ahead experiment with your colors. If you are not happy, go with one more round of painting on the back side of the paper, use both sides of your paper. It is always a great idea to use both sides rather than only using one of the sides. I have done many of my paintings, which you would see in the concluding part very soon. There are so many failures which I had, but still I just wanted to carry on with all my paintings I painted this particular 13 times before. I was happy with what would be my final outcome and how I want this cloud painting. It's a choice that you make for yourself. You can go ahead and paint one single thing two or three times, or may only end up one time. That's up to you. But every time you paint, what happens is the time of the painting reduces because you exactly know what you have applied and how you want to proceed further. Going ahead and adding some more lines towards the bottom area. This is a beautiful and attractive cloud painting. I would say that happened for me and I am super happy with it blending it bit more with the background and this time I'm using my round brush that is petite, it's a damp means I have taken out any excess water on top of the tissue. And going with the damp brush for the blending part, you can see the paper stays wet for about eight to 10 minutes. That's the maximum time we are going to get for working on the paper. Then it will dry up and we cannot work anymore on this painting. Whenever your paper is drying up, make sure that you are not touching any parts of those painting anymore, or else what would happen is that you would get patches, which we don't want in this part of our watercolor series where we are making those soft, beautiful clouds. Having said that, it's good to experiment and understand what works best for you. Even getting mistakes is put, mistakes are healthy. Make those mistakes understand and then move on. You will never make those in your future paintings. Okay, I did go ahead with the same mix of my co and some amount of opera to the bottom part. I've added the horizon line. Now I'm using my clear brush just to pick up the color which is Opera again. And you can see I'm washing it then again, removing the extra paints, adding it onto the paper to lift out the color that is opera. Now the staining ness of the opera color is very low. And hence you can see that I'm getting this white of the sun that I really want to show through this painting. Almost done. I don't want to touch it anymore. Just adding a bit more darker value on the right side and then let the painting dry off. We will not work a lot on this. Touching it more will actually spoil it. Let it dry. Just remove the tape, which I did add towards the top area, in the bottom part, so that there is a tilt. I did not want the colors to move towards the top. Now I'm using my tissue to again, lift out the colors from this small area of the learning. Should be a journey without thinking about the final destination. As I always say, and keep enjoying the process, you will automatically fall in love with this beautiful and magical medium watercolors. See you again tomorrow. 13. Day 4: Let's have a look at all the colors which we need for this painting. I'm going ahead with my seniliar orange. With seniliar orange, I will add some amount of my red into it as well as red violet. These are the major colors that I'm going to use for my Just keep some amount of your yellow. It can be any yellow. I am going ahead with my permanent yellow light for my sun area. I have already dipped down my paper bottom. You can see it's a 1 " tape and mask out my area for the sun. It is a wet on Roy technique that we are going to do. Starting out with my cineliar orange, our whole sky is going to be really bright and beautiful, but it's more in the palette of red orange and a bit of pink. As we progress, I will let you know how we do it. I'm using some of my red violet right now. It is basically a mix of your purple and a bit of pink in it, then applying some red and towards the top again, amount of orange. You can see that I'm going ahead with a flat brush which is 1 " to cover the whole of the area. Of course, the skies are to be painted very quickly and that's one of the reasons I use my biggest flat brush for this process. Whatever you have in the past three exercises would be applied in this one. Having said that, yes, we haven't masked out any areas till now. Over here, I have just masked out one of the area as I wanted to keep the sun pretty illuminated. Going ahead with my blending blending is the key for this painting. Again, we are going a middle area, which is majorly the white of the people. Having said that, when you keep blending the colors, sometimes the colors move into each other. And this part may become a bit more darker in value or it might have some of the orange, et cetera. Do not worry, continue to paint on it. Whatever be the final outcome, we are going to enjoy the flow. Flow is always the key. As I say, continue to enjoy this beautiful flow of water colors. I'm someone who always loves to clean the sites so that there are no back runs. Always keep this in mind when you are working with water colors clearing up the edges. Or else you might get back runs, which we don't want for any of our painting. As I say, when you blend and you have any colors on your flat brush, it's a possibility that the white may become a bit more darker. Absolutely. Okay, that's fine. Don't take any stress. Relax. Enjoy the painting. Enjoy the flow of colors, how they're moving into each other. Enjoy the blend. Keep at it. That's what I would say. Sometimes you can also clean up a bit, just the way I'm doing with my damp, um, brush. That is again, the flat brush which I have used. Switching the brush now you will see that I will go ahead with my darker values. Now, what is the darker value? I have mixed some amount of your neutral tent into the pink and then I'm going ahead with some of the lines. Of course, there's no particular way of adding the clouds and it is non directional, or you can say it is unidirectional, Where we are not going to add any direction, lines, et cetera. We are going pretty flat horizontal on top of the paper. To add this cloud. That way is keeping the whole painting simple, easy to understand. Now going ahead with the darkest value of the colors, which is majorly more of your neutral tent and less of your paints. As I go from the right to the bottom area, I initially make it a bit more lighter and now adding on some more values. I will wait every time you will observe and see my painting, how it works. Then again, go ahead with my brush and start painting on top of few of the areas, all the clouds that you see in this series, many of them are quite out of my imagination and what I would like to see as clouds in nature, hence, you may not find any references or I haven't shared much of references, that's the reason Having said that, many of you have asked me how to paint out of your imagination, et cetera. It's not that every day I paint out of my imagination. I have some kind of inspiration in my mind, but then adding the clouds, adding the bottom water area, sun, et cetera. Something that I do continuously and try to add on my own so that the whole painting is what shows what I am. As such, it can literally reflect my work going with some of my lightest values initially towards the top, that is the middle area where there was more of white. And now just adding some more darker values, make sure you don't have a lot of water on your paper. That's one of the reasons I've suggested you wet on dry method for the initial wash. If you go wet on wet, your colors will flow a lot and it would be difficult for you to control the shades. We are going ahead with our brush, though it is zero by three, or one of the smallest more brushes that I've come across. There is a lot of water that a mop brush can hold, as well as a lot of pigments that it can hold. Hence, controlling the mop brush might become a bit difficult. You can always switch the brushes to round brush size four or size three, whatever you are more comfortable with and work on it. Adding some more of my orange from the palette. Now, whatever orange was available, it onto the left side. Every time you will just observe me again, having a look at the painting before I allow it to even dry. I don't want to overwork and that's one of the reasons I just leave it at one point in time when I think that the whole painting has almost come together and there is not much which I can add on any further. Going with some of my red and again, the pink for the bottom area, you will see that I would do a bit of a mistake over here. And that's one of the reasons I wanted to show it here itself. I added the colors initially, then I wanted to sprinkle some water for the texture. Of course, I did that, but it did not turn out as I wanted it, Hence, I had to go over it again with the lighter value. Then sprinkle water again and add the texture for the water area. You can avoid this part altogether. Just add the color, which I did tell you, which is a mix of your pink red and whatever was existing on your palette. That's absolutely okay. Adding the darkest value will actually the water area, very, very dark. You will observe it as we progress. There are a lot of ways in which you can always, always go ahead and lighten up any of the areas, whichever you think is necessary. I use the method, which I did tell you audio. It is all about just sprinkling some water and we do it with the help of our brush. I just add some texture. Again, I'm not happy with the texture. It's just a lot of water that I have added, which I don't want in this painting. Hence the blend will happen. These things do happen to everyone. It's on a run that we continue to paint. Sometimes it works when we want to edit it or want to change it, but there are a lot of times when it doesn't work. Do not get worried or with the fact that I want to stop, I don't want to do it. Do not have those things in your mind, Thought process. These paintings are really simple. Easy. If you cannot get it in the first, go try it on the back side of the same pip. I'm pretty sure about it, you will get it. I did this painting two times before, I was happy with it. It does take a while for anyone to control the water for the clouds. It's absolutely fine and sometimes it's also the pigments. If you go ahead and check out the part where I have discussed about two pigments from two different brands and how the flow of those pigments do differ. It's very important to understand that every time it's not our fault, there are times where it's also about the pigments which plays a lot of role in any painting that you do. The neutrodentt that I had from Senador was not great, hence I had to switch it to chal net. I have added some more of my orange and then just blended it. Now I have allowed the paper to dry off a bit where it has the right amount of moisture, but it is not shining, so that I can get this texture into my water area. I will use this texture method even for my sky area. We'll explore all of it in the coming days. So just hold on and there is a lot of fun that we're going to have. This is permanent yellow light. Now, you can also go ahead with Indian yellow for your sun. It's the evening sun that we are painting some amount of orange that's already existing on the palette. I majorly use all the orange, red, et cetera, that I have added onto my palette itself during the initial washers. And all, it's great to use the same shades and all that you use, even for the sky area. That way your sun is beautifully blending into your sky and it becomes really soft. I will tell you how you can soften the edges of the sun, which looks not so much softness as there in it when we go to the edges and we will soften it with the help of our flat brush. This is something that I have learned over these years that a flat brush can be of great use. You see how we soften up the edges. I will go ahead and just blend it a bit. I will again, use my damp flat brush to do the same process and then blend it with my blending brush. Beautiful way in which you can continue to blend your colors as well as pink. I'm not going to do this blending process with the help of flat brush everywhere, it's just on both sides. I will do so that it blends into the background. Well, having said that, yes, it's stunning. Right now the whole Skyscape has come together. I am super happy with it just spraying a bit more water and moving the tape at an angle. Will see you tomorrow again. 14. Day 5: This cloud might look a bit unusual. But first let's go ahead and understand the colors. It's permanent yellow lemon from the brand whole pane. You can use any other lemon shade that you have. That's the main shade which I'm going ahead with then is my tallow green light. Now this Taylor green light is from the branch scenarior, but you can go ahead with any of the light green shades that's available on your palette. If you mix this yellow and tallow green light, you will get a color that's existing in between. And that is basically me green from the branch menge last and the most important greens that we have is my talor turquoise over it. The darkest value that we are going to use is some amount of indigo in it. I go ahead and take down my paper from all the sites because I want that beautiful, crisp pitch. Once it is done, we will go ahead with a flat brush 1 " from the brand printed it. I will do a crosswach that is to cover the entire paper with water. You will see that none of the areas or none of the spaces are left Do not just fast forward this process, it is very important. Do not go by the length of this video because we are only doing the clouds in the sky within the first ten, 12 minutes. But there is some amount of foregrounds that we are creating and hence, that is taking some time. Yes, that's it. And let's start out with the yellow shade. This is my permanent yellow lemon. As I did tell you earlier, I am making my sun first. I'm placing it a bit towards the right. I'm not placing it in the center though. You can also go ahead and place it in the center. But do not place your subject just in the middle of the painting. That's something you should always avoid. The sun always shines very bright and hence we will keep a bit of the part in the white, I will just use some tissue and take off the water from that particular space so that none of the color of yellow shade enters that space. And then in and around it, we will keep painting with our green. You will see a lot of use of my flat brush as we progress. This is by me green that I'm taking. It's the lightest value of green that you can apply. It's more yellow kind. You can go ahead with any of your other yellow green that is available on your palette or mix some amount of your lemon yellow into the green and get a shade that looks similar to the one which you're observing right now on the paper. Once you are happy with the top part, which is majorly blending the same shade as you go towards the top, Only one thing you need to keep in mind is towards the top. It would be lighter in value and all the clouds are concentrated towards the bottom medium. Now I will blend again this color into the background. It is a mix of my tallow, green and green or any of the other yellow green light color. Also you can use for this part, I will keep some spaces in white. I'd like to keep it that way as the whole sky always does it get completely colored with all the shades that we want? And hence, I thought that it would be a good idea to keep some spaces a bit. And white blending is the key. As I always say, when you are at the beginning of your painting, yes, do blend your colors. And right now I am using 185 GS, 100% cotton paper I have painted on the other side to it did not turn out well and hence I am using back side of this paper. You can always use both sides of the paper when it is a cotton paper, adding some amount of lighter value or green towards the top area, then letting it as once you come towards the bottom, make sure that your colors are not excess at any point in time. And do clean up the edges as you observe me doing over here. Every small step I have tried to cover in this painting, that you don't commit any kind of mistakes in your own project. Going ahead and adding some of, um, the water over here, I think this place is becoming a bit dry. It's important to add some water. If your paper is becoming dryer, you can do two things. One is just let it dry completely with the help offered dryer or re, wet it a bit at various places, but that is very risky. Catching your paper at this stage when it is actually drying up becomes pretty risky. Do let it dry and then come back with another layer of water over the painting and have one more set of layering in terms of the colors that you We'll add over there I am blending the darkest value of my tallow turquoise into the background and taking it a bit towards the bottom area. The colors are very subtle and light. I do not want a really dark cloud or outcome, which is one of the reasons I have tried to Eep it as light as possible. When you go towards the top area though, towards the bottom area, as I did tell you, we will have some of our darker clouds. Having said that, you can see I'm adding some lighter values of green in few of the areas. I love to play with, watercolors. Watercolors really gives a lot of surprises. That's one of the reasons you can see me doing all these experiments, even when I am painting a project. Though this is not an experiment. Of course, I knew that these kind of things do happen, but for you, it might be something new that you are experimenting with. Please go ahead, experiment, Understand what works well for you, and then only paint your clouds. The idea has always been to make any clouds or any kind of skies subtle and pleasant to your eyesight. So that's what I keep in my mind when I want to paint with watercolors. And believe me the first time when I tried this out, it did not turn out the way '80s right now. So it took a while. Green does grow on you, so it's not a color that we usually see in the sky and it might look a bit artificial to you. But you can always choose a different palette in case you want for this particular painting. But somewhere or the other, experimenting is not bad. As I always say, do experiment with your water colors. If you are not experimenting with water colors, then how is it even justified to work with this beautiful medium which has so many surprises for you? There will be some amount of darker values which I'm going to add. It is mutually my telo turquoise that you see over here. Lo turquoise is nothing but more of a greenish kind of a darker value of green. You can also use forest green or any other Vandyke green I just wanted to use to green. It has a bit of a color which looks like a bit of blue that way. I think it just makes up a wonderful palette for the sky. Adding some of my lighter value of green and then just blending it with the background. You can see my paper is wet. At this point, I am continuing adding these smaller clouds while I go towards the area which is near the sun. In and around the sun, we are going to make two overlapping mountains. I am again going to keep my foegrounds simple. But having said that, I'm going to teach you how around the sun, we should add lighter values and when you go away from the sun, it would be more of darker values. That's what we're going to learn even in our foegrounds. And how to paint your sun rays. Just making its own way. I would say through the pole of the mountain that you see. Of course there will be few rays which will make the way. That's what we are going to even go ahead and work in this painting, you will see that I keep blending a few of the areas. Once the paper is dry, the colors are going to be way more lighter than what you observe right now. If you want this depth in your color or the same values of color that you see right now in my painting, then you might have to go ahead and apply one or two shades darker than what I have applied since I wanted to keep this painting in a lighter and very pleasant mood is what I'm trying to go ahead and show through it. Hence, the painting is actually the way you see it right now, which is very lighter value. I always say that do not touch your painting after a while and almost it's time where we don't go ahead and touch our painting anymore. We will just add some water and blend it with our background. That's it somewhere or the other. If you still want to touch it, make sure that particular area is absolutely wet or else you cannot touch it anymore. There will be tri patches which we don't want for this painting. Having said that, every paper works very differently. So if you are trying out a new paper, whether it be 100% cotton, do try your techniques on it first. How your techniques work on it. How the whole of wet on wet works on it. Wet on dry works on it. Do we need to always keep adding more and more water on top of it? All of this put together, then it would be easier for you to actually understand how to make things work for yourself. By the way, right now, I am just blending with the help of my flat brush, the yellow color into the background. Then this blending will help a bit in terms of making the sun look a bit blur. And that's what is required in this part. I guess this is great. I don't want any further issues happening. Let it dry completely and then have a look at it. You can see the painting did dry off at least one. Or to shade lighter, I'm going with the lightest value of green near the sun. As I did tell you earlier, it takes us a bit of time to paint this part. And majorly, the cloud, as I did promise you, was around ten to 12 minutes. In case the cloud is not around that time, then I usually drop a pinking. Why I say that? If you can't paint quickly for your clouds, you will be struggling with the clouds. We don't want to struggle. The whole idea of this class is to enjoy the flow, enjoy the paints, enjoy how the paints work on your paper. If that is only not happening, then what's the fun of doing this class altogether? By the way, if you want to leave this painting with only this particular mountain or hilltop, it's absolutely okay. I just wanted another layer because of which I went ahead with another layer, or else it is absolutely fine. Initially, I did add three sun rays peeping through my hills. But then I just think that it is not perfect when we have three sun rays moving in. And I did reduce one of them a bit. First observe and then only painted. Do remember, you have to take a clean, damp, flat brush to do this. It should be not very, very thick because if you are going for a very thick brush, what happens is that a larger area will show the sun ray, which we really don't want. Now, this particular sun ray that is just adjacent to the longer one, I take it off. I will show you how I take it off. Having said that, initially when I went ahead and did painted, I felt that three is fine. But slowly I realized we don't need to show so many sun rays for painting like this. And hence, I just added the colors of the green and blended it with the background. That's what we sometimes do and at least I do in many of my paintings. If I don't like something, I go ahead and add some more colors into it and then you get a beautiful outcome. Just the way you observe. Yeah, everything is beautiful. You should feel that your painting is going to turn up amazing. You should have this feeling that it is going to be the best that you have painted ever. It's all a mine game and watercolors is all like that. Whatever you think will come onto your paper and you will be in a position to only reflect that it's a reflection of what you feel, how you feel. Do not feel bad about your paintings. Feel good about your paintings, ending some amount of my Taylor turquoise into the mountain area. And then I will just leave it as is. Let it dry off and add the next layer. This is very important step. Do not add another layer before the first tier is tried off. Do not do that. Otherwise, your colors will move here and there, they will move into each other, which we don't want. While you go towards the side, it would be darker in value. You can go ahead with Dico for adding the darkest value on the sides. The whole of the painting is real time as always so that you can follow and paint along with me. All the clouds still now are concentrated mostly towards the bottom medium. Tomorrow we are going to paint something where again, you will observe that the colors are pretty vibrant and nice. But the clouds are not towards the bottom area, they're towards the middle part as well as there will be some amount of mist. Yes, very excited about the part. And let's just finish off this painting and have a final look at it. Once our paper is tried, then only remove the tape at an angle. Do clean up your edges wherever it is needed because we don't want any kind of backgrounds throughout whole of this painting or any of the future paintings that you are going to do in this class. He avoid as much as backgrounds as possible. The foreground mountain or the hill near the sun has become a bit more darker compared to what I would have liked it. I am going ahead with my tail green light to make it a bit more lighter than what it is. Just taking off that extra paints from the people for just your reference. The alternate colors can be your yellow orange, then some amount of brown, or you can also use blue for the top. Those can be the alternate shades. Okay, let's have a final look. See you guys tomorrow again with a new 15. Day 6: Let's have a look at all the colors. I will start with the lightest value and this case my maples yellow, which I'm going to add over here. Okay, after that, we're going to go ahead with Alpha Marine is a very pretty shade but I'm applying it towards the bottom area because in between I have to add my coral color again. That's something which is amazing and it is a very beautiful shade. I've already told you how to prepare this coral in the initial section. If you are someone who doesn't have this coral, please go ahead and make it with pins that you haven't. Then my purple. Lastly, some amount of our indigo. Okay, these are all the shades that we are going to use in this painting. Our shades are going to be very simple. For today. We are going ahead with the coral purify shade that you have seen earlier. To on my palette, you exactly know how to prepare this coral shade in case you don't have it. This is also known as the brilliant print from the brand Majellomchine Gold. Every brand does have this kind of a shade which is light pink and has some amount of opacity in it because of which, it's not that I prefer it a lot using it in a huge quantity in all my paintings. But yes, to an extent we do use for the pastel skies, et cetera. Okay. Lightest value is yellow, though I'm not going to use the yellow right away. I will first start out with one of my favorite colors, that is coral, and then blend it with the yellow. I've already applied water on top of the paper, and this is the Wet on Weight technique which we are going to explore. I know Wet on Weight has not been the nor for us till now. But this particular painting is done best with wet on the way the colors move into each other. I think that's a great way to explore the final painting. I'm using some of my ultramarine Blue. Ultramarine is a beautiful shade from the brand Winsor and Newton. And you know that I am already in love with this ultramarine. Always, always. If you have taken any of my audio classes, you exactly know how much