Build Your Sketchbook Practice: Create Stunning Watercolor Landscapes

1. Welcome to the Class!: As an artist, I believe that sketchbook is the place where creativity takes its first steps. It's like a canvas for your ideas to come to life with the stroke of your brush or a pencil. That is why I have put together a very beginner friendly sketchbook practice class for you today. Hello, everyone. I'm to a self taught watercolor artist, a still brush educator ambassador to white knight watercolors stationers in India, and a Scalia teacher. I have been teaching online for more than three years now and have also conducted various in person workshops. I go by the name colorful mystic in almost all social media channels, especially Instagram, where I share my process, videos and snippets from my studio practice. I pretty much learned everything I know in a colas through trial and error over the past 4.5 years and Sketchbooks have played a very crucial role in my creative journey. So today I have come up with this class which can teach you to be bold and expressive in your sketchbooks. I welcome you all to this Klich class, which is a 20 day consecutive painting session that will take your artistic journey to new heights. This cliche class is designed to help you explore the mesmerizing world of water colas and learn how to paint edge to edge in your sketchbook. Like a true artist, I've often marveled at how artists confidently create edge to edge masterpieces with other media such as acrylics and guash. In their sketchbooks, I've questioned whether this delicate and fluid nature of watercolors can achieve the same effect, especially with the most common style of painting, which is wet on wet, heavy washes. Out of curiosity, I did a series of experiments and finally found out a way to do so with watercolors, and that too, with a lot of wetonwetwhes. You can say that after a lot of experiments, I've unlocked the method and today I'm really excited to share it with you, whether beginner or experienced artists. This class is tailored for everyone who shares a passion for water colors, the beauty of landscapes, and the joys of painting. In a sketchbook, over the next 20 days, you can join me in discovering the secrets of creating stunning landscapes that come to life in your sketchbook pages. Each day you can follow along with me as we dive into a landscape painting. From cosmic galaxies to awe inspiring mountain ranges will cover it all. I'll guide you step by step. Sharing techniques, tips and tricks that will make your paintings stand out. You learn the art of layering, blending and painting on all edges without your paint pleading onto the other pages. By the end of this 20 day journey, you'll have a sketchbook filled with stunning landscapes and a new found confidence in your watercolor painting abilities. I'll start with all the materials you need to get started and give you plenty of tips during the painting process. So grab your sketch books, your watercolors, and your enthusiasm, and let's dive into this incredible artistic adventure together. So if you're ready, let's get started. 2. Class Overview: Hey, thank you so much for joining this class. I know you're also excited, but I wanted to just give you a brief overview about the structure of this class. First of all, I'll briefly go into the importance of sketchbooks and a regular sketchbook practice. After which, I'll go into detail about all of the art supplies that I have used in the 20 projects of this class. Since this class is all about painting in Sketchbooks, I have included an additional lesson about the kind of sketchbooks that you can use for water colors, as well as how you can use them in a variety of ways. There is also a techniques lesson which will give you some tips to make sure that your paint does not bleed to the other pages of the sketchbook. Those are points that I gathered after several experimentation and I'm sure we'll definitely help you after that. You can jump straight into the class projects, but if you're someone who would like to get their palette of colors ready before you start, then I have added a separate lesson before each class project that describes the specific colors that have been used for that project. I would also highly recommend that you watch the painting video once before you start so that you know what's coming next. And it would also help you to incorporate changes that suit your style in your painting. And that's not all. This class isn't just about painting, it's about building a community of artists. Share your progress. Connect with fellow students and watch your skills flourish by uploading your projects into the project section here in skis. I can't wait to see all of your projects. Now let's get to the next lesson. 3. Importance of Sketchbooks: Some people believe that a sketchbook should be messy and not be painted with straight edges or borders. But I believe that a sketchbook is a reflection of an artist's style. And a place where the artist gets to unwind their experiments without worrying about the final outcome. A paper puts a lot of pressure on you to paint something really beautiful. Whereas a sketchbook is something that you keep for yourself, and hence you feel like you can paint anything you want. I don't want this lesson to be boring, so I'll quickly go through the advantages of keeping a sketchbook. They are compact and lightweight, making them easy to carry with you wherever you go. This means you can capture inspiration on the spot, whether you're traveling at a cafe or in nature. They provide a safe space for experimentation. You can try out new techniques, colors, and styles without the pressure of creating a finished masterpiece. This freedom fosters creativity and artistic growth. Sketchbooks encourage taking risks and overcoming the fear of making mistakes. Since the stakes are lower, you're more likely to try new things and push your boundaries. As an artist, filling a sketchbook requires dedication and discipline. It encourages you to set aside a time for regular practice, helping you to focus and eventually creating a painting routine. Honestly speaking, I can think of 100 different reasons why you should keep a sketchbook and maintain a regular sketchbook practice. But I'm not going to be listing them all here, but know that I am this individual who carries a sketchbook wherever I go. I even have a sketchbook by my bedside table, you know, in case some inspiration strikes at an odd time, be it day or night, I know I don't need to convince you anymore, but let's get to know about the best type of sketchbooks that are suitable for wells. 4. Overview of Sketchbooks for Watercolor: The market offers a wide array of sketchbooks, and selecting the right one for painting can indeed be a bit overwhelming. Since our focus in this class is on watercolors, let's dive into the specifics of sketchbooks best suited for this medium. Watercolor, being a wet media that relies on water for painting demands paper that can withstand the moisture. As a result, most watercolor sketch books are constructed with a minimum weight of 270 GSM or above. These sketchbooks are typically composed of cellulose blend of sillilos and cotton fibers. And they're perfectly suitable for our purposes. This is because sketchbooks often encourage a more relaxed style, with wet on dry strokes being more common than heavy washes. That being said, I still do recommend for opting sketchbooks that contain at least some proportion of cotton content. This inclusion provides you with a bit more flexibility when it comes to exploring wet on wet techniques in your watercolor paintings. Keep an eye out for sketchbooks with this advantageous feature as you make your selection. The sketchbook that I have used here is from vibrant parcels and is actually 300 GSM, 100% cotton paper sketch book in the five portrait size. This one is a bit smaller, but this one is the five size sketchbook that I have used. This is a fairly new one. The one with the paintings on is this one where I have made all of the paintings for the class to make things convenient for you. I'll provide links to all of the materials that I have used in the description of this class. The reason I've opted for this specific sketchbook is that my personal painting style leans towards utilizing generous amounts of water and creating a lush, heavy washes on the paper. This class is centered around this particular approach, but I want to emphasize that you are encouraged to adapt any aspect of the painting and the process to suit your unique creative style. Feel free to explore and make the final artwork distinctively your own. Another approach for getting a sketchbook to paint along in this class is to create your own one. You'll find plenty of online tutorials that provide step by step guidance on creating your custom sketchbook. This option offers several advantages as it allows you to select the paper that suits your preferences, as well as tailor the sketchbooks to your exact specifications regarding the size and the number of pages. This is a sketchbook that I made a while ago and you can see I've used the stitching method and I've made this sketchbook. You can choose this method if you want, which will give you the freedom to choose the number of pages as well as the size that you want. Like I said, it will also let you choose the type of paper you want. For example, if you're someone who's so comfortable in painting with Archi paper or Sandra Spot of foot paper, You can use that paper and cut it into the size that you want and make the sketchbook. For the purpose of this class. As I said, I'll be using an A five portrait size, not the landscape one, the portrait size. But you're free to change anything the way you want it. And also, while it may seem somewhat time consuming process to create a sketchbook, the creation process can be profoundly rewarding. And also, it adds a personal touch to your artistic journey. So when I made this sketchbook, I had these sticky covers in different colors and different designs. And I chose this one for this sketchbook. And I also made an artwork, although this one is quash. But you can see this sketchbook is completely made out of a rough decled edges paper, which I believe Pana Global sent me once before. But you can do that as well for painting the projects in this class. And with regards to paints that are suitable for painting in Sketchbooks, I believe both the paints in watercolor pans and watercolor tubes are most suitable. That is because when you're painting in Sketchbooks, it does not demand a lot of pigment to be there on the paper because you're not going to be laying out heavy, heavy dose of, you're not going to be laying out heavy dose of pigment on your paper unless you really mean, I mean, there are some projects where I've done so, but you could keep on layering with your paints. That is the most important part, I guess pans and both watercolor paints would work on such a sketch book. Also, keep in mind that a very lesser GSM sketchbook is not useful for heavy washers. And that is why I would recommend something that is above 270 or 250 GSM. The one that I have used, as I've said before, is 300 GSM. And lastly, one good thing about painting in sketch books is that you only need smaller brushes because you don't need a very large brush, which needs to cover a very large surface area of the paper. The paper size is literally small, and especially if you're painting just on one side, then you can go around painting the whole of the painting with just a medium size brush such as this one. So this is a size six from silver. And you can go around painting the whole of the painting with just this brush. When painting in Sketchbooks, I have seen artists use some way to keep the paper steady because as you see, you can see the paper is going up and down. Especially if you're doing even a little amount of water to paint the wet on wet method, then your paper is going to start bending because it would start to expand on one side. While the other side is not expanded, it starts to fold. In order to prevent that, there are several ways you can use paper clip to clip the edges of your paper so that it stays straight and does not start folding. In our case, we'll be using tapes. I'll be showing you the method how we can use a masking tape to take down our paper. And also if you use a paper clip, note that it's going to take away that much of the surface area you see. This much of the surface area you cannot be painting with because it's covered by the clip. Obviously, once you paint around the other areas, you can move the clip and then paint on that region. But I think it's just not that convenient for us to paint that way. Just look out for different options as to how you can paint on your sketch books. I'm just sharing a few, and in this class we'll be using the masking tape method. Now that you know the type of sketchbook that you need, let's go ahead and look at the other art supplies that you would need for this class. 5. Art Supplies: Now let us go through all the art supplies that we need. First of all, obviously sketchbook, which we've already discussed in the previous lesson five, portrait tied sketchbook is what I'm using, 300, 100% cotton paper from vibrant parcels. Next, we need watercolor paints of I'm using my curated palette of water colors, which I mostly use in all of my classes. That being said, you also need a palette in which you can mix your colors. This is my custom made palette of 36 colors. You don't need all of these colors. You can go with a simple palette as well. You just need some of the basic colors. And I will be discussing all of the colors used in each of the projects right before the class starts. Now for brushes, these are some of the brushes that I have used in this class. Mainly the silver tailor blend quill brushes and the silver velvet brushes. And also a smaller size brush. This is the golden natural series. But you necessarily don't need all of the same brushes that I'm using. What I would highly recommend is to have a size 12 or a large more brush to cover the entire surface area with water when we're doing the large wet on wet washes. And then a medium size brush such as a small brush or a size six or a size eight round brush. Then an extremely smaller brush such as a size 21 or zero for the details. It would also be highly beneficial to have a liner brush such as this one, but you could always get away by using a smaller size brush such as the size zero. For that purpose, two jars of water, one for picking up fresh water, for applying onto your paper, as well as to pick up fresh paint. And the other, which will turn muddy while washing your brushes. Keep two jars of water. It's better to have it that way. A pencil as an eraser to make any rough sketches as is necessary in your paintings. I use a mechanical pencil like this one, but you can always go with the normal one, white quash paint. The one that I use is the designer quash permanent white color from Windsor and Newton. You also need masking tape. Even though we're painting edge to edge, you need the masking tape to prevent your paint from bleeding to the other sides of the paper. I'm using two kinds of masking tape here. One is from the brand called Empty. It is a really amazing washi tape because it completely prevents the flow of watercolor paint underneath and prevents from bleeding on any side. And also it does not tear the paper. The brand is MT, and that's the one that I'm using for all the edges. This one is what I'm using to create a double sided tape. I just create a double sided tape like that to stick my paper firmly onto the other paper underneath so that my paper does not bend with the huge number of washes. I'll be showing you this in the technique section. Don't worry about it. This one, it doesn't particularly have a brand because it's one I use from Amazon. I don't know, it says I can leave links to this from the Amazon Uk where I buy in case you need, you can go ahead and check it out. But I believe that even a frog tape or some painter's masking tape or any kind of washi tape will work for that purpose. You could even use the empty washi tape. The reason I don't use it is because it's a bit expensive and also it's very small. I prefer to have this 1 " one to create a double stape. Lastly, a cloth or tissue to take off excess water and paint from your brush. Now that you know all the materials that you need for the class, let's go ahead to the next lesson. 6. Techniques and Tips: It took me a while to find the best solution to prevent any bleeding to the back side of the paper. And as you can see, the pain did sweep to the other side. For the first few tries from my trials, I have learned some very interesting tips on how to prevent the bleeding. The first thing I tried was to keep another paper underneath, so that would prevent it from going to the page behind. But I quickly realized that it was definitely a bad idea because of the fluid nature of the water killers. As you can see while I was painting. And this here is a surface change between the top paper and the bottomst paper. If you observe here, it's like a step change. And while I was painting, all of the water was going onto this paper here. And then because of the nature of the water in the watercolor paints, it was going underneath and it was staining my paper on the sides. It actually happened in some of these edges here as well. If you can see you've got a lot of beating. So that's what happened. And I quickly realized that this was a very bad idea. Keeping anything underneath to prevent it from going was definitely not going to work. The next thing I tried was to use a masking tape. Not on this but on here. But what I did mistake with the masking tape was again to have some edges sticking out. While I was sticking the masking tape, I did not take care of us to have it straight on this side of the paper. And that caused it to bleed again because it was again acting as a surface. If I were to show you what actually happened. So here's a masking tape. I was sticking it onto the other side, along the edges. And I accidentally had a little bit of edge sticking out like that. And that caused it to bleed because again, it's a surface change and the water would go onto that masking tape, it would cause the glue to come out and eventually this part of the paper used to get stained. That was definitely a nou. I realized that I had to make sure that the edges were clean, but at the same time have masking tape. I learned that the best way was to stick the masking tape onto the paper, but making sure that it stays inside and completely along the edges. Also, there are some ways that you can take care by yourself to prevent the bleeding. For example, if you're painting with your brush, if you go carelessly towards the other side, then it was going to bleed. As I reached toward the corners, I made sure to paint by holding my brush parallel to the surface of the paper, and touching it towards the outside, such that I lift my brush off as I reach towards the end. Rather than if I were to paint like this towards the end, what would happen is that it would have a lot of water and paint along this side. And then that water and paint would go over to the paper edge, eventually leading it to go over to the other side. And also through the masking tape as well. Even if you've got masking tape stuck on the other side, it would go through the inside of the masking tape if you let your paint flow to the edge of the paper. In order to prevent that, the best method was to make sure that I paint it towards the outside like that. Making sure that I lift off as I reach towards the edges. And that really, really worked, and some of you may be thinking that using this method to tape the other edge of the paper is actually a wastage of the masking tape. But trust me, it's not. Because if you would be painting using masking tape by covering your paper, you would roughly be using the same amount of masking tape in order to get that perfect edge to edge method. We're actually taping the edges of the other side rather than the side we're painting on. Obviously, when you're painting on both sides of the paper, you do use a bit of extra tape. But I think it's worth it. Having said that, you do not have to paint along with me in this class for the edge to edge method. If you're not confident with it. If you want, you can cope with the normal taping method and get your sketch books in any way that you want. You're completely free to experiment and paint alongside with me in this class in that manner, please don't feel pressurized that you need to do exactly as I do with the edge to edge method, although that is one technique that I'm introducing in this class. Now I'll also go through some tips to make sure that your paint doesn't lead to the other edges. I've already mentioned some tips, but I will also share some more. So if you're a person who uses a hair dryer to dry your watercolor paintings in between layers. And if there is a lot of wet wash on your paper, just make sure that the edges of your paper are dry. So what you can do is you can use just a cloth to make sure that you absorb the excess water from the edges like this, and then use the hair dryer on it. Because what hair dryer can actually do is it can push the water over the edge, it can let it go through the masking tape. And then Once water reaches the masking tape, it's going to lose its glue or the gum holding it. And then it would start peeling off and then your paint is going to bleed over to the other side. Remember to stick your masking tape firmly. I've already mentioned in the art supply section the masking tape that I've used here. I've used the empty washi tape, which is really nice. And here's a tip. If your washi tape is really sticky and it's trying to tear off the paper, mostly it's the paper that's the culpritif. It's tearing the paper. But then there is some method that you can reduce the gum on the masking tape. To reduce it from tearing the paper, what it can do is take a masking tape, stick it onto a surface. Or even better, if you can stick it onto a cloth. But just make sure that it's lint free. Otherwise you would end up with a lot of lint on the tape. Stick it onto the table multiple times, and lift it off like that. That ensures that the glue on the tape is reduced. Now, this won't definitely tear your paper. The next thing is to make sure that you do not use a lot of water towards the edges. Also, when I'm applying water all around my paper, I make sure to not touch the edges. I only touch the edges with my paint while I'm painting. And because there's water all the way till here, I apply water like roughly in a square format, right up to the edge, but without going to the edge. Then while I'm painting, I use my paint to use and spread along the edge that ensures that there is less water along the edge. And also, like I said, paint towards the edge in an outward manner. You can paint along the inward manner, but just make sure that you're brushed doesn't go and touch the edge of the paper. The edge here. Okay. Next, if you've got a sketchbook like the one that I have, which is handmade, and I believe most sketchbooks do as well. You have a page where it is not a center page and then comes center page like this one. Some of my paintings are painted on the center page, which focuses on having the entire stretch of the landscape. I feel it's beautiful to have it on the center page, but it's completely fine if you're going to be painting on this because as I said, it's just a sketchbook practice and not to be pressurized about it while painting on the sketchbook. Another thing that you have to make sure is that you do not apply a lot of water towards these tiny little holes in the center. That is because these holes actually lead to all of the other edges of the paper. And through that hole your water can come onto this. And if there's already a painting here, imagine just water flowing onto it. It could ruin this edge here and then create a lot of gaps. This is why you have to make sure that when you're painting on such a paper, apply water all around it to not apply water in that whole area, but just use paint to apply there. When you're using paint. If it's in a creamy consistency, it's never going to bleed onto the other pages. These are things that you can prevent from happening. I'm also using this masking tape to tape down my paper so that it does not expand as I apply water onto it. The two things that I do for painting on a surface, let's say I was going to paint on this surface. What I do is I stick ape all around the edge with this smaller one and then also onto the other side. If I'm painting a whole landscape, then I'm using this tape to create a double sided tape. What I would normally do is I take a piece like that, then I fold it such that it sticks to itself, and that creates a double sided tape. And using this double sided tape, I tape it down so that this paper prevents my paper from folding. This is contrary to the method where I said you can keep your paper down using a paper clip instead of using this. I use this method because then I would get the entire surface of the paper to paint on. Just using few double sided tape like this one. I've stuck it on both sides. Again, you can decrease the glue of your tape by making sure you stick it on some other surface. That decreases the glue. That's also one reason why I'm using this because it's got a very less glue and it wouldn't ruin my painting. Even if you've got a painting on the other side, it's absolutely fine to stick your paper onto that. Because once you've finished painting, if you take it out slowly, your painting is not going to be ruined. But make sure that the painting on the other side is completely dry before you put anything on it. This is why this is a daily challenge. If you're painting one day apart, then it's going to be absolutely fine. It's just water colors. It's going to dry out before you can even think. These are all the tips and tricks that I can think of right now. And you will learn more as we progress through the lessons. 7. Day 1 - Simple Mountain: Colors: Welcome to day one and this is the painting that we're going to be doing. I've tried to keep it as simple as possible so that you get used to the technique that we're introducing here today, which is to paint the edge to edge in a sketch book. Which is not very usual, but I know that many people have done so before in a very successful manner. So it's not something that nobody's ever done before. But I'm just showing you this technique. Okay. Reference image of this painting is already uploaded in the resources section. You can download that and use that as a reference along with the painting process if you wish. Also, you can go with the edge to edge method, or the taping method, where you actually tape the borders of this particular sheet and go ahead and paint. Or you can even use the normal sketch book method where you just don't have any tape and you just paint freely and have all these abstract edges. Okay? Because this is the first page of the sketchbook, it is quite tricky to paint this one because this paper here is a very thin paper. I'll be showing you how you can tape this side of the paper to paint along the edge to edge method. Also, I'd like to bring to your notice that I've left the first page of the sketchbook here because I'd like to do something else on the first page. That may be like some kind of landscape painting where I can actually incorporate some details about me about like this sketchbook belongs to me, how they can contact me if this sketchbook is actually lost, and maybe give a heading as to landscapes or something like that. That's why I've left this first page of the sketchbook. But if you look at the end of the class, you'll find how the sketchbook has been completed. Let's have a look at the colors that we've actually used for this painting. The colors that I have used, a bright blue, bright blue, or to blue. I keep saying bright blue because it's the shade of the white knight tube that I had. And I'm no longer using it, but it still comes out of my head. This is Hello Blue from Schminkan. This is Indian three blue or Prussian blue. You can use either of them if you're wondering that there's only a single blue on this paper. And how come I'm showing you different blues? Because this shade here is actually a mixture of these two lo green. I created this shade using a mixture of these three shades. And very little amount of Hello blue, It's this shade. Now if you look at it, it's almost like tal blue. But it does have a good amounts of Prussian blue and a little bit of telo blue in it. Okay, that was for this bluish part of the sky. Then I've got a bit of paints gray. I've used a very lighter and medium tone of paint gray here for the sky part, for creating the shadows of the clouds. Then for the mountain, I have used my transparent brown. This transparent brown is transparent and that's why I really love it. It's unlike many of the other browns that I have seen, which is semi transparent or semi opaque. This transparent brown and transparent orange, the transparent orange is from Shmenka. Transparent brown is from Senelire. These are the colors that I have used. Additionally, obviously I have used a bit of white quash as well. I'm not watching it because it's white. That's one, another shade that I have used, that's it. Basically three colors mix in this one then paints gray, transparent brown, and transparent orange. If you're ready, let's go ahead and paint this beautiful sky and mountain painting. 8. Day 1 - Simple Mountain Project: All right, so let us start with the very first page of our sketch book. The first page of the sketchbook is going to be quite tricky because we don't actually have a surface on the left side to put the masking tape on. We should be extra careful when painting this one. But I think that's positive in a way because you learn to be extra careful and extra cautious. File painting, all of the paintings that follow will be very easy for you because you've already learned the way to control the paint and prevent it from bleeding towards the other side. Obviously, if you're not using the edge to edge method and just using the masking tape, then it's really easy for you. And then you can just go ahead and start straight away for me. I'm going to start and I'm going to start putting the tape onto this side. This is empty washi tape, which I've already mentioned in the art supply section. You've got to be extra careful when applying the tape. And make sure that it's along the edges really nicely and covers the borders. Okay. Right along the edge. Also make sure that it's not sticking outside. Okay. That's very important that you don't have even a little tiny bit, uh, sticking outside because that could be dangerous in a way that if that is sticking outside, it'll be a surface for the pain to flow, pain to flow, and then it'll use that surface and flow underneath. Okay. Which is why you've got to be extra careful and stick it. Usually I just use my hands to tear off the masking tape. But today we're going to use scissors because I have to be extra careful, right? And make sure that there's no edges sticking out there. So that's one side done. Then the next side again being extra careful. And the last side, don't forget to press along the edge and make sure that there are no air gaps. Because even if there's a teeny tiny air gap and the water starts to flow in, that air gap can expant and go into a bigger one. Your paint is obviously going to bleed into that whole area. Which is why I'm being extra careful and running my hands along just to make sure that I've prevented Now there you go. I've taped the three edges. We don't need this side. Of course, as you can see, this is a side that we're painting on. But when we start to apply water and paint, this paper is going to start to bend because we're not stretching it in any way. This tape here was not for stretching purposes, but was to prevent the bleeding of the paint. We need to somehow keep the paper firmly such that it doesn't start to bend. Because once you start applying water here, this surface, that is this side of the paper, will start to stretch and this side doesn't have enough water. What happens is the paper is going to bend this way because it needs more area to stretch. That's why your paper starts to bend. We need to prevent that bending. What I'm going to do is I'm going to put a little bit of double sided tape here and stick it to this. I'm going to take that risk because it's actually very thin paper and there is high chance that it would tear off if I stick it very firmly, because this is just like a smooth and very thin paper. I'm going to use this tape now because I think this is more safe. The empty washi tape that I have is very sticky and firm, which I don't want to use for this surface. By the way, I've also tried this edge edge method with this tape and it works. Let's see how I make the double sided tape. I use just a normal tape and then I stick it onto itself and turn it once more, that creates a double sided tape. Now I can tear it off, I think I'll put it onto this edge here. Another one on this edge, that should work, but this is still very sticky. I need to reduce the gum of it and the best method is to have it stick onto your cloth a few times. That would decrease the gum on it. Okay. And there. Then one more. I think one more should do. Okay. Now, I'm going to stick this. Don't press it too much, we just need it to stay flat, okay? Okay. There you go. Now, if I turn, you can see that this thin paper is stuck onto it using that tape. I hope it comes out, but even so, I'm not so stressed about it because this is just a sketchbook and no one's really going to say it. Of course, you all are going to say it, but I'm okay with it. You see that's the confidence that you need to build in with your sketchbooks. All right, then shall we start? I'm going to be starting by applying water to my paper. Obviously, I'll start applying from the center. As I reach towards the end, I'll be very careful again, the center is absolutely fine as I reach towards the edge, being extra careful. Okay, like I said, this might even bleed a little, but if you know the ways to prevent it, then you're going to be absolutely fine. Okay. The ways to take it off after it's bled, then also it's perfectly fine. Here again, I'm just going to bend my aboard. This is why Sketchbooks are best because you're not sticking your paper onto something here. I'm just going to use gravity so that any water that I apply along the edge would only flow down and wouldn't flow towards the top. Along the edge. Again, careful. I all the way down. Even here, even though you're like getting all the way towards the bottom, the gravity is going to make it flow down towards the top underneath. Okay, careful. All right. I've given a nice one coat, so I'm just taking a little bit more water and making sure I cover the inside part nicely there. It shouldn't have any flowing water. And the best way to make sure that it doesn't have any flowing water is to have your sketchbook turn in a direction like this. If at all it has any extra water, then it'll all flow down towards the bottom because of gravity. And then you can use your brush to run over like that and absorb extra bits of water. You see, I've got a nice even there. Now we'll start painting. I'm going to start with my size ten quill brush. You can use a medium size brush for this purpose. And we are going to start with a nice slightly turquisy color. I would say here, I'm going to start with my bright blue. Okay, I'm going to mix in a little bit of Taco blue. This is like Prussian blue. Or you can use indenreen blue. Okay. Mixing that with my bright blue and a tiny, tiny amount of green. That would be my Hello green. Okay, that'll give us a nice turquisy shade and that's what we're going to start with here. We're going to start at the very edge, but see how I'm being extra careful along that edge. Then use that and start to add different shapes into the sky. I'm using the whole length of my brush. And hold your brush at an angle almost like parallel to the surface of the paper, so that it becomes easy for you to paint. Don't paint like that, pointing to the top, because that's really difficult. Okay, then maybe a little bit more green. A bit more blue, a bit more dry, blue. Okay, okay, here again, moving towards the top. As you can see we're leaving a lot of gaps. Okay. If you find that your paper has to start to dry out, you can go ahead and apply water again. I felt that it started to dry out. This is because we're not using any stretching method and we just applied the water. Okay. That's why hold your paper at an angle like that. That really helps. Okay. Go over some of the areas that you've already painted here. Take it that. Okay. Up to the edge. And then I'm going to wash my brush. Okay. I've cleared my brush of all the paint and then you can start to soften some of the edge. See how accidentally I touched there, But I immediately washed it off by using my hand. Okay. Here. Just lending along. You can do the same here. That's just because I don't want it to be like perfectly white. Okay. It's good to have some amount of pleading. Next color that we'll take is paints gray. But let me just quickly see if my paper has started to try out. Yes, quite. I'll apply a bit more water. You can see how the papers already started to bend. If you start to get any blooms because of the water that you've added, you can go ahead and start to blend it. See how I'm blending it and getting rid of that bloom that had actually formed on my paper blooms form, because there is uneven water on your papers. When I applied that extra bit of water there and paint there, this area had lesser water. That's why it started to bloom. But as soon as you start to blend it inside, then it goes away when we just applied water to the base there. Now I'll go with a bit of paint. These are little things that you need to understand in your head as to why are blooms forming? Blooms are forming because of the uneven water surface. What can you do to make that go away? Just make that unevenness become even. That's it. That's what I try to do here and try to blend it along. Now I've taken a bit of paint gray and I'm going to add that onto my paper. Okay? Leave some white caps. Okay. Again, careful as I move towards the edge here. Okay? Remember, use the entire surface of your brush. Okay? Very, very careful. It's much better if you can use like the entire surface of your brush because it becomes easy for you to paint, actually, towards the bottom. I believe we just give it a nice wash. I don't mind because it's going to be the mountain at the bottom. I don't mind how it turns out. Then I'm going to give it a slightly darker tone for some of the clouds have taken a medium tone of pin screen. Now again, I'm going to go over to the top now. I'll place the sketchbook back down. I'm not going to, I keep it at an angle. Okay. Just washing my brush and I'm picking a little bit of the blue. And I'm just going to go over to the edge here because I noticed that there is a white gap there and I want to fill that. These are little things that I am having OCD about. You don't have to have it. If you see that slight white gap and you're okay with it, it's absolutely fine. It's just my tiny little OCD. Okay. So I had to dry my brush because I know that that area is like really dry. And if I'm going to cover that up, I can't put any more water there. So that's why I made sure that I dry my brush before I apply. Means there. Okay. So that was the trick behind that area. Okay. All right. So I think we're good to go now. All we have to do is like to wait for this to dry out so that we can add that mountain in the background. Okay. All right. Now, so as you can see, I've tried it up, it's not that cold anymore. The best way to check if your paper has dried out is to use the pack of your hand and touch it. Obviously, if you can see that it's got like water when you look under the light, don't touch it. That's going to ruin your painting, of course. But this way it's easy for you to check if your paper is dry or not. All right. I've switched to my size brush because I prefer to have a bit more pointed and also the wheel brushes hold a lot of water. At this point, I don't want it to hold a lot of water because we're moving into the foreground and that's basically mostly wet on dry strokes. Okay, wet on dry combined with wet or white strokes, we'll start with a nice brown color. That's a really nice brown color. Then I'm going to take in a little bit of orange and mix it with that brown. That creates a nice color, like burned sienna. In fact, if you have burned sienna, you can use it. I prefer this color more than the burn Sienna. I don't know why. I just love this shade here. That's orange mixed with dark brown. Okay, then now we're going to create the mountain. I guess I want the mountain to start here. Okay, On the edge. Then we'll have the peak going towards the top. As you can see in the reference. I don't strictly follow the reference, but obviously I try to mimic the shapes. I have the reference right here in front of me. I try to mimic the shapes, but then I make changes on my own too. Because if you see the reference, you'll see that the mountain is actually almost like halfway point. I skip that part because I like to move things around and make it aesthetic to my liking. But obviously, if you want to go and paint exactly as in the reference, you're welcome to do so. Okay. Because like I said, this is your sketchbook, your sketchbook practice. Okay. I need more paint. I should have mixed in the beginning. That's okay. There, More orange. Okay, there you go. I'm just adding once more over the top because I want that area to be wet when I finish along the edge. Okay. There, then another peak like that, then it goes like that. Then let me create the edge. Okay? Okay. This is like my sketchbook practice. So I'm just trying to keep it as simple as possible for me and for you as well. Okay, So this shouldn't take very long, right? Okay, there you go. If you see we've covered up the bottom. So now we'll start to add in darker shades. Now I go with the brown. This is why I like this technique as well, because we're using the same mixture of paint and which is pairing the colors by adding more brown or orange in order to make it, when you make it lighter with orange, it actually gives that glowy orange, golden color look, which I absolutely love. That's the dark brown. And I'm going to give it that peak as in the reference. Okay. There. Okay. All right. And then adding it in the form of lines or valleys. Okay? So this is why I said it's going to be like a combined wet on wet, wet on dry method. Okay? This valley and then we've got darker edge towards the right side. But like I said, you don't need to go exactly as in the reference here. I'm just tweaking it to make this like a different foreground mountain. Just think with your right brain, that is your artistic brain. And think of the ways in which you can change the reference images to suit your style. Okay, that's what I've done and I think I'm going to take that a bit towards the left side. I'm using a bit of paint gray here to make it darker. I'm being very careful as I reach towards the edge, You can see that. Okay. Yeah, I think that's good to go. What I'll do is I'll take a little bit more orange, mix it into that mixture, and create that previous color. And then I'm going to use it again on my mountain to blend those regions because I feel like the brown is a bit sticking over the top. And I don't want that in order to get rid of that. I applied that orange again. Now I like it. I'm taking a bit of paint, clay and I'm going to give it a darker edge. This area a darker edge. And maybe, you know, like some of the areas a darker edge. Okay. Okay. That's it, I promise we're done. I love the way it turned out, but if you look at the reference picture, you can see that there's a road, there's some plants and for grounds in the picture. I just avoided all of that. I don't want it. Okay. You are welcome to paint exactly as in the reference picture, so don't worry about those things. Okay. I think we're almost done just making sure this edge of mine is like a bit perfect. I'm a perfectionist when it comes to, you know, the paintings that I do not realism, but I like perfection of my strokes. That's what I would say. Okay. Okay. So we're good to go. I hope it's not led to the other side. We'll see in Ohio. So I'm going to quickly try this up and then we'll remove the tape and everything and see how our painting is done. Okay? All right. There you go. So it's completely dried out. But before I remove the tape, and just because I have tiny, tiny bit of perfectionist, I'm going to add something. Okay? I'm just going to use my white paint. There's my white paint. And I'm going to add some dry strokes like you see in the reference picture. Okay, it's been bugging me in the head that it's got some white strokes and I'm not adding it there. It's going to be a dry stroke, so you can see the consistency of the paint that I am picking up. It's really dry. Okay, and we're going to be adding this. You don't want it in all of the places? Okay, That's blue, white. You can see the kind of, oh, I like it. I love the way I've added the dry strokes. Okay. See, just gives you a painting and extra bit of goodness, isn't it? So, okay, I think that's it. You don't want too much of it. Okay. I mean, that's my perception of course now that's try so I don't need to bother about it. I am going to see. Let's reveal out, carefully. Take out the tape. I've taken the page out. This is tricky and hard to take out, but we'll see, oh my God, look at that. Nothing split out A. So let me take that off carefully. This is what I said, it's very tricky. So it's having some paper come off, but if I take it carefully, it should be fine. It's still not perfect. It's got some uneven edge now. But at least I didn't tell it this is fine. All right. So now we'll go ahead and remove the tape. Of course, this actually eliminates the satisfaction of the tape feel, right, because it's when you remove the tape that you have that perfect painting. Maybe that's one disadvantage of this method. But look at the edge to edge guys. I really love the way it's turned out. Don't you? Think so? Isn't this gorgeous? I hope you enjoyed painting this one. In whichever method that you have chosen to paint. Like whether it was with the tape or without the tape. With the edge to edge method. But thank you for joining me today and I hope to see you in the next painting. 9. Day 2 - Tuscan Landscape: Colours: Hello everyone. Welcome to day, too. And this is the painting that we are going to be doing today. I tried to match the colors a bit, that's why I've picked up this painting. But obviously it's not necessary. And if you have some other reference image that you're going to use, you can use that as well. But this particular reference image is uploaded in the resources section as usual, you can have a look at that. Now let us have a look at all the colors that I have used for this painting. So for this painting, I have mainly used bright blue for the sky, that's bright blue or thalo blue. That's lo blue from Schmike. I still remember it is bright blue from white nights, which is by always say bright blue. I should remember. Not say that right. Okay. And then the next color that I have used for the clouds in the sky is a lighter tone of paints gray. But I have picked some other color with the paints gray. I added a bit of Alizarin crimson and my tloblue to the paints gray to create more versatile and medium tone of gray. Okay, I have used a bit of raw sienna for the lightest parts of the sky where it's got some yellow glow in the further off horizon region. Then at the base, I have used a bit of Hello Green mixed with indigo to create the further mountains. That's because you want to put in cooler shades for the things that are further away and warmer tones for the things that are in the folk grounds, these mountains, they are in the background and further away. In order to depict that, you can use two methods to show the atmospheric effect here. What I have used is I've used a cooler shade which is basically the Hello Green and the Indico mixture, as well as a blurred edge to get that atmospheric effect. Now you can clearly see that it's way off in the background. Then for the foreground, I have used olive green, which is again a warmer tone, and depicting warmer tones in the foreground. Then a bit of transparent brown for adding some brownish tones at random. Then for the tree region, for the tree, I have used sap green. Dark green. Okay, Sap green and dark green mixed with a bit of paint gray. For the stem, I have used my transparent brown. That transparent brown is a bit light. Let me put in a darker tone on the top and see transparent brown. These are the colors that I have used, basically ten colors in this painting. Nothing fancy here, just from my usual palette of colors. And I've managed to get a clean edge here, although my OCD is like bugging me that I've got a cap of white region here. But I don't want to paint over this now. But even then, I'm really happy the way this has turned out. Come join me and we'll paint this along now. 10. Day 2 - Tuscan Landscape Project: All right, for the second painting, let's go ahead and tape it down again at the back side. Of course here I'm going to use my tape, stick it along the very edge. Take your time to do this. I'm going to sweed up this process because you don't need to see me sitting and taping down very carefully. Right. You just go ahead and tape yours. Just one more thing. Remember to press along the middle and follow along the direction of the paper. Because if you just go flat and then if you try to bend, try to open up the other page. It won't happen. You need to be extra careful and just let it sit in that gap. That is the gap along the middle. Okay? Give it enough surface and leeway for us to turn the page. Very important. Now you go ahead and tape yours. All right. We're ready to go. So I've taped along the back side and also stuck my paper together. So let's go ahead and paint. Okay, So I'm going to be starting by applying water onto my paper careful as you reach towards the edges, towards the left or the right. Okay. And the top. And the bottom as well. So here, applying enough water on my paper. Now I'm going to get help of crappy tea. Look at your paper under light and you'll be able to see a sheet of water. And you'll be able to see if you've covered all of the areas and whether you're missing any places. Okay. So that's the best way to look at your paper. All right. All right. There you go. I've applied the water nicely and even I'm going to start with my helo blue color. I remember to say to blue today. Okay, here a nice amount of theloblue. I'm going to hold my paper here like that at an angle, just again to use gravity. Going to start at the very top, from the very edge and let my paint flow as I make the shapes of the clouds. Okay, I'll leave a slide. Get there. Okay. There you can see I'm using a very lighter tone and also careful to paint along the edges at carefully. Then again, I'm leaving a lot of gap. Okay? Leave a lot of white spaces and go ahead and make the shapes. Okay, See I am going and adding as I come towards the bottom, I'm trying to make it. Go slightly slanted. Okay. All right. Let me pick up a little bit more darker. Bright blue for the top region. Okay. Where it needs to be slightly darker. Okay. All right. Now I'll use paint scray to my paint scray. I'm going to add in a little bit of Alizarin and a bit of the blue. Okay, that's more paints gray, but a teeny tiny amount of Alizarin and a bit of blue. That's almost like mixing up a gray. But I'm not using the yellow here to mix up the gray and neither using ultramarine blue. I don't like to use ultramarine blue in the sky these days because it creates a lot of granulation and it just appears like a granulated sky. Which I don't like anymore. Okay, here using that color. The good thing about mixing is that sometimes the Alizarin and that blue that we mixed up will start to separate and will show us different colors in the sky which makes it look beautiful. I'm not strictly following the reference, as you can see just adding some amount of clouds, but not strictly following the reference. I think my paper started to dry out at the bottom, so I'm just going to go and give it another coat of water towards the bottom with my larger brush. Using the same brush, obviously, you'll have to wash up the paint in your brush and then do it. Since I'm using a different brush, it helped edge again, then the gray adding just using the entire length of my brush at times, sometimes I'm using the point. Do you understand how easy it is for us to get the different shades? Okay, there some smaller, smaller clouds as I come towards this region. Okay, here as well, some smaller clouds. Okay, I've washed my paint. Now what I'm going to do is I'm going to pick up a little bit more paints. Gray. Okay. Bit more dark as you can see and I'm going to apply it over the top. Okay. At certain areas, not all the areas, Just certain areas. I think you can skip the middle because that's going to be covered with a tree anyways. Okay. I think we're good to go now. I see some yellow shades in the sky. I think I'll try to add that, but obviously we need to be careful. So I'm just going to be using a lighter tone of Rasiena. It's best to use Rasiena because it doesn't mix that much with blue to create greens. Even if it does, it's going to be subtle green. So don't go for like very vibrant colors such as Indian yellow or transparent yellow because it could be very risky. And runo painting here, it's a very lighter tone of the Rasiena. You can start to put that in the sky and you can see it does not blend to create greens. Okay, this is the reason why I'm using Rasiena. Teeny tiny amounts of raw sienna into the sky region. It gives a very subtle tone of yellow, which is exactly what we want right now that you've done that, let's go ahead and try to paint the background mountains. For painting the background mountains, I'm going to be picking up a little bit of my Hello Green. It's very light, so I need to make my Hello Green. I'm going to mix it up a little bit of indigo. Okay, there. It makes my palo green nice and dark. And you can see the consistency of the paint that I'm using here. It's not too wet like this one was because we need to be like not spreading a lot. Okay. And also I'll have the angle on my paper which will ensure that my paint flows down and not goes towards the top. Okay. So this nice consistency of the paint and I'm going to be probably taking it there. Okay. You can still see it tries to flow up. Okay, I think I need more indico. Okay, I am not adding towards the bottom because that's where our foregrounds will go. I've reduced the length of the foreground as you can see. Now I'll start adding my shades towards the bottom. So I'm going to be using olive green. I'm going to fill up the bottom. Okay. All right. So taking my olive green and adding, and also I am observing that it's at a slight angle, so we'll take up that angle. You can see when I'm painting at the bottom, I don't do upward strokes, but rather I try to do as much downward strokes as possible. Unless you're painting some grass and you need to do the upward strokes. Okay, Be very careful along the edge. Whoops. Okay. All right, fixed up the olive green. Now I'll put in some other smaller shades. So I'm going to take in a little bit of my brown, nice amount of brown, and start putting some random shades. As you can see, the base of the tree is actually surrounding, uh, brown sheets. So that's what we'll add. Okay, then maybe some edges there and you can have random spots. Maybe give a nice edge King King, I think that's good to go. And foreground looks in a way that I'm happy with. So now let's wait for this to completely dry out and then we can go ahead and paint that foreground tree. Okay? All right, there you go. It's completely dried out. So now we'll go ahead and paint that foreground tree because it's on the wet on dry method. We don't have to hold the paper written angle at this point. Okay. I'm using my size brush and we'll start. Okay. So you need to roughly have the shape of the tree in your mind so that you get it correctly. If you are in doubt, you can also actually go ahead and put in a slide pencil sketch on the top right now, but remember you can't use an eraser at this point. It wouldn't be good for the paper. Just roughly mark along how you want your tree to be and make it smaller so that when you paint, you can go slightly outside and get rid of those pencil marks. Okay. Roughly mark along where you want your tree to be. This is the point where I marked, marked my dark brown shade. Think I'll have my tree somewhere around there. My tree can go slightly up. Remember to paint very lightly. Okay. Remember to make the sketch very lightly, up until here. Okay, that's one tree. Then we have two more trees. These are not going in a line or thing, so you can have it at different heights. Okay, that's another tree. If you want, you can go ahead and directly attempt this without a pencil sketch as well, it doesn't matter. Then another one there. Okay. I've just roughly marked the positions. You don't need it to be perfect. Okay, So let's start. So I'm going to start with a nice amount of my sap green shade, okay? And I'm going to start at the very top, so this is where my tree is going to be. So here I am just adding strokes like that as you can see over the top. And make sure that it's from the outside towards the inside. Do you see that? Okay. From the outside towards the inside. And go over the pencil marks that you've done because we obviously want to get rid of those pencil marks. Also, you don't need to have all of the edges sticking out, cover some of them, and only have like one or two sticking out at random. Okay, see how I'm doing that? Let's cover up the inside. Okay, Remember to go over it again. If you notice that it's starting to dry out, it's best to not let it dry, but it's okay if it rise up. Try and see if you can prevent it from drying. Okay. All of those colors underneath doesn't matter, which is why I said don't focus on a lot of details in the sky towards the mill because I knew that anyway is going to be covering it up with this tree. Okay. As in the reference. Okay, there you go. I've added the tree, now we'll immediately pick up a darker color. So in my case, this is dark green. The pigments number is G, eight and we're going to be using that. Okay. In order to make it even darker, you can mix in a little bit of paints gray to your dark green. That'll make it even darker. And that's what you can use here. I'm going to add it at random. Okay? Don't keep it strictly towards the left side or the right side. Okay. Try and put in a random strokes to your tree. Okay. Here in this case the light is from behind or the other side. This area is mostly dark, but we don't want it to be completely dark. You can go ahead and fix it just to show how the tree has got nice depth. That's what we're trying to picture here. Okay, then as you come towards the bottom, we need to show depth. Let's add darker shades here at the bottom. Okay, You can go back and pick up some more sap green. And start to mix up any areas you feel like you know it's disengaged and area that you feel needs more darkness. You can add that as well. Okay. There. I'm happy with that tree. Now we'll add the trunk of it, obviously that's going to be with my transparent brown. Okay. Do it while the tree is still wet so that the stem part, the leaves part doesn't feel disconnected or disengaged. Okay. Now, towards the bottom, if you can blend it into the base, that would be great. All right, see that's the tree. Let's go ahead and make the next one. Okay, so here taking my sap green again and going to start all right there. Now going with the dark green paints gray. Going to add darker details at random places. But I think you can make this tree even more darker because it's like in the backside. I'm trying to make it a bit more darker. Nice amount of pain scray for the a, washing that off and taking my brown paint for the trunk, softening out and blending that pace. We've just got one more tree to go and let's start. I think this one is a bit of a different tree. You can actually have some strokes towards the outside. Okay, Like that. If you find this difficult, then you can go ahead and replicate what we've done. I see some difference in the tree. In this tree, in the reference image, which is why I'm trying to do that as well. Okay, taking my darker green and paints gray, then for the trunk, I see more brown part of this tree towards the middle. So I've just had it in line. Then soften out the base and basically that's it. We're good to go, it's finished. Unless if you want to add some random details like I'm feeling to do, which is to basically put some olive green shades into my tree on the left side. I don't know why. I just feel that I need to show some light at some places. You can totally skip this. This is just me being me with my OCD. Okay. I just gave it some light on that left side. Do you see that? That's it. Okay. We're done, I promise. There you go. Let me dry this up so that we can remove the tape and see the damage. All right. It's completely dry now, so let me go ahead and remove Yeah, it's safe. I actually save these up for my next paintings because it's not much damaged. And it has only reduced the gum of it, which is actually perfect, isn't it? So I usually save it up just telling you a tip in case you want to save it up as well. Now, let me remove the tape. Like I said, again, no satisfaction for the tape peeling. Unfortunately, there you go, edge to edge without any bleeds. Isn't that perfect? Thank you all for joining me today. I hope you enjoyed painting this one and yours have turned out as beautiful as mine has. I can't wait for you to show you the next painting. Join me on the next day project. 