I'm in love with this shade. Okay, I'm using my flat brush now. This is the smaller flat brush, but for blending, I have to go ahead with my bigger brush. Just make sure that none of your colors are muddy. That's something which I would ask you to avoid. If you mix a lot of blue into this pink, it will become more muddy. So just try to have a good balance of shades and colors whenever you are going ahead with shades or colors like these for preparing a pastel skies. Having said that, I know you guys are actually now well equipped. You have already created a lot of skies. The green sky was one of the paintings that I am still in love with. I think that was very experimental and it's one of my own creativity that I had. I thought through it and I painted it. Something that I am still very attached to. There's a lot of things that we do even with our own thought process and creativity. Okay, continue to add some more ultramarine even to the bottom part and do work this out as you observe me adding it over here. Another thing that I need to tell you, this particular painting, we are going to add mist. Now, in case you are someone who has not painted mist, I would ask you to go ahead and check out one of my classes on skillshare, which is only on mist. Taking some of my ultramarine to add the clouds. You can see this opacity doesn't allow the colors to move a lot, which is a good thing. We don't want also the colors to move a lot over here continue to work in the similar process As we go towards the top, you have seen that I'm using my thinnest brush, that is size 00 silver satin brush from the brand silver. And this is an amazing one for allowing your clouds to only move a bit. It cannot actually take a lot of water or color, or pigments into it, which is the reason I love to use it for creating the smaller clouds. The clouds are unidirectional, which means that they're moving from left to right. There is no particular way in which I want to create the direction for these clouds. U. Already learned about directional and non directional clouds. This may be one of the non directional clouds or a unidirectional cloud. You can think of there are many ways in which we have discovered clouds or we like to work on clouds, et cetera. This particular one is something that I always love to create in most of my paintings last, all the paintings that we have done, most of the clouds were concentrated towards the bottom part. Whereas now what we are doing is most of the clouds are concentrated towards the middle part. We are even using a mix of our go along with the ultramarine and some amount of purple add over here. Now all the clouds that you see over here are concentrated towards the middle. And there's a color combination that I try to explore every time. Again, as I say, it is experimental. It is all I'm trying to understand. I'm trying to explore myself. It's not that I've not done this painting, of course I've done this painting earlier and this is the second time I'm going ahead and painting it for recording. I think this particular painting came out very well in terms of what we wanted to do in a really short span of time. For me, creating the clouds quickly and quick result really makes a lot of difference. As I am a working mother, I have a kid who is a toddler, three years old, moving through the day. There are a lot more responsibilities to work through. I have a business of my own. All of this put together, it's important to work through the creative self of yours as well as satisfy yourself with a painting that can be done quickly and adjusted into your daily routine. Some more purple that we are adding on. Once we have added this purple, we will go ahead with some blue. Do you want to create the blue in or how you want to go ahead and treat it? That is something you have to explore and that is something you have to understand. It will not come just like that. But you can see that the paper is wet for a really long period of time. It's more than 6 minutes that we are working on it. Still, my paper is wet to a great extent. I can work on it with my wet paints and they are not giving me any hard edges. It's a great way to work around on cotton paper this way if you are also adding water on the back side of your cotton paper, it stays wet for a longer period of time. That way I think that's the best way to keep your paper wet when you are working wet on wet though, none of these clouds or paintings to need your paper to be wet for a really, really long period of time. That's one of the reasons I am just adding all these lessons, or even one after another in a way that you get to understand that many paintings can be done very quickly and we all do it very, very quickly. Just a unique, some amount of patience. While the whole painting is coming together, I am leaving some of the white space and blending the colors towards the bottom. You will see this is important to create the mist. As I did tell you, I have a mist class where I've explained all the techniques. You can go ahead and check that out or else just concentrate over here a bit and you will get what we want to paint. This is the indigo shade which I'm going ahead and adding to the top area. I did a mix of my purple, then your ultramarine and indigo for showing the bushes around the horizon line. Of course, there's no defined horizon line over here but bushes is what you can see is a horizon line that we have created. Adding some smaller bushes over here and just extending it a bit towards the right. You will continue to see me adding these smaller trees here and there. It also shows the fact that there is a background layer of your bushes as well as there's a foreground layer of your bushes. You can again, go over it with some more of your darker bushes. It can be used as a ground kind of a thing. It shows the mist in a much, much better way, going ahead with the darkest value, maybe with the smallest size brush that you can think of. Okay, cleaning up the edges is very important because there can be back runs and we don't want any back runs in any of our painting darkest value being added. Now this is done only with the smallest brush because you have to be very careful at this stage, most of the painting has come together and we don't want this painting to get ruined. You have seen these kind of cloud skies always at the background. I did try to only add in the similar shapes and colors that we had for our top part of the sky. There should not be much changes that we should add on. And sometimes it's good to have the similar sheets and colors for both the foregrounds as well as for the backgrounds for the sunset, sunrise, et cetera. We usually do it in similar colors. Why not? Even for this painting. Okay, adding some more lines and just blending it with the background. My paper is still wet, as you can see. The colors are just getting blended with the background completely. Once we are done, we will let this paper dry off completely. Have a crisp edge only when your paper is try like you had in the beginning. Remove the tape at an angle and have a fun look at your painting. I think I had a small dot. I would go ahead and just paint a bird over there. We don't want all these dots in our paintings. Adding a bird really makes a lot of difference at this stage. Sometimes these happy accidents do happen and we have to accept it wholeheartedly. As I always say, we all do or go through these accidents and it's great to accept it and move on. It adds beauty to your own painting, adding one or two more of these birds. And then I'm done you guys again. Tomorrow it's going to be a very, very exciting day. We are going with something very colorful and nice sunset. Sunrises is all you have to look forward to see you very soon, guys. 16. Day 7: Let's go ahead and understand all the colors. I'm going ahead with my Indian yellow then. Basically, you can use Indian yellow and some amount of your Naples yellow for in and around the sun area. I will have composed opera. Or you can keep your pacodon coral for all the pinks that you see over here. Melia orange is very important for some of the colors over here. If you don't have any of these shades and neutro of you need for all the colors along with in the coat color that you are also going to use in this part of the painting. I'm going ahead with a wet on wet kind of painting. In this one you have already done wet on wet, You have already done wet on Roy. Let's again go with the magic of wet on wet for our sunsets. Here the sun is somewhere on the right side. I would be applying an even coat of wash on hole of the paper. And then I would be using my brush to create the sun. We will use the white of the paper to show the sun. There is no guh or white colors which we have been using till now. And again, we will go with the same process in this painting, you can take Indian yellow for creating the sun towards the right, or else go ahead with any of the other yellow that is available with you. It can be permanent yellow light or it can be even on yellow. We should not be concerned much about the yellow. It should be just a bright and vibrant color that you apply on the paper. Watercolors are usually very vibrant and you fall in love with watercolors because of one of the reasons, at least I did fall in love with this medium for one of the reasons, adding some of my Naples yellow as I go towards the left side and then blending it, you can see that I'm using my round brush. This is my size zero brush from the brand Gavins. I am now using some of my red and a mix of my opera. It is somewhere in between the Quinacrodone coral that I did show you earlier. It is a similar color which I get in this as an alternative. Go ahead with orange. If you don't have the shade, it is a bit more on the red side compared to the orange. If you can just mix more of the red into the yellow, then you will get a shade, something similar. Keep blending the colors. And on the left hand, again, going ahead with the same color and adding it on top of the Naples yellow that we have already spread out. One good part about all of these paintings is that it is usually done in one layer. And that gives us a lot of time to just go ahead paint and be free after a while, as none of the paintings are going to take you more than ten to 15 minutes quickly. You can be done. Once you observe the painting from like at a two speed, you can just observe, see how I'm moving in and continue to paint the other ones. I will add some amount of my neutral tint towards the middle area and towards the top again. I'm going ahead with the same mix of my opera, as well as the red that I did make. Now, colors you can always create on your own. There is no perfect mix. There is no perfect color. Whatever is available with you, use those shades and then create your own shade. There is no fixed rule of creating shades or creating colors. All the shades that I mentioned is just for your reference in case you want to go ahead and even buy any of the shades. I would say you're welcome. Please go ahead. Pinacodone coral is a beautiful shade from the brand. Your Daniel Smith, I have used this shade for quite some time and I'm very, very happy with it. You can also create it with the help of your Opera and Red, so I would leave that decision up to you. I continue to add more of these darker values into the yellow that we have. And towards the bottom, I have also added some of my Neutritentt. Though I continue to talk to you about watercolor and watercolor practices, but do follow my strokes. Do see that most of the strokes are horizontal over here. We are not thinking about any kind of directional cloud, et cetera. It's all unidirectional. It's flowing in one single direction. And we are just creating our own magic on the paper. I was really not happy with the lightest value that I did get earlier. I am adding some more of my yellow into it and then printing it. I've switched my brush again and this is my free by zero. Or you can say the smaller size of what you have in the zero of the mob brushes. It is helping me to spread the colors a lot, though. Because any kind of a mob brush can hold a lot of water or any color that you want to cover up your page quickly. A mob brush is important in that case. More brush really plays a great role when it is a bigger paper or bigger sheet, et cetera. Keep blending the colors and then just add some more of your pints towards the top. If you need it, observe your painting. That is something which I always see. Your colors might differ from me. But if you observe how the blend is happening, you can automatically adjust your colors according to the shades that you own and according to what you have on your palette. I will see that the paper is still wet and I can work on it. This is something that I have learned over time. If your paper is not wet, then you cannot work on it anymore and it will give you hard edges, which we don't want in any kind of power painting. I'm just clearing up some of the edges. That is for my son and this is with the help of my flat brush that I usually use even for blending the sun or if I have taped down the sun, I blend it well. All those things I do with this brush, continue to add some more of the yellow in and around the sun again, and then just use the same brush to blend it. This is a simple and easy blending process. There is a lot of washes and this practically is a great example of variegated wash, where you do not follow any rule going ahead with a wet on wet. Adding the colors as you want and just making the sun glow. I think the light of the sun and the sunsets play a great role when it is about painting. Sky scapes, and they have so many different colors. We talk about pinks, we talk about the reds, orange. Then I have seen beautiful sunsets in Only your yellow, or you can say your Naples yellow and mutrotint, which we will paint as we progress. And a lot of browns then your occurs, et cetera, can also be used in these kind of paintings. Okay, I'm just tilting my paper a bit so that the colors to move a bit as they were all pretty stagnant at one place, though, now the movement is too much. And I'm just using my flat brush to blend it. You know, the paper is thin. That's one of the reason it might buckle in a few places which may give the colors or which may actually lead the colors to move a bit within the paper and all continue to just blend more. That's the only rule we are going to follow for this one. Believe me, there is no other rule. There is no other technique we have to do. I'm using even my flat brush to create the clouds. There are so many artists who I have seen only use flat brush to create the clouds, to create the beautiful skies, et cetera. They have been now working with brushes. And one thing that I have learned over time is you need to be very, very comfortable with your brushes. If you're comfortable with your brush, if you're comfortable with your paper, the kind of paper that you are using, most of your painting is going to turn out as you want. Creating some more clouds with the help of my flat brush. Using my neutral tent, you can see the neutral tent is kept on the right. And I'm just adding it as I go from the top area towards the middle part. There is no particular way, as I did tell you, there is no direction of the clouds for sure. It is mostly to do unidirectional, adding a bit of it here and there is, okay, just the way we are doing to create the effect that there is just clouds which are present in the sky. I think this painting did turn out initially very dark, and I was not happy with it. But then I realized that it is a wet on wet technique, which means that the whole painting will actually dry out one or two layers lighter. And if it dries out one or two layers lighter, then you might have to go ahead with darker colors. You have to always adjust the pigment ratio as per the color or the final outcome that you want. This is something that you have to learn on your own, and slowly, steadily, you will get an understanding of it completely. So many of you have asked me the secret of the vibrant colors, but there is frankly no secret. It's just go with the flow and enjoy what you get on the paper. There will be, as I always, always say, in every exercise or in every painting of mine, every project, there will be hundreds of failures and it's absolutely okay to waste your paper, believe me, when you are starting out as a bigger, you have the good quality paper, you have the good quality paints, and you have the good quality brushes. It would be quicker in terms of your journey to work forward compared to if you are working with a bad paper. It would be really difficult for you to understand where you are going wrong. Always try to have good papers and use the quality materials. Though we all are on budget and I do understand use both sides of the paper. That's always what I say. Since we're taping it down, it's easier to use both sides. You may not just actually use one side and lead the other side again, switch my brush to a smaller one to create these smaller clouds. And these are basically some kind of line like structure that I'm adding towards the bottom area. Again, again, the horizon part will be very simple. Most of the horizons that we have done till now have been simple. I will continue to add most of the bottom area. To be very simple, this should not be more of a X pattern that we are following. The concentration should be on the clouds rather than on the bottom media. Because that's start what we are going to actually discover through these paintings. I have mixed some of my neutral tint, I think, with a bit of pink that was already there and now I'm adding it on towards the bottom area. You can always mix your colors and this whole painting is real time, which is the best part. You can follow along and paint with me. There are times where I do, I look into it again and then only progress with any kind of painting. This is something which I have realized over the years, is that you should always take a break or just see the painting once more before you apply any further colors. I'm pretty happy with how my sky has turned out and I don't want to touch my sky anymore. But for the bottom area, I want to even keep it more simple and easy. Pick up the paintings for the sun, wherever it is necessary and then leave the other part. Okay. I did touch it a bit, so I'm just using my flat brush to retouch it and add the yellow color. If you did not touch, I mean, my fingers did touch that area, then you do not need to do this process. There are a lot of mistakes that I even do when I paint. And it's okay to have these kind of mistakes. Sometimes these mistakes are good, it ends up in something very beautiful. So yeah, I accept it open heartedly. I want to splatter some water towards the bottom area. I will take some fresh supply of water. Just cover the top area and splatter it towards the bottom area. As you observe me doing it right now though, I don't think much of texture we have arrived at, so you might have to do it again or um, it might not give you the best of the textures that you might have wanted, adding some more of the darker value. And then again, stepping back, understanding where we are, then just think, okay, what you want to do and add more colors to it. Blending a bit of the top out of the sky as it is already dry and there is not much that we can do. But still, I did blend it a bit. Don't do this process or it is not an important process. If you're happy with how the cloud has turned out, it's absolutely okay. I'm again, trying to shift my pigments or shift the colors a bit because of which I am retouching it. This is not an important step at all. As I say, I continue to add some more of my darker values. And then we will create a bit of our lines, et cetera, towards the bottom part to show the either you can show some buildings, you can show some kind of bushes in the background. I guess it's absolutely okay. Or even leave it at this stage. This is something which I would leave the decision up to you. If you're happy with how it has turned out, leave it at this stage. No need to go any further though. I want to touch my painting more and I'm going ahead and adding some lines towards the middle part, just a bit under the sun, what you can say. And then just extending it and blending it with the background. This frankly will not do much addition in terms of doing a change to your painting in a bigger way. But yes, it shows that there is something in the background, whether it be bushes, whether it be some kind of structures, et cetera, that you can observe. Remove the tape at an angle. Have a final look at the painting, and again, see you tomorrow with another new painting. 18. Day 9: The colors for the clouds are your permanent yellow lemon first in and around the sun. Then I will have my yellow cal. After that it would be burn Siena and some amount of your neutrotent for the sky area, you can keep your ultramarine and some amount of indigo for the top part. Also add royal blue if needed or else cilium blue. I think royal blue can always be changed with cerilium blue. The last two shakes, which I'm going to use is permanent yellow light and permanent yellow deep. Now these two will be in and around the city scape or the skyline, Whatever you want to show over here of your cityscape. And then start with your step by step process of creating the same time for day nine. Excited? I would say this particular painting is going to be a bit of a challenge for each one of you who have been following this Clouds class. This is going a step ahead and becoming a bit like an advanced artist. And working like an advanced artist, I would urge each one of you to go through the project and take a dig at it. Because if you don't try to invest time in learning clouds and quickly working with the clouds, it might be difficult in future in our other paintings which may come up after the 15 day. So most of the, a bit more intermediate and advanced level paintings are parked for the later part of the challenge. As having said that, it's good to challenge ourselves a bit here and there. I think, yeah, that's great, right? We are going to work even on the foliage part on our 11th day, I have so much to tell you and explore along with you. Okay, let's first apply some water on top of our paper, and then we will go ahead and apply our permanent yellow lemon. This is a beautiful color. I never thought that I would fall in love with this color. Frankly, I usually don't keep lemon on my palette. And this is one of the shades that I feel that I should have kept earlier also. But it came to me really late when I had mitroplecting last year. When I went to US, I purchased the whole being set and that was the time when I got hand at it. It was line just like that. But with this challenge, I have started working with it and it's an amazing shade that you guys must have. I'm not sure if there is any other brand which has it. But yes, Holben does have it, and you can try it from Holben. I will go ahead and use my permanent yellow light. Yes, most of them are permanent yellow, lemon, permanent yellow light, permanent yellow, deep. So these are the shades with which we are going to work, adding some of the values in and around the sun. Now you can see I'm not keeping a lot of white space as of now. And this color will become way more lighter as we progress in our painting. All the paintings that are done wet on wet, you will know that at least it's going to turn out to shade lighter and all the paintings that are done at least wet on dry. That means it is going to turn up as one shade lighter. So that should be a calculation which you do in your mind. Having said that, I know many of us, after even doing all the calculations, do not end up with a painting that we like. It's absolutely okay. You guys are painting stunning clouds. And I'm having and seeing so many projects, which is exceptionally good, adding some ultramarine and then mixing some amount of our indigo with the ultra marine to apply towards the top part of the sky. You can also use royal blue. Now royal blue is a shade which looks much more like cerelium. If you don't have royal blue, you can go for Errelium. That's a shade which I really like. It's time for a different shade altogether. It's yellow occur. We haven't used this shade, particularly in any of our paintings. But I'm going to explore the colors, at least in this particular painting. I'm going to explore it with my yellow occur. Yellow occur is a beautiful shade if we can work with it. Well, I will not say that it doesn't give any dirty mixes, it also gives some dirty mixes with blue. And that's absolutely okay. We will take it with a pinch of sort and that's all I am. Just dropping in some dots here and there, exactly where I want to paint my clouds. And these are some straight lines, sometimes it is more round. The paper has buckled up. And you already see my paper has buckled up because of which the water is getting accumulated or the color and the pigments are getting more accumulated in these three spaces. You don't care. You don't need to worry. Let it be, let it get accumulated. We don't need to get into it. Let water do its job. If even we are getting three lines, it really doesn't matter. It's a clouds painting. And no one is going to judge us in between that. I've taken some brown and mixed it with my neutral tint, applying the darker value of the brown into the clouds. We haven't done it till now. You can also go ahead with Wen Dk Brown if you don't have this particular shade available with you or else CPR is also good, but CPR needs to be mixed with a bit of burnsena to make it a a lighter tint I would say, or a lighter hue. I'm adding some amount of it even towards the top part of the sky. I will keep this yellow occur intact if you see towards the top part. Also, I have kept some of my yellow occur just below it. I am adding this dark brown shield. Frankly, this is a cloud that I was experimenting with and it turned out so well. I wanted to share the process. It doesn't have any particular direction is all I would say. It's in and around the sun, you will see the clouds coming up some of the areas. I have to add my darker value, which is more of the neutral tint you can see. I'm adding it over the brown that is already applied on the paper, and then I am even extending it towards the left part. This is how we are going to paint this glowing and beautiful sunset. There is the cloud spot, which would take around ten to 11 minutes. But majorly, there is a lot to do with the water as well as with the cityscape that I'm going to teach you today. The cityscape is, again, very simple, just that sometimes we make it look like it is tough and I'm going to solve that problem for you today. The water over here has dried up and I am adding or retouching the surface with some of the clear water. This is with the help of my flat brush. I'm doing it. There is something on the paper which I'm trying to remove. Yeah, it happens like sometimes something comes up and we want to remove that part. It irritates me a lot when I'm working and it is not coming up well. And hence, I try to remove it, adding and retouching it again. As the part has become lighter post, we have removed the whatever was there on the paper. Okay. Adding a bit of water here and there just to make the place a bit more wet. You know that the temperature has did rise a lot because of which my paper is drying up very quickly. Though I still advocate using 185 GSM because you can work through the clouds really quickly. But if you are someone who is starting out, 300 GSM is a must for you. Having said that, 300 GSM plus 100% cotton