11. Day 3 - The Night Mountain: Colours: Hello, hello, welcome today three. This here is the painting that we're going to do today. This reference image is attached to the resources section here in Khare. As usual, you can go ahead and have a look at it and use that along with the painting process if you want. Let us have a look at the colors that we are going to be using for this painting. I've started with a mix of paints, gray and indigo at the top. I've mixed both of these colors together for the top part. Because if I just use paints gray, then it's going to get lighter as it dries up. But if you give it a dwell pigment color with the indigo or some dark color, then it gets dark as possible. So that is the reason why I mixed it with indigo. Then for the bottom part in this mixture here, I've used Lo turquoise or Acco green. The one I've used is called Acco Green from Windsor and Newton. You can also use the Hello turquoise from Seneli. You can also use this one, which is thalo turquoise from siniliar. You can say it's transparent and also really amazing. But one thing you can note here is that it's a mixture of PB 15 and G seven, which means that it's basically a mixture of Theo Blue and Tlogreen. If you don't have that, all you need to do is mix up Helo blue and Tlogreen in order to make it slightly darker. Mix in a little bit of dico or paints gray and you're going to get the exact same color, trust me, because even this pigment number says that B 15 is Tloblue and D seven is Tlogreen or emerald green. Okay, that's the color then as I moved towards the bottom, I've used my transparent orange from Schminka. Then a bit of transparent yellow, then I've used my transparent brown from Seneliar here along the mountain in order to create the sun's rays. I've used a bit of Quinacrodone gold. That's quinacdone gold again from Minka along the mountains. I have used transparent, then paints gray for the four ground mountain. Then for these lighter lines on the top of it, I've used lavender. I know that many of you may not have lavender. What you can actually do is you just need the violet color. And using that violet and a mixture of white, you can use lavender. Okay. That's the easiest way to create lavender color because obviously lavender is a mixture of violet and white. So those are the colors that I have used in this painting? Yes, of course. I have also used my designer squash permanent white color for the stars in the sky. Okay, so if you're ready, let's go ahead and paint this one. 12. Day 3 - The Night Mountain Project: All right, let us begin. Now, today's painting is going to be more trick here because you have actually colors on the other edge. And sometimes you might be worried that when you tape it down and when you pull off the tape, it's going to take out part of your painting. Well, that's absolutely true. It can happen. And this is why you need to experiment with your tape. Make sure that you stick it maybe on some other paper or something which has painted. And make sure to leave it on, or to press it for a while, and then remove it and see if your tape actually damages. And there are ways in which you can prevent it from happening. I'm going to take my paper now, okay? Yes. It's dangerous, but I want this sketch book to turn out the way that I had envisioned in my mind to be at the end with all the edges painted. Because I've never seen a sketch book like that. I just want to create that keep too, if you are willing to take a risk. All right. So let's go ahead, I'm going to start taping as always. I'm going to speed this up. Remember to press along this middle part here and give you tape the leeway to push in. Okay. You've got to be extremely careful with these ones, which is why I'm re using the ones that I used the previous day. So it's got lesser gum on it. And also I'll try and keep it towards the tape part here rather than towards the middle. Okay. I won't press it too much. Okay. It's very risky. But it's a risk I'm willing to take. If you're ready, let's start here. I'm using my larger brush as usual and applying water careful. I'm not going towards the edges at first. I try to paint along all the areas, The middle at first, and then I'll carefully put water along the edge. Okay. That's the best way to do. I think here I've covered almost all of the areas now. I'll lift my paper and start to apply. Okay. There along the edge. Very careful along the edge. Okay. Making sure that gravity aids in the water to flow down rather than going into the other side. Okay. Again, careful along the edges. Okay. Now I'm going to look at my paper under water, and I see that some areas has very less water, so I'll just reapply. Okay. Especially in the middle area. That's where we want to cover nicely. And this edge. All right. I think I've applied the water enough. Now, let's go ahead and start painting. I think this painting is going to be fairly simple. Let's start, Okay, First of all, towards the top region, I am going to start with a nice amount of indigo. I'm okay with this Tuquis color shade because we're going to be mixing Tuquis at the bottom. Okay, I'll just mix it up with the indigo and I'll stuff in paints as well. Because I want it to be dark as possible. If I just use paints gray, it doesn't have the pigment strength enough to be that dark. It gets lighter. So this is the reason I'm mixing it up with a little bit of indigo. Okay. There. And that's what I need at the top. Oh my God, that's so vibrant. Okay. But careful, keep your paper at an angle. Observe here the angle that I've caught. Going very carefully and avoiding the edges. Avoiding, as in carefully along the edges. Not avoiding what am I saying? This paints gray and indigo is the colors that I've seen spreading, guys, it's dangerous and see, I've already got some along the edge here. I just took off a bit. And then we'll carefully add to the edge. Looking there, you want it to be dark as possible. Add the dark death. Okay, Then let it go. Have some lines like that. Careful along the edge to fill up this edge being very careful. Okay. Now we'll go with the nice aqui shade. This is Aco green from Windsor and Newton. Or you can use the turquoise from seller, whichever you want. Okay. I'm using the acreen. Okay. And that we're going to blend it into a sky. Okay. Can you see that very carefully on the edge? Okay. You can actually mix this color if you don't have either the acho green or the Seneliarelo turquoise. Okay, I've already discussed that in the color section. So you can have a look if you haven't watched that already, to how to mix that color. Hey, there, taking more of the Echo Green. Okay. Now moving on to lighter colors thing will take some orange. Okay? Yes, it's going to make up some greens in the sky but that's okay. Okay. Orange shade. It will mostly be brownish because of the nature of the orange and the turcos green mixture. I see that my bottom part has really dried off, which is why I'm starting to get strokes. If I apply water should be fine. Okay. Just making sure that these edges are proper. Because I actually saw that it was having a hard edge at some places. So I'm just making sure that it doesn't have any hard edge. Okay. Just filling it up. Okay. Going back to the orange. Okay. Then as I approach towards the bottom, now I can freely mix in my yellow. You can see that? Okay. Mixing in my yellow. Okay. Let's get rid of any harsh edges. So I'm just going to go ahead and paint the whole thing with my yellow paint. Okay. So taking a bit of brown along with the orange, I'll add in some clouds or darker sheets, just like in the reference picture, but towards the left side. Do you see that? It's there in the reference. Right. I think I've dropped a bit of water at some point, so I'm just going to end that. Okay, I think it's done out well once we've added the stars and everything. Okay, now going with more orange, let's start to add in the view. Beautiful orange clouds. Okay, I think that should be enough. We can add the sun with a white paint or not at all. Now all we have to do is to wait for this to dry out. All right. Now it's almost a dry it out and we can go ahead and start painting that mountain in the background. Okay. For that I'm going to be using my transparent brown. I go just beautiful brown shade. All right? Okay, and we'll start at the back side, starting at the back side, then let's take it up like that. Then it goes towards that right side, then we leave a cap towards the right side, not a cap. We leave it as it is for now. Because on the right side, I want to bring in the glue. In order to bring in the glue, I'm going to take my golden sheet, which is Indian gold. Okay, and I fill my golden shade. Can you see my Indian Gold shade? I will add that towards the right side. Okay. Let me fill that up. We'll fill it with brown shade. But that was just the gap that I needed to fill. Okay. And you don't need the glue up to all that places. Here you go. Filling it up with brown. Let's take it up towards the left side as well. Okay? Okay. I think that's enough. That was the first layer of the mountains. Now, there is something that you can do if you want to bring out that glow a little bit more. Which would be to use different, smaller brush and do some lifting. The ideal scenario would be to use a flat brush, something like this one. If you look at this flat brush, this is the silver silk 88 flat shader brush. So it's a flat brush, I've tipped it in water, now I'm going to dry it up. Because you need a damp brush. Not a dry brush. Okay. Then using that damp brush, what you can do is you can take off some lines like that. See that creates perfectly you wash off the brush, wipe it off again to remove that excess water and to retain that dampness. Okay. The only thing is you've got to follow that in all the directions. See taking that off then now I'm bringing it towards the center there. That is why he painted the underneath region as yellow because you want to bring that clove right there. Okay. I think I'll stop after adding one more towards the left side. Remember all of these need to converge towards the center or diverge from that center point towards that outside. Okay? Okay, I think that's enough. I love the glue. We just need to add in the sun in the center. We'll do that white later on. But now I need to wait for this to dry out so that we can add one more mountain in the front, just like it is there in the reference speech. All right. It's dried up now. Now we'll go back to adding some darker mountain on the top. I'm going to be using my pain screen. Okay? Then starting with the pain screen, going to create the shape of the mountain. Okay? You can mimic the shape as you see in the reference image. I don't normally use a pencil sketch. I try to do it directly with my brush itself. As you can see, as we reach here, there's a peak that actually goes above and then comes back down like that. That peak is in front of the other one. Okay. It's good that we have an undertone of a yellow brown because then this paint clay now will be really dark and good. Okay, to make sure that it stays away from the sunlight region, okay? I'm going to keep it at that. Okay? Something like that. We're just simplifying the reference image. You don't need to paint exactly as it is and fill it up with all the little nuances and details. You can skip whatever you want. Like I see some tree in the foreground, but I'm not going to be doing it. I'm just going to skip that and just finish it off with this mountain. We've added as detail as possible with the sun's rays. I think that's wholly enough at this point. All right. Now the only thing that I'd like to do to bring in some randomness to this mountain is to add in some lighter shades. But you've painted it with a taker gray already. So how are you going to bring in some lighter shades? Well, I have a solution for that. Obviously, you can use quash white colors, but let's not do that. Let's use lavender. Lavender is really opaque. I mean, if you have lavender, if you don't have lavender, go ahead and mix it up with a white. Okay. And then I'm going to mix that lavender with a little bit of brown that gives me like a brownish tone. And I'm going to put that on my mountain. Okay. Here towards that right side. Then where else I can see some crevices and details like that going to when it dries up. Trust me, it's going to be really subtle. Okay. It won't be this big. Okay. It'll be very subtle when it dries up. You're free to go ahead and use it. Okay? There. I'm going to go back with a bit of paints gray and make sure that I lend it nicely and here lending that. Okay. I think we're good to go now. Let's quickly dry this up or let's not wait for it to dry. We can actually go ahead and paint the stars. To paint the stars, you are going to need scrap piece of paper so that you can mask out this hard. Okay, then here's my white, uh, I'm going to use it to paint the stars. You can use the two brush tapping method, or you can use the single brush method. I've shown this in many of my classes, but I'll show it to you again. The single brush method, or just the one finger method is basically, I'm holding my brush. Okay. These three fingers, I use that to hold my brush along with my thumb. Then this one is for tapping. As I tap, it'll drop the white marks into the sky. Can you see that? Okay. Then the other method is the two brush method where you use a second rush to tap onto the first one so that it drops a lot of white marks into the sky. Can you see that both are random, but the hand method is a bit more controlled. Okay? Because you can actually control where it falls, whereas in this one you can't control that much. Try to keep most of it towards the to where the blue where the indico and the paint gray is. Okay. I think that's enough darker spots here. I'll get rid of it. But yeah, that's it. Now, let's not wash off the white yet. What we can do is we go ahead, make sure that you follow along the divergence. Okay, This is where the rays are all converging, which means the sun is going to be right here. Just draw a teeny tiny circle there. Okay. Depict the gorgeous sun. That's it. Okay. All right. Now, I think I'll go ahead and try this up. All right. It has dried up. Do you see how subtle those lavender tones are, even though we added it in a great manner. But I love the way this has turned out, and this is what I was talking about. Even if you add in a Taka shade, it gets lighter. That's the thing about watercolors. Now, let us look at the damage to be careful as I'm feeling off these tapes. But if you do it slowly, it should be fine. Yes, it was fine. Oh my God, I feel this is wet. Is it wet now? What's the scary part again? This side is clear. If you look at it, there was some water that actually bled off. And see how, but luckily it didn't ruin any part. But I'm okay with these happy accidents that happened, so long as you're okay, see a little bit of bleeding. And I'll show you exactly how you can get rid of that. Okay? As I said, paints gray is the most dangerous of it. Darker colors, obviously, it has a very big tendency to bleed out. And of course it did at that corner. But I'll show you how you can get rid of it. It is the same as the lifting process. You need a fat brush or some kind of brush that's got like hard bristles. If it's a synthetic brush, the best that you can use. Okay. Make sure it's damp, then just run it over. Okay. So you can see as soon as I run it over, that part has gone. Obviously also it helped that this particular region where it bled was white. See, it's almost gone as clean as it could be. The tape didn't damage any part of my sketch book. And I have another edge to edge painting, which I'm really happy with. Okay. If I look here, this edge is fine. And this edge here, see the black edge there? That's the one that I've got to be more careful next time and not apply towards the top surface of the paper, but still it was much better. And like I said, you don't have to take all these risks. It's just what you want. This is just something that I'm showing you. The most important part is to build that sketchbook habit and get into the habit of painting in sketchbooks and going on and on, spending a little time every day to paint into the sketchbook. That's it. I hope you enjoyed this one. Your painting is as beautiful as mine. Thank you for joining me today and I'll see you on the next painting. 13. Day 4 - Glowing Pine Trees: Colours: Hello, hello, hello. Welcome to day four. And this here is the painting that we're going to be doing today as usual, the reference image is attached in the resources section here in score. You can refer that and paint along with me, so we have a glow here right underneath the trees which we need to capture. You'll see how we've changed the color of the sky from what we painted the day before when we mixed up in Deco and paints gray together. Today, the mixture is quite different because of the colors that we need to use towards the bottom. Let's go ahead and have a look at the colors that we need for this painting. I've started with a bit of transparent brown paints gray mixture. That's basically transparent brown and paints gray. Mixing them together will get a darker color like this. Then towards the bottom, I've gone with a transparent brown again, then blended into orange yellow at the bottom here. Okay, then for the trees, again, I've used a mixture of transparent brown and paints gray. Then at places to give it a different, nice glue, I've used quinacridone gold, then cadmium orange here at random places. It's okay if you don't have cadmium orange, you can actually use a gas color. But I believe that it's a very good color to have in your palette. Okay. And cadmium yellow as well. Those are both opaque colors which will let you paint over darker colors. That is the reason why I have them in my palette and it's absolutely essential for me. Then I have also used a bit of white gash paint. Okay, for the stars and here at the bottom. And for mixing it with the Kinacrodone gold as well. Those are the colors that I have used in this painting. So let's go ahead and paint this gorgeous night sky, pine trees, forest painting. 14. Day 4 - Glowing Pine Trees Project: All right, so the paper is taped and ready. Let's go ahead and apply water, starting from the center as usual. Now holding my paper sketchbook at an angle, just looking underneath a light and seeing the areas that I've missed. All right. Done applying the water. So now what we're going to do is we're going to start with paints gray itself. But unlike yesterday's painting, we're not going to be mixing it with indigo, but rather we're going to be mixing it with transparent an you learn to adjust your colors accordingly how you need it. Now I need my paints gray to be blending with a lot of yellow shades in order to achieve that. The best under color that goes along with paints gray is my transparent brown. This is the reason why I'll be using transparent brown to give the undertone, can you see how dark it is? But it's also got that subtle brown shade. Okay. Not enough. Need more just using brown at this point. And then remember to give your sketchbook the desired angles in different directions to prevent the flow of paint in undesired directions. Okay, I've got to be very careful along this edge. Okay, Now I'll take paint screen adding to the top. I think I'm going to switch brushes because this brush is like literally holding a load of water. It's pushing my pigment away, rather than applying the paint, it's taking more pigment from the paper. And yeah, this is much better. See that rush is great for large porches. Soap, soap, so got paint on my Ape underneath. Okay, keeping the color. Then as I move brown, move down. I need brown. That's what I meant. Okay? You can see how I'm blending with my brown going down. So we'll keep adding more browns. Okay, Towards the top, you can keep adding your paints. Gray, taking more brown and blending towards the bottom. Okay. Now, as I'm reaching downward, what I'm going to be doing is I'm going to be adding orange here. Mixing my brown with orange as I move downwards. Okay, And this right side is going to be completely orange. So let me fill that up. I think this might need another extra layer to get it to the desired color that we want. Then towards the left side, we're going to be adding yellow. Okay, that's my transparent yellow towards the left side. All right. All right, let me hold my paper in the other direction and try to fill up some more pans. Grey towards the edge is okay. I guess a bit more brown to too much orange, I feel so I'm adding a bit more brown. And blending it with orange choking and yellow at the bottom. All right. So we've achieved that glowy color. Now before this dries up, we need to add some background trees for that. I am switching to my size two brush, which is the smaller size brush. Okay? And we're going to be taking dark brown and the paints gray mixture. Same color that we used Okay, for the trees. Okay. There. Then you can start by just adding some tree trunks like that. Okay? It's going to be in random, but make sure that they are like slanting and slightly pointing towards the middle. Okay, I guess that's it. Okay. The rest of it will add it in the foreground. So this is just that goes in the background, the trunks. Now let's add in a bit of leaves to these ones. Okay. It is the same mixture that, so making some random fine tree shapes doesn't need to be perfect. Now, if you observe your paper, you'll notice that all of the extra water that we applied, it's come down so you can go ahead and absorb that with your brush. Do you see that extra water at the bottom? I absorbed all of that dry my brush. If there's any more, I can go ahead and absorb it. Okay. I'm sure this one has definitely blared out on the other page. Let's see. Now we're going to go ahead and dry this up. All right. It's completely dried up. Now, we'll start adding the pine trees. Okay. For the trees on the left, we're going to be using some lighter colors because that's where the glow is, somebody's little log. Okay, Here you can see the reference picture. And see what I mean, I'm going to be using a nice plane shade and going to start with my first tree. Let me see my first tree. The height is going to be somewhere there. The center trunk, although not visible, it's always best to add in a center trunk, which will give you the perspective on how to draw the tree. Now that you have the center trunk, you can see that all you have to do is follow along that center trunk and create the tree right there. I follow along and make some marks to the left like that. Take it all the way to the bottom because that tree is covered up. Okay. Then at the right side, we need to be adding more colors. I'm just adding the shadows at this point. Okay. Then as I come towards the bottom, it's a bit darker because it's denser. It's not because there's no lights reaching there, but it's too dense for the light to actually reach there. Okay. So that's why then bit of inks gray there. I'm just trying to mimic the reference picture. The thing with this exercise is you'll also learn how it's like an extension of my other class where it learned to paint from reference images. You'll learn how you can incorporate and change the things in a reference image. And you'll see how I approach it. At the same time keeping my focal points and all of that. For example, this mountain here is my focal point. You can clearly see that from the way it's painted in the foreground. Okay, added color up to that point. Now we'll go ahead and add some golden shades in. Okay, it's going to be tricky. Let me try this with the Quinacrodone gold at first and see if it comes over the top. Not really. When it dries up, it's not going to be visible. The one step solution that I think would be to pick up a little bit of white and mix it with the queen gold. It gets lighter, but make sure you add in more of the queen gold. This just makes it slightly opaque. Okay, Okay, I think maybe you can mix in a little bit of the transparent orange as well. Gives it the orange color. Yeah. Okay. And the thing is with this, you can even add some to the left side. Okay. Then go ahead and create the shapes. Okay, Some towards the left side. Okay, there. Don't worry, it's not done yet. We'll add in the shadows and it'll make more sense. Okay, we have another tree there. I'll just go ahead and paint the part of the tree that needs to be lit. And then we'll add in the shadows. Like for example, if I paint the hole of the tree. Okay, I've painted the whole of that tree. I know it looks really weird, but there are ways to bring it forward which is basically to paint the tree behind it. The painting the tree behind it, that one got it stem starting from there. See just creating the shape of the pine tree. This tree now has glowing areas as it come towards the bottom. We'll go ahead and add in our next tree which is at the top and then starts to get lighter. So we'll go with the brown. Think can mix in a little bit of orange to my brown so that it'll get slightly lighter. See that? And then we'll start to go with our glowing orange. Glow orange towards the bottom. Then we can go with some yellow. At this point, we can start using cadmium yellow. Okay, for depicting that nice area here. See how that region is like, literally glowing. Okay, Okay, now we need to bring in the background, taking my pain screen and brown mixture will go there. Then this base goes on like that. Then we have part of another tree here. Okay, now for that glue region, yes, we need to add glue. But the glue can be added with a white paint. We'll add that later on. I'm just painting the undertone there. Also these areas, remember this tree here meets the brown undertone. Okay? The depth. And then a bit of yellow. So you can also use admi orange instead to get that glowy region. See how that region is like literally glowing. Isn't that gorgeous? Okay, now let's go back to add our rest of the trees. We have a few more trees to add, isn't it? The next tree is going to be there. Let that background tree be there. That was supposed to be in the background. You'll actually see parts of it. Okay? You only need to see parts of it. That's also the advantage Okay, of adding that in the background. Okay. Now, as I approach towards the bottom, I definitely need to add in darker shades, lighter sheets, the orange, orange shades. We'll add that with cadmium orange later on. Let's just fill up the tree because this is a sketchbook painting. I am focused on making my strokes start perfect. Okay. I mean, we just should be painting freely in our sketch book. Right. Can pick up paint screy as I approach the bottom to show the denseness of my tree. Okay, that's the of my tree. Okay. I think that's it with the ground now. We'll move ahead with pain spray towards the right side. Okay. Another tree which is even taller. I'm not going and following the exact shape of the trees as in the reference, I'm just adding pine trees. I know that it needs to be pine trees and that's it. That's all I'm trying to focus here and trying to bring into my picture. I know that pine trees can be really hard for beginners. Basically, you draw a line and then using a small brush, try to make these strokes as you do it and as you come towards the bottom, make sure to increase and make it like a conical shape. Okay? Okay, and we're good to go. Okay, I want this to be a bit more I'm adding when you make it longer, which means you need to modify your cone shape that. Lots of trees. Now, basically, we'll add in the stems first, and then just add the trees for a few of them. Okay? I mean, that's how I see it in the picture. There's more stems. The the, the stem, or you call it the trunk, isn't it? And there's a longer one there and another bigger one like that. Okay. Done with the trunks. Let's go ahead and add in to make it slightly longer. I know it's not longer than that one, but I kind of wanted to be slightly longer. Okay. Just added a lot of branches. All right. Um, some of these trees need okay, that's it, towards that right side now, need to bring in that glow in some of the areas, so I'm just taking cadmium orange and bring that. Okay. The right side also, the reason why we mix the other color is now this area has a dwelt only if you look at it. Okay? So that's why we want that. Don't let it be a single color. Always have total changes in your painting and that it'll be more beautiful. Okay, okay, here goes a bit here. Then we said we'll add some to the left side of the stream, finishing off with some nice brown mixture. Okay, so now we can finish off with the stars. Loading my brush with the white paint. Yes, so let me now use the tapping method. Okay. Call a lot of stars. All right. There you go. I just realized there is one teeny tiny thing missing. There's always something, isn't it? I say it's finished and then I end up doing something else. There's the trunk of that tree. I just need to add in a bit. That's the part where it's lit. Okay. So that's why we need to add the trunk of that tree and maybe drop in some extra white shade which will give it more glowy appearance. Okay. There, I promise. It's done. It's done. There you go. Let's completely dry this up so that we can see the damage from all the browns and the pain screen. All right. It's dry now. Let me see the damage. Nothing, see that. I'm so happy this has turned out much better. And without any damage, we can remove the tape. This is the heart. See? I suppose there isn't any damage seeing, I think you just got to be careful and once you get the hang of it and you'll see that your sketchbook looks really amazing. I know obviously if you had a tape, then you'll have better borders here. But then even then it's so beautiful you can actually get rid of that bad part. There's an easy method. I'll show you that as well in case you're reno you don't like the way that area looks. You can just brown paint. Just use the color that's there at the edge of the two paintings. In this case, it's brown because that's what we painted along the edge, isn't it? Just use that. Okay, Fill it up. Do a dry stroke rather than a wet stroke. When I was painting with the wet on wet, I didn't go towards that side. So that's why there is a lot of gap there. Okay. But when you're doing it in the wet on dry method, it'll be absolutely fine just take it over to the very edge and then you'll have a really edge to edge painting. Consider this also as my OC that I'm seeing that white and I'm like, oh no, it has to be covered. Okay. If you in something, go ahead and put in a Pointry or something. Okay. Covered that edge. But I see that some part here is missing. You can do that later. I'll when you come in before the next painting, I'll do it. Okay. There you go. With the edges all clean at the back. And here's our finished painting. I hope you enjoyed painting this. Thank you for joining me today and see you tomorrow for the next one where we're going to be painting something really beautiful. 