paper is a must, okay? Adding some amount of my permanent yellow light and permanent yellow deep, you can mix a bit of it and make it more of an orangish kind of shade that you apply towards the bottom area. Over here, we are going to come up with a sky line, or you can say cityscape view that you would see. Removing the extra paints from in and around the sun, and then blending the colors a bit with the background. I will add some amount of my burnt sienna into it. And then I am mixing it to get a shade that looks a shade darker than what you have applied earlier that is a light brown color. Of course, we are not going to do it, We are going to go ahead with the darker shade of the brown. I am blending it with the help of my blending brush. If I don't like something, I just keep blending it. I would go ahead and add some more of my permanent yellow light over the spaces which has the darker clouds. It should be placed just below the darker clouds. The orange which you observe or you can say, this is a permanent yellow light. And the permanent yellow light is somewhere in between your Indian yellow and permanent orange, or any kind of cambooge orange that you see blending the color. Again, with the help of my blending brush, this size is absolutely perfect for painting any kind of skies. You can take seven inch, or you can take eight inch. That's the perfect size, which can work for any one of you when you are from somewhere wanting to paint any kind of clouds or skies. Okay, Going ahead and adding more of our permanent yellow light over here in some of the spaces, you can see I'm extending it. Only work on the space which is wet. Do not work on any space that is already dry. Then you will not get the correct result. And we don't want that. See, I'm adding but I might have to go ahead and blend it with the help of my blending brush. Yes, I'm using the same brush to just to blend it a bit more with the background. Okay. Every time I pick up clear water, I usually take it off on the tissue a bit and then apply it so that my brush becomes bond damp. Let the paper dry off completely, and let's just add a tape towards the bottom area. Go ahead with the mix that is already existing that is more of orange and around the sun and then just away from the sun, you can have more of occur into it. I will make a cityscape view. It's going to be super simple, believe me, but it's going to be a bit challenging once we start adding the darker values. I have picked up some of my permanent yellow deep and then I've started adding in and around the sun. I am again going with the help of my blending brush. This is again a more brush, blending brush, whatever you want to call. And I've picked up my yellow occur and extending it on the sides. Initially I went with very light value, but as I am progressing, you can see that I am adding more of darker values occur. Is comparatively darker to what we have added and it's time to add some brown. I am very happy with how this is turning up and believe me, once you do the city escape, you will realize how beautifully the whole painting will turn up. I will even teach you how to make the sun rays, which exactly goes through the cityscape, adding the darkest value now. And my darkest value would be some pendyk brown or some amount of any other shade which you have mixed. That is Per Siena plus your neutral tint to add over here. The colors will move a bit as we are doing wet on wet technique over here compared to wet on dry, which you could have also gone ahead with. But I love to add these smaller details only on wet on wet. So let's go with wet on wet and add the smaller details. There is no particular way in which I'm thinking while I go ahead with it. The background what I'm thinking is the buildings which are there in the backside need to be more lighter in value. As they're far away from my eyesight and the buildings which are closer to me, they need to be darker. In value, they should be darker and hence, I'm adding some amount of my darker value of brown over here. Okay. Drawing some dots, some lines. It's very, very uneven. As I say that I don't have anything in mind when I add it. It's just simply adding some brush, chokes, some horizontal and some vertical. You can also do it this way and create your own city line or cityscape. Frankly, this is the easiest way in which you can do it, and there is no particular rule that you have to follow for this. Some of the orange touches of orange here and there, as you see, permanent yellow deep is something. It's a permanent yellow deep. You and also say it as orange. That's okay. Absolutely. Okay. And then removing some of it from various places. Okay. When I did peel off the tape, it did come down, but that's absolutely. Okay. We will go ahead and blend the colors. You will see that I will add the darker value while I go towards the bottom. The paper did buckle up and I'm facing a bit of a challenge because of that. Extending the city line a bit towards the bottom and then blending it. This is easy way to go about and fix up any kind of problems or any difficulties that you face. Watercolors is a great medium, believe me. The more you work with it, the more you fall in love with it. It's a very tricky medium. Having said that, you exactly need to know how you should go ahead and create lines, et cetera. Like right now, I'm making some lighter value lines. I don't know how much it would work, but I'm just creating it for my own sake. Just to create the sun rays. You can see how beautifully you can get it. It's going through this city line completely. And I will make one more when I go on the right side, keeping it at a bit of a distance, one is a bit longer compared to the other, one would be a bit shorter so that it is uneven. Never try to make nature even. You will not have a great, I would say outcome. Nature is unique. Nature has got all the randomness which we want to witness. If you can witness that through your painting, why not? Let's do it. It's time to add a mix of the color that was already there, which is majorly your permanent yellow light and permanent yellow deep. And then just blend it for the water area. There is a water area too. And I would be adding the lighter value first, then adding the darkest value over here. This part is very, very interesting and I am so excited to teach this one. I will go ahead. On top of the yellow which we have added, this is some yellow rocker and brown, I will add this area, but in between you will see that I will keep some of the yellow color intact just to show that the sun has fallen on it. And this particular part of the water is shining something that I wanted to show. Though this is a pretty small area and it will really not impact much if you're also not showing it. But this glow really adds so much more to this painting that I really can't tell you. Go ahead and just finish it off with some moss talks going towards the bottom area. I continue to show my palette to you so that you can get a similar kind of mixes. I've placed it on the top, I continue to, I place it on my right everywhere. I try to place it so that you guys can really have a thorough look at what I use, what colors I use, how I blend my colors. And there are problems that I to face with water. And having the correct amount of water on paper is something that we have to learn with time. It will not come on one single day adding one or two lines just towards the front area. One or two dots here and there. This is just a bit more detailing which I wanted to do. Frankly, you do not need to go ahead and do it. It's just extra my creative self which doesn't get satisfied with this much what have created. And that looks already amazing. But still, I don't want to end it and I want to touch my paper more. This you can only touch when your paper is absolutely dry or at least the area where you have created the city line is completely dry. Don't try to do this. When your paper is wet again, the colors will flow, that flow of colors you've already created over here. I'm so particular about these dots, which I see on the top. And now I'm adding one or two thin lines just to cover up those dots. It is really not needed if you get those dots dierly to it or does don't do it, just remove the tape and have a final look at the painting. 19. Day 10: Let's get to know all our colors. I'm going ahead with my permanent yellow, deep, and then I'm going to add opera along with it. These two colors create beautiful shades. Do keep in mind that you can always mix these two colors to create something lighter as well as nicer. It's somewhere in between the color called a spin acrodone coral that I usually use and you can really create that color. I'm going with my brilliant pink. This is from the brand Mijello Mission Gold. You can go ahead with coral or some kind of pink which is a bit opaque in nature. You can also create this brilliant pink as we have discussed in our pigment section. Then some ultramarine. Along with the ultramarine, I need to also have a lighter value, which is my royal blue from the brand Senala. Again, some darker value of purple, indigo. And to finish off, it has to be my sub green. It might look like a lot of shapes, but don't worry, you will get a hang of it as we progress with our painting. Let's start out now, day ten. We are midway through, very excited to show you this project because this project has something really special. That is, I would like to tell you the mistakes which I do during my own projects. I've gone ahead and apply an even coat of wash on top of the people. Now I'm going with some of my opera pink. You can see a real light value on top of it. I've mixed some amount of my permanent here load deep into the opera pink that was there on my palette. I am mixing my colors a bit more darker the opera you can see, and again, applying it on top of the paper. This process will continue. We will slowly add more and more of colors as we move ahead in this painting. More of the orangish color near the hole of your mountain area or hill area. Then while I go towards the top, you can see that my paper is drying off. It is a task right now to keep it wet. I am again, applying an even coat of wash. But I will face a lot of challenges. Believe me, it's going to be very, very tough for me. And I will show you what I usually do when there is a situation like this. There are 23 things which I do and this is one of them. Okay. Going ahead and adding some of the opera towards the top area. Once we have applied the opera towards the top area, I would go ahead and also retouch a few of the other spaces. Blue and your royal blue is a very important component in this painting. Going ahead and adding some amount of my royal blue into the painting. Y blue is really light in the value. You can also go ahead with any kind of serenium blue if you don't have the royal blue or make a very light mixture of your ultramarine. Though it would not be the pistol shade over here that you see. But add a bit of white into it to get something closer to what you see over here. You know, we have already prepared the colors like the opera you see over here. Or any kind of brilliant pink that I did tell you. These shades, coral shade we have prepared earlier during one of the practice exercises. You can go ahead and check there how I prepared my neutral tint, How I prepared my coral. And read a bit about how you can prepare your royal blue. This is a way you can get whatever I'm suggesting, of course, is a way that you can get closer to the color that, um, is applied right now on the paper. The paper is becoming very dry. And frankly, I'm really not happy with how it is turning out. I think that I might have to go over it once more. How I go over it is something that you must watch. I will wash almost the entire part of this and take off all the colors. Watch it, then you will get it. How I do it, I have been doing it for many times now. I did it even for one of my other paintings that I give on a few of the other channels. So it's a regular practice, but this is very much advanced and you must have 100% cotton paper to do this, or else your paper might get tiered out or your paper might not respond. Well, don't do it if you are not aware of the kind of paper that you are using or you're not very confident with the paper. That's one of the reasons I always, always stress on the fact that paper is very, very, very, very, very important in your watercolor painting. I can't tell you how important it is in your journey of watercolors to get the fantastic outcome which you see any instructor or anyone giving out. I think paper is the main key. Okay. Mixing some amount of my royal blue ultramarine and applying it towards the top. I go ahead with my lightest value initially and then make it more darker as we progress. More of ultramarine I would add towards the top. You can also go ahead and use cobalt blue if you don't have this kind of an ultramarine with you. Ultramarine has a bit of granulation though, that would look great on U, this paper. Or it would even look great on this painting, more of ultramarine. Going ahead and adding it. Now this paper has buckled up a bit because of which the paints are moving in few of the pieces more compared to the hole, which is absolutely okay. It happens to many of us, papers do buckle. We try to tighten it with the help of our, but sometimes it really doesn't work when there is a lot of water on the paper. I am using just the straight strokes. If you observe me, I'm not going cross patch in this, it's all straight, straight, horizontal strokes. Strokes is a very important aspect of watercolor. And now I'm clearing out the space. I will go with clean water on top of the colors and just remove it. Now, since the colors were really light, it did not matter much. I could actually lift out the colors from the paper. And now I'm going ahead and applying the colors once more. If you did not face this kind of a challenge, there is no need to go ahead and remove the colors from the spaces where you have already applied. This is again, a second time process which I'm doing because of which you can see that the whole of the painting has gone way more longer than what we would have expected it to, otherwise, the whole of the sky would have come together within the first six, 7 minutes. And then we would have gone towards the bottom area though. The bottom area is a bit more longer than what I usually give out. Yes, we are learning some more for our smaller landscape that we have towards the bottom, I will continue to add some of my orange. Again, going towards the top area, you can see the orange which I have created has got a glue in it. The reason is I have mixed some amount of per in it. Opera is a very vibrant color and that's one of the reasons when you mix it with any of the other shade, it will equally give you a shade that looks very vibrant and beautiful. I usually take off all the extra paints. That means I'm using actually more brush and it can hold a lot of watery paints. I do remove it on my tissue, and then again, I use it on the paper. Most of the areas on the paper are almost drying up, and now I can only touch it a bit here and there. We will use the same mix of ultramarine and royal blue, which makes the whole painting come to life. To be frank, the combination of these shades have really given this whole painting a new look and feel. There is nothing much that we are doing in terms of learning anything new over here. You have already learned a lot in the last painting, an nine, where like I would say, that's one of the very important days when you really have to learn with watercolors. Something that I do always challenge myself is trying to make those fluffy cotton candy kind of clouds. That was a perfect example of it. If you haven't gone ahead and seeing that, please please have a look at it. You will, of course, fall in love with that painting. It has got fantastic colors and amazing way in which it is done. Continuing with some of the darker areas, I have added some amount of my purple into the mix. The top area is still wet and I am making horizontal strokes. With the horizontal strokes, I will add some of the round kind of strokes. As you can observe, these round strokes. Also, we have learned during the brush stroke u, particular exercise that we did. Explore initially. If you are someone who has only seen this, please go ahead and check out how to use your brush. That's very important. Okay? Added some amount of my darker value into it and going towards the bottom, top, and few of the other areas to add that darker value. This darker value I keep on creating and adding onto my painting. I will tell you how to explore more and more of these darker values as we progress with our painting. Going ahead and just adding some of our darker values here and there. My brush has some amount of, I think, opera in it. And when I'm trying to just add it over there to blend the colors, I think that opera is coming over. I have now adding opera intentionally because it was looking very pretty. I just started it intentionally. This is something that I learned through each of the painting that you can always improvise on your painting. When you get into the process of painting just by observing or just by looking just by watching videos, we will not be in a position to brush up our skills of painting with watercolors. The more you work around with this medium, the better would be your outcome. And you will be in a position to know how this whole world of watercolor works. With my tiniest brush, that is my thinnest brush, which I have on the palette. I'm making a few strokes. You can see how the strokes are and how it is moving. I continue to add some more colors. They move and, um, not much is left in terms of the moisture on the paper. There's lots and lots of dryness that has come up and less of water which remains. Hence, we can't continue to work on all the parts of the paper. Some of the places where I want to blend my colors, those are the areas where I'm touching. Otherwise, I'm just going with what I already have on the paper. I want to add one small line. This is majorly my horizon line. And this horizon line is going to depict the greener part over it. I will add my small hills and mountains that will look even better. I am waiting to explore all of it with you. Let's start out by making the lightest value cloud for the background. The right one is, of course, far away from our eyesight and it has to be lighter in value. The left one which is bigger and it is more closer to us and hence I would add darker in value or make it more darker in value. Very simple rule of perspective can go a long way in your paintings, and at least for cloud paintings, even if you know very less about perspective and how it works, it can lead you to make beautiful paintings. But yes, with the paintings, you have to keep in mind that you are not messing up at any point in time. You have to give it the time to dry up, You have to give it the time to not work on it if it is adtroyed or else lifting out is another technique, which I did tell you today. But that is way more advanced technique and you should not spoil your painting. If your colors are really light, then only this technique usually works. Otherwise, making this technique work is really tough. Adding some more of our darkest value towards the left side of the hill or the mountain area. I'm using the same color which I have on the palette. Just added a bit of indigo in it. You can use any color of your choice. Frankly, there is nothing extra that I'm going ahead and doing in this. Just making the mountains as per the perspective which we usually follow. Each and every part in this painting is done in a really simple way. Except the part where I did mess up because I too mess up and I want you guys to know that we all mess up. So it's okay to mess up. And again, that's absolutely fine. This part is already done. I would again let it dry before I go ahead with my greens. The greens are so beautiful. I usually go with my sap green for the bottom area. It doesn't spread a lot. That's the beauty of the sap green. And the colors stay. They give the exact glow which I want for any kind of painting that I make. You can see I am mixing the sap green from the main palette into the blue that we already have. This is one way of going about in any kind of painting that you use the same colors that you have on the palette. And then we do our greens or any of the shades. That way there is a very harmonious touch to anything that you do. The colors of the blue will also come up into the screen and slowly, steadily, you will understand how beautifully all the shades blend into each other. And we do not need to do much in this adding some brown into it so that it becomes a bit more darker. As the green was a lot more greener than I thought it should be. Even after adding the blue, I could not get the color that I wanted. And hence I just added a bit of that is basically for the Di tones. If you are not someone who likes much of Di tones, you can leave it at the same sap green which you got. Remove the tape at an angle and then we will paint a beautiful area which is basically the water. Before that, there is a shoreline that I want to paint and this shoreline is nothing but in and around the lake that you usually see. It's with the neutral tint that we are going to add towards the bottom area. You can see how the colors are and how this neutral tint just adds a bit of depth into the shoreline, adding some clear water into the bottom area. And then we will go ahead and add some of our opera along with the purple. The opera is majorly the same shade that we have used for the sky. Water doesn't have any shade of it, so it usually reflects the color of the sky, the color of whatever is on top of it. Supposedly, there's a boat sailing in the river or sailing in the ocean, or even if it is standing somewhere, you will see the reflection in the water. If it's moving water, you will not see much of reflection. Whereas if it is stagnant or it is calm waters, you can see the reflection. Of course, this is not the class for waters or reflection, but if you are someone who is in love with the classes of water and reflection, you can go ahead and check out some of my previous classes given on the left side, I have added the reflection of the mountains into the water area. And then I will add some amount of green to show the fields that we have already added intentionally. I kept a bit of white in between. That is just to divide the water from the land area. Adding the green, as I did tell you earlier, the paper is wet, the colors will flow. We do not need to do much in this case. Just add some greens as what you observe on the top that will only get reflected in the water. This is it. Let it dry off and then go ahead and remove the tape at an angle. Have a final look at it. This is one of the most beautiful paintings you might have created. I will see you again tomorrow. 20. Day 11: Let's have a look at all the colors. I would go with my lightest value. This is permanent yellow, lemon. You can also go ahead with any of the other yellow colors that you have on your palette. It's okay to go ahead with any colors, permanent yellow light. Then we have permanent yellow, deep opera, your red color or else your quinacdone color. Anything can work in this. You can see this is practically a combination of all I will have last, my red violet. You can also mix violet into your red shade or any of your pink shade, to get a color which looks similar to this one. The last and not the least, which is my neutrotant. Okay, these are all the shades. Now it's time to paint. It is day 11. We are more than midway through. Today's sky is going to be very simple. We are going to go ahead with a directional sky. Not much of clouds that we're going to show over here. The colors are similar to the one that you have attended in the fourth painting. Yes. Beautiful evening sky, but all you have to learn is about foliage. Now, what do we mean by foliage? Foliage is the bottom part where we are going to paint some of our trees as well as bushes. Having said that, it's going to be an easy and simple process, but a bit longer. As I've told you, the sky will not take you more than seven to 8 minutes, but the whole of the painting will come together in next U 15, 17 or 18 minutes. Starting out with my lightest value and it was opera. Then I'm going ahead with some amount of my red, permanent yellow, deep. I'm just mixing the colors pretty randomly. I do not have any particular thought in my mind. I've already applied an even coat of wash on the paper and now I am adding some amount of my brilliant pink. The brilliant pink is also very light in shade. You can also go ahead with coral, if you don't have this brilliant pink, mix a bit of your opera into your coral and then use it on the paper, I think that would be absolutely okay adding some lines. Now I'm using my size zero more brush from the brand given s to add all of these simple lines over here. Once I have added these lines, I will start adding some of the darker values of red in few of the areas. I told you that this is more of a directional sky where hardly there are clouds. But we need to create the direction and how you create the direction by altering the values. Now altering the values means in some of the spaces we will have darker values of red and some of the spaces lighter values of red. With the help of brush choke, you will see that I'm creating the direction overall. All I have to say is that you don't need to think much. Only thing that you have to keep in mind while you do this painting is not to make it too dark. Now, a few of us do have a tendency to make our paintings a bit more darker than what we usually should be doing. That's one of the reasons I'm very particular when I'm telling you that, do not make your paintings more and more dark. Because when you make your skies more dark, what happens is they don't look appropriate and they do not glow. The vibrancy of the water color is gone, and the final painting that you get is not what you would like to see on the paper. Finally, on top of it, another thing is we are going wet on wet. Wet on wet means the colors that you will get finally will be way more lighter than what you have applied. One or two layers lighter. I always clean up some space and keep it as more white. You will see in many of my clouds painting, there is some or the other space which remains in white. I'm adding my red palette. This is a color which I love. It is darker than all the other shades of pink. You can also use crimson if you don't have the shade. I am mixing some amount of my neutral tint into it and then started applying it in few of the spaces. All the colors that I'm applying right now are lighter in value. And there is some orange, which I did create on my own, on the palette, Mixing a lot of colors, that is the three of the shades, red. Some opera, as well as some permanent yellow, deep. Finally, getting a hang off the space which is in the middle. Now, I usually try to work in this space later in this part of the painting, as this is more lighter or this is the lightest in value compared to all the other spaces where we are going to apply the colors. Clean up your edges, because that's very, very important. If you don't clean up your edges, there may be back runs and we really don't want back runs in our painting. Mixing some more of our pink and then adding it. I'm using the simple one brush to get all the paintings done together. You can see that most of the paintings are done with the bigger brush because you can, frankly, take care of the