15. Day 5 - Sunset Blooms: Colours: Hey everyone, welcome to day five. This here is the painting that we're going to do today. Yes. We're going to be painting on both sides of the sketchbook that is on a whole page that is both left and the right side, and create this cope here. The reference image of this is obviously attached in the resources section here in S. You can refer to that. There are a lot of things that I should warn you about this painting though. Let's go ahead. First of all, obviously you have to take down both the sides because you're painting on both sides of the paper. You need to protect your previous days painting. And you also need to protect the other side to not bleed and create colors on this. Because you have to paint on the next day, right? That is one thing. Secondly, I've chosen a page which actually has this thread in the middle. I don't know if you can see clearly there, which has this thread in the middle. This thread. It's a page that is like wholesome like that. If you look at the next page, for example, this is actually, uh, the middle part of it goes into the middle area and it can seep into other pages towards the back side. Okay. We don't want to cause that, which is why I've chosen a page like that while you're in the painting process and you see that your page is not this and maybe like two pages down the line, you have that line in the middle. Then you can go ahead and use that page. Leave those two pages blank. Come back later for a different days project on that one. Then next, the colors super fast while you're painting because of you're not applying a lot of water and we're not even stretching the paper. It usually, very quickly, it actually dried up for me. Keep another brush in hand, ready, ready to apply reapply water or reapply paint. Wherever you think that it's starting to get dried. Do not let your paper dry out. That's very important if you want to paint these clouds, I know it's a very tricky process. And if you are a beginner, you might be really overwhelmed to try this out, especially for such a large format, and especially because you're got a lot of wet techniques for the clouds. But trust me, you can do it if you learn to try to control. And this is, again, another part of this class, isn't it? It's about sketchbook painting. Do not be worried, if you actually ruin it, it's absolutely fine because it's your sketchbook and it's that simple guys. The last thing I want to tell you is about this reference image. This reference image is a landscape format, which is what I have chosen for this one. If you remember, all the others were in portrait format, and that's why we painted in the portrait scale. This one is a landscape format, but what if you don't want to paint in the whole two pages and create a landscape format? What if you just want to paint on one side of the sketch bookino? You can absolutely do that. And that'll be easier for you if you're a beginner as well, because then you'd have lesser surface area to work or lesser surface area where it starts to get dry fast. But if you are using the both sides of the paper, then high chances are there that when you're working on this side, the other side might start to get try. But I urge you to give it a try and I would really recommend it as part of the process because it's really important that you learn it. But even then, if you're not happy and you don't want to do that, you can go ahead and paint this in a portrait mode. Let me explain how you would transform a landscape mode image into portrait mode. It's very simple. All you have to do is like think of that as a vertical one. All of these would be squished in together. You'd have lesser of the space. If you look at these clouds here, it's this much of thickness for the clouds on the right side. Split your painting, your reference into half. If you split it into this half, you can see that this half is a lot. You don't need that much of the clouds on the right side. Bring it to the left side, this is the portrait side, right? If you bring it to the left side, we'll have this much of these heavier clouds and then you'll have smaller clouds at the left side. It's like squished in together. Then the mountain, obviously the long trailing edge, you can see that you don't need it to be that long. You can make it shorter. It would be something smaller and even then is obviously easy to squish it in. Right. Regarding the tree as well as you can see, I've only taken a little part of the tree and not a whole tree in my painting because there's actually a road and everything there. I've skipped that part of the painting. If you want to paint that, then all you have to do is make the tree slightly thinner. If you make it this thicker, then it's already going to take a of your paper, right? Make it slightly thinner. Paint it on the left side itself but such that it covers around this much. And the rest of it would be the sky, the mountain, and the foreground. That's how you would paint this. Okay, I'm just telling you in case you need to translate this into a portrait mode, you can always try that. But first of all, like I said, I urge you to try this. If it doesn't work, you can go ahead and try the portrait mode in a different paper, and it would be a smaller surface area for you to work on. Now let us go ahead and have a look at the colors that we have used for this painting. First of all, I started with a mix of bright blue and Alizarin, which created this base violet color there. Then to the sky, I have blended in quin ac done violet rose, queen violet rose, which is PV 19 shade a bit of orange and transparent yellow. Those are the shades that blend into the background sky. Maybe you can add in a bit of Alizarin crimson as well, but that's what went into the background. Then. For the clouds, I have added in violet. For the clouds, I have added in violet and a mixture of Alizarin crimson. Those two mixed together along with some orange has given the beautiful shade of the cloudy sky. Then in the foreground, I have used a mixture of brown and olive green, which you can see here. The color is basically olive green and a bit of brown which created somewhat mixture like this one. Okay, that's the mixture is created and I've used it in the foreground. You can apply olive green at first and then use the transparent brown. Then once you've done that for the flowers, I have used catinum red, which is basically opaque, so it gives you that opacity on top of these darker shades for the mountain. There, I've used a mix of violet and paints gray for the tree as well. It's a violet and paints gray. And the same for these birds as well on the foreground. Also, I've just used it in a darker tone of this mixture that we made. Basically, these are all the colors that I have used for this painting. If you're ready with your colors, let's go ahead and paint this gorgeous painting. 16. Day 5 - Sunset Blooms Project: All right, let us start. As you can see, I've already taped down the edges of this one because it's a lengthier painting where we're trying to go and use both edges, both sides of the sketch book I've had to do on this side as well. And I agree at this point, yes, it's a lot of tape that we're using, but I believe that if the end result is beautiful, then there's nothing to worry about. Let's go ahead and start with our painting process, Okay? So here I'm going to be applying water onto the whole of my paper. And as you can see for this painting, I've chosen a landscape reference image. And I've already explained how you can convert this image into a portrait in case you only want to paint on one side of the paper of the sketchbook, I mean. Okay. All right. At lying towards the center regions at first. All right. Now, I'll go towards the edges. I think the right side is okay, as in it. We don't have to be worried that it will ruin our previous paintings. But the left side, you've got two paintings. And it's really dangerous, isn't it? Okay. Now, I think I'll slightly bend it this side so that, you know, it has more water there needed to be nice and wet. Not running water though. Okay. I think we're good to go. Let's start. Okay. So what I'm going to be doing at this point is to mix up a nice purple shade. For that, I pick up my bright blue and a bit of Alizarin. Okay? And you can see as I mix it up, it turns into a nice purple shade. Okay? And this is what we're going to use. I'm going to start from the top, and you can see I'm using a very watery mixture. Careful as you reach the top top. Okay. And towards the middle. Careful to not have a lot of water towards the middle because you can see that line form. Just move it around, That's it. Okay. There is a good thing about mixing is that each time you mix, your colors will be different. You can see sometimes it's more bluish and sometimes it's more reddish. But that's the beauty when you mix up your colors. Okay, I really love mixing up my colors in that manner. I've put darker tones towards the right side because you can see there's more darker tones in the reference picture. Okay. Also because I'm tilting my paper, I can see a lot of water accumulation there, which I've absorbed with my brush. You can also go ahead and absorb with a cloth if it's too much extra there. Put in a lot of violet tunes. Then as we start approaching towards the middle, I think we should go pinkish. Here I'm picking up my Quinacridone Gold shade. I've got Quinacrodonerose shade. I start to add it to my sky. Okay. Adding the quin rose shade, you can see. Add it in blend along into the top. That's my quin rose shade. Okay. Slowly, slightly blended. Same on this side as well. Okay. All right. I think you can give a bit more color because it's like turning really lighter. And it's turning lighter because you're actually holding it up and so all of the paint is kind of flowing down, but that's okay. Okay. I see this paper has some kind of damage here. I think I did something while I was taping or maybe it was the rush. I don't know, that shows up damage. Nothing to do for that. Now, the next color I am going to be taking is a bit of orange. We'll start to mix that up into our beautiful pink shade. Okay, we start with orange. Just like you can see in the reference image, it's called that nice orange, subtle Pch shade in the sky. Okay, I guess you can start somewhere along the middle. Okay? Then we can go with nice yellow shades towards the left side here. Okay? As you can see, basically put it down flat, then we're going to add more orange. Okay, more orange. Make sure to absorb extra water from that string area always. Okay. That's one area that has a disadvantage when you're painting in this manner, then picking up my pink shade, I'm adding it here so that we get like a peach shade when you mix up your orange. Okay. But when you do it in a slightly lesser amount, you start to get this each shade. You see that it's a beautiful each shade, we can use that. Okay? You only need to apply color up until that point. Now, let's quickly go ahead and add in our clouds on the top. I'm switching to a synthetic brush because I know that my paper is like starting to dry out. So I need to work quickly and add in lots of clouds. Okay, here I'm going to start with my let, okay, and we're going to be starting right at the top again. It's violet. Make sure that you are very careful. I think you can mix in a little bit of paints, gray, that's too much. Add more violet. Okay there adding more violet, I think I'll hold at an angle again so that I can control how the paint flows. If you look at the reference picture, you have the clouds up until here, around the middle. And then you keep going and you start adding, okay? Okay, Then as you reach that point, we'll start to add in some red shades. Okay, So that it becomes more like a purple tone. There's mixed in some Alison. Okay, we'll start adding that add here. Obviously, this painting demands that we work more quickly because as you can see, otherwise it starts to dry out already. My paper is like drying out, but I know how to work around it and make things work out. Just be careful. Ah, there I see my papers started to dry out. What I'm going to do is I'm going to switch back to my other brush. And pick up that color. You can't see where I'm mixing it, but I pick up that color and mix it up with my Alizarin to create that shade again. And I'm just going to go over the top. This is one way you can reinforce the wetness on your paper because the bottom side is still wet. Okay, just go ahead and add some more strokes, then add in your clouds. See how that's worked out. Okay, some purple clouds here. Violet at the top can literally add violet clouds at the top. Purple and red dish towards the bottom. This is the reason why I'm using a synthetic brush because it holds less water. It wouldn't introduce more water into my brush in order to, for it to create blooms on my people. We really don't want any blooms, right? Oh my God, you can see it started to try out. I'm going to have to shift to my other brush again and put in some pink shades where we're painting. Okay, Go back and reapply the tones. So long as you hold your paper at an angle like that, then your paint is only going to float down and it won't create the blooms. Okay? That's why hold your paper at an angle like that. Make sure that you are able to blend colors. Okay? I'm just telling you the tips and tricks. I know if this doesn't work for you, you're scared to attempt this, then go ahead and ain't it on a single page, it's absolutely fine. But remember this fact about sketchbook always, it's your sketchbook. And you don't have to be worried about what's turning out in a sketchbook because that's the main purpose of a sketchbook practice, isn't it? Okay. That being is a a bit what I'll do is I'll mix in some orange. I'll add that as well. Okay, So we can have some orange shades in between. Orange glow, if you can see some nice orange glow, if it's allovable, you can add some orange glow over there as well. Then here we've got some orange glow. Okay, I can see why I love the two side application method. The water stays wet for a long time. This is like scary when your water actually starts to dry out. Now that's done, I'm going to pick up a bit more red, just a red clouds there. Maybe it's not there in the reference picture, but I feel like I want to add some red clouds, maybe a bit of violet clouds there. I see some harsh edges forming along here. What I'll do is I'll blend that. I'm not worried about the base but I'm worried about the harsh just that forms along this side. Okay, Then need a bit of orange to create some nice lens. All right? Okay. Honestly speaking, this did not turn, turn out to be the perfect way that I had imagined. But I'm still cool and happy with it. Okay. Maybe a bit more pitchy orange shade to the bottom. Okay. Don't worry about the harsh line forming here. That's okay. Because they'll be masked out by the foreground. We only need to worry about the sky right now. Okay. I really want to add some violet clouds over here. Okay. That'll be masked out by the trees. So are not bothered. I know this harsh edge, I'm not worried. Although if you are, you can just use your brush and soften it towards the bottom like that. Okay. So that now there's no harsh edge. Okay. It's just softened towards the bottom. Now, let's go ahead and dry this up so that we can add in the foreground. Okay? All right, so now that's completely dried up, let's go ahead and add in the foreground for adding the foreground. If you look at the reference image, I think it's a warm tone, but it's a dare. I feel like if I mix up olive green and dark brown, I should be able to get that mixture. Okay, here's my olive green and dark brown mixture. And let's see, up until that orange, that's where we want it. Okay, there, I'm going to be drawing a line. Okay? From where it starts up until there, then goes over to the right side, the whole straight line. Okay? So that undertone of red is absolutely fine. It's just going to help us because it's like reflecting the colors in the sky. Okay. Which you do need to do. Okay? Okay. Don't let your colors dry out, use a very wet tone. I think what I'll do is I'll first paint with my olive green. Easier than mixing up, unless you can mix up your color pre, mix your colors in advance before you start. That's a good way to do, but I also like this method where I paint with my olive green. Okay. There. Can you see the undertone of the sky there? Because we let the colors flow. Okay. Taking that olive green, adding it. All right. All right. I filled that part up. Now, I'm going to go with my brown paint and I'm going to apply that on the top of it. Okay. And fill up my olive green with the brown blend? Yeah, picking up brown. Okay. I guess we can add a bit more brown towards the base. Okay. Then digging up the brown and creating like a patch of cross. All right. I think we're good to go. We've added it nicely. Now one thing we can do before this dries up to add in some flowers, would be to add in some splatters. Obviously, for doing this platters, we need to make sure that it doesn't go towards the sky region here. I'm going to use my scrap paper and I'm going to hide the part of the sky. Then I'm going to pick up my cadmium red. Okay, cadmium red, it's opaque and opaque color. And we have a lot of red flowers, isn't it? So that's where I'm going to draw. Okay, I see that there are a lot of flowers on this left region. Then I'm using a smaller brush, by the way, for the splatters. Okay, I've got the good splatters, but now I want some bigger ones that I'm going to be painting that with my brush. Taking my brush, going to drop paint like that C. Okay? At random spaces. Okay. That's the thing about when you drop paint because it's always bigger and that's what we want, isn't it? Okay, let's add in some more details like the stem. So for that we're going to use a darker brown green mixture here. I've taken my brown, now we're going to make it greenish here. I take my green, I'll mix that in. You can also use a sap green instead. Here's my sap green. I mix that, we get a brown green mixture. Okay. Using that, you can actually create these upward or downward strokes. I'm using downward strokes because I don't want it to go towards the other side. When I do this, my paint can touch the edge here and ruin my painting on the other side and the paper as well. That's why I'm using these strokes. Although always, um, upward strokes are better. But remember the center strokes, you can typically add in lot of strokes to cover and add depth to your field. Okay, What you can do is you can start at the edge and then go towards the top. When you start at the edge, just be careful that your brush doesn't have a lot of pigment. You put that all in, going to make it darker, this side, making these upward strokes. Okay, I think that's enough. So now we're going to wait for this to dry so that we can add in that mountain. So ground flowers and that tree. Okay? All right, here my paper is. Now, I'm going to add in that ground mountain. That ground mountain here. If you look at the reference image, it looks as though it's black. If you then look carefully, you will see a violet undertone in it. Okay? These are things that you can understand. If you look at the sky, it's a whole lot of violet tones. Then that mountain is supposed to reflect those tones in the sky. Right here I am, mixing my paints gray along with my violet to create that shade of the mountain that we want. Okay. Then where does the mountain go? The mountain actually starts there. Okay? Goes like that. Not much. Slight bend and then goes up. Okay, then comes back, actually comes back down towards the middle. Then goes up again. Goes straight lines. Okay, straight lines. And then you have lots of small stuff on the right side. What we'll do is we'll just make the right side flat first and then we'll add in things to the top of it. Okay. There. Let's fill in the mountainous bill. O, kay. Building the flat area. All right. Fill that up, I guess, you know, you can go ahead and take and add something towards the left as well, although I can't see it because of that tree. I'd like to have that continuation for the mountain. And then just creating some random shapes. Now we've got to create those random shapes on the right side, remember. Okay. Some my random shapes. Okay. Just random shapes. Then I see a tower like structure on one of them. Then on this hilly region here, it's not that perfect, it's got some random details there. Okay. Yeah, I think that mountain is good to go now. All we have to do is to add in the tree on the left side. So let's go ahead and do it. I'm going to do it with the same color here. I know it's probably in a darker shade or something. But let's give it a subtle because we already have a lot of these mixture left. Okay. That's going to be where is the tree starting from? The tree is you can actually see the trunk of the tree. The tree starts there, goes up like that. Got to make the trunk thicker at the base. Then let's actually blend in part of the tree towards the bottom. Okay, here I'm taking that clean mixture that we had and we're going to add in some ground grass shapes. Okay? Blend a base and add in some grassy structure. Okay? When this dries up, it'll be fine. Absolutely fine. All right. You can also soften some areas. Right now, back to this brush there. The tree is basically nothing. You've got to just go ahead and add random shapes. Okay? Leave some gaps in between so that you can see the sky through it. Basically, let me just trace out the exterior so that I know what I'm looking at. The tree basically goes like that up until there. Then it has like something there. Something goes like that. Okay. And goes all the way up until there. That's the thing that I need to fill in. Okay? But the thing is if you look carefully, you can actually see the trunk of the tree going in. Okay? It doesn't need to be perfect. Just go ahead and add in a line which will also give you a direction as to how you have to add the trees. Okay? Maybe there's a trunk like a line like that, another like that. Okay? Don't have these lines in the final one, but it gives you a picture as to how you can add it. Okay? Then use a smaller brush and smaller strokes. Okay? It's best. I can see it coming into picture. Okay? As you can see on the left side, there's barely parts of the sky that can be seen through which is why I'm adding a lot of color to that region. Okay. It's mostly towards the right that you can actually see a lot of gaps in the sky. Okay. Might gaps in the tree to reveal the sky. Okay. Almost done. Then I see that there's like a one, a dish and punch sticking out. Then let's have some smaller one towards the end. Okay. Yes. Okay. Almost done. I think that's good. Also, if you can pick up just paints gray and add at random places that will look like darker depths in the tree. Okay. The shadows in the tree, can you already see that in my picture? The nice shadows. Okay. I think my painting is completely lighter than the image. Right, But that's okay. I love the way it's turned out. Now, last thing left to do is to add in the foreground flowers. Now if you take the cadmium red, go ahead and add in lots of teeny tiny cadmium red flowers. Okay, you'll instantly see the difference between the ones that are in the foreground and in the background because the background blur and not in focus and also slightly lighter in color because you painted it with a baton white method. In this method, you'll see you will have a lot more clarity in the flowers Okay. And details that goes in. Okay. I think that's enough. We're done with the painting, But you know what, I feel inclined to add something more because I have a lot of paint left and I'm just going to do it. Okay? Going to add in a few birds. It's just fun, isn't it? Maybe some birds there. Okay? It's easy to add birds. Let me just show you, I'll show you on a scrap piece of paper, you're supposed to do V shapes, use a pointed brush which has a pointed tip like that, and go like that. Okay, that was quite big. But if you do this and do that in various directions, upside down, towards the top, towards the left, towards the right, see that? Just keep doing that. And then you'll be able to add in a lot more words. Okay, Make sure you make them smaller as you come towards the horizon. Okay, I think that's it. That's enough. Don't want to add anymore and ruin your time now. All we've got to do is to wait for this to completely dry out so that we can remove the tape from the other side and see the damage. Of course. All right. I've dried it up. This is the most scary part. Oh my god. Oh my God. Oh, there are gaps. So let me see if I've ruined anything. Nope, it's okay. Oh my God. Thank God that was really, really close, isn't it? Because I used a lot of water for the sky and I was worried that, you know, like I might ruin it. All right. Done. Don't you love the way the sketchbook is turning out to be? There you go. I hope you loved today's painting and thank you for joining me today. 17. Day 6 - Lavender Peaks: Colours: Welcome to day six. This here is the painting that we're going to do today. I decided to give you guys some Levy and let you relax a bit after yesterday's painting, which was so tough, isn't it? I mean, I know it can be really tricky and tough. I wanted to make you guys feel relaxed into this class. Again, back to being the relaxed mode, I chose this simple painting, which is really, really simple. But don't take it lightly because you've got a lot of dry brush strokes to do. I think this lesson is a very good way for you to practice your dry brush strokes and perfect it. Because even if it doesn't come out to be perfect and you start to get these wet strokes, like the one I started with here to show you how we can start with the wet on wet stroke and move on to the dry stroke. It's absolutely fine, but I'm sure that once you paint the whole painting, because of the large number of dry brush strokes involved, you'll learn quite quickly. Let me remind you that one important thing that dry brush strokes require. It needs to have some tooth or some texture to the paper so that the paint can stick onto the theory behind dry brush strokes, it's basically that when you apply the dry brush brush and the paint both tune get to go in between the troughs of the paper when there is water in your brush. Then it goes into the little crevices or little troughs of the paper and it covers the entire surface area. But because your brush is so dry, it literally the paint cannot flow. There's no flow involved. It just touches the surface of the paper that is bumpy. That's why you need a texture. Imagine it's got a texture like this. It's only touching the top surface and not going into the troughs of the paper. That's how these dry brush strokes are formed. It's staying on the topmost regions and not going into the troughs of the paper. You get a nice dry brush stroke like that. Okay, you can use this lesson as a way to practice that. It's very simple. The reference image is again uploaded in the resources section here in skin Share. You can refer to that and we can paint together. Now let's go ahead and have a look at the colors that I have used for this painting. For the sky, I have just used a single shade and started with a basic lavender shade. Then on the mountains, we have used paints gray and a bit of transparent brown. Then for the trees here, I've used a mixture of dark green and my paints gray. This whole painting is basically just four colors involved. Okay. All right, if you're ready, let's go ahead and paint this one. 18. Day 6 - Lavender Peaks Project: All right, so I've tapd down both the side since we're going over the whole of the page, but even then it's going to be an easy painting. Okay? So here is the mountain. Okay? Just sketch out roughly the shape of the mountain as you want it. Okay? Here, it comes down there, and then it vanishes towards the trees. This is basically what we're going to paint, okay? It's going to be really simple, so don't worry about it. Okay? I promise this won't take a long time. We're going to start by applying water. We'll apply water to the sky region at first, avoiding the mountain region just a long the sky. Okay? Because there isn't a lot to paint. This is going to be really quick. Careful around the middle. Don't let too much water be there. This here is actually the undercolor that's flowed out of another painting that we did. We don't want it to flow out. Apply water along the edge of the mountain. Actually, it's better that if you can do this process without using the pencil sketch. Because, because this mountain is so white and we're going to leave a large chunk of it white, it actually shows up this pencil line. I'm going to do my best to mask out any pencil lines there is, but it still is better if there was no pencil line. I was just telling you one thing you can experiment with this painting is to create the sky, that is, apply water into the sky by following the line of the mountain in your head. Can you just imagine that? Okay. That's something that you can try. I'm not doing it because obviously this is a class and I've got to take care of everyone who is like a beginner, advanced equally. Right? So just looking at the areas which needs the color and hence applying water in that region. Okay? Whenever I'm applying water, I try to shift the gravity action towards that side. So for example, I'm applying this side, that's why I'm pushing my water there. So that it helps and aids in the flow as well as prevents it from going underneath because obviously water cannot go flow underneath and then go upwards. Right. Okay. We're done. Now for the clouds, it's the easiest part. Okay. Trust me, because it's just a single color. It's basically lavender that I'm going to be using today. Okay. The lavender color, just going to apply. It can apply it nice and evenly. You don't do much. You can just leave a lot of white gaps. Okay, careful as you reach towards the edge but leave a lot of white gaps. Let your paint flow towards this side as well. You can see careful along the edge. That's the glue that was sticking. So that's why it's created such an edge. I'm okay with that. Okay. I picked up violet instead. Back to the lavender. One thing you should know about lavender though is that this lavender that I'm using is from Rem brand and it's granulating. I actually don't like granulating colors for my sky, but today it's okay. Right. Okay. So now you see how it's Flowing out like that. I love when it does that, basically I'm not going to put a, but some of it towards the mountain would actually be better to create a separation between the whiteness of the mountain and the whiteness of the sky. Okay? Very, very subtle tone. If you can add when you don't paint something on that region of the mountain, then it'll be more prominent. Okay? Okay. All right. I'm happy with the way the sky has turned out. Okay. That's as simple as it can get. All right. Now, shall we go ahead and paint that mountain? For painting the mountain, what we're going to do is we're going to completely white, but you need to add shadows at random places. Okay? And some details. So what I'm going to do is now I'm going to apply water at random places. I'm going to look at my reference image and I see that there is a little bit of tark edges here. Then there's a rock that goes like that, a bit of tark image. Even another thing that you can do is, well, actually let's not make it difficult for you because if I apply water at random places, you're not going to see it. What I'll do is I'll apply water to the whole of my mountain. I'm applying water to the whole of my mountain, but I'm not touching the edge area. Okay. Very, very careful about that. Don't touch the edge because if you touch the edge, then you lavender of water is going to flow inwards. Okay. Let's not do that. Let's avoid the edge. See, this is as close as I can go. Not touch the edge. Okay. And apply water then once you've applied water, make sure that the water is like really just a sheet of water. Okay? Not too much. Then we'll go with our paints. Gray. Okay. And just add some random too. Okay, That was really flowing out. Okay? Just need some subtle shades. Maybe another subtle shade there. Now you can follow along the reference and add these different shades. Okay, Here I'm actually using this mixture here. It's got traces of brown, but I don't mind. Okay, then again, here, like a, maybe some lines along the edge. Okay, some of these lines are turning out to be in a wet on dry stroke. I don't mind. Okay. You can see some dry strokes as well with the wet on wet method. Again, this in itself is already a picture resident. Don't you think I chose this image? Because literally no one would choose this because it's just too simple to paint, I feel, isn't it? Now, all we have to do is to wait for this to dry out so that we can paint the details on the mountain and the trees. Okay. All right, here you go. It's completely dried up. So now let's go ahead and paint. I'm going to be using my size brush and we need to be damp. First of all, I'll start with my brown shade here. I'm taking my nice brown shade. Can you see Pick it up then once I've taken my brown shade, I'm going to dry my brush and make it devoid of all the water. Okay. Then picking up a nice amount, we'll start. Okay. It's still going to be somewhat watery, but that's okay. But it'll start to get dry as you paint. That's why I started with this one right here, because I can see in the image that it's a one that has got a bit of thickness. Okay. Each time, just try it up, then start. I know it's not drown in the picture, but we'll add black on the top. First, go with these brown tones. If you make your brush dam enough like in a dry format, then you should be able to get these dry brush. Can you see how dry my strokes are? Okay, that's what we're going to be using for the entirety of this mountain and all the details. Okay, here we got an extra rock there, have some details, I'll blend into that. Then have some rocky shape there, other rocky shape there. Then this actually goes over to that side, then coming over here have some shapes like. That which extends all the way towards the outside. That then we have more random shapes here, put in a lot of landom shapes. I think this painting is a good, good exercise for practicing the dry brush. Okay, next is pains Gray. Can you see how dry that pigment is here on my palette? That's what we're going to use here. On top of that brown, we're going to apply the paints gray in a dry format. Okay? In areas where it needs to be lighter. Just softly. Okay? Brush your brush very softly. That's how you need to do it. Where it needs to be dark, become more pigment, and go over it in a nice dark manner. Okay? All right. Y keep adding those drivers straws in some places, you can make it some places lighter. Okay? So there's no strict rule and I'm not even like blindly following the reference if you ask me. Okay? I'm just making my own mountain here. Some areas can be darker, so just cope with the flow. Okay. All right. Covered most of it. Now, I'm going to add in the smaller ones at random places. Okay. Like I see there's some here here. So I'm not going to pick up any more paint, but rather just going to fill it up with whatever I have on my brush. Okay. And see how I am added some nice ones right now I'll pick up some paint because I want to create like a nice edge one there. Yeah. Okay. I think that's good. Now that we're done with that, let's go ahead and add the pine trees and finish off. It's quite easy to add in the pine tree just taking my dark green here and mixing with the paints gray that's already here on my palette. I know it's got a tint of violet in it, but I'm not bothered because it's just going to still make the pine my paint, which Exactly what I want. Okay. That's it. All right. Darker paint. And where do we start? We have pine trees from right here, another small one there, a very large one there, lots of smaller ones. A tall one there, then another small one there, another bigger one there, and we finish off with another bigger one there. Okay. So let's get going. It looks black at this point, but when it dries up it will be more greenish. Okay. It's like in the picture, I don't see a gap in the pine trees, so I'm just adding a bit more. Okay. This one which is kind of empty at the top and then starts to have more leaves towards the bottom. Okay. I just added a lot of zigzag lines, to be honest, let me just cover up all of that base region. Okay? Now I'll go with my binaries. All right. Another one there. Pine trees are just basically, you know, normal random zigzag shapes in different directions. Y, Okay. We're done. So that was quicker. So let me dry up the pine trees and then we can remove the tape from the other side. All right? It's tried. I know I'm pretty sure that this painting is completely safe because we actually did not do a lot towards the other side. Right. But you still got to be careful when you're peeling off because you have to do it such that it doesn't take off your paper. If you tear the paper, then that's very dangerous, isn't it? You can see I'm still doing it very carefully and slowly, such that it doesn't tear my paper. Okay. Remember to tear it off at an angle always again, that way you won't tear your paper. This is a different tape that I used which is why it came off so easily. The other one was empty tape. I don't even remember the brand but it's a very clumsy one. I used that because I thought page is fine. I can clean it up even if it bled. That's why. But this was my painting. You can't allow it to bleed. Right. There you go guys. This is the simplest I've ever painted, I feel. But here you go. Thank you for joining me today. I hope you really enjoyed it. 19. Day 7 - Blue Celestial: Colours: Welcome to day seven. And this is the painting that we're going to do today. Isn't it gorgeous? Just look at the number of stars. I think I had a lot of fun painting these stars and look at my hand. So I just painted this and I'm now telling you the colors. So my hand, my watch, oh my God, Everything is just filled with a lot of white paint to clean it to. But this is the gott painting that we're going to be doing today. I know that this looks a bit large and hard to paint, but I thought that I would have to paint as in layers. I didn't have to. It worked out quite well. The new technique or the best thing that I found out to prevent your paint paint from going over to the other edge is to not apply water to the edges. When you apply water to the edges, that areas literally wet and then it's got water flow towards the other side. What you can do right now when you're trying to paint this, apply your water but leave the very edge. Go with your brush up to the extreme, leave like maybe 2 millimeters gap and then apply water. But when you're painting, take your brush to the edge that does not have a lot of water in it. It's probably not enough for it to flow outside. Also, I've been very careful to tilt my paper in the necessary directions to avoid the avoid the paint to spill onto the other side. Okay, let's have a look at the colors that I've used for this one. It's pretty simple, not a lot of colors. The first color that I have used is bright blue, then a bit of indico, then a bit of paints gray, a bit of transparent brown, and a tiny, tiny amount of my Quinacridone violet rose, although it's not even visible right now because I've applied my white paint over it. But it's actually here. Can you see a subtle pink shade maybe? Or maybe it looks like a violet shade. But that's the five colors that I have used in this painting. And of course, white quash for the stars, which is really important. Are you ready to paint this with me? Let's go ahead and paint this one. 20. Day 7 - Blue Celestial Project: All right, Let us start. I've taped on both the edges, this time with a very nice tape because the painting that we're going to do involves a lot of washes and dark paint. I've got to be extra careful As usual, I am going to apply my water, but for this, I'm honestly going to just use a larger brush. It's easier for me to cover a larger surface area. Okay. You can also use the brush that you've been using for a large brush. Okay. This just makes it easier for me, which is why I use it. Basically just using the larger brush and applying water. I won't go towards the edges. Okay. I'll strictly keep away from the very edge of the paper. Yeah. So once you've applied the water, we can start with our painting C. So I'm going to be starting with Indigo and I'm going to be going and adding that towards the top and in a zig zag manner up until that region. Okay, there, adding my intigo, we need a paint. A lot means a lot of paint. Okay? You need to get this as dark as possible, isn't it? That's why I think it's best to paint this in multiple layers. Okay. So that you can make it really dense. Now, I'm going to go towards the edges, but I'm going to be very careful and I've tilt my P so that my paint only goes out and I mean goes down. What did I say out? No paint only goes down and not towards the other side. Okay. So if I'm careful. Very careful. Okay guys, then again here at the top were more dark. This is the trickiest part of this painting to get it and not to ruin the other side, especially on the other side. It's a very lighter tone that we have. Okay. The lavender painting for me King. Then I think I'll put in some paints gray at the top to make it even darker. Yes, I can see it getting darker and darker towards the top to see exactly how we want it. Okay. Slowly and slowly back to indigo. We need to mix it along with the paints, gray that you've just applied. Okay. Now, once you've done that, we can go ahead and start applying the next color, which is going to be bright blue. Okay, picking up a nice amount of bright blue, I'm going to add it such that it blends into that indegotiate that we've applied in the sky. Okay. Before we do that, I've noticed that my paper has started to dry out. This region has almost no water. I'll just go ahead and refresh the water on my paper here. Okay. Touch the top region and don't let the water flow towards the top, but if you hold your paper at an angle like that, you'll be able to keep going. Okay. Like I'm doing right now. See how you're able to blend the colors nicely. Careful along the edge again. Okay. As we come towards the bottom, keep applying. Okay. Now we'll pick up more bright blue and start adding. Okay? Then you can have some white gaps at random places. Okay? So I'll have a large chunk of white there and some large chunk of white there. Then the rest of it, I'm going to cover it up again. Okay. Be careful of where you hold your paper as well. I've been holding here and slightly got my color color on my hand took color from the paper as well. So we need to avoid that. Okay. Oh, no. This part of the paper also has some mark. I don't know where these marks are coming from. Am I doing something wrong with the brush? I think it's just a bad sizing of the paper. I got this book like literally around a year ago, and it's been sitting in my cupboard. That is not good for papers. You should not leave your paper like that. It loses its sizing. You should actually store it in cool, dry place and maybe in a plastic sleeve or something. I didn't do any of that, that's why it's probably damaged. It's going to take that single page going to apply my color tone like that towards the outside, but not towards the edge. Very careful of that. I'm literally enjoying painting this edge to edge, mainly because I love the way that thing is forming up. It's just so gorgeous, isn't Okay, now that we're done, let's get back to adding Indico. Okay. Um, I guess I want to add a bit more at the top. Okay, blue. We'll see if we actually want to add in another layer. Sometimes it gets done in another layer. One layer itself. We'll see after it's dried up, whether you need another layer or not. Okay? Then you can see adding more of the indica. Okay? Okay. Okay. Okay. Okay. Okay. Accident. I know I've taken a pop to the side. Need to clear that up. Okay, See that huge line there on the paper? Okay, back to more blue mixture so that we can blend in the blue to that indigo that we added. I know that this blending process is like really tough, but the key technique is to look at your paper. Look at where it's lacking color or where it's starting to dry out. Work on all the areas again and again. Do not let your paper dry out at any point. Okay? That's the key thing. But if you've finished working at some point, at some place and it starts to dry out there, then it's fine. Like for example, this absolute top region, we've finished working on it. It's actually okay if it starts to dry out a bit here and there. Okay. But even then, I try my best to not let it dry out. See that? Okay. I keep adding my paint and just keep going so that I don't let it dry out. At any point. Now, we've got to go back with black paint. Okay. Like we did at the top and make this region darker. Oops, I've drawn a line actually there because the paper surface was uneven. A bit dark shape there. Then you can start adding, you know, random darker shapes. Then I'm going to go with a bit of brown. Okay. And start adding some shapes like I see in the reference. Mixing a bit of paints gray as well. Okay. Then blend that along with the blue, taking paints gray. A random detailing you can see. Now let's go with the random dealing. Okay, Needn't be perfect. I am just putting random strokes. Okay, done with that. Now I need to add in a subtle pink shade. If you can see around somewhere along there next to that white region, can you see a pinkish reddish shade? Maybe we can add that. Okay. Squat light. But yes, when we add pink, it's going to turn into a violet shade. But maybe that's okay. It's good to have some violet shades in as well. Okay. I don't like this right side how it's turned out, so let me try and correct that. It's basically some random shapes like that clustered together and it goes blended into the bottom like that. Okay, now let's create that part of the galaxy where it looks stunning in the middle. For that, I am going to use my white paint. Okay, pick up nice quantity of the white paint. Let's drop it in. Okay, you're dropping it in. Wet paint, it's going to be slightly flow, but at the same time show up through, plus me, it's going to be gorgeous here. Some lighter shades here. That extra light shade that I added. Let's blend it in. Okay, We only need it to be slightly lighter, so we can pick up the blue and the shades in the background and blend it in. Okay, this one blue. We only need it for this region here, which is bluish. Okay, I think we're good, but let's add in some wet on wet splatters. It looks good in galaxies, not a lot, just a few at random places. Okay, These will be like blended inwards. I know I've added, but if this whole thing needs another layer of color, then we might have to add those stars again. I'm now going to dry this up and let's see the damage underneath and whether we need to do this again or not. I give another layer or not. Okay. All right. It's completely dried up. I've basically checked the damage. It looks okay. I don't see any blades in, but we'll see after it has dried up. But in first look, it looks okay. I don't want to remove this and then put back again. Now that we're done with this, let's go ahead and add in a lot of stars. And this painting is basically done, okay? Going to load up my brush with nice amount of white, going to add in a lot of stars. Okay, I think the two brush tapping method is really useful here. I'm just saving my ipad and my other things that are here, so I've just kept the paper there. Also note the direction in which you hold that rush. You're going to get your splatters in that direction. So for example, if I hold it like that and I slatter, you're going to get a lot of flatters such that it forms a line. Do you see that? Okay. And then towards the other places, you can actually move your brush around. Oh my God, That's a lot, isn't it? I want a lot more in that middle region, which is why I'm doing this. Look at my hand. Okay. I like it. Let me just quickly clean this up. All right. There you go. I love the way it has turned out. I'm not showing you the tape removing process because it's pointless. Okay. And I'm pretty sure that nothing has led to that side. It's safe. The other side is safe as well. So, here you go. That's the painting for today. I hope you enjoyed it and thank you for joining me. 21. Day 8 - Distant Lightning: Colours: All right, so let us have a look at the colors that we need for day eight painting. This is the painting that we're going to do today and as usual, reference image is attached in the resources section for you to have a look at and start painting. I've made some changes which I've also explained as we go along. But mainly it's the fact that I've changed the horizon line so that we can capture more of the sky. Because in my perspective, I've chosen the focal point to be those lightning rather than the foreground. And also I've changed that pathway to suit my liking. I've made it as simple as possible because my aim for this entire sketchbook series is to just paint simple and enjoy. And to create a sketchbook which has no borders or edges. Okay, so it's like creating a limitless kind of sketchbook. Now that you've seen the painting, let's go ahead and quickly have a look at the colors that I have used for this. Okay, I've started with a mix of Indentrin blue. Don't worry about the names. Okay. Indanreene blue is exactly the same as Prussian Blue. Almost exactly same as Prussian Blue. You can go away and do with Prussian blue itself. Okay, then I've used indigo for the darker parts. Then to get a slight turquoise shade, I've used a bit of my thalo green. You can use either thalo green, emerald or Viridian for that purpose. Okay. Then at the bottom we have pinscreen. Then a little bit of the transparent brown that I have, which is from sennelier, transparent brown. Then in the foreground we started with yellow, yellow Ger is absolutely good shape because it doesn't actually mix with blue to create vibrant cleans. You can go away with just using wet on wet for the whole method. You'll see how in the project, just go ahead and wash the project at first, a bit so that you understand the process. Then I've used a teeny tiny amount of Burn CNA, but you can see it's a very subtle, subtle amount. I think that's pretty much it, all the colors that I have used. Obviously, there is additionally white guash also that I have used for the lightning. That's it. Now, if you're ready with your colors, let's go ahead and paint this beautiful painting. 22. Day 8 - Distant Lightning Project: All right. Let's start a brand new page again. As usual, I'll start to tape the other side from all the paintings that we've done till now. I think this one is my absolute favorite. Just going to use my tape again, this is the empty was tape. I know. I keep just reminding that in case anybody forgot what the brand name is. Okay. All right. Here I've applied the tape at the backside and also inserted a double sided tape in between so that my page remains flat. Now, I'm going to start, okay. Basically you can see from the reference that it's got a lot of grass area. But what I'm going to do is I'm going to shorten the grass area and make the sky visibly more. One by three is going to be the grass area, whereas the sky is going to be the rest of the two by three area. Okay, I'm going to start with applying the water like usual, I'll not apply towards the end. So you can see where my brush is going. It's not going towards the end of the paper but just right where the water is. Okay. Don't go towards the edges. Your paint brush can go towards the edge and you can be careful at that point of time, it's okay that you're not having water over there. I'm sure that it's possible to adjust. And also this painting is very small, so then we can really make it up. Okay. Here, again, not going towards the edge. Adjust applying water. Again, also this edge. Make sure you don't because this is actually not a center parton. So you can see that the water might actually go in between the edge here. Careful about that. All right. All right. So now I think I'm happy with the amount of water that have applied onto the paper. Let's go ahead and paint it. I'm switching to my smaller double zero blend brush. It doesn't mean it's a double zero, this is probably like a six. When it comes to the round brushes, just use medium size brush basically. Okay, Going to start with a darker color. I'm observing in the reference image that it's got like a turquoise shade in between. Maybe we can slightly use that. What I am going to use is this Indreen Blue. Don't be worried at the name. Okay, it's almost like Prussian Blue. If you look at the color shade, can you see it's almost exactly similar to the Prussian Blue. You can go ahead and use that. Okay. In order to make it slightly darker now, I'm going to mix it up with a slight amount of indigo. Okay. That makes it slightly darker. Let's quickly start. Okay. You can see I'm starting with a very edge now. I'm going to be very careful as I reach towards the edge. I do want to paint the edge. I'll be careful. There is no water there. It's going to take a while for your paint brush to reach there carefully because there's no water, which can make it spread to that region. As you can see, the other regions are spreading where the water is. Okay. Where there is no water, Let it spread where there is no water. Just go ahead and paint it. Okay. And you can see how I'm carefully adding my tone to the paper. Okay. Towards the top. You just want it to be not spreading around, but you do want the edge right on this side. Okay. Now that you've applied along the edge, you can go ahead and pick up more paint and give nice depth to the sky. But remember to leave some white area. Okay, Or of the blue. I'm giving my paper slight angle. Now. Whichever direction I'm applying towards the edge, I give it an angle. Because if I give an angle like that, my paint is going to flow inside and not towards the outside. So that is the reason why I give this angle there. Then I've got to keep going to apply, isn't it? Since we decided that it's going to be all the way towards the bottom, this here is going to be my lightest part. Okay. The rest of the areas I have to go and paint. You can see I'm mixing more and more blue as needed. And then taking towards the edge here. Now I'll lift my paper in that direction. Just get along. We don't want too much white spaces, we just want a subtle and a smaller one to be honest. Okay. Going up to the very edge as you can see. All right. I think up till here is the point where we said we'll apply, right? And below that is going to be the horizon line where the grass, Ali is going to be. Okay. All right. So up around there and now if you want to darken some areas, like at the top, I would like to darken it. I'm just adding a bit more paint. Careful though, towards the edge to wet paint to spread, especially to your gorgeous galaxy painting on the other side, right? Just take caution. That's it. Okay, let's go ahead and add some darker clouds. Observe, now I'm picking up paint directly and you can see the creamy consistency. Because now you have to reduce the amount of water that you're mixing with the paint. Only then you get the perfect wet on wet technique wise, your brush is not going to be doing the wet on wet technique. Okay. Don't bother any pain that is spreading downward. We can fix it. Also, I did mention that we can add a slight deurqusy shade. I'm not sure if it's possible at this moment because our paints have already started drying at this point. But what I think is you can just take in a little amount of green. Okay? And blend it along there. Okay? That it gets a slightly greenish touch. When I say green, I mean a Viridian or emerald green or even Hello green for that matter. Okay. And then just blend it along in some of the areas. Okay. Now, let me wash my brush. Okay. Clear it up. And then I'm just going to spread it around slightly. Okay. That will give that slightly greenish hues. At the same time just having a slight faint line. That's it. Okay. And go ahead and add any kind of clouds. Okay. You can see how I am moving with my brush. Okay. Just making random shapes, make it smaller as you come towards the bottom there. Okay. I think I'm happy with the way everything is turned out right now. Now, I'm just going to look at my paper and see if it needs any modification. So I see that there is a very lighter tone here at the edge. I'm just going to cover that up. And then there's a lighter tone here towards this edge. Those edges are actually getting lighter because we did not apply water and it was a wet on dry stroke, but that's okay. And nothing that you can't fix with some touch ups like these. Okay. All right. Now that that's done, let's go ahead and paint that bottom part. For that bottom part, initially you can see that it's got an undertone of a lighter color at first. Let's paint that undertone first. And I'm going to go with yellow ochre for that purpose. Yes, it's going to mix with that blue slightly to form some greenish shades, but it should be all right. Okay. Here taking up my yellow occur going up to the edge, but being extremely careful, like I said, it's okay that your grass area is going to be slightly greenish at that point. Okay. It's absolutely fine. Don't stress, it's the most important part you can see. I'm just picking up more and more yellow occur. You couldn't have used any other yellow for this purpose because other yellows would make very vibrant greens. Yellow occur is subtle in that manner, and that is the reason why I have used yellow occur. Okay. All the other yellows. If you were to lighten it up, it would really, really form darker greens which we can't afford or which we do not want on our paper. This is the reason why I've gone for this. Okay? Okay, careful again at the bottom. Take your strokes outward like I'm doing. Okay. Then more yellow occur. Another good thing or positive thing about yellow occur is that it's slightly opaque. Okay? So if you're using a brand of water color that has nice, opaque yellow occur, then that is going to be positive as well, for you to apply the foreground region. Okay, there I've filled my foreground with the yellow ochre. For me in this painting, the most important part is capturing that lightning. I really don't bother about getting the shapes of the clouds exactly as it is or other things that you see in the painting. Just remember that. Okay, Now the sky region is slightly wet, so we'll go ahead and paint that foreground. And I'm going to change that road slightly so that it looks a bit more attractive and nice here. I'm going to go with my dark brown shade at first. Okay. That's what I'm going to be using. I'll mark the position of the road. That little dirt track. My dirt track is going to be something like that. Okay? At an angle I do not like the way it's so perfectly straight. And then here it comes. Okay? This is how my dirt track is going to be. Then obviously, the remaining areas, you can go ahead and add your darker colors. Okay? And try to mimic the shape of the grass, but it needn't be perfect at this point. Okay, We're just trying to get the darker hues in at this moment and do leave some lighter yellow worker regions in between. Okay, same for this side. Let's just go ahead and apply. Don't leave a straight line for the dirt track. Try and do the grassy shapes. The grassy shapes has to go towards the top. Okay. And remember to leave gaps. Okay? Okay. I know it looks weird. We haven't done with it yet. This was like the base part. Okay. Now what we'll do is let's go ahead and add those background elements. For that, I am going to take my paint scray. Okay, and we'll add it along the edge paint scray going into the edge region. That's how we'll mark the horizon as you can see. First of all, let's say, let's draw a line and mark up that horizon. Okay? Once you've done that, then you can start adding small shapes. Okay, do make that horizon. And you can see that I'm making the shapes such that I hide out any part of that yellow, greenish shade that's formed. Okay, so you can see here was the most area, and remember you don't have to make exactly as in the picture. So I know that in the picture on the right side is where you have these large bushes. But if your yellow ocher is actually spread in the middle, then why not go and paint large bush over there. So this is how you can modify that painting. Okay, I mean modify the reference image and make your painting uniquely yours. Just don't follow everything exactly as in the reference. You don't have to, that's the most important point. Okay. Now we've got to give darker shades into this land area. Okay? Just pick up more of that, paints gray and start making random shapes. Okay? Especially here towards the bottom where it's going to have nice depth. Okay? Those regions that we painted is actually still wet. The region that's not wet is the road which is going to dry. So what I'm going to be doing is just going to try, and in some color variation, I'm picking up a little amount of brown, Not too much. Okay, we'll try. And it's a dirt track. It's not a perfect road, isn't it? We'll try and make some random lines on it, see that, so that it's just not a perfect road. Then I'll take my pins gray again and I'm going to go straight again and make my grassy shapes. Okay, You can use a smaller brush if you want, but I just just prefer this. It doesn't really matter so long as you're capturing the details that you want to see. It's a night scene, so you really have to capture the ness and the. Okay, so dark towards this edge. All right? Okay, see how that turned out? So I know that you don't need to focus a lot because that is not our focal point in our painting. The focal point is our sky region there. Okay. So just let that bottom. Okay, Let me just carefully check the damage underneath. Okay. I think it looks okay. Now I want to capture a bit more light into that center region where it's actually going to be that lighting part. Here I pick up my yellow occur again, we're doing it on the top because now this is like capturing that light region. Okay, Just pick up a nice amount of the yellow occur and start adding to that center. This is why I said yellow occur is a bit like opaque, but not too much. I think that should do and now all we got to do is like to wait for this to try out. Okay? All right. So it's tried out completely and now I'm going to add the lightning. So for that I'm going to be using this white quash paint. Okay? And I'm going to be using this liner brush that I have. Okay, so this is the silver black Belmt script liner brush size one. Okay, that's what I have here and that's what I'm going to be using. If you don't have a liner brush, that's absolutely fine. You can use just a smaller size brush you have like possibly size 21 or even zero as you can see. Okay. Any of those would do, you just don't need a liner brush? Don't vary. You don't have that. Okay, now I'm just stuffing my brush with that beautiful, gorgeous white paint. Can you see how thick that is? I'm just loving it. Now, we're going to do the lightning, basically. It's nothing, you've got to start from right above the area that you've marked out for the lightest part. Okay, there, see, put a drop. Whoops. See that's also the problem of taking very thick paint because you end up having a very thick line and the whole point of making it lighter actually goes away. Thinner actually goes away. Okay. Not to worry. Okay. Then here, now all you've got to do is do as if your hand shaking, so that you get these random lines. Okay? Move your brush in different directions. And also as you come towards the bottom, try and make them th very tricky, isn't it? To make it even thinner that you've already have. Then let's see, from there, going to join that one. Okay? And we're going to add another one. Let's see. You can also have like small branches coming out of the ones that you've already made. Okay, Like there. I have too much paint still, so I've got to make it thinner. What this is actually very thick, I feel. Let me try with that size zero brush. Maybe a size triple zero would work or like 200. I don't know. I actually do have a very thin, lighter brush from the ultra mini, but I don't want to be using brushes and then disappoint you because you don't have that rush. I'm just trying to limit myself to the brushes that possibly many of you might have. Okay. All right. Now, this one got to done my paper. Yeah, I think this is much better, you know, like for my hands as well. Oh my God, what Tiny, tiny ones. Wow, That was really tricky you guys. So you can see just add several branches like that. In fact, let's add one somewhere there. Crossing over like that. Don't start like absolute thing somewhere there. Just try and lighten it up as you go up, you can have even lighter ones, you see lightning in the sky. All right. Now the tire painstaking is complete. Let's have a look at the backside. So what is the damage? Okay. It's looking good. Also, remember to peel off your tape at an angle so that you don't tear your paper and don't pull off too much like that stick close to the paper. Oh, wow. Look at this. Our painting is intact, so is this side, all right. Oops. You know what? The mistake I did was? I just noticed some white paint here. And I was like, what is this? This lightning that we had done is not dry and I pressed it. Okay. Thank God it's white and not these other colors. Okay. That's also another risk that can happen. So be careful. All right. So we've completed another day. I hope you like it and enjoyed it. There you go. Thank you for joining me today. 