whole of the area very quickly compared to if you are using a smaller brush. What happens is you will take a lot of time to cover your whole of the space that you have. This is not a small paper, it's around seven inch and 7 ", not small at all. Continue to add more of the darker values towards the bottom as we proceed while you go towards the bottom, the clouds will become more flatter, or you can say the direction will become more and more tilted. It would be more of horizontal lines that I would get adding some of my lighter yellow. The yellow looks amazing, frankly, when you add it. At this moment it adds that glow to your sky, which we always look forward to. I'm mixing some of my neutritent again and applying it in a few of the places where I think I need some lighter values. And the paper has become now moist. It is no more wet, I would say. I don't have much of a time to continue working on it. He only a few more strokes and then we should be done. Once we have added these strokes, you should be happy about it. Keep some white spaces. Again, I'm iterating this. I know I repeat a lot in terms of the white spaces or keeping the paper white. I love to play with the white of the paper. That's something which I have always enjoyed, whether it be any kind of mountains or even your skies, flowers, Anything that I paint, I work with the whites of the paper. Going ahead with some more of the neutral tent towards the top area. I have very less water even on my brush. When you're doing this activity, make sure you have less water in your brush or else the water will get into this moist paper and it would create the cauliflower effect, which we don't want in this painting. Okay, I think one or two more strokes, as I did tell you earlier. And then we are completely in the mood of creating the foliage. Be ready for the foliage. It's going to be easy, but a bit longer, so do not lose your patience. Let this paper dry off and then we will have one of the best foliage done for any of your paintings, though I did not want to touch foliage much in this series. But we are on the 11th day, and I think it's important when we are progressing towards the, or at least like now, we are in the second half of our paintings. And it is important to continue working on some of the bit of difficult things or a bit of longer things that usually we don't try to attempt. When we're just starting out, I will be using the tip of my brush. This is the Vinci brush. Believe me, I am not very comfortable with this brush still. I did pick it up because I just felt that this is the only brush which could give me the strokes that I wanted for my pine trees. And these are the pine trees which are scarce in few of the places and there are more leaves in few. Do observe how my strokes are, how I use the tip to create a few thinner lines. Then in few of the spaces, I would use the big size of the and create a leaves together in bunches. You have to alter your brush strokes every time you want to paint any kind of foliage. This, I have learned over time that we cannot have the same kind of lines or same kind of strokes when we keep painting our foliage. As I did tell you that this is going to be long. Only one thing that I need from you guys is your patients. Patients is the key for watercolor artwork because there is some time that is needed when your paper dries up. When you have to work on top of a dry paper or you have to work with simply papers. In all these cases, patients of role like right now, we are adding only a few dots. It's not that I am going to fast forward this process. I will give it the time it needs for me to think and then act. Thinking is very important before you act at this stage. Why? I would say we are almost at the end of the painting. Every stroke, every line matters at this moment. Having said all of it, I would say that the free flow of water colors is not going anywhere. We did add it when we worked with our sky area, but foliage is something that I have learned to work with over the years. Foliage adds a lot more depth into your painting as well as this is something that everyone wants to paint like a the but, there hallways, a lot of ifs and buts. Yes. When it comes to foliage, either we are not happy with it. Either we are not comfortable with it or getting into all of this becomes tough at some point in time. For every one of us, this is not our comfort zone. Believe me, this is not even my comfort zone. I love to have very easy landscapes when it comes to working on the skies. You will see that I'm just adding some horizontal and vertical lines. When it comes to like covering up a broader space. I don't like to continue work with smaller strokes when it is not needed. Why do we need to do it? Why do we need to spend so much amount of time behind all of it? For me adding one or two drops of U, I would say 122 drops of simply paints on top of the paper can also or can also add a lot more of the depth into the painting or can really change the painting to a great extent. That's one of the reasons whenever I go, I go with thought in my mind. I step back at regular intervals and think how I want to paint. And then again, start with my painting. Thinking and stepping back is something that you should follow in your watercolor painting. As a regular practice, watercolors is an art or is a particular medium that grows more on you as you continue painting with it. Not only this watercolor, even quash for that matter, grows on you as you continue to paint with more and more of a keep working with this medium is all I can say. Keep motivating yourself. Keep working with this medium. Fall in love with this medium. The more you fall in love with this medium, there you will see that it is coming back to you or it is actually giving back in terms of returns to your returns. It'd be in terms of like distressing you or giving you a good amount of exposure. When it wants to calm you down, it calms you down. Or you continue to paint with an amazing medium that has so much to offer in return. You know, initially when I started out, I was not a full time artist. And slowly, steadily as I progressed in my journey, I became a full time artist and the whole empowerment I think of. This thing happened with watercolors. Watercolors is such a kind of medium that helps you to grow yourself into anything that you want. I continue to make more classes. I continue to give out more videos. The more and more I paint with it, the better is my outcome. Every day, I feel I always, always say make easy paintings, Keep working on a regular basis. Now I'm splattering some of my clear water to get some texture this you can do when your paper is moist, it's not dry, or else you will not get these texture. It's okay if your paper is also dry, you don't need textures. I just wanted to show you that you can add texture into the foliage to rather than only into the grounds when it is wet. I'm going with my thinnest brush and now adding some lines. This is the final part that you need to look into. I will keep adding some of my branches, smaller and bigger branches coming together at each and every place. We continue to work on this iterative process and now it's time to make the broadest of the lights map is coming out. I don't know why. Because the heat has increased a lot in the eastern part of India. The air has also become drier because of which the tape does come off, which was not the case when, like a few months back when I started off with this series, of course, it was pretty cold and now it is becoming more and more hot. Spring is around there, so I feel very, very soon we will see a lot of florals, et cetera, coming up. Continue to add some more lines, and then we are going to add some of the loose branches here and there as you see me adding it right now into the painting. We will add some more of our details at this point in time and just wait before you add anything more. The whole painting has come together very nicely. So we do not want to change anything at this moment. Let your paper dry off and then have a final look at this painting. I'm super excited to teach you another painting tomorrow, which is going to be even better than what we have learned today. Okay. Removing the tape. Finally, I think you are happy with how it has turned out. See you again tomorrow. 21. Day 12: Let's look at all the colors which we will need for completing our painting. I'm going ahead with a mix of my tailor and ultramarine. You can see how beautiful the color is. Then the next color would be your Burn Siena. Burn. Siena has been one of my favorite color for painting the clouds. I will tell you how I create the darker values of the clouds now is the neutral tint You have also seen in one of my earlier paintings, how we have created the soft, fluffy clouds with the help of face shades of brown and neutral tint. Then we are going ahead with Agco, some amount of yellow. It can be any yellow, lemon, yellow, deep, or any yellow of your choice. Then is the last one which is green. It can be all of green or sap green. Anything of your choice, marking the bottom area with the help of your pencil. This is basically the area where I will be adding my horizon line. I did paint on the back side of the paper. That's one of the reasons you observed that the paper is not straight anymore. There are many favor patings throughout the series and believe me, I have not wasted even a single paper. If the front side of the paper did not go well, I did work on the back side of the paper to understand, okay, what changes I could have done to make this painting look better, or how we can work on the next steps. Some of the paintings spent longer. I had to, again, paint it on the back side to understand how I could make it shorter. Okay, now mixing some amount of the darkest values of brown, and this is with the help of Pyburn, Siena and Neutral Tint. These are two of my favorite sheets, as you have seen, for creating the cumulus clouds. Cumulus clouds are the water laden clouds which you usually see during the rainy season. It is the favorite, most painting that I would say from the series. So there has been many paintings which you guys have liked, but this remains one of my favorite out of all. Okay, adding some of my darker value of the brown and neutral tint. Once I have added the darkest value of the brown and neutral tint on the areas where I should would be painting, I would go ahead and then add my blues. The blues, of course, is a mixture as I did not have any sky blue in my palette anytime like I never had it. So this is a mix that I have been doing for quite some time to get a color that looks exactly like sky blue. But I have got a recent order where I've purchased a sky blue altogether, as I was making so many skyes. We'll try that skyblue very soon in one of our other paintings. Continue to just blend your colors with the help of your thickest brush. If the brush strokes happen to be a bit, not up to the mark and there are more lines, I will just blend it with the help of my thickest brush. The most important aspect of water color skies is to paint quickly. You have to get your painting done within the five to 6 minutes maximum. You would be allowed time frame of eight to 9 minutes if you are not done with the skies. Within that time, your paper will become dry off and you may not be in a position to work anymore, at least for your first year. If you are someone who wants to layer your clouds, then of course it's very different. But I do not like to layer my clouds a lot, I just go ahead with one layer so that I'm done within the first shot. It also helps me to work through the painting very quickly. For a big now this might become a bit of a challenge. I have always told this, but again, rating it, taken that mix and added the blue color in few of the areas where it was needed. You have to be very careful while adding this blue. We are not going to cover all the areas. It would be only in a few spaces that I'm going to add it. My paper is wet because of which the color is still flow. I will get the softest of the clouds because of the wetness of the paper that I have right now. You can always go ahead with another technique if your paper is drying up quickly is to apply water on the back side of your paper. Then apply water on the front side and start adding the colors on top of your paper. That way you can keep your paper really wet for a longer period. I have always given a class earlier also about keeping your paper wet for a longer period. Go ahead and check out that class. Meditate with water colors, a 14 day exercise, which you all can follow. Continue to add some indigo into the browns that you had. Now, just use a drier part of your brush. You can see how I am using my brush to add small, small dots here and there. It's not that I will add a lot of darker values, guys. Be very aware of the fact that we are not playing with the darkest of the value over here. What we are trying to do is build up in layers. Now, layers within the first layer itself. Which means that if my paper is wet, I will go ahead with first my lightest brown. And that once that is done, I would go ahead with a darker value of indico. Once I'm done with the darker value of indico, I will go ahead with my neutral T. This is how I progress in my painting and I would request you guys also to go ahead with it. If your paper has become again dry, then you might have to take help off your flat brush to make it wet in a few spaces. Or leave it as, then apply some water. Once your paper is completely dry, again, add the darker value of clouds. Accordingly, I will pick up extra paints on my tissue. That's one of the reasons you will always see my tissue by my side. Tissue is your best fed. Do use it to your advantage. We are not going to use more and more of the tissue as we progress. In many of our paintings. Tissue is something that I have made use of as we have progressed in the journey of watercolors. You can see this use of tissue very often when I am using or doing my florals. Whether it be a bit of a full fledged floral where you have background florals, et cetera, or even individual florals that I like to bring. Adding some of my darker values and extending it in a few places as you observe me doing it over here and then blending it with the background. Though you may not also do the process while you go towards then. But few of the spaces, I would love to add this darkest value compared to other spaces where I would keep it as white, going towards the bottom area and making some thinner lines. As per the rule of perspective, you will see broader clouds towards the top. As you go towards the bottom, they will become more thinner and thinner. I have even switched my brush now to the thinnest brush possible so that I can make the thinnest of the clouds in the bottom area. I need to even add clouds while I am going towards the bottom part. On the left side, you will see that I keep blending some of the darker mixes into the colors that already exist over there. And then just bringing it a bit towards the middle to show the thinnest of the clouds. Again, you can switch your brushes and if you feel that you have added a lot more thicker clouds, then you should have used your brush to just remove the extra colors from the areas wherever it is needed. If you want to add more colors, please feel free to go ahead and add adding some of the darker values while I go towards the horizon line. Horizon line is a very important concept in water colors and many of you already know it. It's basically the line which separates your sky with the landscape or the sky with water. That's usually a horizon line. To depict it better, we always try to add something more darker in and around it. Okay. Just picking up some of my colors with the help of my flatbush flat brush has got a lot of importance and you guys have to always keep that in mind. Now finally, I'm using my biggest brush, blending some of the colors. This is majorly some of my brown sheets that I'm adding. And then bringing it towards the bottom area that is near the horizon line. I'm pretty much happy with how it turned out, except a few places where I am retouching it. Rest of the areas, I'm not retouching it much, It's just with my lightest value, I am doing that. Once I have retouched the area, I'm again going over it to paint some more clouds because my paper is still wet and I can work upon it or else whatever you have caught and now is great to go ahead with, don't think much and just progress with painting. Leaving your paints to dry off. And then we are starting out with the bottom area. The bottom area is not going to be very small because there is a bit of work that we have to do. I'm going with my permanent yellow light, lemon yellow light. And then you just continue to add some sap green into it, or any lemon yellow that you have in your palette. That's good to go blend some of your olive green or sap green and then get a shade that looks similar to the one which we are now getting on our paper. You can just blend these two colors, make the darker value in the bottom area and leave your painting. The major skyscape is frankly done. Whatever we are doing as of now is some more lines and some more fields that we want to add. You can add these straight lines and let it be as this or else go ahead with some of the darkest value of glue as you observe over here and then make some of the lines. As I continue to add, it is just about observing and adding the lines. I am not doing much in terms of changing the colors, et cetera. I would be using the same colors that I've used for the sky or the indico color. That actually adds a lot more depth. We have to play a lot with our depth in this painting. The is all about just changing your values to a great extent by mixing some of the shades that has already been used. Some of the areas would be more darker and some of the areas would be more lighter. That's the only thing you have to keep in mind, and accordingly, you will get good results. There are many paintings where I really can't decide how to go about this painting, frankly. I'm at that stage where I am still deciding that do I need to add more of lines to show the perspective as feet or do I just go about it like the wait is, it's been this way for quite some time. I know that there's a confusion which every artist has when they approach a painting. And this is right now my confusion. Do not worry. I will get back to it and we will make some lines. But you will see that the paper keeps on drawing and that's something which I too can't control much. And at this stage I have decided that, yes, I'm going with my lines and hooray. We know that we have some of the fields that we will be painting now. These lines, of course, will blend with the background. If you have a lot of water on your paper, if you have optimum amount of water, which means that there is no shining, shining part on top of the paper. But the paper is still moist, so that the brush can work with the pigments on top of the paper to create the softer lines which we need. I continue to work on these lines. I have mixed some of my darkest value, that is, with the blue, indigo with blue. Or you can mix green with blue to create the background lines. Now this is majorly defining your horizon line better. As I did even inform you earlier, adding some more of the trees in the background, they're far away, it is far away from our eye level. You can continue to add some more dots, lines, et cetera, as you progress. Adding some smaller trees even on the left side of the painting, and then mixing some of my co into it. Extending this line even towards the middle area. Not that I would be adding a lot of these lines everywhere. It's just blending with the background to create that illusion of far away trees and the land which is right now in front of us that has the beautiful fields though the fields are also moving because of the wetness of the paper. And I might have to go ahead and again add a few lines to make it look more like the fields which I wanted. It is an ongoing process and never get into the process that Okay. The screen. This has not turned out as I wanted, et cetera. Majority of your work is done with the sky. Even if you have left it with the two colors combined in the bottom area and just added a few trees around the horizon line, it would have been absolutely good. But we wanted to add a bit more drama into this painting. Bit more drama is all about adding the darkest of the values that you observe over here. I'm adding some of the darkest value again towards the bottom area. The bottom area is always very dull as usual, I don't have much happening around the bottom area. Everything is more concentrated towards the top or towards the middle. Now it, as per the rule of thirds that I have been following for years now, this rule of thirds has really helped me to ease many of my paintings. If you are someone who is new to watercolors and sketching, you should try out this rule of thirds and place your objects in places, as we usually should divide your paper into nine equal halves. And then there are four focus areas which you will get. Now once you have the four focus areas, just place your object there and you will see a lot of change in your final painting or composition that you get still adding some of my background trees. Okay, you might get bought at this stage, but continue a bit more, you are almost done with the painting. I would leave the painting to dry off after this and then have a final look at it. This is one of my favorite paintings as I've told you already. I mean, my favorite favorite kind of painting from this series. It is such beautiful clouds that just took my heart away. And I just could not resist myself from adding the bottom area with these lines or the fields that I usually add. Again, the fields are broader towards the bottom. As they reach towards the top, they become smaller in size. It is the rule of perspective. They meet to one vanishing point that is outside the paper on the left side. That's how I am adding the whole of these lines. Finally, I think I'm done. And now just blending a bit more towards the top, helium. Leave your paper to dry off and then remove the tape at an angle like I am doing. Do hold your boat while you remove your tape. Have a final look at it. Meet you tomorrow again. 22. Day 13: Let us first discuss all our colors that we are going to use in this painting. I am going ahead with yellow. This is my permanent yellow, deep. You can go ahead with any other yellow that's available on your palette. You can go with some of the lighter values like permanent yellow light, permanent yellow, lemon. Whatever is there that's opera will create the orange that we need on our palette. This is red brown for the bottom area, but burnsena is also good. If you don't have this red brown urals, you can mix a bit of red into your Posiena to get this shade which I'm showing sap green. And the last three shades that I'm going to use for the sky area is micro bart blue with it. You can use some amount of ultramarine and Indico orals. Just go ahead only with Indico and keep a talor blue biocide to create the blue effects that you see in my sky. Let's start out with our painting. Now you all know that we have to go ahead and add an even coat of wash on top of our paper. I will only say that my paper was on 85 GSM. It has become really hot nowadays in the eastern parts of India. This is one of the recent paintings that I added to this whole of the class. And all I can say is it is one of the very difficult paintings that I would have done till date because of the paper that I chose, 185 GSM is pretty thin as such a paper and it cannot stay wet for a longer period of time. So I did a few things that you can also do to keep your paper wet or else use a 300 GSM paper. That is the first most important thing, which I will suggest when your climate is becoming more and more warmer or the temperature is rising, you need to have a 300 GSM paper. I'm going to use my orange color now. I have prepared this color. What I did was I have mixed my permanent yellow deep with some amount of my Opera. To create a shade like this, I will be using that particular shade for the bottom part of my sky. And then apply some of the yellow towards some of the areas. You can see that I'm consciously adding some strokes towards the bottom area. And in between, I will see that my top area is also drying up. Keeping the paper wet was a huge task. You cannot have fans going on, you cannot have your AC going on and it's so hot that your paper is also drying up very fast. These are not the perfect conditions in which you might be in a position to carry on with your artwork and you will have a lot of frustrations. Therefore, I did suggest initially, only you go ahead with 300 GSM, 440 GSM, 620 GSM, Whatever works best for you, please go ahead with that. That would leave you with a lot of opportunity to play with your colors to work on your painting in a better way. Going ahead with my cobalt blue towards the top part of the sky so that my paper stays wet for a longer period of time. And then I'm just blending the orange with the help of my flat brush. This is not it, Believe me, there is a lot more struggle that I'm going to have going ahead with some of my orange in few of the parts where I think it's important. And then applying it even towards the top, slowly, steadily, my paper will start drying up in various spaces and I will not be in a position to work anymore. Then I will have a few drops of water falling here and there, which will also make this whole painting ruin or it would be very difficult for anyone to work on any painting like this. But the final outcome which I had was something truly amazing. I really did not want to take away this painting from the series altogether. Continue to add some of the darker values. Now how do we add the darker value? I already had some cobal blue on my palette, and now I am mixing some of my nutritant, then my tailor blue, a bit of violet if you need whatever colors I had in the blue area, I have just added it to make a bit of a lighter, yet darker shade. Because of the bal blue. I mean, not exactly the bal blue, but yes, the royal blue, the lightest royal blue, which you see. I have this beautiful shade that has come up. You can also keep this royal blue by your side. And the other colors of blue I know every person has in their palette. But this royal blue is always not available in the palette. You can also use serilium blue. If you don't have this royal blue with yourself, that's a really, really light color for the sky, which all of us would like to use. I cannot work after this. 5 minutes was the maximum time that I got for this painting to work on. And that was really not enough for me as I had lot planned for my clouds. If you have a lot planned for your clouds, then I don't think that this is the perfect paper size. You have to either go for a smaller size. On this note, I would say if you are looking for smaller sized paper, then it can stay with it or else you have to go ahead and wet the backside of your paper before you work on the front side. Rather than taping down your paper, just go with the paper. Use an acrylic boat, wet the backside of the board, and then on top of it, apply some water on the front side to start painting on top of it. That way you will get a lot of time for your painting right now. What I'm trying to create is more unidirectional, which is like you can see me adding straight clocks. But over time they will become more rounder and you will see how I do it. Having said that, I have mixed some amount of darker values. Now to