23. Day 9 - Lone Tree: Colours: Hello, hello, Welcome today. Nine. This here is the painting that we're going to do today. It's quite simple, and I actually wanted it to keep it really simple. I've chosen this picture and also because it's almost like the night sky that we did the previous day. Now let's have a look at the colors that we're going to be using for this one. I have started the whole background with a paints gray color. Paints gray for the entire background. Then in the foreground, we have some reddish and yellow shades. So for that red, I mixed up Alice Arn and yellow together. Okay? And I've gotten a mixture of a nice red, somewhat like this, using these two mixtures. Okay, That color is a mixture. Then for the background, I've used also a little bit of my transparent brown, a bit of Quinacridone gold. Don't worry if you don't have Quinacridone golds, because you can easily mix it up by mixing a bit of orange and yellow together. It's still by, so maybe a bit more yellow. And you can mix it up. You can make a Quinacridone gold in color by mixing your orange and yellow together. That's very easy to mix. Don't worry if you don't have that. The color I have used is Quinacrodone Gold, which is from Schminka. That's basically all the colors that I have used, so it's very less pain screen. Alizarin, Crimson, transparent yellow. And lastly, I've also used a bit of transparent orange, which I've mixed with the transparent brown to create the trunk of the tree. Here, right here. Okay, that's all the colors that I have used. It's very simple. Pinscreen, Alizarin, transparent yellow, transparent orange, transparent brown, and quinacarone gold. That's it. Okay, so if you're ready, let's go ahead and paint this one. 24. Day 9 - Lone Tree Project: All right, let us start. Okay. So here's the blank canvas again, and this time today, I'm just going to take a huge risk. I'm not going to put tape at the back, and I'm just going to try and prevent it from spreading to the other side. Let's see if it succeeds or not. But even if it doesn't, I'm okay with it because this is a blank canvas on this side and you can easily wash it away with some water and tissue. And then when you put your colors on the top, it's going to be fine. This is why I am letting it be. But if it was a painting on the back side, I wouldn't take this risk because I don't want that painting to get ruined. Okay? So starting straight away, I am going to start by applying water onto my paper. Okay? But before that, I just need to secure my sheet so that it doesn't stop bending. That's it. Okay. Now, it won't stop bending because you've stuck it to the other side. All right. I'm just going to go start and apply water again. I'll be careful not to go towards the edges there. Staying away from the edges. Okay. I'm lifting my paper and adding, going over to the edge. Apply the water nicely over the middle areas, but towards the edges as you go decrease the amount of water that you have such that it doesn't have any large drops which can pull over to the edge. That's what you need to do. Okay. Now that I've applied water, I'm just going to go carefully because I'm taking risks. In this painting, what I'm going to be doing is I am going to take my brush over to the edge, okay? But not with a pool of water. Just my damp brush and moving the water that's already there. And letting it move on. See? Just letting it move on to the edge. I've taken it to the edge, yes. But such that I push my brush outward and not letting any of the water pull along the edges. You can look at your paper underneath the light and you'll be able to see where there is water and where there isn't. Whenever I pick up extra water, I make sure to apply it towards the center. Okay, See? Just being careful and applying it towards the center will switch to my medium size brush. This is my size ten. You can go for a I eight or a size ten. Okay, So what I mean to say is this is my brush size ten. You just need a medium sized rush, like a round size eight or a size ten. Starting with paints gray for this one. Okay? Nice amount of paints gray towards the top. In this class, I actually have chosen pictures that, such that they match together so that there is a little bit of cohesiveness to the paintings that you're doing on each page because it was a night sky or on the left side. I chose this image here for the right side. Okay. Taking towards the edge and applying, you can see the angle that I've hold, held my paper with, you can see how it's like spreading the water is like pulling down the pigment. Okay. But you've got to be really careful. Especially for my case, I don't have a tape underneath. But if you're really worried, then you can go ahead and put a tape. I am just experimenting myself and teaching you to be, not worried about the end results and to be free, just your mind from the limiting beliefs that these paintings are tough or that, you know, like you, everything needs to be perfect, things like that. Take it out of your mind. Okay? If it spread, it spreads. That's it. Just don't bother, honestly speaking and honestly telling you it spreads what's the worst thing that can happen? Right. It's okay there. That's my paints gray. Now. I wanted it darker towards the top. That's why I'm picking up more colors and applying carefully to the top. Okay, see clearly, see. That's what I'm doing, adding darker shades to the top here. Once you've done that, as you reach towards the bottom, you can start decreasing your color. I've actually washed my brush off and what I'm going to do is I'm just going to pull out the pigment from the top here. Okay. I'm just going to paint the edge carefully. See as I'm pulling the pigment downward, what we're going to do is we're going to pull the pigment all the way to the bottom. Okay. Don't worry about the foreground now. I mean, at least that's how I'm going to paint it. If you need to make a distinct separation between the ground, you can do, but if you observe the painting the reference carefully, you'll see that there is a clear separation, but which you can do it later on with the wet on wet method. The wet on dry method, whichever you prefer. Okay. Because it's a lighter tone that we are applying, the red shade that we're going to apply will also not be affected. Okay. All right. I've actually touched my brush slightly over there. I hope it doesn't just taking a bit more pigment because I see that it's like forming these streaks. And that's because it does the paper doesn't have enough water. But I guess you can't do anything at this point. All I can do is just to keep tilting the paper so that my paint spreads. Okay. Now let's go and start applying the red shade. The red shade here is transparent and you need to have that transparent look. What I'm going to do is I'm going to mix it. Transparent red, Cadmium red, pyro red. These are all opaque reds. You do not want that. You want a transparent red. Alizarin crimson is really transparent quad. These are all transparent. But when it's a rose shade or like a shade like Alizarin, it's got a little bit of coolness to it. So it's a cool red, which means it's more like a purple or a rose in fact. Okay, so you need to make it more reddish. So what do you do? You add a warm color to it. And a warm yellow, such as transparent yellow. Okay. Again, make it nice and red here. I've mixed my Alizarin with my yellow and it's created this gorgeous shade of red here. Okay. And that's what I'll apply. Let me see, my tree branch, I mean, not the branch, the trunk part is going to start there. So that's where I'll apply. Alizarin. Oh my god. Let it spread. Okay. It's fine. I'm honestly fine with the way that it's going to spread in the grass. Okay. See that's the red region. Now you need to capture the glow on that tree. Let's say the tree branch goes like that and then it's going to have the branches there. This is the area where I want the glow to be here. I'll put those reds mixing up the Alizarin nicely. We're doing it in the wettle met. You just actually want it to be having a slight glue. That's it right here and taking it up, there's not a glow in all the places. It's only in some place. Okay, so observe the reference picture at this point and decide where you want the glue to be. I guess that's okay. Now that you've done that, let's go ahead and start adding a bit of depth to the foreground here. I'm taking paints gray again and I'm going to go along the edge. Maybe your paper has started to dry out, but then once you start applying water, the paint, it should start to come back. Okay, here, just giving it a little bit more color. As you reach towards the red, you can start to blend it up a little. And this is the point where you can actually the horizon line. Now you mark the horizon line, you can go ahead and add your paint below it. Okay. And keep your brush, your paper at an angle itself so that it helps with the blending to heart. Okay. Where your paint is going to spread. Let me see. I've marked up the horizon, I've made the pin. You see my paper here? It's got a little bit of glue sticking out, but I guess that's okay. Now my paper is too wet. I've got to wait for it to dry out a little bit. Before I had any details, I've switched to my round size for brush. Okay. What I'm going to do is I'm going to add a teeny tiny amount of yellow as well, to that foreground. Okay? Can you see? I can actually see a little bit of light there, which is why I'm adding that yellow. Okay. And maybe a bit of yellow shades to the bottom there as well. That should do, as far as the rest of theory is concerned. I think I'm okay taking a bit of paints gray to make the tree branch here in the center which is actually black. Can you see that? Okay, the rest of it be add in detail with the wet on dry technique. Okay, now what we've got to do is to add in the footprints. But let me see the consistency of the paint. But see, it's still a lot flowy. I think I've got to wait a bit before I can add in footsteps and the marks on the snow. Okay. But having said that, I just noticed in the picture that the snow has a bit more darker color towards left side. I'm just using my smaller brush and trying to create that darkness towards this side. And also the bottom, I guess should be a bit more darker. When you observe the reference picture, clearly you'll see all of these teeny tiny details and things where you think that you can improve. Okay. As I was waiting, I'm looking at the picture in front of me and I can see there is a lot of things that I can improve. Like the one here where I'm adding a bit more depth, You can see that. Okay. And I'm kind of adding from the left side towards the right side like that. I kind of like that. These kind of marks are not there in the reference, But it's looking good on the paper, isn't it? Okay. All right. Now, I've got to wait a bit before I can add in darker marks. And also in order to add the darker marks, the easiest thing to do is to pick up paint and make sure it's really dry. And because this is like dry paint on my brush, it's easier to make those strokes. When you do dry on wet, it doesn't spread a lot because your pain doesn't have enough water to spread in the water that's on your paper. Okay, Let's just add random marks on the paper marks and it like going towards the tree. Then we have another set of marks. Okay, That's again who was walking in the snow. Okay. One thing to note is that low part is still snow, the glow, and the darkest regions on that region needs to be with that specific color. I'll just show you. Let me put some more marks. Okay. Then somebody's walked in circles. Then we'll go with the same color scheme. Okay? But need to be dry here. I'm mixing it up again, that red shade, but it's dry then. That dry shade is what you'll put there. Okay. See, that's how it makes sense. Don't put the black ones on it. Okay? Any random shapes. Go ahead and add it with the red. It needs to be red. Okay. Now that we're done with the background layer, that layer number one, actually, we don't need to wait for it to dry out. One reason being you can go ahead and paint the background trees. Your paper has probably started to dry out nicely. Even if it's a little bit wet, it's actually good because you'll be able to capture a little bit of mixed wet on wet and wet on dry trees. Okay? So I'm just going to mark and paint the pine trees behind. Okay. There's my horizon line. What I'm doing is marking out the vertical lines where I want my pine tree to be. Also, remember you've got to skip the areas of the tree where you want to add the glue. Okay, here my tree branch is going to be somewhat like that. You can see it's a bit wet in these regions where the edges are quite dry. Okay. I have marked the branches. I do that because it makes it easy for me. All right. Now, I'm just adding the pine tree. I know that adding pine trees may be difficult for many of you. Okay? It's very easy. You've got to start from the top, small, teeny tiny bit, and then you expand as you go towards the bottom. See you really expand and try and paper it towards the top and it gets fatter as it goes towards the bottom. That's how you do it. Okay. Because your paper is almost, you can go ahead and mark your horizon once more. It won't spread as much. And go ahead and paint the bottom part nicely. Okay? Because it's like literally covered up in the pine trees. Right. It's only towards the top that you need to be worried about. See, honestly speaking, I just do it completely random. There is strictly no rule as to how I paint this. I'm having so much fun that I'm out of words in here. When you're doing, try and create some gap, okay? But don't make it like a perfect line or ending. Try and make some shapes just to show that you're seeing the pine tree through the tree. Okay? The parts of the pine tree which you're seeing through the tree there. Okay. That's how you've got to make it. Now again, I will add parts of my pine trees. I've created a gap there because we actually want to add in the trunk of the tree and also some lighter shades. Right. So that's the reason ending the ends. I've lift the paper so that I can paint towards the outside. Okay, there it goes. And I'm really happy with the way it's turned out. Okay, Now along that center region, I want it to be slightly lighter and reflect that glow underneath. Okay, I'm going to start with a brown. Blend it into that black. Okay, see it's a bit of my transparent brown. I'm blending it into black region. Then what I'm going to do is I'm going to take my Indian gold or Quinacdone gold sheet. Don't worry if you don't have Quinacdone gold. I've told you exactly how you can mix that up in the color section. So here now painting that middle part with that glowing quinan shade. Okay, When we add the tree trunk there, it'll make more sense. Okay, So just let it be like that. I guess I'll put in a bit more darker tones by taking up my brown, taking it there, and letting it blend. Okay, there. That's the golden touch. Now that's the first layer done. Now all you have to do is like to wait for this whole thing to dry out. Okay? All right. My paper is now completely dry. Now, I'll start with the tree trunk and the branches. Okay, Here I'm going to take my transparent brown. I'm going to mix it up with a little bit of orange so that it gets slightly lighter. I really love this mixture, the transparent brown and the orange one. It gives such a bright, glowing orange brown color, which is really nice where we start. We start right here, right? That's the point, and that's where our tree is, ending there. That's where we've added the trunk area as well. Okay, there goes the trunk towards the top. Now I've got to add in depth. I'm taking my brown now. I'll add it towards the left side, that the right side is glowing. I know you can't see it, but if I show it too closely, you probably can. But before that now let me fix up the bottom. We just need to create a slight shape at the bottom such that it doesn't look as though it's like protruding out. Now it looks much better. Right. Okay. Then taking up that brown, we'll start going up and creating, but as it reaches up, it needs to go darker. Here, I've mixed it, paints gray. Okay. There, mixed it with paints gray. It just goes smaller and smaller towards the top such that you actually don't see it anymore. Then go ahead and fix in other branches. Okay, Those other branches can be mix of brown and black. Here I'm mixing it with my brown and my paints gray and that's what we're going to be using. Okay, Here is a branch, then another branch, always, all of those branches need to go and vanish into the top. Okay? Now, all you got to do is like add in several of these branches, okay? All to the areas where we have added the glowy bits. Okay, In the reference image, the tree literally has a lot of branches, you don't need to capture that many, it's really tough to capture that many branches. Just do as much as you can. Okay, That's it. In creating branches like this, I am honestly, really lazy. I tend to stop after a little while. This is exactly like the lightning that we did have a little bit of shaky hands so that your branches start to go in different directions. Okay. That's another reason why I club this painting here. It's like a hand exercise practice, isn't it? Okay. Can you clearly see how that tree is glowing on this bottom side? It's really looking amazing, isn't it? Then you can pick up a little bit of white if you want to create a bit more glue. Okay, here at the base, I've just added a little bit of white. I feel it's looking really nice with the glue. Maybe, you know, some of the branches can be glowing, especially the one areas where we've added that yellow bits. And also in the reference image, when I'm looking closely, I do see a white branch. Now that that's done, I feel I want to add in a bit more of that glowing red. Okay. I've switched to my larger size brush. Again, I'm going to pick up the same color that we mixed. Okay. The yellow and red mixture. Okay. But need a lot of water and make sure to have a cloth or a tissue ready. All right, then this region is where I see that it's got some nice glowing red. I've just put in a little drops of color like that. The same thing we can do here. This is the best thing about this transparent color, Even if you paint over your black or the paint clay that we've applied it, honestly speaking, it's not going to affect that is it is a transparent color. It's as simple as that. Okay. Going to need a watery mixture or a milky consistency and apply. Okay. Not in all the areas. Just randomly, this gives it like a dwell tone because of the underlying reddish shade that we gave plus the tone that you're adding right now. Okay. Okay. Now I said cloth because you don't want it to be that vibrant. Try and absorb bits and blobs. Okay. This much red is enough. You don't want it to be too much. I know that water colors go lighter once it's dried out. Even then, I felt that the amount of red that we added earlier was a bit too bright. Okay. You can actually reduce it up with the clothes now. I like the way it's turned out. Now I feel that the red at the bottom has reduced a bit. I'm adding a bit more of that same red shade. Okay, If you look here, I've added that red shade. You see it's a hard edge, but you can easily soften it up with your brush. I just to run my water along the bottom. See, I've blended it up. Got to do the same towards the top there. I've gotten rid of the harsh edge and it's also a bit more brighter. All right. We're basically done with the painting. There you go. I hope you like it. I really love these two pages, how it stand out. Let's see if there's any damage on the other side. Oh my God, that's so clean. I've just only got some bit of blue here. I'm surprised I didn't use any blue, Maybe this is from the other page. This one over here. Okay. It's clear here, the final painting. Thank you for joining me today and I'll see you again tomorrow. 25. Day 10 - Fiery Northern Light: Colours: Welcome to day ten. This here is the painting that we're going to be doing today. I hope you like it. It's an entire page of Northern Lights. I know that it looks difficult and you may be worried, but please, we can't get this done. And I'll share all the tips and tricks to get this done. Now let's have a look at the colors that I have used for this painting. First of all, I have used transparent yellow. Then a bit of hello Green for the sky. Then the darker parts of the sky is a mixture of indigo paint screen. Obviously the foreground is paint screen, that's pretty much it. With four colors, you can make this entire painting. Let me tell you once more transparent yellow lo green ridion or emerald, indigo and paint screen. Obviously you need white gash as well. This foreground is also done with a bit of white. That's pretty much. I hope you enjoy painting this one. Let us go ahead and have a look at how we can paint this one. That's basically all the colors. Now I just want to bring to you, notice that this page, again for me, is center page, which I've chosen because I want it to be like spread out. If I were to choose a page like this one, then it's got these gaps in between. There's nothing wrong in that. I'm just telling you that that's what I've chosen for this page. I've planned my sketchbook accordingly. My sketchbook actually has one page like that. Then there's one page that's called the center. It goes on like that. All my paintings have planned it accordingly. If I want it to be like a one single flat lay, then I tried to go with a single page. But there are paintings in which you're painting the whole thing, but it's not a center page. But this is just I'm telling you, there's strictly no relevance. This is your sketchbook exercise, your sketchbook painting. Go do whatever you want, okay? There's no rule to this. And if you're ready, let's go ahead and paint this gorgeous painting. 26. Day 10 - Fiery Northern Light Project: All right, let's start. I've actually taped both the sides and this painting, as you've already seen, is going to be the whole sheet. Let's get to it. But before that, I just have to tape my paper to this side and that side so that it doesn't start bending and flowing out. Let me just do that. Okay. Here, it's all taped and ready, and as you can see, it's a center page. Okay. I'm going to start by applying water onto my whole paper. This is a very critical painting. It's the Northern lights. You've seen it, but obviously, again, it's just like the Galaxy painting that we did. You've got to be careful. Don't go towards the edges as you apply the water, Look under the light and see where the water is on your paper. Let it nice and flowy only towards the middle regions. Okay, very careful about these things. I have put more water, but towards the center, as you can see. Okay. I guess I'll also limit most of the chunk of water towards the right side because that side is empty, as opposed to the left side where we have our paintings at the back. Okay, so here it's just water at the center, but in a very even manner. Once you're satisfied with the water that you have added, let's go ahead and start. Okay, I'm basically starting with a nice yellow color. Okay, here's my yellow shade here on the right side of my palette. That's where I'm mixing it. Okay, starting with a nice yellow shade. And then we'll start creating the shapes in the sky. Okay, I'm going something like that. And then bending and turning it like that. Something over here like that, more shapes. Okay? Then here at the right side, something like that. Okay. Just creating random shapes and doing that. Okay. Once you're done with that, we can go ahead and pick up the next color basically which is to green. I'm picking up Hello Green. Okay. And you can see that. Okay, I'll mix it here so that you can actually see. Let's quickly mix up the colors then, taking that Hello Green. I'm going to go closer to my yellow that I've applied. Can you see that? And just take it. Built your paper. Very important because that's how your paint is going to spread and create those beautiful aurora lights. Okay? Let those yellow and let it spread at random. Don't worry too much about it, okay? Just create these lights. I know that it looks very, very scary and you might be like, oh my God, how am I going to do this? But trust me, you can. Okay. Really do, trust me, you can. What I'm noticing here is because we've got the tilt in our paper. I've got Water, which I'm going to absorb with my brush. Okay. Just need your brush. And run it across, dry it in a cloth or something. The extra bits of water will go away. Okay? Now, before this thing dries out, you've got to paint the sky region. Okay, here I'm picking up my indigo. I'm adding it now. Again, add it, following along the lines. Okay, very important in this side, come in between. Use the entire length of your brush to kind of push pigment and flow it in words. Okay? See that? Can do the same. Okay? See how it's flowing in words? I know that it's not very good right now. We've got to blend it up. Okay? But until we blend it, don't stress. Okay? The funny thing about Aurora is that it's never going to be the shape that you initially added. It's just going to be a whole bunch of different color tones and you'll be like, this is not the lights that I made initially, so funny. Okay, I'm going to take a little bit of paint scray as well to add to the top because I need it to be really dark and having a nice depth, especially here at the top. Okay, Right now what I'm doing is just laying down the colors. Once I'm done with laying down the colors, I'll go around to mixing them. Okay. I guess this middle portion, I want to have like a bit more towards the bottom. There's one more area that we haven't laid down the colors yet, so I'm going to go back with my yellow apply to the base. Okay. All right. Now that I've applied all those colors, I'm going to go back with the same colors that we used earlier. That would be my yellow at first. Okay? And see, I'm just going to run it along the edge. Okay. Back to my yellow, yellow again. Wash your brush if necessary. If you've touched the indigo and your yellow is turned green or something, touch it again. We actually created some shape here. Now, back to the thalo green. Take it up. You can pick up different greens if you want. Okay, let it go to the blues. Okay, keep mixing it up. You will eventually observe that you're able to blend it up so long as your paper is still wet, you can do anything with it. Okay? So you can see the areas that you see has started to dry out. Look at your paper. Look, look. And that's the most important thing in this painting. You've got to observe that. Where is the color starting to bleed? Okay, I've noticed that this region here has started to dry out, which means I need to work on that immediately before it starts to dry out. Okay, so here I'm loading my brush with the Hello Green and I go ahead and apply it. Okay, I might lose the yellow in the process. I might mix up different colors in the process. But the most important thing for you to do is to make sure that it's blended up. Okay. Now I see other areas where the indigo is not mixed up together. Now I'll take up my indigo. And I've noticed here, go together, see here, the indigo is not mixed up. So let it just tail along. Really look at your paper. That's what you need at this point, okay? It's like a glowing fire of some kind, isn't it? But you can solve it. All you need is nice amounts of water to blend and mix these things, okay? Which if you apply onto your paper, you can have the paint flow nicely. If you observe that parts of your painting has started to dry out, let it go on. Then you'll see these nice hairs forming. Okay, I just want to try out and see if I add in a bit of lighter tone here. Does that work? Not much. The yellow we're using is like transparent, so it's not going to work much. But you can go ahead and wet those regions. Wet the edges of the strokes that you're doing so that it has enough space to bleed out. These bleeds are what creates the blend. Do you see that? The blend here in the sky is because of those bleeds? The bleeds are happening because of the angle that you've given for your paper. Okay. If your brush is really dry, this technique is not going to work. You actually need your brush to be wet with a little bit of pigment. That's why I keep picking up my pigment. But then I'm dropping water drops here. I think that'll go with yellow shade here towards the bottom. Although it's going to make up greens at this point, but still gives that nice flow in our painting. Okay. Any depth that you want, we'll just go ahead and keep adding the dark indico, the paints gray. Okay. The more you add towards the top, the more depth you will have in your painting. And observe the watery mixture that I'm adding. Important, like I said, wash your brush each time when you're trying to paint yellow shades. Okay. Very important. Because otherwise it's just never going to be yellow, isn't it? Okay. So I really love the way it turned out and can you see how it's like bled downwards? Let me just make sure that the top and all the edges are safe. I think the bottom might have got some water accumulated just absorbing extra water that I see. But I love those bleeds. And those bleeds are what is very important in our painting. Okay. All right. If you're done, it's best to actually let this naturally dry. And also if you can let it dry by like keeping a tape or something underneath so that it always has that flowy angle. Okay. But I think once it's got all these hair like structure, it's fine. You can let it dry now. All we've got to do is to wait for this to completely dry out. Oh my God. I just love what's happening here. I guess the only thing now left to do is to wait. All right, guys. Here you go. After it has completely dried. Can you see that? Just look at those blends. I know that I should not be boasting, of course, because I'm the teacher. But sometimes you just have to marvel at some things that you create, isn't it? I'm just human. I just love the way it turned out and I can see there's a lot of bleeds in here and there because of the center part of the book and I hope nothing's damaged on the other side. Although I can't see anything right now. We'll see at the end. But I just love the way it turned out. Now all that's left to do is for us to add in that foreground, which is really simple. I'm not going to make it clean, very complicated. Just going to go directly with my paint. Spray paint. Scray is the color that I mostly use for black. Okay, I guess it's going to be a very little of the foreground. I don't want to take it too much because I love the way the sky turned out because most of our colors are towards the bottom, I am sticking it up towards the very bottom. Okay, like that is going to be my mountain. Then we have like some rocky structure towards the foreground. Again, I'll paint that with some downward strokes, leaving a gap there. Because I see that gap in the picture. Then it starts to go, I'm not painting that human there. Okay. Whoever took that photograph must be standing there. And that's why he took that photograph. But I'm not painting that these images are from unsplash. So, you know it's safe to use them. Just add any kind of foreground. Okay? You don't need to add exactly as in the picture as well. You can go with anything else that you like. Maybe you can add mountain there. Okay? Now, as I start making a random shapes done with that background part, now the only thing I am going to do to make this foreground a little bit better is to add in some highlights. Okay? But because it's black, how do you add the highlights? Let me just show that to you. Okay. The highlights are mainly because these rocks, they are not simply just black. They've got surfaces because the way they're sitting and the light is hitting on them, some areas are bound to have the highlights. The highlight in this case is going to be somewhat like this aurora color, but it's still going to be black because it's a night sky. Okay. The way we're going to do is I'm going to take up a little bit of my white paint. Okay? I'm going to mix it up with the halo green color that we used for the sky. Okay, see it becomes like a cobalt turquoise color. If you have that cobalt turquoise, you can use al. I believe that it's best to mix the same color that we used. It's not going to be visible this much when it dries up. What we're going to do is we're just going to add some random shapes. Okay? See that? Random shapes such that it looks as though the rocky shapes. Okay. And we'll add that into our mountain region. Okay. Just some areas you can see. I'm not even washing my brush, I guess because I know that when it dries out, it's going to be, like, really subtle. Then what you can do is you can pick up more paints gray, and try and add some darker shades in some areas in between. And if you think that you've added it too much, then it's also the point where you can add more. Okay. Trust me, that's going to dry very lightly. Okay. Now, let me quickly dry this up and then we can see what's the damage and how this painting is turned out. Now, the only thing left to do is to add in the stars, which is really important, isn't it? So let's add the stars. Going to be using my white paint as usual. Okay, loading up my brush. The smaller brush that you use, you get the smaller number of the smaller stars o this is not like the galaxy. You do not need a lot. That's why I'm just using this. Stopping method. Look at my hands. Oh, here it is. Now, let me dry this up so that you'll see how lighter it is. All right, here, Everything is now dried up and you can see how it turned out. Let's have a look at the damage. My goodness, it's the scariest part. Some damage over here. The Hello Blue has spread out. I know how to fix that. Just be ready with my clothes. Of course. Let me take out the tape. I really want you to know that it's completely al right. There are so many ways that you can fix things if they don't turn up as you expected. Let me carefully peel that off. Oh, wow. The plow green was just on the tape and not on the paper. This side here is damaged because that's actually the glue that was sticking this paper. The glue just absorb any color. But other than that, the painting is absolutely safe. Can you see that? Okay. Okay. Wow. Look at that, you guys, It's safe. Nothing's gone wrong on this side. Obviously, all the other sides are safe as well. Now, we've got to go over to this side. But like I said, even if you damage this side, it should be okay. You can still clean it up with water. I sometimes feel that at least one of you might be thinking that this is a whole wastage of tape because you're not using it. But honestly speaking, I just think that this is maybe like one, a teeny tiny bit extra than you would have used if you were taping the edges of the paper. Don't you? Think so. I mean, yes. You would have taped one set over the whole I've just used twice. That isn't it? That's either safe, all the areas are safe. And see how this has turned very lightly. So that's why I said don't keep it like purely black, try and give it some shades. That's always very, very important. Okay, I hope you liked this painting, and thank you for joining me today. 