go over the lighter value which we created, always use a darker value. Once you are happy with the lightest value that you have already added to your painting, there are lots of difficulty that's going to come my way. At least I have learned from here that if your weather is not permissible or it's very hot, never use a 185 GSM paper if you are using it, either wet the backside of it so that it stays wet for a longer period of time. Another thing that I have learned over here is you can choose to work in parts, which means that you can work on the bottom part first, let it dry completely, then again, add clear water on top of the entire paper and start working on the top part of it. That way, again, you are allowing yourself more time to work on it as well as it would be way more quicker than what I went through in this particular painting. I have literally struggled through the entire painting, which might not be visible at this stage, but it would be more and more visible as we progress, adding the darkest value and then mixing some amount of brown. You can see I will add some amount of sap green with it. It looked so amazing as a combination. I was pretty much shocked to see this. It's something that I wanted to try for long and thought that it would be good if I add it right now for all of you. So that you can also understand how all these colors mix and go with each other. You see that big drop? Okay. Now that's no, no, but the problem with watercolors is you cannot control all these things. They are not in your control. Therefore, always keep a tissue by your side, though I could not pick up all the colors, but I will add a bit of my shades over here. The paper is semi moist and you can see the movement of the clear water into the older clouds that we have added. There is a lot of problems which I did face because of the way I wanted to continue with this painting, allowing the parts to dry off and then progressing is the best way. Now comes the more tricky part. I have already added a lot of water. You can see because my paper went absolutely dry and I had to take away that big drop of green which was there in the middle of my sky. So all I'm trying to do now is have a background mountain in the same orange shade that we have painted our sky. And then blending it a bit with our backgrounds though, the whole painting is not going to turn out exactly the way you see right now over here, because the balance is not there. If you see half of the clouds, what happened is they are darker towards the top, half of the cloud is lighter towards the bottom, they look like parts, and they don't look like one single painting. And that's where I have a whole problem going on. We need to work in a way that it looks as one single part of the whole painting. I'm adding some amount of the orange even on the left side. And now blending it, you know, this drop would have been much better if I could control it and limit it to only one drop. You will see there will be one more, bigger drop, okay? So this is very, very clumsy. And the way I went ahead with this whole painting was not what I planned. But watercolors is not about planning, it's all about how it surprises you. So many of you have seen painting done in 10 minutes, 12 minutes, 5 minutes, 8 minutes, 7 minutes. But you have not seen how much. I do struggle on days where the climate is not good and there are different kinds of difficulty levels that happens because of all of these difficult situation that arises. You cannot control difficult situations, right? Whether it be any kind of medium. Though, for watercolors it is a bit more tough because we are playing with water, and water is the key element. If your water actually goes wrong at this stage, you don't know what to do next. And that's where the whole problem was for this painting. I am now, again, adding lot of water, Not exactly a lot of water. I have really light amount of water on my brush and I'm going ahead with clear water. I always keep two jars of water by my side. One is the clear water that's absolutely on my right. And another is the water where I wash my brushes. I'm very consciously doing it for years now. And if you are not someone who is more into watercolors, I would say you have to consciously think of not dipping your brush into both of them. One of them will be for actually clearing up your brushes and another one would be for your clear supply. Believe me, this painting is not tough. You could have done within the first 10 minutes itself, but if it would have gone according to the plan. All of you have told me that you are struggling with clouds and something that I have not been able to, I would say, address at this moment. But all of us struggle. And I am also showing my own struggles to you as an artist. Yes, I struggle a bit less. Maybe as I understand a lot more about water watercolors. I have been playing with it for a longer period of time. I have a lot of experience with water and watercolors. How to work with that, how to use the moisture of the paper, and so much more. Having said all of it, still we are not always so lucky. All the days are not lucky days and there are days where we fail. It's okay to fail. Please do fail. If you do not fail, how do you understand that? Either you are overworking on your subject or either you are just touching it a lot more than you should be. Most of you have this tendency to touch it more than required. And I also had this tendency, believe me, a few years back when I started out with watercolors. I was always retouching my paintings and I did not know where exactly to stop. Something that I have learned over the years, that we have to stop at a particular moment. And that moment only you can decide, no one else can decide that moment for you. And you have to continue to work with those important aspects of watercolor. Like not applying it everywhere, like the blue or the darker values. I'm not going to take it everywhere, like just even below my painting. I know that part is more illuminated. It is more in the orange as well as the yellow which I have had it. I'm not going to touch it completely. I'm just going to touch bits and parts of it here and there where I want to rest. I will keep it as along with it. I will consciously keep in my mind that I don't touch the yellow with my blues to create the green in my cloud, which doesn't look good and it looks much more unnatural than what we can usually create. I will add a few drops off the same pains, of course, in the lightest value towards the top part and some on the left side. To all of this, I couldn't have done in my last part because the paper was not on my side, it was drying off like crazy, and I frankly did not know what to do. I'm, again, applying some water. Re wetting is like crazy for this paper that I did. And I will not suggest you this paper when it is very, very dry, as I always say, that I want to make your life more easier. And that's one of the reasons you should not work around with paper, or paints or et cetera, which doesn't support you as an artist. There are a few things that I must say as a big no. You should go ahead with an artist's great paints. Even a small set is good, but your final results would be better. 100% cotton paper arches Fabriano than any of your other good mormit papers like Lana paper, et cetera. Bahong, All of this can really support your journey. It is going to help you to have a much, much better outcome than using a 25% cotton, 300 GSM, or a 50% cotton, 60% cotton. It really doesn't work that way. Cellulose paper is also not great. Do not go ahead with cellulose paper. It will give you the similar kind of problems that I'm facing right now. You will continue to struggle with your water and you will not have a good outcome. I always, always suggest good paper, good brushes, good paints. You can have only one single set of good brushes, maybe four or five brushes that can work for you. It will work like magic, believe me or not. I have always been investing on good brushes as and when I get some time, I continue to add two or three brushes regularly in for myself every year. It might not be a requirement for me, but I love to try them. I don't know which one suits my style better. Earlier, I was never using much of my mob brushes. When I started out it was more of silver black velvet brushes, which was all over. But over the years I've understood that mob brushes really is my style of work, or it complements my style of work. Rather than only using the other kind of brush, which is a silver black velvet. I'm not saying that's a bad brush. Of course that's a very good brush. It's amazing, It can hold a lot of water. But I would say that this brush, which is a more brush, holds more water and it's bigger, I can walk around with it way more, faster than my silver black velvet. All of these things you will never get in the first go. And it takes a while to understand clearing out a few of the edges here and there. And then again, mixing my shades for the colors that I want to add. It is the permanent yellow, deep, or permanent yellow light. You can use any shade of your choice. Do not worry towards the top part on the right hand side, as that part really looked very, very white and I did not want it to look so white. The bottom part on the left side is absolutely white. And I want to keep it that way. There are a few dots which has happened because of the water droplet. And it's absolutely fine, let it be. No one is going to judge for all those chops, et cetera. Continue to work on your painting wherever it is wet. Just exactly the way I am doing now. We are almost completing our painting, We are almost done with our painting. I'm not going to touch it more. I always keep tissue by my side. You may have to keep more and more tissue if you are playing with more and more water. So yes, that's how it goes. In a watercolor painting, I can only work on the area which is still wet. So few of the areas I'm again, retouching where I know that there is some moisture and I can play with the moisture rest. I will leave it as I'm not going to touch it anymore. If I am touching each and every place, what happens is I will get the darker marks or they will become way more darker than what I want on my painting. And hence, leaving it at this stage is better just blending the shades a bit. And then using a blending brush just to make it softer while they touch the bottom part of the same cloud. Blending it with somewhat darker values and taking it towards the smaller side on the right side. Again, using my blending brush to extend it. Now this is more about pulling the planes and or you can say the pigments, what, which are there. I'm just trying to displace it and make it more even rather than making it look not so even. I'm just adding some drops here and there and making some round er, clouds. You can also avoid this step. Remove the tape at an angle. Now, once your paper is completely dry and have a final look at this painting. I'm pretty sure about it, you have fallen in love with it. Whatever it was, how much we struggled, the final outcome is good, and I am finally very, very happy waiting to see your projects in the project section. 23. Day 14: Let me walk you through all the sheets which we need for the painting. The first is coral, the next is my Ty Lue blue. And the third would be ultramarine. Fourth would be some kind of indigo or neutral tint and some valet. How about painting some beautiful pastel skies. Pastel colors are one of my favorites and today's painting is going to be about pastel skies. Again, I'm going to struggle with water. Believe me, I wanted to show this to you guys as there are many occasions where you have told me that you guys are struggling with water and it just seem that others don't. But all of us to struggle with water, meture of the paper and how much water is absolutely correct that you should apply on the paper so that your paper stays. Wait for about eight to 10 minutes, which is the exact time usually we need to paint our clouds. I'm going ahead with my ultramarine color towards the top part of the sky and mixing it with a bit of tailor blue. This is a very beautiful combination. As I say, I don't have any sky blue with me. I usually mix these two colors to get a color that looks small like sky, the bottom area is brilliant pink. Or you can also take coral. Both the colors look absolutely fine, but it needs to be applied in a very light value and you should not have a very dark value. Offer to be applied on top of the paper or else your clouds will not work. What happens is, since it's opaque in nature, the transparency is not there. Much as such, which you usually get in water colors. They don't allow the colors to move a bit or to move a lot when you are going ahead and adding the clouds. Right now, I'm just blending my colors towards the bottom area. I will again, add a bit of darker value, but before that, let's create a sun. How do I usually create a sun? Take a damp, clean brush and pick up the color exactly from the space where you want to paint the sun. And then dab it off with a tissue. Or take it off with a tissue. That's a great way which can be used for painting any kind of sun in and around it. I'm just applying some of the values of my coral just to make it a bit more prominent. Using my ultra maine again towards the bottom part. This is the same mix which we had earlier. I'm just applying it in a bit of darker value towards the bottom area as it is a setting sun, but a very calming experience which you will actually see throughout this painting. The whole painting doesn't have really vibrant colors or it is not what we really want to show it to you. By the way, do not paint these clouds. I had to go over it again with my next set of clouds. My paper was not wet. What I did was I just prayed some of water on top of it and then went ahead with the same mix that is my pink as well as the tato blue and the ultramarine for the top area, as well as for the bottom area. Now preparing all my mixes and clearing up wherever it is needed, you can see I have a color that looks more like red violet. And adding it for the cloud area, if your paper doesn't have good amount of moisture on top of it. As I told you, the clouds will not work and the colors will not move. This painting has good amount of bottom area or I have tried to explain some amount of reflection as well as a bit of foliage and that's one of the reasons you will see that this painting has got a bit longer. I'm using my smallest brush again. It's unidirectional clouds. We will be making smaller clouds concentrated towards the middle part of the painting. We have painted clouds which are towards the top part. We have painted clouds which are towards the bottom part. Let's try to now focus on the painting where the whole of the clouds is towards the bottom area. You can see I'm just touching my brush and lifting it up and then extending it slowly. Now, this process will take some time and that's one of the reasons I told you that my paper is not that I can continuously paint on it. This particular brush is really small and I will need more time for it to work on, as the whole of paper is really big as such. And this brush is really small for me as of now to continue painting my clouds. Hence, I did apply some of the water initially. But if you are working with only bigger brushes, then I guess it should be quick. Having said that, do keep in mind if you work with the bigger brushes, you will have bicker strokes and controlling the water may become a bit of a problem. In this case, we are only bringing in smaller clouds and you will see how they all converge towards, or they actually are moving towards the middle side. Only the smaller clouds would be placed towards the bottom and the bigger clouds will be placed towards the top. Just be with me and keep painting it. It is at real time speed so that you guys can follow along and paint. I have been seeing such beautiful projects in the project gallery and I'm super happy to have you all join this class. There are a lot of kinds, watercolor skies and clouds, which we have explored a few more. I would love you guys to have a look at one of the paintings that tomorrow I will be doing. It would be water that we are going to apply on both sides of the paper. Before we start working on it, I wanted to show this exercise to you so that you can compare how just taking down your paper actually leaves you with less opportunity to play with water compared to if you are working with paper. And take an acrylic board on top of which you can place your paper paint on the back side of it. That way you can really Your paintings a your final outcome. Okay, let's continue to paint some more clouds. As you observe, I go towards the middle part and discussing the same. I have already told that the lower part will be smaller clouds. Continue with it. The color is of course purple. You can see I'm adding the purple clouds. The left side, I have less number of clouds. I will continue to add it. Some of the parts I'm adding in darker values and some of the parts I'm adding in lighter values. Now, this was one of the paintings which I recorded very initially when I started painting of for this class. I was a bit skeptical about showing that the whole painting had a bit of flow. As I had to, again, repaint the background of the cloud and then go background for the sky and then go over with the clouds, that's how it went onward. Then I thought that it would be a good experience for each one of you to see that how mistakes do happen. And all of us do have some of the issues with water. Keeping a paper moist, which all of you might have felt, walking quickly actually helps you to get away with all this. One thing that I must say, do not think about the final outcome. If you continue to feel what okay, would be the final outcome, how the painting will turn out, et cetera. That's a mindset which you should never have, continue to paint, just continue to paint and that's it. Rest will be taken care of with your water. Color is paper, et cetera, whatever you have. This is something which I have realized over the years. If you continuously or consciously think about your actions, it becomes very difficult for you to focus on the journey and have a just just not concentrating on the final outcome. We are so much fixated about the final outcome and start comparing ourselves with what we see. How is my outcome, how is their outcome, All of that. If you can leave behind and enjoy yourself, I think that is the best outcome which I can also expect from each one of you. Continuing with my bigger brush a bit. Now, this really helped me to blend my colors to a great extent. That's one of the reasons I did shift out to my mop brush. I'm using two of the colors, One is more of purple and another for the background of the clouds I did add, this is Compose Opera plus a bit of a violet. If you add into it, you can also use car mine for this. Whatever color is available with you, just see that it should be a bit more on the pink side. It is also known as one of my favorite favorite sheets from the brand Mijello Mission Gold. The name is red Violet. I think my paper is quite dry now. I may not be in a position to work more or else the colors will give me dry background. I guess it's time to let it try and focus on the bottom part rather than continue to paint my clouds. But you know, this is a tendency with each one of us, we cannot leave. This is something that I have realized. We keep touching up paintings, we keep touching up paintings. Whatsoever be the case, I have been the same for quite some time and there have been reasons why there are so many failures. Sometimes we don't know exactly where to stop, and stopping at the correct moment is very, very important. I am using my Um. Flat brush, just to blend the colors and displace the pigments pit that the soft approach remains and it doesn't look exceptionally different. I don't have any hard edges. This is a great way which you can use with your flat brush to blend your colors. I've also shown this in the initial parts where we did blend our horizon with the sky with the help of our flat brush. Okay, now it's time to work on the bottom area. But I can still see myself concentrating on the clouds, which is really not required. A clouds have turned out so well, we don't need to touch it anymore, Believe me guys, don't touch it for you also. It has turned out well, if you have followed the process and enjoyed the process, that's the most important aspect which I usually always observe in watercolors. I am starting out with my base with water area which is majorly below the horizon line. And adding the seeing colors of the sky. I'm going ahead with a reflection of the bottom part of the sky into the water. And then adding my coral color which goes to the bottom part of the people in a sky will reflect in the water. Water doesn't have any color of its own except that if it has algae or kind of rocks, et cetera, which you can see rest, you will almost see the color of the sky getting reflected into the water. Most of the time, blending is the key. As I always say, the better you can blend, the better would be the outcome. As always, add a few lines like structure, this is a wet space. So you can go ahead and add these kind of lines with the blue that we have used for the sky to show the ripple like effect. Continue to add it from the right to the left and left to the right. That's how we go about it. My paper is still wet. Now, I will take a plunge into creating the reflections. Yes, reflection is something that I have always loved to paint, and this one gives us the opportunity to paint, our reflection. Of course, we had a lot of things in terms of the landscape that you want to paint. Waters, how to add reflection into the water and much more. That's one of the reasons this painting got a bit longer, as I told you, rather than it being shorter, or else we would have ended it pretty quickly. Maybe within the first 12 to 15 minutes. That's it we would have taken. But since there is water reflection and darker colors, now I'm adding, this is basically my neutral tint. I have loved using neutral tint throughout this class. Whosoever has taken the other parts of the sky? I mean, at least one to 13. You know that there are many paintings where this neutral tint has dominated the whole of the painting. One thing that you might have to understand at the stages, we have to create better reflections. And for that you might have to add a few lines while you go towards the bottom part of the painting. This is it that you need to keep in your mind while you paint with water colors. Using your flat brush to pick up the colors. I have explained it earlier also that your flat brush is of great use here. Again, our flat brush is coming to our rescue to show the reflection of the sun into the water area. But it just went too broad. I might have to go ahead and add a bit more. Which is like yeah, you can also say the coral color that we have been using and add it and blend it with our background area. It's okay like we do these kind of things always and we mess up, sometimes it's not a mess, believe me. It's something that we are also learning. And continuous learning is only progress. As I say, progress will not come on one single day. You may make a masterpiece on one day, and you may end up being failed the next day, maybe four or five days regularly after that. And then again, you make a masterpiece. It takes us the required amount of time, effort, Whatever is needed. It is needed. It's absolutely fine. I'm again, adding some amount of coral and then blending it with the background as you can observe. Overhear, you might have to take someone neutral tint and add a bit of these darker values. As you observe over here. I'm adding it, this is exactly the reflection which we wanted to create from the beginning. Some of the lines of the neutritent, I do add even in the water, whatever colors I use for the sky, et cetera. I usually try to use it even in the water as well as if I'm using any of the colors to show the foliage, I use a bit of it even in the water, All of it put together. It makes a great painting. Now finally, it's time for our foliage. I'm so happy and excited to share this process because it is like very long that you might have waited to paint the foliage. I haven't painted foliage much throughout the whole of the series except one of the paintings where we have done a beautiful background cloud and then added a foliage with. That is something which we have done in the process, but rest, everything has stayed the same. Okay, adding some of the foliage with a pretty round brushes, spine, add. Anyway you want, Just think that it should be limited to a smaller space. That's it. Rest however you want to paint this, go ahead and paint it. There is no restriction on painting. Just add a bit of randomness or you can say up and down, up and down, which should look more like trees. As you go towards the left as well as towards the right, you can see how I am continuously adding all of it. Now, I will go ahead and use my flat brush to create an clear line so that it actually can differentiate between the foliage, which is there on the land area, and the reflection of it into the water. To show that particular aspect in this landscape painting, we have done this part. Since it was wet, it was easy to pick up the colors. It was actually moist or it was damp. When you have damp paper, it's easy to pick up or lift out the colors compared to if it is wet. If it is wet, what happens is that your paper is so wet. Once you lift up, the colors will again get back into the space from where you have lifted up. Whereas if your paper is moist or damp, what happens is, even if after you lift it out, the colors, none of the other colors flow into it, That place is almost dry. This is a great way to differentiate between your damp and paper, which has good amount of water. I will repeat the process again. On the left side, you can see that I'm picking up some of the colors and clearing up a bit of the space wherever it is possible. With the help of my flat brush, this is of great use. It's a ruby satin brush from the brand silver, and it is one of the best brushes that I have come across, still data as a flat brush. It is really stable, strong, and it is great for lifting out the colors at any point in time in case you want to invest on any of the good brushes. This is one of the good brushes you can think of adding to your brush set that you guys own. Removing the tape at an angle. I meet you again tomorrow with a new lesson. Do remove the tape at an angle or as of the paper. 24. Day 15: Permanent yellow, deep permanent yellow light. Go ahead with your opera. Then we will add some amount of our red pallette purple, French otra Marine Enrico, and some amount of your sap green, or any kind of olive green that's available with you for the darker value of green, add blue in it. We have already done a lot of paintings where we have worked with limited palette. Then we have worked with a few more colors, and this time it's going to be a very, very colorful. I'm going ahead and adding a clear coat of wash on top of my paper. Do note that when I did this painting at the starting of this class, it was around February. And during that time, the paper used to be wet for a longer period of time compared to what it is now. Hence, I would always tell you to go ahead and wet the back side of the paper before you work on the front side. That will actually allow you with more time and it would help you to keep your paper wet for a longer period. I'm using 185 GSM, 100% Cotton arches paper. If you are going ahead with 300 GSM paper, it would allow you with more time. Hence, it would be easier for you to work around with the medium. Water colors is a medium which is all about water and less about colors. This is the one where we are going to experiment with a lot of colors, not get into any dirty mixes and produce a beautiful, final, vibrant painting. The shade that I'm applying now is a mix of your permanent yellow light and some amount of your Naples yellow. Now Naples yellow is a beautiful shade that I have been using for many years now. I'm applying these shades in few of the areas and keeping some of the areas in white. That's how you would have seen in all of my paintings. I like to keep some of the portion as white, except a few areas maybe where I'm covering it out. Or a few paintings where I like to add the background very light so that there is a glue in the painting. Now, glue of the painting is something that I might not have pursued in a really deeper side and deeper meaning of it. It has like a real, real, deep meaning. What I want to say is that whenever you are painting, it's important to understand that if you are not leaving any white spaces or if you are not applying a real lighter background, then the whole painting will turn out darker and your clouds will not make much of sense. Now there are paintings where clouds are darker and we have also painted those, but still there is a light that you would see or there's an underlying light that you have seen in all those paintings. And that's something which you should also keep in mind, by the way, I'm going ahead and applying some purple. Then some pinks. Reds as well as blue. The blue is tramary blue that I have used. And going with my thinnest brush right now, applying the colors on the left and on the right. Believe me, at this moment, I, too, did not have much idea how this whole painting is going to turn out. And I was just experimenting a lot more with the colors. It was more about practice part. And as I always say, practice can only lead to a good painting and a good painting can lead to you becoming a master artist or you producing paintings which are like masterpieces overall. If you do not practice, the progress of your painting will not happen, or even the brushing up of your skill set of water color will not happen. Hence, it is important to practice, and practice and practice on a regular basis. Going ahead and adding a few more lines for the top area and then you can see that I am making some cloud like structure. While we go towards the bottom, I do not have a lot of paints in my brush. Whatever I went ahead and applied on the clouds area, I have gone ahead and use the same colors for these clouds. I will just make some amount of, again, no pins in it and start applying in a few more spaces. The cloud did turn out really, really light, and I have to apply some more darker values to make it a bit more dark. I'm using my thinnest brush, as you all know, to create this cloud like structure. This is because it's a really, really small structure, which I want towards the bottom of the painting, not that I'm going to add a lot of these over here, just a bit of it. And then allowing the painting to dry off. And then we will go ahead and paint the bottom area. Of course, there is a good amount of work that is left even for the bottom area. Believe me, there were a lot of thought process when I painted that area because we have to add water and the water needs to be a clear reflection of your sky. I'm not sure if you have explored water to a great extent and how your water works, but all I can say is water is something that all of us love to paint. But there are different kinds of water that we have come across. Some of them are calm waters, some of them are coupled water. Some of them have a lot of movements in the water. All of this put together, we should understand what kind of water we want to paint. I'm using the similar kind of colors that we have gone ahead and used for the sky. But do understand that they should not create any dirty mixes and we will not get a good painting that way. Mixing some amount of my indigo and then some amount of the darkest value that we are going to apply Now added a bit of my opera into it. And then I am now adding one or two drops here in the always, always note that I only give about seven to 8 minutes to my entire painting because my paper is going to stay wet only for that long. It's not going to stay wet longer than that. Even if you have to work further on your paper, you have to let it dry and you cannot keep on retouching your paper if your paper is drying up. Now, once your paper has dried up, what happens is that you will retouch any of the area that would become a bloom or it would give a cauliflower effect, which we don't want in the whole of this painting. Throughout this entire series, you have seen that we did not go ahead and any kind of clouds which is wet on dry. Now, this is something that I do intentionally. I love to see the soft and beautiful clouds which usually doesn't come up if you are doing wet on dry. But having said that, in case you still want to try wet on Roy, I think one of the best mediums to try that out is quash. Please go ahead, try that with quash. I'm not saying that watercolors is not a great medium to do it. Of course, watercolors is also a good medium. But you might have to experiment way more in watercolors compared to quash. I'm giving you an good alternative that can help you to satisfy your creators soul. Okay, adding a few more lines, but I have to be literally, be very, very careful. At this moment, my paper remains wet, which is a very good thing right now in case your paper is dried up. I have given you a trick. Let your paper dry off completely, and then again retouch your paper with a clear coat of water. Apply the colors, whatever is left out, and then again let it dry. This might be a two step process, but it is one of the most helpful process in your clouds painting. I do remove some of the extra paints, which I feel is making the painting really dark with the help of my flat brush from some of the areas where I have created this cloud, and hence just making it a bit more lighter in value, retouching it only in the areas where I know that it is wet. Not retouching in all the areas where the paper has also dried up. I think we have worked quite enough. You can see that almost 10 minutes the paper did allow us to work and it will not allow us any more time to work on it. So let it dry. Do not retouch anymore and then have a look at it, whatever be the outcome. Be happy with that. Believe me, this is the best you could have done in the time or span of time that you had on the paper and the kind of experience you have with the current paper that you are using. It's always important to be comfortable with the paper also that you use. And clouds are something that you will only get once you start painting more and more of these. That's one of the reasons there are so many clouds and skies which I wanted to explore in this series, as you cannot get all of it within one single U. Cloud or within one single painting of your skyscape. It is a very, very tricky, I would say, subject. And the tricky is the part that you have to do it in lesser amount of time. And that's why so many of you find it more challenging. Now, watercolors is a bit more challenging as it is a very quick medium where you have to work quickly to get a final outcome. So yeah, having said all of it, you need to be on your toes and whatever be the outcome you have to accept and move on. That's all I have learned from my own experience. Let's go ahead and just add a small area where it would be water. And in and around the other areas it would be land. Now, water doesn't have any color of its own. As I have told you even earlier during our paintings or during all our other classes too, water is all about reflecting the color of the sky or the color of the algae, et cetera, that's there. If there is a coral reef, it would be reflecting that color more of whatever be the color that is there in the sky. The first is that reflection into the water. If your water is absolutely clear now, in case there is hardly any sand or there is deep waters with clear or no algae, et cetera, then you will have all the reflection from the sky into the water. And that's what we are going to even show in our painting. But always, always do study your photographs to study your nearby water areas. If you are closer to a river, go ahead and study the water there. If you are closer to sea beach areas, go ahead and study the water there. As I always say, you need to study with your own eyes. If you are not studying with your own eyes, you might not be in a position to get a final, final outcome which looks so good as you will just fall in love with it. I am going ahead and adding some of my yellow, as well as opera over in few of the spaces as you observed over here. And then blending it with the yellow of the sky. The colors of the sky is all I have added into the water. Keeping in mind that none of them just go into each other and create any darker mixes. This is all I keep in my mind when I had the colors into the water. Now this is a good layer and the only thing that happened to me was it turned out very light and I wanted to have more vibrant colors. You may not also go ahead and take another or add another layer. That's up to you to do or not to do. But for me, I did add one more layer. You will see how we progress each and every step in this painting is real time. Whatever time I have taken to actually get this painting done is all reflected in this painting except the drawing time that was there for the sky area which was around five to 7 minutes. You can also fast forward the process with the help of any kind of drawing tool like a head or maybe some other tool that's there with you. For me, I am going ahead and adding my olive green Urls. If you have a sap green, please go ahead and add it in few of the areas wherever you think it is important. And you should go ahead and just see the green which adds so much more beauty to the painting in some of the areas I want. Darker value of green, You can go ahead and pick up a darker color or just mix some amount of blue in it and you will get the darker values. It's the easiest way to go about it, adding some more of the greens and just applying it in an even coat. Some of the areas can be darker, some of the areas can be lighter. This is how we go about it in any watercolor painting, See whatever spaces you have in the far off area, you might not see it very clearly, but whatever is closer to us is more darker in value. And hence, you have to apply the same logic when you are going ahead and painting. I was really not happy with how the whole water area was turning up the greens was entering some of the areas of my water, and hence I am just adding some amount of my. Darker areas again Or you can say, I'm just retouching those areas and now adding the green again. You can see in and around the water area. Okay, This is how we go about it. Some of the areas are more dark as you can see, and some of the areas are way more lighter, ending it, keeping the more boring. As always, I love to keep my corners boring. That really helps me to concentrate more on particular subject I want to show. In my painting, I did tell you that I would be actually going ahead and retouching this water area and yes, I'm doing the same. You may do it or you may not do it. I would leave that decision up to you. For me, it became a bit more darker than I wanted it. I thought that it would go one shade lighter, but as I did already apply one layer, so it did not go much lighter. And hence, I was thinking about it afterward, that maybe it could have been a bit more lighter compared to what I had. But that's okay. I mean, you are experimenting. At the end of the day, we all should allow us to experiment. And if you are not experimenting, if we are going by the rules that we have set for ourselves, the final outcome will always turn out as we want, but you are not going to explore more and watercolors, and you guys should experiment more and more. So all the techniques that you learn over here should be applied to your other experimental paintings that you want to do, or other kind of paintings of skyscapes, et cetera, that you plan to do even in your future. Having said that, all these particular days are organized in an increasing order of difficulty level, as you guys know, do make sure that whenever you are painting along with me, try to just go ahead and paint. The way I am actually explaining you step wise, that is going to really help you is through the kind of techniques that we are exploring together. In case you are mixing it with your own techniques at this level, then it might become more difficult for you to have a similar outcome. What we are having right now over here, I have added a darker value in around the water area. That's always how it is. You will have more darker values, more grasslands around that area, and just extending it in few of the spaces wherever it is needed. I want to show the horizon line in a better way. I'm adding some of my darker values as trees. This is done with the help of my thinnest brush. As you can observe, most of the things are done with the thinnest brustache. One of the reason this whole painting took so much amount of time, but do not go by the time, just go by the enjoyment that you get from a painting like this. Believe me, none of these paintings turn out the best. In the first go, I'm going to show you all my failed attempts in the conclusion part, that's a very, very important section which I want to include for you guys to see how much practice, even after years of experience I do need when I come up with a class. Because there will be failed attempts and that's how we go about it. There will be problems with blending, there will be problems with excess water, there will be problem with less water. What I mean, if you are not facing these challenges, then I don't think you are experimenting much and you're just going by the knowledge that you have already acquired. So yes, I continue to just bend the rules for myself. Always continue adding more and more darker values over to the background. Helia, uh, I will tell you about something that's very, very important. All of you are facing a lot of challenge keeping the paper wet. I will show you one of the paintings, let me even do it for tomorrow, where we will apply water on the back side of the paper, which is going to really help you a lot while you paint with watercolors. Believe me, it's going to be a savor for each one of you. Do not do not miss the Days 16th painting. That's something which I want you guys to follow along. It has a lot of intent in terms of that. We are going to paint something not very amazing or something like that, but it is how to keep your paper wet longer, which I did suggest even earlier, two to three ways. But maybe we should do it. Exercise it, and then, yes, we can continue to experiment with panty for GSM. I'm not against the paper, Of course, it was the best when I started off. The pan kicked off this class. But as we progress, I know when it becomes more and more warmer and you have to switch on the AC, we cannot work under the fan. There are a lot of problems that continue to happen. You can see that I'm trying to pick up my colors, but that's not of much use at this moment. Even if I try with the help of my flat brush, it's not giving me or yielding me any kind of results. That's absolutely okay. We can't expect that everything will yield results at every moment. So I'm just retouching again and putting it back to what it was. Sometimes retouching is not a good idea. And as I always say, we all struggle with retouching. Don't do that, never do that. Um, I think this was one of the bad decisions that I took, but it's okay. I mean, you have to always experiment. And I know I have been iterating it lot and lot through this entire day 15, but believe me, that's what it is. I would have not iterated it much, but yeah, I think it's important at this stage to tell you that yes, it is something that you must also try. And I will always and always motivate you to do that. Continue adding some more blue and that's it. I am pretty happy with how it has turned out. Let it dry at this moment and then have a final look at your painting. I'm super happy and elated with the outcome. If you have even tried out this painting, you need a tap on your pack. It's not a very easy one, but you have done whatever is there in your capacity. Thumbs up from my end. Continue to go ahead and paint. I can only tell you it's going to improve your skill set. And let's experiment tomorrow by adding water on the back side of the paper and see if we can keep the paper wet for longer. That's all is there in my mind today. Okay, great guys, see you again tomorrow then. 25. Day 16: Let us have a walk through of all the colors. It is Indian yellow. You can also have a lemon yellow or permanent yellow light, any kind of shades that you want. Then I have kept some amount of my naples yellow. I'm adding my burnt umber and my red brown. This is one of the most beautiful shades that I'm going to add for my clouds. Adding some of our, another shade of brown which is Burn Siena, adding some amount of my beautiful shade of blue, which I have been using for many of my other paintings too, that is royal blue. You can also use seribum blue in case you do not have this royal blue. Indontrein blue indigo. Some amount of purple if you want, but really purple is not what we would like to have throughout all our paintings, but a bit of it is not that either. Yes, Now let's start with our painting. I would start by getting both sides of the paper, as I did tell you that I will show you a method in our Day 16 where we are going to paint, um, with the help of water and water is going to keep our paper moist for a longer period of time. You will see that because of this method, the clouds were not so much fluffy or they were not so much well shaped like I would have created in many of my other earlier sunset paintings, but that's okay. Every time it's experimental, I wanted to show you a way to keep your paper wet for a longer period of time. As many of you are facing this challenge, you keep on touching your clouds, which I have been asking you not to do. Because if you continue to touch your clouds, what happens is that they become bloom rather than staying as clouds. Some of the areas do become dry very quickly compared to the other areas. Hence, what happens in the processes that we do not get a result that we expect we can create in this particular series or painting whatsoever. You want to say, I need to actually move my palette as this was on the other side. And now I have placed it on the side where I would be picking up the colors and applying it on my people. I will use my wash brush again to just go over the space which is still not as wet as what I would have expected it to be. Then we'll start with our round brush. Now you can go ahead with any bigger brush, smaller brush, what's river brushes are available with you, that's absolutely fine. But I am going ahead with my size zero brush right now. But I guess this has to be changed to three by zero as it is a mop brush. You can also go ahead with size six round brush in case you do not have a mop brush. What happens is your colors may become bloom if you use a really big thick brush that can hold a lot of water, and that's what we don't want. After applying maybe the yellow, we have to shift out to smaller brush. We usually switch between brushes. And that's absolutely the way I have done it in all my paintings. As always, we have started out with our lightest value. Now, lightest value is all about using the lightest color that you have, amongst all the shades which we are using in this painting. I've already walked you through the shades. Believe me, whatever is closer to the colors that you have or you are observing me, you can use those colors. And go ahead in the painting. I'm going ahead and adding the yellow as well as my orange. These two are most beautiful colors and I have always fallen in love from the day I have touched water colors. I think these two vibrant colors have made all my paintings come to life. Though I like to actually paint a lot of other subjects too, but I think landscapes will always have my heart. It is there as one of the best watercolor therapy, art therapy that I do for myself. I want you guys to also see it as that. Rather than just think about the struggles that we have to achieve a final result using my bond number. Now, this is a beautiful shade from the brand C. I don't know whether you have ever used this shade or not, but I would request you guys to start using this shade for many of your watercolor skyscapes. I have not introduced it much in the initial part because most of you love those pastol skies and the beauty of yellow orange. But as we progress and we mature more and we paint these beautiful loose clouds, Now by they become more loose, this is something that I wanted to explain. If you have the backside of the paper wet, you get more time to work on the paper. Now, when you get more time to work on the paper, there is another thing which happens. Which is that your colors will spread more than what you may think it and hence you will get these loose clouds. It also happens or when you are using 300 GSM watercolor paper. Archers is one of the brands that I have always loved to use. But many of you who are vegan and want to go for only those kind of paper. I think Fabriano, Artistico, 300 GSM, 100% cotton press paper is a great option. You should try that out brand. I think you will be in a position to also nail your paintings. I'm going ahead and starting out with the darkest value now, which is majorly my indico. And then adding a bit of yellow in few of the spaces wherever I think it is needed. I'm slowly building it up. This is something that I have in my mind today. I have more time and I can use more time as an option for me to exercise. The next painting I will show you on a 300 GSM paper. Believe me, I am going to actually help you build this road for yourself on how to try and work with the your clouds. Watercolor clouds is very, very tricky because we don't know how much time we have in hand and how much we should touch the clouds, how much we should not touch the clouds, and how we can just have a simple and final outcome. Simplicity is the key. Whatever final outcome you get is great. Now you see a particular kind of cloud shape that has happened. The final painting is not exactly the same, believe me. Initially, when I had a look at it, I was not happy with it, but slowly, steadily, I just took a break, came back, and then I thought that, okay, let me have a look at it again. And it took away my heart. So, it's a development that you have on your own. You, Sally, fall in love with your watercolor paintings. Do not. Do not throw away any of your paintings, I would say just steer off your paintings. This is something that I always, always do. I keep a sketchbook very handy whenever I'm traveling or whenever I'm working in my studio. This is something that I always, always do as a best practice for watercolor. I'm adding now royalty towards the top part of the sky. And then we'll blend it with clouds that we have already painted slowly, steadily. We will keep developing it. You can see that I started from the lowest part that is major, the area where the whole of the clouds are concentrated and slowly steadily, we are going towards the top where it is more to do with the larger space. This larger space, we are not going to actually had a lot of drama. It's only about maintaining and adding flat wash things. Hence, I guess you guys can also nail this painting at any point in time. More than kneeling, I would say this is experience. This is a very nice experience, to be frank. I think this painting really turned out well. If it wouldn't have also turned out well, I would have said that I will try it again. And I did try this painting two times. I will show you one of the audio failed attempts, which I did without applying water on the back side. I did it on the sketch book, so you know that I try most of my paintings two to three times. It's okay to try. It's okay if it doesn't turn out exactly the way anyone wants it. It's fine to, as it's always said, experimenting failing, developing on your skill set is a part of process. All of us have done it in the past, we will be doing in the present as well as in the future. This is something that we all not only do in watercolors. If you have taken it up as a hobby or if you are even a practicing artist, I would say that every day is an improvement. If I see my paintings three years back, they were not exactly how I paint now. Hence, I guess there is a lot of opportunity to improve every day on. Important part is to do a daily practice. Now, daily practice is something that you have to include in your schedule while you continue to add the darker value of the clouds. And then we continue to talk about the daily practice part. It's important to do a daily practice of your watercolors or else what happens is that you cannot have a regular skill set development. You develop, then it's halts. Then you again get back to your normal state. It develops a bit more than halts. The time that you take to develop your skill set is way more longer than what the others might be taking. Or you may when you start comparing yourself. First of all, never compare your journeys. But still, if you have this tendency to compare, you have to also see how much practice goes behind every painting. Sometimes I guess people practice way more than what we can see or what we usually observe. Okay, Adding the darkest value towards the bottom area. I'm happy with how it has turned out. It has loosened up a lot compared to where we started with. But overall, I would say this painting is taken my heart, I'm very happy with how it has turned out. You can say ten to 11 minutes is all we need from the beginning to the end. For any clouds painting, we cannot work for more than that time. If you continue to work for more than that time, your clouds will become blue and you will not be in a position to have a final outcome where there will be less of retouches and there are no plumes, no cauliflower effects. Perfect outcome, and all of it will not happen. You will have hard edges. All of those are the typical outcomes which we get if we keep retouching the spaces. Having said that, is it that I don't retouch? I do, but I do take care of the fact that wherever it is still wet, I only retouch those areas. I don't retouch all the areas or continue to retouch all the areas some more of my burnt umber. And yes, I am happy with how this is finally shaping up some of the spaces. I keep blending, but as I say that I only blend those spaces where I know that I still have scope and it's still wet. This is something that I always, always keep in mind is a semi dry brush, or you can say it's a moist brush, it's not having a lot of water. Even if you are retouching later on, you have to retouch with a moist brush rather than with a brush which has a lot of watery pigments in it, which will actually make those areas go go like a bloom. And it will not be a very good outcome at that position once you apply it. Once you do this, then you will get to understand the outcomes are not so pleasant to the eyes. Okay. Mixing some amount of orange and then applying it towards the bottom area, some more burnt