27. Day 11 - Dusk-Dawn Harmony: Colours: Hello. Hello. Welcome to Day 11. And this here is the painting that we're going to do today. So as you can see, it's kind of where we're taking our sketchbook exercise to the next level and trying to blend two different reference images. Both of these are attached in the resources section along with the combination I have made by simply cutting together and pasting it together. Just to show you an example of how I intend to do it. Even if you look at that picture, you're going to say it's like completely random. Not at all like that, but it's something that I wanted to show you how you can mix up two different images and create a stunning, absolutely beautiful landscape of your own. Okay? Something that goes in your sketchbook, here it is. Basically on the right side is like a very warm color tone using one of the images. On the left side is the cooler color tone where we've got all the blues and the violet tones here. Okay, this tree right here is the focal point in our image. Which is why from the right side, that is the other image. I've made the tree smaller. Even though that's also bigger, it's your choice. If you want this tree to be or focal point, then maybe try and reduce the size of this one. If you want this tree to be a focal point, then this is how you can paint that. So that's what I have done to bring the viewers attention to where you want. I know that obviously cooler tones are not something that you always put as a focus, but in here, that's exactly what I wanted to do. There are some cool techniques in this one. Like for example, to get these drippings from the tree and lighter tones, light taker tones and such things. Let's first have a look at the colors we have used in this painting. Don't worry, this is not as tough as you look. The sky is actually pretty simple and the entire thing is just basic and most of it is just on dry. It should be easy for you. Okay. The colors that I have used for this painting are, starting with the sky on the left, I have used my Hello blue or the bright blue. Okay. Then for the sky on the right side, I've used my transparent yellow. Then I've used some quin gold. I've explained in a previous project how to mix the quin acrodone gold. You just basically mix orange and yellow together and you'll get the quin acrodone gold color. Then for the cloud region, I have mixed up Alizarin crimson and my violet together. Okay, so violet is not in this consistency have mixed a very lighter tone of violet and my Alice are in together which creates a nice warm tone. So I've mixed violet and rose. So violet is already a color that is kind of like the mixture of blue and red. And when I'm mixing more red into it, it makes it a warm violet, right? So it's like a purple color, and that's what I've used here. And as I move towards the left, since we've already got the blue in the background, it turns into a cooler shade. Okay. So that's basically that. Then for the tree trunk, I've mixed in orange and my transparent brown together. Okay. Before that there's the foreground. For the foreground, I have used my sap green. A bit of transparent yellow, which we've already marked there. Then the dark green, I know that many of you may not have this darker green. So what you can do is you can mix your green with either pink spray or indigo to make it darker. What I've noticed that is another method to create this darker green is to mix your transparent yellow with indigo. That would make it darker green at the same time warmer because you've got yellow in it. Okay. Then on the right side here, I've used olive green again. Don't worry if you don't have olive green because you can mix your sap green and your burnt umber or your brown together and you'll get olive green. That's exactly what I've done here. I've mixed olive green with brown. Which means that if you're mixing up your sap green with your brown to make olive green, then mix more brown in that mixture. That's what happens. Okay, if you see this mixture here, let me just show that to you. This is actually just a mixture of green and brown. And see I've added more brown, so that's why we get a darker brown like that. Okay. Sap green, dark green, brown. And then on the right side, I've also added a teeny tiny amount of burn sienna here in the background. Let me see. That's pretty much all the colors that I have added. Yes, that's it. That's all the colors that I have used in this painting. So let me just quickly recap. Hello. Blue, transparent yellow, quinacridone, gold, Alizarin, crimson violet, transparent orange, transparent brown, sap green, dark green, olive green, and burnsena. Okay, so those are the colors that I have used in this painting. If you're ready, let's go ahead and paint this one. 28. Day 11 - Dusk-Dawn Harmony Project: All right, let us start here. I've taped both the edges. Again, as you've seen, we're going to be making a whole page painting today. But we're getting into the complex bits of the sketchbook process that is combining two different images and putting it into one in this painting over here. Okay, so let's just see how we're going to do that. It is tricky, trust me. Okay, let me just stick my paper. I'm reusing the ones that I've used before that way it's less sticky and less dangerous that it's going to tear my paper. So I just save these up from the previous painting. I just put it on my table so that I can reuse it. The paper is all fixed and ready. Let's just start. Okay, It's quite easy, don't worry. So what I'm going to be doing is as usual, lying water onto the whole of my paper. I'll apply to the whole of the left side first. Okay. So here taking the water and applying to the whole of the left side, careful not to go over to the edges, that is these three edges. The right side is fine. Okay. All right. I think the background should be pretty easy, the sky part. Okay. All right. Now, I'll slowly go to the edges and try to add very little water as possible. It's going to be very bad if we smudge our Northern Lights painting. Should I say very bad? No, no, no, no. Sorry. Sorry. I mean, it's going to be a disaster, but that's the worst that can happen, isn't it? Okay. So let's just on it. I'm just trying to encourage you guys. Don't mind whatever I'm saying. Okay, here you go. The left side is done now, basically, I'm just going to go over to the right side as well, not the whole. Okay. Just a bit. I didn't apply both together because your water, could you go in between? So you've got to be very careful of that part. I think it looks good now along the edges carefully don't let water accumulate in these edges. Okay. Because especially if it's a part like that. Okay. Applied water. Let me just carefully do it again on this side and make sure it's intact in all of the places. All right. Now that I've applied the water, let's just go ahead and paint. I'm starting with halo blue and that's what I'm going to be applying for, the sky. Okay, on this left side here, I start with the helo blue. Let me carefully go over to the edge. Hello, blue is a staining pigment, so you've got to be careful. Okay, so here taking over to the right side. Let me take up more of the blue Now then, sir. That's what I'll apply at the top. Okay. As I always say, aerial perspective, if you want to put it into play, which means that the top region has to have more color. Okay, And decrease the color tone as you come towards the bottom. Always remember that golden rule. Okay, now I come towards the bottom. Now this is the part where we extend. Our sketchbook. Tricky thing. I'm just going to take my blue and paint a bit over to the right side. See that? Okay, this region here needs to be entirely blue. Let's just keep at it, try and get that angle towards the right side. I'm stopping somewhere around there. I know that it might seep a little towards the bottom as I'm painting, but that's okay there a little bit of blue to the other side. If you want, you can add more blue to the top. But again, careful along the edges. Very careful. Okay. Don't let water seep in even if the blue goes to the other side. We can still manage because it's a darker side on the other painting, it should be okay. But if water goes, then your painting is going to be ruined and it's going to create blooms on the other side. Which we really do not want. Right? Okay. I love the way I've got those bleeds in the blue. I somehow like these bleeds when near painting the sky, you know. Let me just clear this bit here now. For the right side, I'm going to use the right side of that image that we have, okay? Basically, let's see. I'm going to start with a nice yellow shade, which is going to be for the sun region, that's somewhere around there. Okay? Just leaving a large white chunk for the sun. Then I see that there are lots of golden sheets. I'll take in a bit of my Quinacridone gold. Okay. And we'll add that. I think I should shift to a smaller quill size brush. I'm just taking my size zero quill brush now. It's basically the medium size brush. Okay, that's what you need. The Quinacridone gold. Okay, this quin gold, you can start applying the words, the horizon. One thing you need to note is you need to make the horizon line same. Okay? That's where we stopped the blue. Let's stop that there as well, okay? Painting the edge and carefully blocking the areas. So how do we blend these two together? Those are completely different colors, right? I guess the easiest way to do that is to use a purple color. Purple is two purple. So what I'm going to do is I'm going to take off my purple. Okay, I'm going to make it slightly pinkish. It's best to mix a bit of Alizarin and a bit of purple together. I guess that's a good shade. If we add that to our sky, it would create that gorgeous, subtle or orange, brown shade that we have in the sky. As well as give us the good, beautiful purple mixture for the bluish regions. Don't you think so? Let's just do that, okay, Alizarin, and a bit of purple. And that's what we're going to be using. Use that to create just cloudy shapes. And now guess what? You can use the same color tone and start adding some cloudy shapes onto the left side because we actually want to blend it together. Right. Okay. That's what we're going to be doing here, Ali. A bit of violet. Both of them together and start to make these smaller cloud blends. Okay? Make the clouds smaller as you go towards the left side and have your people to it because that's aiding in the spreading of the pains and creating those beautiful tones. Okay. As a bit of the violet, it's more towards the reddish side. When you add the violet, just make sure okay, that it's more towards the reddish side. Okay, just filling in these regions. I think I'll add in a bit over here because it's lacking. If you look at the picture also, you can see there's a lot of clouds. Adjacent surrounding to the lightest area. Okay, so that's what we're trying to do here, Alizarin. And a bit of violet gives that beautiful color. Because the color that we're going to be adding is a bit darker. Should be. All right. There's that blend. I kind of like it. I like the way that it's blend together. So I guess we're good to go now. Just absorbing the extra bit of water from the bottom and I'm wiping it off on my tissue, that's why you don't see it. It's actually here at the right side of my table. No. Shall we go and paint that foreground? Okay, for that foreground, I'm going to go with a bit of sap green. Here's my sap green. I'm going to mix it up here on the right side of my palette. But what I'll do is I'll mix in a little bit of my Indian yellow or transparent yellow so that it's nice in light, it's going to be like the Windows XP paper. Actually, that foreground is almost like the Windows XP wallpaper, don't you? Think so. Then you just go ahead and stuff it up with that color. See that? Just fill it up. Then as you approach the bottom, I guess you can take more D, the sap green itself, and just add the sap green. You can see how the bottom has actually started to dry out because we didn't apply any paint over there. Darker green towards the bottom. Now let's see how we can blend it towards the right side, taking the same greenish mixture. I'm going to go over to the right side. Then as I reach towards the right side, I start with olive green. Here's how we do it. Olive green, nice amount of olive green towards the right side. Then as I reach towards the right side, again, I'm going to go with a more brownish color. I pick up my burnt sienna this time. Okay, And then blend it along with the olive green burn sienna. If you look at the picture, you can see that it's brownish stones towards the right side. Now that's where you take clear, burnt sienna, you paint with it. Okay, so set that up then a bit more olive green as we try to match up, blended that along. Then a bit of sap green as we try to blend these regions together. You can see how the green blends into the right side. Do you see that? How we've mixed up two images, but obviously there's those trees left. Wait, let's finish that. I know that we've got some little spreads here, but I actually don't mind. I like it when my foreground is soft. I know that. It's not like that in the picture. But having said that, you're free to go ahead and do it the way you please and the way you like it, okay? If you're not a person who doesn't like your backgrounds to be having these softer edges, go ahead and make wet on dry strokes once your paper is dry. Okay? I didn't wait for it to dry and I did it completely with the wet on wet method and before it dried up. So I get this kind of like mixed wet on wet and wet on dry technique, which I really love. So that's why I'm doing that. Okay, now before that foreground dries up, let's put in some details over there. Okay? So for that what I am doing is I'm taking up my olive green, there was a bit of halo green there. I don't mind taking my olive green, mixing it up with a little bit of brown so that it's more like a brownish, earthy green. Okay, need a bit more olive green there. I guess that's good. Now, we'll start adding the foreground here. Okay, if you look at the picture, you've got more of those, these marks and some random grassy shapes towards this side of the reference. I'm actually looking at the reference of the mixed image that I made. I don't know what's on the left side of that original painting. It actually helps not knowing, because then I'm free to make these random changes. Okay, here I am just randomly adding these sing things to the left. Which gives me the creative freedom to experiment and just go about it. You see that? Now I'll take a bit of sap, maybe a bit of green. I'll mix it to the same mixture, dark green. Now I need to make it more dark, my transparent brown mixing into that. Now the time to add depth. Okay? Using the same mixture but in a darker version. Adding depth at random places. Darker colors. Okay. I guess that's it. Okay. That's it for the four round. I'm not going to do too much stuff although maybe if you want some random detailing on the ground just so that it's not like completely paint brownish over that side. Okay. Yeah, I think that should do. Um, I don't want to add anything anymore. Now. What we do is we'll wait for this thing to completely dry out. Okay. All right. Everything is now completely dry. We can go ahead and paint the tree and the rest of the things. Okay. So I'm going to be starting with a nice amount of my brown, but I'm going to mix it up with a little bit of transparent orange. You know by now how I like to lighten up my brown using that color. It's these two colors that I mix frequently together so that I lighten up my brown a bit. Okay, then let's see, I'm going to start the tree somewhere there. Then the tree goes up like that, then has a bend like that. I'm just trying to mimic the shape as I see it. Okay, Then this side with the branches and everything. As it bends, then it's got a branch that goes like that. Then another branch alongside it that goes like that. This is going to go towards this side like that. Now, we'll take it up with a smaller brush. This is just to get in the colors initially. Then comes the main branch, isn't it? That main branch is going to go over like that. Here's the trick. It's going to go over to the next page. Okay? And then it's going to turn just like in the image, and we'll be in the rest later and orange mixed together. This branch here on the right side has another branch comes off like that, then it's got some drippings. Okay, let me show you how I did those drippings. Okay? If you look at my paper, I'm holding my brush like that at an angle, and then I pull it down like that. Then what happens is it creates these dry strokes. Try it out on a different piece of paper first before you get it. Perfect your technique first, and then do it on the paper. Okay, it's all right if you don't get it and it's completely fine. See, I didn't get that point. It looks weird. So I'm just going to extend it a bit more. I guess there shouldn't be a lot of water on your brush, so that's one method to take it up. Okay. So now I'm going to make it darker. I've taken more of my brown and I'm going to add over the top. Okay. So these ones, I want it to be dark, I guess. Okay. See? Just stuffed in some darker. Oh, I love the way that we stand out. Now it's time to put in darker shades here. I take my brown and we're going to go over this side. Okay, That's where I see the darker shades taking over the darker colors. Remember there, they're all good. If you add these subtle color changes and everything, there's a branch that actually goes like that. But we'll paint that with a different color, I guess because it's lighter. Then again, even these branches, they have a depth element to them. For example, let's paint all right here on this branch here. I love the way we've captured the color on those areas. But now I'm going to shift to a smaller size truss that it's easy for me to add in thousands of branches. Okay, Don't worry, I'm not going to add thousands. Okay? I'm going to finish this as quickly as possible because I also want to finish it as quickly as possible. Which branch? This, this is the branch that goes over to this side. This branch has another one that comes out of it and goes to the top, and then branches out at the top. And this one comes here and branches at the top. Over there, you can add as many branch as you want for your tree. Our tree branch here, I guess that's okay. Then I guess I do see a branch structure kind of going like that towards the right side. So I'll take that up. Okay. Then again, another one on the right. All right. Oh, I love that. Now for the tree that's there on the right side, we're going to do something similar, but I'm going to make it pad, smaller than it already is. Okay. The reason for that is this tree is our focal point. Try to make the other elements smaller. A tree here, I've mixed my orange and brown together. Going to start my tree there. Okay. I've washed my brush because I want to soften out the bottom and blend a tree bottom. See what I've done there. Just softened it with my brush. Okay. Then taking my tree, I think that's the height of my tree at Max. Okay. Coming over to this side, we had the main branch. This branch go a little bit higher. Now we go over to the darker colors. I guess the top regions should be darker. You can capture some parts of the area in depth, but not a lot. This is the lighter area, Remember that maybe a bit towards the bottom as well, but remember to blend that region. Then taking Brown, let's add in as many branches as we can, but teeny tiny ones. I'm using the pointed tip of my smaller size brush for this purpose. So this is the trickiest part. I know it's going to be like, oh, how long is this going to take? And you've literally got a lot to add, it's okay. Just take your time and enjoy the process. Okay, I guess that's it. Now, let me get onto our main tree, which we're not done yet because we've got lots of branches to add. Don't you think it's time for us to add the leaves for that tree? Also, if you look at this painting, I really love the way it turned out. I'm just going to take a photograph of this in case I ruined this up. All right, if you're, let's go ahead and paint this tree. We're going to be starting with a nice sap green color. Okay, so here's my sap green and adding a lot of water to the mixture. Then let's mix in a little bit of lighter color. Or another way that you can do is you can just paint with yellow directly on your tree, but I think that would be too light. This is why I'm mixing it with a little bit of sap green. Okay. What we're going to be doing, we're going to be adding teeny tiny branches. Some areas use the entire length of your brush. Some areas just use the tip of your brush how you can get those strokes. Okay? Now, pay careful attention to how the shape of the tree is in the picture. As you go towards the edges, see how you can create these varying kind of strokes. Okay? Leave some gaps. See these tiny, tiny strokes, Stroke marks that I'm adding the same. This is a sketchbook exercise. So feel free to do any kind of tree shape in fact that you want. You don't have to do exactly as in the picture. So feel free to experiment and do anything. Now towards this side, I love the fact that towards this side it's going to reflect that olive greenish colors. Because of the underlying warm tones that we have added another positive thing. Okay, when we're adding this tree in the end that comes out of it, the tones are going to be warmer on this side because of the already warmer colors that we've added there. Can you see because of the blue that we've added this side, the color also turns out to be cooler on that side. Isn't that perfect? This is the most time consuming part where you're going to be painting the tree, I suppose. Okay. But there's one thing I'd like you to do, that. Once you've added those colors, pick up a little bit more of the green, or a darker green for that matter, and start to feed in a little depth at random places. The more well color that you can give this, the much better is going to look okay if you look. I'm just adding darker swallow strokes at random and you can already see how that area looks more lively because of the darker colors that we've added. Right. I'm adding it before it dries out. I'd like some of it to spread out, some of it to be dry. It's like semi dry state. And it also spreads out which is positive. Okay. That's why I didn't wait for the whole tree to be done to make these smaller strokes and adding the shadows as you come towards the right side. Keep it minimal. You don't want it to go towards the right side and be too warm. Okay, careful there. Let's get back to adding more. Ticking yellow as I approach this side. Okay. I see that there's a branch that literally we need to add some branch shapes in there, but we'll do that. But the tree really extends outward like that. Okay. Smaller ones towards the end, really teeny tiny ones. This painting can be so therapeutic if you let it as if you forget about all the things that you've left to do and just go ahead and keep adding these little strokes. You can actually do that. Okay. Not done with the left side, so going back, just going with smaller strokes. But before that, let me just pick up my dark green again and go with the darker shades at random places, careful as I go towards the right side because we don't want too many. I promise this will be over soon. Finishing off with darker colors. The good thing about this dark green is that you can paint over some of the branches now, which will make it look as though the tree foliage is covering the branch. See that otherwise the sap green is too light and the brown overpowers in front. But when you add it this way, your dark green is dominant and it takes away that branch. Okay, I think this is it. I'm not going to add too much. I know that there's a lot more density within the branch, but let's not add too much because it's going to take a long time. But like I said, if you do have the time, just sit and enjoy while you make all the branches and everything. I am just adding a few more branches just because it looks so fun. Now, when you're adding branches, make sure that you add them in between the trees, the tree foliage that you've added. Okay, you can add as many foliage as you want. This is like literally possible to sit and paint for such a long time, but let's not take too much time. Let's wrap it up. I am going to wrap it up. Okay. I just noticed that this edge here doesn't seem to have any branch, so let me just add few and the same with this one. So you can see how I'm just adding some lines here and there just so to connect them. That's it. That's pretty much it. I hope you like it. Let's see the damage. The tree is still wet, so don't close your paper yet. I'm just very eager to see how much of my Northern lights of damaged to see that it's got some bleats, but it's still safe. And I've noticed that mostly on this side is where it bleeds and I have a reason for it. It's not actually bleeding outwards. It's just that your paper is wet when you're applying water on this side. The water is being absorbed by the paper and it eventually reaches the fibers of this side. Then the pigment on this side, the paint on this side, starts to loosen up and that gets stuck onto the tape. It's not actually my water bleeding because if you look, it's fairly clear. But what happened was the moisture from this side has got into the other side. The same here. So and I know that the site is going to be okay, so it's absolutely fine. So here you go, guys, and thank you for joining me today. 