umber. I think this is it. I have to go with a darker wash while we go towards the bottom, then even build up on our water colors. I think bottom area, we need to build up a bit more. We have already done these simple landscapes, let's just build up something more before we finish it off. Adding the darkest value, you can go ahead with neutrotent or else you can also go ahead with co, whatever is available with you. Mix some amount of dico with your burn Siena and then go ahead with this. Colors will move a bit and that's absolutely okay. You may see these colors moving a bit towards the top because everything is wet. It's mostly wet. Wet. I would ask you guys to even go ahead with one more layer once this dries off and then we will make the bottom area. You can see all the colors have dried up. Now, pretty light. That's what happens in a wet on wet technique. If it's wet or dry, it's a bit different than a wet on wet. Yes, it's absolutely fine going with a mix of my purple blue, whatever was there on the palette and just adding a straight line for the horizon along with it. I will make some pushes, some lines, electric lines, things so that this whole painting comes to life. Though even if you leave it at this stage, it is good to go. It's 23 extra minutes, which we will be spending right now on this painting, and then have an outcome which I have always been in love with. And I love to do these small, small details on my paintings where we go towards the bottom area, some bushes and then some lines, straight lines, simple things, easy exercises. It helps us to also have an outcome that really satisfies our heart, right? It's important to also satisfy your own heart. Continue to have the smaller lines done. Once it is done, we will let this paper dry off completely. Have a final look at it. I think you guys will be more happier to do your exercises this way, as some of the places are already very hot compared to what it was earlier when we started out with the class in the winters and now the Spring, I'm really happy and I will meet you again tomorrow with a new painting. Let's see, something that we can paint on a 300 GSM paper and how it works well for us. 26. Day 17: Colors are naples yellow, indian yellow, permanent yellow, light, permanent yellow, deep opera, and some amount of your neutral tint. This is going to be a quick painting. Initially I thought we would be working with our 300 GSM paper, but then you have already done a lot of difficult exercises. It's time to take a quick break, work on something very simple, and then move towards something that is more tough. I'm going ahead with the lightest value which I've applied towards the bottom of the paper and towards the top, I have applied a bit more darker value, which is majorly my neutral tint. The neutral tint is also taken in a very, very light mix, which means that more of water and less of your pigments. When this kind of a mix is taken, then you know that your sky would be gluing and we are not going to make anything dark. Something that I always realize with watercolors is they have a tendency to go muddy and mix to get very dark values, which is not what we really want in our painting. Going ahead and adding our orange towards the middle part, Just make sure that you don't have colors all over. A few of the spaces are lighter in value so that your sky glows. Now, glowing is something that you will understand as you progress in your journey of watercolors and slowly, steadily, you will actually have paintings of your own where you are absorbing a sunset. Or where you are working through the paintings, et cetera, with the help of the colors that you have. And there will be a set where you are adding the darkest and the lightest value plea with the values of the color rather than thinking about how many colors you have to apply for the sky. That is a great stage of water colors. And it happened to me a few years back where I realized that even a monochrome color is enough. Although I have a monochrome color painting class, you can always go ahead and check out that class. Now I'm going ahead with the same orange and applying it on top of the neutral tint that we did apply. It's okay. You can always overpower what you have applied already. This painting is going to be vibrant, as I do see it coming together in a really, really vibrant way. It's nice to have a few of your vibrant paintings. I think for sure you are going to fall in love with this painting as there is not much difficulty. You have to just let your creative juices flow, add the colors as you observe me adding over here, slowly, steadily add the darkest value. Now the darkest value that we are going to add is basically the neutroting. It's going to make your painting a bit darker, but let it be, let's just add it. That's most important. I continue to add this over a few of the areas. This was one of the initial paintings that I did, but I just thought to add it now because it is the time where you need a break from really so many serious paintings that you have been doing till now. Adding some more of this mix towards the top area. The beautiful part about this shade, which is my neutro tentis, it mixes with orange well, and it doesn't give me any muddy mix. Now for these colors, always use your palette and understand that they can both mix with each other or not orals. Go ahead and check it on a different paper to see that these colors can mix well or not. Issues are our best friend as well as the flat brush is going to be your best friend. As we progress with this painting, you will understand that it's not important to make a tough painting, but it's important to go ahead and blend your mixes. Blend your colors wherever it is necessary. Something that I learned through this 20 day journey is you always don't want to have or create difficult paintings. You can have simple and easy paintings in the process and still have amazing outcome. You can see how my colors were moving down and I had to, again, retouch that area, but I exactly know that this particular part of the paper has good amount of moisture in it because of which I will not get any kind of dirty mixes or any kind of cauliflower effect, which I try to avoid in all these soft clouds which we have created through this entire journey of watercolor painting. I continue to work towards the top area, but you can see that the middle area where I did touch with my hands and see that this area has dried up. Now, if any area has dried up completely, go ahead and again retouch that area with the help of your flat brush. Now, this really helps anyone to work with watercolors in a great way. Retouching is only possible when your paper has completely dried off. You cannot retouch the areas before it has dried, or even you cannot retouch the area if it is semi moist. Now, semi moisture is something that you have to learn what is semi moist or what is moist. It is that you have the paper wet enough where you cannot continue to work, where if you touch at that point it will become a bloom and it will give you the cauliflower effect. This is something that you will learn over time. It is absolutely fine. You may have your own mistakes and believe me guys, at the conclusion part, when you see the number of paintings which I have failed, you will understand that everyone and every person can fail. It's okay to fail. Don't get that in that mindset that I will fail or I will not have it. Good. Just have a positive outlook with watercolor. Watercolor mindset is very important as I say. If you have a positive outlook towards watercolor, your final painting would be amazing. Whereas, if you are not really sure how it is going to turn up in the middle way, you just lose your interest, your energy levels go down. I'm telling you it will also reflect in the painting that you are doing adding the darkest value towards the bottom area because that is where I'm going to work with my buildings and with some of the important aspects of the painting, which means that we are going to work a bit more on the landscape. Landscape can be buildings, any kind of thing that you want to add. It can be some kind of fields, hearts, then floral fields, et cetera. Anything and everything is good to go, adding some of the reds in few of the areas. It can be a mix of your beautiful shade of quacdonnake. Either you can take Quinacrodone or else you can mix two shades. This is the permanent yellow, deep, which you have, and the opera color. Both of these colors create a color that is closer to Quinacrodon Core. I'm almost done with my sky area. You can see that 8.5 minutes almost, I'm working on the sky and now the top part of the sky is completely dry. I can't touch that area anymore. Only the areas where I did apply some water, Those areas can be worked on. Hence, either you can go ahead and blend your colors with the help of your flat brush like this, or else just leave it. You don't need to work more. I always say less is more. You should learn this message initially, only if you are not even in a position to add more colors. Let it be, let it dry off, have some patience. This watercolor is a very, very rewarding medium. When you start, you will understand that this medium has so much to offer you, you cannot really get away with it. It's something that you fall in love with daily. Finally, my paper. And I'm going ahead with myth to add some of the lines, et cetera. This is imaginary parts. Going ahead and adding, just like that. Frankly, there is nothing that I haven't find. I've just added 34 building structures, 34 lines. And that's it. I continue to build on it. Once we are done with these building like structures, we have to also add some grounds on the bottom area. I would go ahead and just first make a line and then use my flat brush with a neutral tint, which I have on the palette, and add it towards the bottom area. The paper is already, so you do not need to worry, Just continue to add the darker and have a more flat wash. You can see that I continue to add more buildings even with the help of my flat brush. This amazing brush, it's the Ruby Sutton from the brand Silver. There are various brush which I use. One of them is the Vinci, Then refile, this is sin. I have escoda. All these brushes are good brushes, but I have a choice where what I want to use for me. The more brushes are the go to brushes for skies as it can hold a lot of water, pigments, et cetera. So it's easier for me to work with it on vigorous spaces and skies needs quick work. Hence, these are the ones that I like to use, adding some random lines. Believe me, I have not thought about it at all while I was working on this painting. It was something that slowly, steadily developed and it developed into a beautiful painting family. That is what is most important. As I always say, mindset is the whole game. Now, it's only about detailing. Now, detailing is the best part. Whatever details you want to add, it's some lines or some words, some kind of you can say anything, whatever you think is good to go, just make it for yourself. I think this is your playground right now. Uh, I mean, the landscape is always up to you how you want to design, which is a majorly below the horizon line or whatever you want to make near the horizon. All of that is up to you and it's a choice that you have you can experiment with. I like to keep it a bit more simple. If I am adding some lines, I would just go ahead add some lines. Electric lines or electric poles. Then some buildings that looks more connected. Connected in a way? Yeah, there has something that has come up, maybe in small industry, that industry will have some kind of electric lines, electricity, et cetera, connected to it. So overall, that way I connect my thoughts and I add it to the painting. Let it dry completely before you go ahead and remove the tape. This is something that I've learned. Let your paper dry off before you do anything further, we will add a few white dots here and there. Just as a part of repealing that, some of the electric poles, electric lights, et cetera, to showcase Yes, it's evening. The sun is a setting, we have to give light. There has to be some light in these buildings which are there. And it is connected again. That's how you connect your thoughts. That's how you want to connect your thoughts to your painting. Remove the tape at an angle. Have a final look at your painting and be proud of yourself. 27. Day 18: Finally on day 18. And let's have a look at all the shades which we are going to use. The first one is the most brilliant and vibrant shade. It is my opera. The next one is my ultramarine. As you always know, I'm in love with ultramarine. We will be using a lot of ultramarine even for this painting, then going ahead with my None Blue. This is a beautiful shade from the brand scena. If you don't have the shade, you can alternatively use Prucian blue. That's also a great shade to go ahead with. Finally, the darkest value, which is my neutral tint from the brand, Winsor and Newton. As you know, the Winsor and Newton neutral tint actually spreads way lesser than all the other paints or all the other companies that I have actually worked with. Hence I prefer the same permanent yellow light. And the last one is our green. You can go ahead with any green of my choice. I'm going ahead with olive green, some amount of brown. This is basically my red brown. Okay, let's cover our painting with a clear layer of water. You guys are already so well versed with how I paint and how we are starting out that I have really less to explain at this stage. There are only a few things that I would be guiding you through. I thought to have evening sky and this is majorly the evening time where you have a beautiful moonlight. Yes, just sunset has happened and there's moon which has come up. We will be showing that small number of clouds in the sky with the darker values. That's how we go about it. And beautiful landscape, I haven't touched upon much on the landscape part in any of my earlier paintings. Just thought to introduce it a bit in my painting number 18. Yeah. Almost towards the *** end as I did not want you guys to get disturbed with all the landscapes and how it works, how landscape works, et cetera, et cetera. How we should paint clues, how we should not paint clues. There are so many things that you need to look when you are working through a landscape painting and do not want you guys to get engaged into all of that. Okay, let's go ahead and just apply two colors Towards the bottom, we are going ahead with our opera. And towards the top, as you know, it's my ultramarine. Both the shades I'm blending with my thickest brush, which is the 1 " brush from the brand, Princeton. You have already seen me using this brush very often. And I'm just blending the colors from top to bottom, and from bottom to top. Now if you do top to bottom, what will happen is you will get a red violet color while you come towards the bottom. If you go bottom to top, you will get a more opera shade while you go from bottom to top, and maybe towards the top when you reach it might become a bit more purple in shade. All those things you can keep in mind when you work around with this. I need to also tell you a big news that this particular painting is done on 300 GSM, 100% cotton arches paper. It was very difficult for me as the season has changed to a great extent and it's no more the winter or the cold season, and my paper is not remaining wet for a longer period of time. I did tell you that I would be introducing one more small way where you can go ahead and keep your paper wet for a longer period of time. You can always go ahead and go with a thicker paper. Now, thicker paper, 300 GSM, 620 GSM. This will allow you to have water on top of the paper for a longer period of time and the paper will not absorb it quickly. That way you can really avoid, or you can actually work on your clouds, the skies, et cetera, for way more longer time compared to what it did allow you earlier with a 185 GSM paper. Now all of this is quite dependent upon the kind of paper, the thickness, et cetera, that works in favor of you or works against you, as well as it is very well dependent on the climate. You need to keep both of this in mind when you paint. Now, the darkest value which is what? Don Three Blue. Yeah, I have mixed a bit of dontring blue into the ultra meaning that we had. And now I'm applying it in smaller spaces. Not that I would be touching all the spaces. Some of the spaces I'm touching and few of the areas where I want it to be. The background color which we did add earlier, I would leave it there. Going ahead and adding some more of our smaller lines from the left and from the right. You will see how we continue to add these kind of lines towards the bottom area. I can still work on the paper. My paper is wet and it is more than 5 minutes almost that my paper is. We though for every cloud the basic remains same. That is, you have to work very quickly with your painting or into your painting or else the whole painting will get dried up very fast and you might end up with dark patches or cauliflower effect or it can be hardish. These kind of things is majorly what keeps happening to many of us when we can't paint a quickly for a cloud scape or when the paper is quite wet. I think I'm pretty much happy with how it has turned out, except a few spaces which I might retouch a bit. And that we will go ahead and then add our basic landscape area. Retouching happens for everyone. It also happens for me, and sometimes I do not like to retouch it. But there are times where I too, love to retouch my paintings. To a great extent, we should always avoid retouching once we are done with the clouds area. As I always say, what happens is a clear blend of colors, et cetera, will go away. You can see it over here. The color that I've added later on is dark and it would not practically show up between the clouds that you want to show. But it's not a great idea to go ahead with that kind of a way or with that kind of a blend, right? I mean, all of us do this and I have also been doing it, but I still try all of you or ask all of you to just avoid it. I myself try to avoid it in most of the places. There are times where I do retouch and there are times, you know, retouches also gives us great results. It has happened for one of my recent paintings, but yes, most of the time it might end up with duck or not So good blends which we try to avoid in a painting, continue to add some of your olive green value. Start towards the horizon line and then just wash your brush and blend it with the lightest value. Going ahead and adding it towards the right. We will even just add the colors as we go towards the bottom though. This time the color is going to be really light and it is my lightest value in the palette that I have picked up. For the bottom or the landscape area. Permanent yellow light, permanent yellow, deep. These have been my go to colors for quite some time, but I have picked up my permanent yellow light right now so that I can show the littered area of the bottom landscape part. Okay, not much in and around the horizon line. We will add some more of the darker values and let's even work with our flat brush. This is something which we haven't explored much. Let's see how we get the bushes, et cetera, with our flat brush. Initially, to gain some of my confidence, I usually start with a few lines and then just go ahead and blend it. Blend it further with my background that I have over here. In the greens, you can see that my darker value of greens starts showing up. The upper part of the sky is already dry, and hence, when I had some of these lines for the background bushes, it starts creating the darkest value, et cetera. It looks so nice. Now, you always, you don't need to have the thinnest brush to create those lines, et cetera. You can have a big flat brush to also do this job. There can be some buildings in the background which you can also do, but for this we will stick to our greens. I will go ahead with my pencil and start adding the tree that I want in this painting and then further add some of the branches. Yes, branches is something that I love to add in any of my trees that I paint. I am a person who always falls in love with these trees. Now these lines and branches are only to give us an idea where exactly I'm trying to place the tree. I'm not trying to actually cover the entire space which you see. And then go ahead with our green. I'm going with my olive green. It will not show up frankly in the areas that I am touching. I have to, again, go ahead with my darker value of green. But first marking those areas and spaces with the lightest value of green is always a good idea. That way you may not go wrong at any point in time. Now, adding my darkest value as I go in few of the areas towards the bottom, as well as this is just a touch of the greener parts in the tree. Again, wash your brush and you can load your brush with a lighter value in case you want to mark a few more areas just extended with the olive green that we have already added and blended as you see over here. Yeah, the values have turned way more lighter than what we had earlier. I am painting in and around the particular branch that I want to add. You can see this is what is called as negative painting. When you are not going inside the branch and you are just painting in and around the branch. This is pretty loose painting. What I have done over here, I am not trying to add a lot of, you can say u branches or I'm not even trying to add a lot of leaves. Leaves will also remain very loose. We will continue to build on this process as well as on this painting. I will blend my colors again back in and then some of the areas. I will pick up the colors wherever I think it is needed. This is nothing, believe me. Once you finish the painting, you will see how beautifully the whole painting has turned out. Most of the time that we have spent in this painting is basically on this particular tree and on the landscape. The other parts of the painting was done in the initial ten to 15 minutes, or ten to 12 minutes is what all you need for the whole of the painting. I would say that there are times where I love to paint landscapes, and frankly, I always started with landscapes. I love to paint landscapes and I still fall in love with landscape. Anytime I go out or see any kind of photo that I want to capture of the landscape, I just go ahead and take as many photos as possible just in case I want to go ahead and paint. That is what I expect and I want to do it even in my future studies. I think landscape is something that relates me or helps me to be more closer to nature as well as it is very, very close to my heart, which I really can't take away from me adding few more dots with the darkest value. I am using the tip of my brush to do these touches and that's all. This is my casino zero size brush. If you don't have this, take any size six or size four round brush to do this part of the exercise, I did load my brush with some red brown and I keep another brush for just blending it. You can see I am blending my colors and this is majorly the color of the branch. It is an advanced technique. I will not deny. It is all about blending and not allowing your colors to move a lot. Your paper needs to be absolutely dry for this process, you may just go ahead and only do it with your simple round brush for these branches. Or else just follow the process, which I'm following first at the colors. And then blend it with a blending brush to create the illusion of lighter and darker value. The darker value is towards the left and the lighter value is towards the right. The reason being that on the right inside I have placed my moon. And the moon has some or the other light that's there and hence it's quite imaginary for me at this stage just to see that. Okay, if the light is placed on the right, I would have the darker values on the left. That's how we continue to go about it. I will add some of these loose branches even in the areas where it did not dry up completely. Because it is all about painting a very loose tree over here, adding some of the smaller order thinner branches with the help of my thinnest brush, which is size zero ruby satin brush. Some of final touches that I want to add to this painting and then I will just step back and see how much more I want to do. This is something that I always say. Step back. Look at your painting that you have right now in your hand. Do you want to add more elements to it or is it good to go? There are a lot of important aspects that you should always, always think of when you are painting. And one of them is, do you want more cluttered, one, or do you want less cluttered? Where exactly you want to place your subjects, et cetera. I will go ahead and paint my moon with the help of my white ah, you can also go ahead and just use any white color, water color, which is a bit more, I would say having opacity in it rather than being transparent. If it is, it has more of opacity, then you can get a good outcome this way. Some of the places it's more lighter and some of the places it's more darker. This painting came together very quickly. If you see starting from your clouds, then the landscape that we have added, as well as the element of the moon, which I did tell you initially. Overall, all I can say is it is a very balanced painting, with most of the focus being on the clouds as well as the tree that you have added. Less is always more. If you see in the clouds, you see even for the landscape elements, there are less. But overall, the painting looks so much more complete, I think. Now it's time to remove the tape at an angle and have a final look at your painting. You will be really proud of yourself and see you very soon again tomorrow. 28. Day 19: Let's know all our colors. It is a mix of my permanent yellow light and permanent yellow deep. Going ahead with a mix of my ultramarine and yellow blue. Now this is a mix, we can also use only ultramarine that I will add at the bottom, going with some of my co. Then there are two different sheets of brown. One is my Burn Siena and another one is my red brown, which I'm going to use. This is the red brown. The next one is Burn Sena. You can use it alternatively. You can see how the colors are. You can also use only one single color, that is Burn Siena. If you don't have the red brown, these are the major sheets and some amount of Taylor Blue I have added, as I would be using a mix of Taylor and Ultram. Now placing this card, which has all the colors on the top and it's all start up, I have done a very simple process already, prepared my paper, applied a clear water on hold of the paper and towards the bottom right. Now I'm going ahead and applying some amount of my permanent yellow light and permanent yellow deep mix. This is the place where I will actually add my sun. You will see how I go ahead and add the sun that is secondary. But right now I'm preparing some blue also. Now this blue is whatever I had existing on my palette. But you can also go ahead and use the blues that you have on your palette, like couple blue or maybe Taylor blue. For me, Taylor blue and mix of ultramarine goes well for me, and that's one of the reasons I love to use my ultramarine and Taylomix. You can see even well, we were actually preparing the card for the colors. I did use the mix of my ultramarine and tilo blue to show you. And later on, of course, we did add the ultramarine separately. I will move the acrylic port to let the colors flow. And I'm using my flat brush. This is a real big brush, and it's 1 ". It helps me to apply my paints very quickly for the clouds, the only trick that I have learned through this whole 20 days, or through my entire years of experiences. You have to work very quickly. If you are working very quickly and not retouching the areas again and again, you will be in a position to get a soft and beautiful cloud. Lots of practice, of course, is needed for clouds excises. But the final outcome that you're going to get is something that is super amazing. Just blending it with some clear water tissue is your best friend. As you can always see, I have two tissues by my side. On one I am removing any extra colors which I see. And in another tissue, I have also taken off any extra colors from my brushes Once I wash my brush, just clearing up the edges so that there is no back run. This is a very important process which all of you must follow for any of your watercolor paintings. Now, back runs, what it does to your painting is it would create some cauliflower effect that we really don't want. I'm mixing some amount of my indico and it's a very, very dry mix that you can see using my thickest brush right now, that is size casino brush, and applying it on the paper which already holds some amount of moisture. There is a difference between the moisture on the paper and water on the paper. You can have a lot of water on the paper, whereas moisture is just the perfect amount of photo that is needed for your colors to be soft enough. But any moist paper, it cannot stay like moist for an entire period of 5 minutes or 7 minutes. It would stay for maximum two to 3 minutes or 4 minutes. And that's all you will have as a time for yourself to paint through the entire process. You can see that I am actually working through this painting very, very quickly. And this is a real time video to practically show you how quickly I work between my layers or quickly I work between the colors, preparing the shades, and how we apply it. On the final painting, I would be applying some amount of my darker and lighter value. I always mix my colors to a great extent. It helps me to, frankly have a great and fantastic outcome. I'm mixing some amount of my brown. You have done this exercise in your billowy clouds and I mix it to get a dirty mix, which I really like for any kind of a clouds painting, you can go ahead and again mix some amount of your red, red brown is a very, very important component of this painting. Having said that, if you don't have the red brown, do not think much. Just go ahead with some beca that should work for you. Adding some of the smallest clouds towards the top area and then blending it towards the top area. Again, it's a simple and easy process through which I continue to paint my clouds. But keeping in mind that my paper is still wet, I know that many of the parts in India is already around. I would say 35 to 40 degrees. And that's one of the reasons you might have to go ahead and look out for an option like a 300 GSM or a 640 GSM. That is the kind of option you should go ahead with. One thing that I have learned in my watercolor journey is knowing your paper well. Knowing your paper is something that you should be using that kind of a paper for almost all your paintings. And years and years of experience with a particular paper can yield great results. Believe me, I have been working with Archer's paper from the beginning of my journey. And it has helped me, like anything from the start, to ease through my watercolor paintings in any of my workshops or watercolor classes, or even any videos that I give out. I have this thing running in my mind, what is the best paper that I can suggest? There are many other papers also available in the market, like your Fabriano or any kind of other paper like Saunders, et cetera. But workwise, I have worked the best arches. You can always test the papers and know what works best for you. Going ahead and adding some brown to the sky. As you can observe, I did apply some amount of brown earlier too, while I was talking to you about papers, et cetera, over here. I guess I am pretty happy with how the painting has turned out and the paper is wet for quite a good amount of time. That's something which I loved. This was one of the paintings which I did shoot at the beginning of this class and that's one of the reasons when I started off with the class, it was um, winters. But by now you know that it's all the summer in the eastern part of India. And that's one of the reasons you might feel not the exact paper as great. At this moment it was 185 GS arches paper. I can say that if you swap it to a 300 GSM, it should be good to go going ahead and applying some lighter values. Now, most of the darker values have already been added for the sky. Make sure that you are not occupying the complete sky for your clouds and that's the only thing you should keep in mind while you work through this painting. I have told you earlier that tissue is my best friend and I'm again, going ahead with a tissue to create a clear sun. Though you can also do it with white quash or anything else, but I guess tissue works great. And I am using a damp brush again to add some of the clear water over there. Then picking up more colors with the help of my tissue. Though, I might have to go ahead and use a bit of white later on, which we can, of course, see what can be worked best as an option. But right now, I'm just trying to lift off as much color as it is possible. And you can see I've already lifted a lot of color. Adding a bit of white, clear, white. It makes the sun blue. Of course, it is the setting sun that you can see around the horizon line. Of course, it is not exactly the horizon line. We have a small mountain landscape. Most of our landscapes have been really small, except one or two paintings where we did detail landscapes rest. All the landscapes have been pretty easy. The whole idea of the class has been to focus on the clouds, the way they usually shape up, and how we can continuously or regularly keep painting clouds for any of our future projects. Or you can also do it on your own even in future. I continue to just add a bit more of the tape while I go to the bottom of this painting. And then just have beautiful clear edges though. You can also skip the step and just apply some water on the back side of the paper as well as on the front side to keep the paper wet for a longer period of time. Mostly we have experimented with 300 GSM paper. Keeping the paper wait for longer periods. All the experiments have been done and now it's time to only work through whatever knowledge we have previously and then have a good and final outcome. Continuing with some more of edition of tape and once it is done I will go ahead and add some of my co mixing it with my Bird Siena or the other brown that we have. It is mostly my red brown. Adding the darkest value around the horizon. As I did tell you earlier, I will use a small hack to practically draw this horizon, mountain or hill. Now this hack I have not used much previously, but this particular painting, I love to do it as you can always go ahead and apply a bit of tape and then go straight over it to create the hill or the mountain. That way you can create the hill or the mountain way more quickly compared to what you would be doing just estimating the Barack line or drawing the straight line of your choice. That way, you know, this is a very easy trick which can be applied for any of your other paintings. Painting off the tape now and then going ahead and just pressing it down a bit while it attaches itself to the paper completely, adding some more of my lighter value of brown. You can use burn Siena. If you don't have the red brown, I would leave that decision. Absolutely. Up to you. I have used some burn Siena as well as red brown. Both of the shades I have used in this painting. Adding it more lighter, while it is towards the bottom part of my son and while it moves away from the sun, of course, it has to be darker in value, and hence you can see more darker colors being added over there. I think I'm pretty happy with how this painting has turned out, except the fact that I might have to make it a bit more lighter just under the sun. That is the place we usually see is more littered and it needs to be a bit more lighter in value compared to the other spaces that we have seen. Okay. Cleaning up a bit and then the sun is seen in a better way. I will allow this part to dry off and then add the water. Remove the tape. Before you go ahead and apply the water, I will go ahead and touch my brush again to just remove some of the colors around the sun area. You can do this with the help of a damp, clear brush. I have done this even previously and you have seen it in the other paintings too. You can apply this technique in many of your future paintings, which you do on your own, adding some amount of my orange. Or you can say this is the beautiful yellow orange that you see from the brand Mijello Mission Gold. Of course it is known as permanent yellow light or permanent yellow deep. Whichever color you have, you can use it or else you can also make some amount of yellow into the orange that you have and then blend it with a darker shade like we have applied for our sun or the sky area around the sun and the sky area that you have seen ordeal. I use the same colors of the sky even from the water, except you can see that around the horizon line, it needs to be lighter or more glowing as there is a good amount of light. Now, going with some ripples and creating a bit of a darker value around the bottom area of the hillside. I will continue to work on this and just create very simple and straight lines. The paper is already wet and hence you can continue to work on it very easily. There is no way to think that you will not be in a position to achieve any soft edges or anything that is not achievable in the painting. Believe me, it's very easy. The clouds, whatever you get is good, except the fact that you might have to have a lighter and darker value contrast. That's the only thing you have to keep in mind. User 300 SN paper if it is too hot in your area and do not work under the fan directly. If you're working under the fan directly, your paper will not get much time or it will not leave you with much time to work on it. And hence, it would be difficult for you to work in one single level, like we have done 4 hours, adding some of the lines towards the bottom area to create the ripples. We are just left with a very few minutes and this is more to do with detailing. Believe me, almost by this time, the whole of the painting is ready and you must be happy of how it has turned out. Now be really proud of yourself, tap on your back. As I always say, it's difficult to actually hold onto your brush paints and start painting. I give all the credits to you for even attempting this painting. It's not very easy, but with the step z approach, surely you can achieve it. Going ahead and adding some more of the darkest value as we go towards the middle or towards the horizon line. And then adding some of the areas in darker values. As you see over here, It is majorly the four ground hill areas that I want to add. I guess it's great. And the final outcome, I am happy to actually witness it completely before we peel off the tape, Let your paper dry off completely and then only to peel off your tape. This is something very, very important that you guys should always follow for peeling off your tape. And it should be at an angle you should never peel off your tape at any of the other angles, et cetera. I would add a bit of lights in it. Now, lights really add that kind of flavor into the painting which we need. It would be with the help of my white guash that I would go ahead and do that smell. Some small, small lights and then I will add the reflection into the water area. That's it, and then we are done with the whole of this beautiful piece. Believe me, I'm super happy with how it has turned out. By the way, I always vary these dots. Some are smaller and some are larger. This is a very important step in your watercolor or randomness that you want to pick up. Even if it be the houses or any kind of litted areas by the riverside, they will not have the equal amount of light or you will not absorb it with equal intensity. So having a smaller picker lights, et cetera, and then the reflection in the water will help to have an outcome that looks very much like original, which we are always trying to attempt. Having said that, it's not that I always like to have an outcome that's exactly the same or I'm not trying to achieve realism, but something similar to what we observe in our loose, beautiful style of order colors. I am truly in love with watercolors and I really like each one of you to also experience the same. Adding some more dots towards the right area and then you can see the whole of the painting with these smaller details really turn up something very different than, I mean, without the smaller details you would have seen these smaller details add a bit more flavor and a nicer outcome to the final painting. Okay, remove the tape now. I will see you again tomorrow with a new painting. 29. Day 20: Let's have a look at all the colors which we need for this painting. One is the first, that is the lightest value, which is brilliant print from the brand, Mijello Mission Gold. You can also go ahead with any of the other shade of peach. I would say that is more like the paster peach. I'm going ahead with my permanent yellow deep though I have two shades of permanent yellow. One is permanent yellow light and permanent yellow more of oranges in it. I would say. Then some of my opera violet, you can have any kind of violet of your choice. Some of the bright volet or violet, any violet that's available with you can be used in this painting. There are a few more darker shades. One is my indigo and another would be my neutral tint. Except these two shades keep a errelium blue or any kind of royal blue biocide for the middle area where we will apply the color. First I would go ahead and have a mix of my brilliant pink on my palette. Now this brilliant pink and the beautiful opera will make an amazing combination. Which will be look like a pastel sky. As well as it will have the darker values of opera that would make the whole of the painting stand out. I'm always in love with vibrant colors. If even I am applying my pastel colors, I love to actually add some amount of vibrancy into it. Which means that I would either add some amount of my operant it or my permanent yellow light, permanent yellow, deep, Either one of them can be applied so that I would get that pastel orange kind of a shade, applying some amount of the purple into the mix of the beautiful, brilliant pink that we did. Or de, prepare and applying it towards the top part of the sky, and then bringing the whole of the colors as we go towards the bottom area. You can go ahead and take some Erlian blue or any of the lighter values of blue for this particular space. I would leave that decision up to you. It can be royal blue, it can be erlian blue, or it can be any lighter value of blue as you want to apply over here. I know many of us do not have the exact colors, and that's one of the reasons I always like to give you as many options as possible. Whatever color is closest on your palette to the color that I'm applying. You can always go ahead with that. The idea is not to get confused with the colors that we are adding, but to go ahead and paint a beautiful skyscape. While I did this painting, it was the colder months, As I did tell you even in my last painting, that the climate has become a lot more warmer and 185 GSM might not be the best paper as such. For now, you can always go ahead and take a 300 GSM paper for this, an exercise, I prefer arches paper, but you can go ahead with any of your other 100% cotton paper, like saunders Papriano, et cetera, mixing some amount of my purple with the beautiful indegotiate. You can also use neutral tint. If you don't have the indegotiate, then applying it over the top left part, and then even adding some small dots. You will see that this is more of a directional kind of a cloud. If it is a directional cloud, what happens is that we have to slowly add the direction. You have to think while you add this direction. No need to go very quickly through the entire of the painting. Slowly, keep adding the lines. You can go ahead. Watch this video first and then start with your painting. Because you might have to go ahead quickly with your paints when you apply it one after another onto the paper, picking up some more of my darker value, and then started applying from the corner. I love to start applying from the corner rather than first going over into the middle of the painting. I really get a lot more comfortable with my painting that way and I have a lot more time to play in the middle part. I did apply some amount of my neutral tint into the purple and that's how I am applying this darker value onto the paper. Now just wash your brush and again pick up some opera into the mix that you have already added. Add some amount of your neutral tint into it. Do remove the extra paints that you have on the tissue that you have kept on the left. As always and as I have iterated a lot of times, tissue is your best friend. Use it to the best possible way, some of the lines, because this is as per the rule of perspective, as we go from the top and come towards the bottom, the whole of my clouds will become a lot more smaller. I will actually do the same kind of view over here. You would have continuously observed that I have used the tip of my brush for drawing the smallest clouds, as well as I have used the bottom part of the same brush to add the quicker clouds. This is something that I always say you can use one single brush with which you are most comfortable to draw any kind of cloud of your choice. Having said that, it's good to have two or three brushes by your side when you are actually making the clouds. You can see that because I did use the bottom part of my brush, now it has become really big, the clouds. And hence, I might have to go over with my smallest brush to add the thinnest or the smallest clouds, which I want to add towards the bottom part of the sky area. Though this is not entirely the bottom, but I would be using the absolute bottom part of the sky area for adding some landscape. The landscape is something that we haven't explored much in detail in this particular class as I wanted to keep it really simple and easy throughout the class where we can focus more on the clouds and the sky scapes rather than thinking about how to work on the landscape. Landscape is not a priority for sure throughout this class. Having said that, I have a lot of my other classes which are focused on landscapes and we will be exploring landscape in greater detail as we progress in the future. Continue to add some more of the smallest lines here and there. And once we have added the smallest of these lines, you will see that there is less to work on. On this paper. Only a few areas are wet and most of the areas are, become more and more dry. I don't want any hard edges. That's one of the reasons I don't want to touch the top part of the sky more. That particular part seems to be more dry compared to this part where we are concentrating more now. I guess I'm pretty happy with how it looks, except a few places where I want to clear it out and then maybe add a small here and there, a bit of details. That's it. And then focus on making this paper. Try entirely, add the bottom area where we are going to add a bit of our landscape as well as some buildings, et cetera, particularly. This painting is really simple, believe me, except this directional cloud that you are making. Everything else is very simple. You can keep your paper wet for a longer period of time if you can apply water on the back side of the paper. And it's very important to use an acrylic pod for the whole of this kind of exercise. I always add a pencil mark for the mountains. It's easier when you are starting out with watercolors. It gives you a lot more confidence of how you want to move forward with your painting. Continue to use the same brush that is a size three by zero. It's from the brand. The Vince and I have a beautiful tip of this brush, enjoying the complete brush altogether every time. Whenever I think about water colors, this is one of the brushes that comes to my mind, whether it be florals, whether it be any kind of cloud, scapes, anything that I like to paint. This is one of the beautiful brushes that I think of, adding some of the more purple color towards the bottom area. I did apply some of my Opera into the purple to get a sheet that is more like red violet. Red violet is a beautiful shade which I have been using for quite some time. You can always prepare the shades rather than it being available. You can see just beside the red color, I do have this shade available, but I did prepare it on my own before I did go ahead and add it to the pink some amount of per, towards the top part of the mountain. You can have two or three colors added to the mountain. It really adds a lot more flavor to your mountain scape, et cetera, when you work on it. Continue to add a few more lines into the mountain scape and just finish off the area where you have already marked with the pencil graphite mark. Of course, because what happens is if you are not going to cover that area, the graphite mark will show up as watercolors is a very, very transparent medium. While I do complete the bottom landscape area of the mountain, I would really like to ask you about how was your complete journey of this cloud scape. As this is the last painting from our class and it's going to end today. I feel very nostalgic while I see all this because it's been an amazing journey for me. I can't tell you how much I have been involved and engaged in the whole of the series. I have gone through so much. I have seen the season change, so initially I was using 185 GSM paper, and slowly I started using my 300 GSM. People applied water on the back side rather than only using water on the front side of the paper. There were so many changes that I did witness myself and there were so many of the failed attempts, which of course you are going to see in the conclusion part. Overall, what I have learned is practice. Practice and practice. The more you practice, the better would be your outcome. It takes a while to get a hang of the clouds or the paintings that you want to do, but once you practice and get a hang of it, you can frankly nail anything that you are painting. Yes, that's what it is all about and the whole of the bottom area has already dried up. It's time to make some mountains. Very excited about this part, Believe me, I use my flat brush for most of these buildings, et cetera. It's a great way to use your flat brush. Add some buildings, add some lines, then make any kind of other structures which you want every time you know. The structures that you try to make may not turn out great, but it's okay. The whole factor that we are right now concentrating on is the clouds. You can even just leave it at the stage where you have made the clouds and the mountains, which is the basic of this painting, more that we are doing right now, is to add great flavor to our painting. Yeah, there is so much flavor and there is so much love, et cetera, which you can add along with it. The whole painting comes together when you add minute details like these buildings or like smallest of the areas where you can see that there is a landscape building. Some of your better parts like the trees, et cetera. That as you can see the lot more perspective coming in place. What happens is whatever you see closer to your eye becomes darker in value. What you see far away from your eyes, like the mountain or the hills, which you can of course, see over here. It is way, way more lighter in value. Yeah, that's how it is. The perspective plays a greater role at this stage. It becomes way more realistic compared to what you would have actually experienced if it would have been a simple sky and just the hill or the mountain that you have added. Okay. Continue to add some more buildings. Right now, I'm working with Methinis brush. That's one of the reasons you can see that I'm taking more of my time, please, to continue to add some or the other details as I work on this painting. Believe me or not, this is one of my favorite paintings from the whole series though I had various favorite paintings of mine, maybe about five to six wear my favorite paintings from the entire series. But this is another one that I parked last. I think there is not a lot that you experience in terms of the clouds or the skies, but you experience a lot in terms of the learnings. Like the first part was all about blending and then it was all about directional cloud that you're adding. Directional cloud has two parts to it, that is, having broader clouds towards the top and thinner clouds towards the bottom. Then we had a far away hill or a mountain scape. We are going ahead and now adding the landscape part that is more closer to our eye, it is the evening and hence the darkest of the values you are adding to the Buildings, et cetera, and the landscape that is closest to our eye, all of this put together is something that I experience is truly magical. Believe me or not. This painting has everything which we have learned to date, except the fact that I told you I did it pretty long back when we just started off this class. Basically, I record most of my lessons beforehand. Only a few of them, one or two, may be left out while I actually paint and do the class. Sometimes that's just one or two paintings, and hence you will see the difficulty in keeping the paper wet for a longer period of time, which I did experience as the climate change. To a great extent, all of it put together was an amazing, amazing experience for me and I'm super excited for the next class. It is something that is very close to my heart and I want to actually share all the details with you very soon. There is so much going on in my studio and I want to give a quick U input into it. Maybe in a week's time, you will get to know what all is going on when I'm releasing the next class. Super excited about it. It is a subject that is not so much explored and I would love each one of you to explore it to greater detail as we progress. Do drop me your feedback as it is a great source of motivation for me to continue working on classes which is of your liking and choice. I will now continue to add some more lines. It is a slow process. You know, painting the landscape is quite boring for me. The excitement helps in keeping the paper, we quickly working through the clouds and then getting done very quickly with the landscape area. All of that gives me a lot more. I would say my excitement level goes up in doing that compared to at the stage where I have less to do in terms of what I add, how I add, et cetera. Anyways, before we continue to add more or we continue to work more on any of the subjects, let's just focus a bit more on some of the lines that I continue to add in, The lines, lines, dots, et cetera. That's what you can do at some lines, horizontal, vertical, and that's it. Let your paper dry off before you remove the tape. That's very important as a step. I have always, always focused on it. I have told many of you about it, but the more you explore the subject, it's important to let your paper dry off or else you meteor off your tape, which is not the idle way to go ahead with. Excited to see the sharp edges of my paper now. And then all I can say is saying goodbye to each one of you. No more paintings coming up from tomorrow.