29. Day 12 - Cobalt Peaks: Colours: Hey guys, welcome to Day 12. This here is the painting that we're going to be doing today. Isn't that gorgeous? Such a mountain range. What we're going to be doing is we're going to be capturing these mountains as they form in layers in front of each other. Don't worry, this painting doesn't have too many layers. I guess there's just two or possibly three. But you can go and paint this in a single setting because you're painting in a sketch book, your paper just totally dries up completely. I love this tiny tiny area here where the mountain is like, you know, um, gone in between the clouds. Let's have a look at the colors that we have used in this painting, Starting with halo blue, which I've used for the sky, then I have also used a teeny tiny bit of ultramarine blue in the sky. That's ultramarine blue for the clouds in the sky. I have used paints gray, but you could just be fine with using only paints gray for the clouds. But because it's my painting, I tend to mix a little bit of blue and red to my paints. Gray eventually gets gray itself. But I like when it has that little, teeny tiny undertone of red in that it's not even visible. But when you look at it closely, I think you can actually see it, in my case, a teeny tiny bit of Alizarin and a teeny tiny bit of ultramarine is what I added to my paints. Gray. Okay. Then the next blue that I have used for the mountains is cobalt blue. I know you need different blues for this, but you actually can get away without so many blues. I'll explain how you can create different blues. Okay, let's say that you have only one blue, which is maybe halo blue. Okay? If you only have halo blue, the way to slightly change the color tone of it would be to add a tiny, tiny amount of violet or purple to it. That would change it to almost a color like the ultimate blue. It makes it cooler, obviously. Again, if you're a person who's actually mixing red and blue to get violet, then what do you do? Simple mix that blue. It's a bit of red and you almost get the dark color. Again, it's not exactly the same. Yes, but you still get different blues. Just try mixing different ratios of red and blue together and you'll get different kinds of blues. Okay, so this is blue that I made. Then lastly, one more color that I have used for the painting is Transper brown. For some of these trier strokes and basically that's it. You could actually do away with just two types of blues, a gray and a brown. For this painting, this Alizarin and this extra other blue is just me. Completely ignore that. Now that you know the colors that I have used in this painting, let's go ahead and paint this one. 30. Day 12 - Cobalt Peaks Project: All right, let's start. We're going to quickly make the pencil sketch. You may notice in the reference image that the mountain starts almost exactly like in the middle. But let's not take it exactly in the middle. But if this is the middle, I think I'll just like a teeny half an inch or like 1 centimeter above. Okay. Then let's trace out some of the peaks. There goes a peak like that, the rest is covered up in misty area. And then this mountain as it comes here, we have another peak right in front of it. Okay. It peaks, lots of peak, another peak here. That's it. Then this one is like the mountain in the front goes all the way down there. Then we have another mountain. It's almost like in the middle of the pages in it. That mountain is there and there's a peak. This mountain, we're going to have to mark the border between white and the darker areas. Okay, there starts the shadowy bits of that mountain, then we can take up the shadow somewhat like that. Then there's a bit of white area here. It's best if you can like mark out the areas of white. Okay. Which makes it easy for us to paint. Like for example, there's a white here. Then once that is done, then we have the foe ground just completely random as you can see. There goes. Then if you notice there is an extra, another bit of foreground. But let's catch that very lightly because that's going to be completely white. So you just need to know the position of it. I'm pretty sure, I don't know if you can see this in the camera, but I can see it on my screen here. There, it's very light. This is basically, if you notice, I've stuck the pages but I haven't put a tape on this side because I thought that we don't have a big part where it's wet on wet. We just have some parts of the sky to do. That's why I'm in love with winter mountains, which is why I'm doing the second one. But also I wanted to show you how we can capture the shadows in multiple ways, especially when there are so many layers of shadow in our painting. Shall we start? We'll start by applying water to the sky region. We're going to be painting the sky. Just the sky right now. Go ahead and separate out the sky from the mountain in between. And follow along the lines here along the top of the mountain. Just apply water. It's fine, but not going to be applying a lot of blues there. So it should be all right. As you can see now I'm tilting my paper to the other side because it makes me easier when I'm applying the water. The water is not going to accumulate at the top of the mountain. And also, I haven't taken my stroke towards the top regions at all. It's not going to flow there yet. I'm still safe on that manner. Now I'll start to tilt it downward because I'm taking my brush towards the top and applying the water. You don't need a lot of water, you just need a little. Because you're basically going to do just a sky with lots of clouds that not even lots, most of the clouds are just going to be white anyway. Let me look at the paper. Yeah, that's basically it. Now, let's go ahead and add in the sky. Okay, For the sky, I'm going to be bright blue. Using my bright blue. So let me take it up to the edge, we'll take it up. Then around here, as it reaches the center, I observe that it starts to break up and form the clouds. So I'll take that downward like that. It goes up until around here. We have a little chunk of cloud here on the right side. Not cloud, that is the sky. I'm so sorry. Basically, that ends the cloudy part over there. Then we've just got some more to add here. You can add some background lines like you seeking maybe a bit here, let it go on like some random mixtures. Now, in order to make perspective, we need to add some more colors. Okay, here I'm taking ultramarine blue and I'm going to paint that over my bright blue just at the top regions. Okay, that would essentially bring depth to your painting. Just towards the top there, also the side because that's also part of the sky. Isn't it done now? You can see there is a slight well color in the sky right now. Quickly, we've got to add in the shadows. For adding the shadows, you can either mix up a gray or you can use your paints gray. Okay, here is my paints gray. What I usually love to do with my paints gray is I take up my paints gray, then I mix in a little bit of Alizarin and a little bit of ultramarine. It eventually gets back to the almost the same kind of gray, but I like this gray when mixed paints gray. Okay, now we're going to put that U. We have to be careful not to make any harsh edges. I saw that my paint had started to dry around these regions here, I'm wetting the paper without touching the blue regions. And also, I think I'll keep my paper down because if the wetness that I just applied flows to the blue, then it's going to form blues, which I don't want. All I want is to just put in some random cloudy shapes along these regions as well. There's some harsh edges here. Let me go ahead and soften those harsh edges wherever I've made. I think that's pretty much it we do with the sky. That was really, really simple right now. All we've got to do is to wait for this thing to dry out. Let me just check and make sure that this edge is safe. Yes, it is. Okay. Now what we do is we wait for it to dry out. All right. My mountains now completely dry. So now we're going to paint all of these mountains and layers. Okay? When I say layer, I mean these mountains are like stacked up in the front of each other, right? Remember this part where anything that's like way in the background or at the back is supposed to be more cooler. You would paint that with a cool color and you can come lighter as you come towards the top. If you actually observe the reference as well, you'll see that the most foreground part, which is here is really white. And then this one is more whiter than that. As you go backward, is where the shades get darker and darker and darker. Right? That's what we're going to be doing. Let's paint that. I think it's now completely dry. I'm going to be starting with ultramarine blue. Ultramarine blue. You can either use ultramarine blue or in fact, you can actually use cobalt blue as well. Okay, it's your choice. I think I'm going to use a mixture of ultramarine blue and cobalt blue for the background. I'm going to be mixing it on this right side here. I hope you can see it. Okay, Then a mixture of ultramarine blue and a bit of coal blue. Okay. That is what I'm going to be taking and then I'm going to paint into that mountain. Okay. Let me make that mixture nice and watery so that it's enough for me to paint. That mountain is like completely under the shadow. You can go ahead and paint the whole thing. Can you see Just paint the whole thing. It's absolutely fine. Okay. With regards to water colors, I believe that it's always good to. I love vibrant things. What I usually do is to make everything one shade darker than what it is in the reference picture. If the reference picture is like a dull painting, I try to make it more vibrant. I know that this is the Exact blue that's there in the picture, but I like it this way. Okay. Observe here. As I approached this side, I have stopped a bit because going up, you need to make it misty. Towards the top here, I washed off the paint in my brush. Okay, I'm going to soften it now towards the top. Okay, See that I have softened my paint towards the top. We need to blend it towards the sky. Okay? You just don't see the roof of that mountain. Okay? It's blended into the clouds over there. Okay? Such a misty look to it. See that now that we've painted that mountain, the next mountain is supposed to be like one tad shade lighter, but we actually need to wait for this area to dry up so that we can paint the next mountain. But while that happens, maybe we can add in like the teeny tiny details on this mountain. For example, here at the bottom, it's supposed to be more darker. This is like giving multiple shades of depths. Okay, leave some lighter areas then if you observe it's got the extra lines. Okay, here, see that it's not wet or dry. If your painting is actually starting to dry up immediately, just go over it and soften it up. Okay. But then you should be able to see how it starts to blend up. Okay. I'm just going to blend it and then reapply the paint. I think that's easier for me. So where is it darker here? It is darker a bit, then this side is a bit darker. There's a darker edge there. Yeah, I think that works. Okay. Now, wait for this to dry out. If you have a hair dryer or a heat gun, you can use that. Okay. Okay. It's nice and ry because we're painting in the sketchbook, it usually just takes around two to 3 minutes to dry out mainly because we're having a plied a lot of water. It was a wet on Ry stroke and also we're not using any two side application method or lots of water basically just dries up faster. Back to the mountain in the foreground. Again, more cobalt blue and ultramarine blue into that mixture. Here I go again, need a lot of water as I go, but observe closely how it's a lighter blue. Then leave some areas white. If you observe in your picture, then you'll see that as well. Okay, taking it up, I've got a little white area here. I've marked that. Then I've got a white area along the edge of that mountain. Then the rest of it, I need to paint the rest of the areas. I'm just going on with my paint. In fact, even if you take more paint, it's never going to be as dark as the one that you've already applied there. Let me quickly go over to the other side. Remember, this mountain needs to be even darker than the one that we have on that right side there. Now I'm taking ultramarine blue and the same mixture but in a little bit more medium tone and trying to mark some of the darker regions in the mountain. If you observe the picture closely, you'll see that there are like color variations within that shadowy regions. That's exactly what we're capturing here. Okay. And the same if you go towards the right side, coming over to the right side. Now in fact, one method that you can do is to just paint the whole thing in cobalt blue at first. And then when you're adding in in the shadowy bits, these are darker colored bits. Then you can add in more of ultramarine blue, just telling you different ways that you can paint this. Okay. I got to stuff that in marked the border of where the white region is supposed to be. Then let me pick up ultramarine blue and give depth to some of the areas as I see it. I see that ultramarine blue is needed somewhere around here. Then a little bit on this side of the mountain. Then a bit here, you take it up like this and of course a bit more on this valley dip here. I mean, that's not necessarily need to be ultimately blue, it's just a blue shade. Okay, to that right side. I mean, some things I've actually forgotten to paint with my sketch it out. But as I look at the picture, I have the picture right in front of me here. As I look at it, I'm able to visualize. I know that this part of the class may be tough where you have to manage watching a video as well as have the reference image in front of you. I know it's tough. I'm so sorry about that. There we've painted a lot of that Now, I guess there is some areas here then. Here at the bottom. Oh, I didn't sketch that out. Let me quickly sketch that out with my brush itself. Okay. There, something like that. And then goes there. One thing that you need to understand is you don't need to mark it out exactly as in the raping picture. Okay. There's clear no need for that. Okay, that's the background mark. Now we have one more layer to paint. I'm pretty sure that while we reach towards the right side, all of this has dried out. I'm just going to go straight and paint with that. Okay. But I need a bit more watery mixture here. I've made a milky consistency of the paint. I'm going to dive straight, but I'm going to leave some white space along that edge here as I go start adding more paint. So that's where the edge stops, isn't it? Okay. Now, for the shadowy bits taking, oops, what color did I pick? I think there was some other color there, ultramarine onto that, mountain bits. If you want, you can add more vibrant colors. I'm just adding a little bit of vibrant touch to that area. There. There you go. I love the way it's turned out. Okay. If you think we're done, we're not done yet. Of course not. Right now that that parts done. Let's go ahead and paint some of the foreground. Okay, this is where I said that we need to get that clear separation of the white between the ultimate foreground and the foreground. Maybe we can actually call this middle ground. You can't really call it middle ground because this left side, it becomes a foreground. That's the reason why I'm not calling it middle ground. But you've got some area here on the right side which is like ultimate ultimate white, and you need it white. Okay, so for this reason here, I've applied water, but as you can see, you're not taking it towards the extreme edge even if you do do it after your blue has dried up. Okay. Then a bit of paints gray and apply it all along. Okay. The tiny bit would do and see guys. It's just blended. See. Okay. I've got a little bit of bleed there. I know. I know how to take care of that. Okay. And I'll show you. Okay. Take it up to the right side and like in a line, how the fog moves. Okay. The ultimate fora moves. Now it's time for even darker, darker shadows. Pick up your paint Scra and just start, you know, like adding it in random places. Okay, I see here, then I see there's like a T or something there. There's a, there's some bits there. There's a really dark bit there. I think I need more paint for that. That was a bit too much, but that's okay. Then some darker bits over there, some taco bits here and there. We've added it. Now we need to add some shadow bits to the foreground as well, where you see. But make sure your brush is absolutely clear and don't go towards the edge where you applied the paints. Gray. We need this region to be white. White, White. Okay. Then picking up a little bit of paints gray, just going to drop in some random bits. Make sure that you don't drop it too much as it starts to spread around. Okay, You need that area to be white. Okay, now you can clearly see what's happened. Now let me tell you about these lighter white regions that you've added. You cannot just keep it purely white because there are some shadowy bits there too, although it's less of a shadow. Okay. It's actually how the snow is moving around and structured. We need to be into that. Here what I'm doing is I'm applying a little bit of water. Careful not to like smudge the blue in any of the areas. My blue is like almost dried up. Now I'm confident enough to do this. And like some edges as well, es gray again. Sure it's not a darker color. And go ahead and make some de, tiny bits of details and darker tones. Okay. See that. How beautiful it looks when you've got that little perforations here and there. Also, because you've just applied water, now is the time where we can add in some blue areas which we didn't add earlier. Here, if I take my blue and make sure that it's in a dry consistency, dry on wet is a technique that we're going to be using now because there's water and we don't want it to be spreading to the whole part there. A bit of blue, I guess it goes like that, isn't it? I do see a lot of blue, extra shadows. Oh, I love that. I love the way that turned out a bit there. I've already made that chunk and it's like wet on dry. Now, pl there, I guess this region here is actually a bit of blue that I see. There's also a blue bit, the words this right side. Okay, that's it, right? I guess. A bit blue for the edge. I think that's basically it. And I'm really happy with the way this has turned out now. Now all we got to do is to finish off with the dry brush technique. You don't even have to wait for it to dry out completely, mainly because this is already dry. You can go ahead and start painting on that side without any worry. Okay? The background, we're going to be using paint, gray and brown mixture. We need the paint to be dry. Observe the consistency here. It's like a really, really dry paint. But even then, for safety, what I usually do is I have a scrap piece of paper or a book or something. I make sure to take up the paint and start rubbing along. Once it reaches to the point where the water in my brushes dry, I know that it's very much safe to use it on my paper here. This is very much safe to use on my paper. I'll just go ahead and start making those strokes now. Try to follow along. As you see, I see that some of them goes like that, some of them goes like that. There is this bend in the strokes as it goes on this side of the mountain. I think this mountain here actually has a peak there that's a bit dark egos like that. Then there's some darker bits there. Then again, our next mountains, some darker bits there, lots of darker bits here at the bottom, nice and spreading. You can see how I'm basically using my dry brush. It's like literally dry, and I'm running it across. As soon as you add this, you can clearly see how that mountain is looking gorgeous, isn't it? Now, the next mountain has a bit more of it, and then we're going to be using more of our brown and black here. I've mixed it a little bit more. You can clearly see in the foreground, not for this mountain here, that it's got more of it, right? So you're going to use more of your paint. But the thing with this mountain is I can see that it's got a lot of brown strokes as it reaches around somewhere here I see it looks more brownish. I'm going to take pure brown at this point. Okay, here's pure brown. It's dry on my brush. That's what I'll apply. Okay, here, taking it down. Remember I said that I know how to fix the part where my paint blood put in some of these strokes. Here. Again, actually follows along that line over there in this direction we have then we have a lot along this as well. Following along the valley of that mountain. See added them nicely. You can't see many rocky areas actually in the white region. We won't add I think just a few random ones here and I guess a random ones there. Now in the shadowy bits that are more, I wonder why is that, why is it got more rocky bits in the shadow? It's very surprising, basically done with the background. Now let's move on to the foreground and we're practically done for the foreground. You need nice itself, no mixture, straight black. It goes like that over there. Some black bits over to the top, then have like a line of those rocky bits, lots of rocky bits there. Then another extra talk a bit there. Then it goes and follows some line like that and extra bits over there. I'm just looking at the reference picture and trying to mimic. But like I always say, you don't need to do exactly the same as the reference. Feel free to change anything as you please here. When I'm adding the black, there is a clear distinction between the brown ones at the back and the black ones in the front. It looks as though this one is in the front and the other is at the back. Okay. I see some lines there, some poles. And there is a road. I guess that's a road, isn't it? I'm not going to make it too perfect. I'll just see just marked and it's also in the center which takes away its attention, which is good. We don't want the focus of the viewer to be there. There are poles in random places that there's nothing on this side, we leave it as it is. Our painting is basically, that's it. I love the weight standout. I know I say this for all of the paintings, I may not have done exactly as in the reference picture, but I really love it. I hope you guys enjoyed painting this one with me. Thank you for joining me today. I'm not going to look at the damage or anything. Pretty sure, it's fine. See you all in the next painting. 31. Day 13 - Twilight Falls: Colours: Welcome to day 13. This here is the painting that we're going to do today. Also before that, I would like to tell you that I've changed the reference image slightly as in there was a large rock in the front. So I just moved it out. But if you guys want to paint that, you can absolutely go ahead and do it. Okay, let's have a look at the colors for this painting. I have basically started with transparent yellow, then a bit of quinacdone gold for the sky. But remember you don't have to use that. You can also use just orange and yellow mixture, which is what I did eventually. Then transparent orange. Then for the sky, I think first I tried to orange and quin rose together to create a peachy color and it didn't work out. I eventually went with the orange itself. But you can try out this mixture, but I guess they both make a red dish shade, which I don't want. I shifted back to the orange. Then for the darker cloudy region, I have basically mixed in my Alizarin and my violet together. We've used this mixture before in the tree painting, if you remember, we used a mixture of Alizarin and violet to create that gorgeous shade. Right then now for the foreground, I have used a mixture of transparent brown and my orange together, which I called the golden brown mix. I really love those golden me that. It's really pretty if you try to make that with burn and you don't get that much pigmentation. Whereas the burnt umber or the orange mixed together has a lot of pigment and it really gets that. Then at the foreground here, I've used paints gray. I think that's basically it, all the colors then this is white, quash, obviously. Okay, here are the colors that I have used. You can actually skip the Queen Rose, so it's transparent yellow, transparent orange. Alizarin crimson, you can skip the golden color as well. Then Alizarin violet, transparent brown, and paints gray. So those are the colors that I have used in this painting. If you're ready with your colors, let's go ahead and paint this one. 32. Day 13 - Twilight Falls Project: All right, let us start. We're back to one page again. And I've taped down our mountain painting carefully. Now I'm just going to take this paper together as usual. I'm going to start by applying water to my paper. Careful about the edges. Being careful about the edges. I guess I don't need to paint towards the hole of the bottom because I'm going to focus on the sky at first and then paint the bottom part. Okay, Not making any pencil sketch because I think it's very easy without the sketch itself just focusing on applying water to the top region at the moment. Careful along the edges. Careful along the middle line. Okay. There, I'm happy how I've applied the water then switching to my medium size, more brush, going to start with transparent yellow. Okay? It's a nice and transparent yellow. And that's what I'm going to be applying here. The top part of that waterfall region is going to be somewhere here. That's where we start with and apply the yellow. Okay, Then I'll take in a bit of quin gold because I think it looks better if there is more gold and shades there up until that point. All right. I added the nice shades, then even when I look at the sky, I can see more each shades, I'm going to try and create a G shade that's basically my orange and my pink together. There's already some pink here, and I'm going to just mix my orange there. And then here's my rose. That's too much going to take in more orange. Okay. It's not red, it's like a G shade taken that I'm just going to apply Sterling into a red shade because there's yellow there, basically. Maybe I'll just take my orange. Actually, that's much better, isn't it? Here? Taking my orange and adding nicely onto the top here, then where I see some orange in the edge along here. Then when we add the darker clouds in front of it will. Makes sense. Okay. Maybe drop some here. I want it to be vibrant. That's when putting in more colors. You know me by now. Then now we'll start to paint the sky region for that. What I'm trying to create is a nice beautiful color. Let me show you what that color is going to be. Now, for that darker part, what I'm going to do is I'm going to take in a little bit of Alizarin, a bit of violet. Okay, that's too much. But now I've created a purple shade there. A nice purple shade. But if you add in a teeny tiny amount of yellow to that mixture, it turns into a nice purple brown shade. See that? That is what we're going to add into the cloudy bits. Okay, we've painted with this shade before. Remember where we made there at the large tree and another tree branch towards the right side. That day we actually made this paint, remember it's the same. You can use that to create a mixture like that. Let's see, Alizarin, any tiny amount of violet and a tiny, tiny amount of yellow, and that will give you the vibrant red shade. Make sure when you're mixing it up, you have a lot of mixture. Otherwise, it won't mix nicely here taking it up, and remember at this point here, there's already a yellow. You can add in a bit more violet to your painting so that the color becomes correct. Okay, here at this point, I see, I know that in the picture it's more like a brownish tone. But why should we paint exactly as in the picture, like then going again? Adding, then I think some more here at this bottom to create that nice separation of colors, Alizarin and Violet. I mean, the yellow is already there on the side, which is why I'm not adding the yellow. It makes sense, right? And then you can take a darker part of that mixture to try and give depth at the top as usual. Just in some areas put in that darker shade. Okay. And maybe some areas here as well. All right. I love the way it's turned out, but what I'm going to do is I feel like this is not a flattened look. Because those clouds that we added just now, it seems as though it's in the front. We can bring it to the background by just adding the same colors that we added earlier. If you pick up a little bit more orange and blend it there, see it's too much orange. Okay, Now the orange is in the front as well. What do we do? Bring back the yellow, taking up that yellow, paint it in that region there. Now it looks more cohesive and together, without having it look like a large clouds on the top, I'm just taking a little bit more orange because I observed that this lacks a bit orange there. Okay, now look at that. I love the way it turned out. Now all you've got to do is like to wait for this to dry out and then we can paint the foreground. Okay? All right, so it's now completely dry, we can go ahead and start painting the foreground. Okay, for painting that foreground, I'm going to mix in that brown color that you see. It's brown, but you can see some lighter orange hues in there, can't you? We're going to be taking my favorite mixture, brown and orange together. More orange at this point, and see that golden, golden look. Okay? And that's what we're going to start with. Starting around somewhere there and then trying to create like the shape of the mountain mountain. It's like a cliff, isn't it? Just create the shape of the cliff as you deem fit. Don't bother about the waterfall. Now, we'll paint it with white. You don't need to add, leave space for it, mainly because there are some rocks seeing through. I was looking at the picture very carefully, trying to analyze whether I want to leave some space or not, and then I realized that that waterfall is like very slim. It's got a white seeing through it, which is why we really don't need. Okay. So taking that golden orange shade up till the edge around here, then it goes like that. Once it reaches this point, we can start adding some darker details onto this orange itself so that it looks more blended together. I wouldn't say perfectly blended, but somewhat blended. I've picked up a dry amount of my brown and see I'm just adding it on the top. Then I see that there is like a darker area of brown here then the edge, there's a darker area around here. There's a area somewhere there. See that. All of those things where there is lines and stuff, you can actually do it with using the tip of your pencil with your brush. Then you can also use a bit of paints gray and see just adding some random details, I guess I'll just put in lines. I think there's some more details and lines there. There's the edge, there's, I think those are enough. Now, we can go to add in darker shades. Then let's wash, brush off and start with the paints gray color. I like to mix in a little bit of some darker color with my paints gray, which is why I always mix it with brown. Because paints gray, it indeed has a lighter tone. It gets lighter. We don't want that, which is the reason why I'm doing this, taking up my dark mixture. We wanted to blend into that top region. Let me just put all that color on my brush right now. That's everything. Then what I'm going to now do, try and blend it up a little. Taking my brown paint, just going to add at the top, blend some of the areas you can possibly take in a little bit of orange and lend the ends. Okay, I like the way it turned out. Then we'll go with the brown and black mixture and try and paint the rest of the region. The rest of the region. Let's assume that this is the border line where the black region is. Okay, let's just put black there. I'm just taking paints gray. You can see how dense it is. I'm not even like dipping my brush in water because that would just light another paints gray, which we do not want. Just taking pure pigment and adding it. It's going to make it a lot harder for us to make white strokes on this. We definitely need some good white quash paint. Well, that's the challenge, isn't it? Now comes the transparent brown again here, picking up the brown. Okay, here, observe, we're going to have the color come back, but then we're going to, starting it with brown as we go. Okay, so here I'm not going to do that rock in the front, so that's why I'm extending it downwards. Okay. Then comes our beautiful golden mixture, which we're going to blend into that what we've already done here. Orange, brown is already there. Now let's create like a straight line where our waterfall is going to be. Let's cross blend this region more brown. Create these rocky shapes with your brown. Just taking my brown and adding several dots and shapes like that across so that it looks like the rocks. And more details to the right side, you can see how it dried lighter. We probably need to add in a bit more of pinscray over the top in order to make it even more black. That's why I said like paint. Scrayk tries lighter. You can blend in some of the paint scray and create the shapes of rocks. Okay. Now it looks much better, doesn't it? It's got the cave underneath and slowly lights coming out. Well, that's what exactly it is, isn't it? For capturing the water back. Paints gray at this time. Water mixture, that dense mixture. And also, note, I'm going to leave some white area here where the water is. Okay. This region here up until this region is going to be white. The rest of it. Now I'm going to paint with paint scrap. Okay. See that that area has a lot of water and that we need to capture. Okay, just using my brush, capturing the white area and the water area. Okay, now we need to add the waves in the water. I'm switching to my smaller size brush at this point. Okay. Such a size four, taking up dry or creamy consistency of my pain screen. And we start here. I guess there's more darkness here as well. Towards then as I go inwards, I start adding the wave structure in the water. So long as your paint is dry and you're using the wet on wet technique, you should be able to get your dry strokes in. It would blend correctly. You don't have to look at other things right now. Just try and make the shapes try such that all of your strokes are away from the water falls. You've got to work quickly for the wet on wet to work. Okay, See, added a lot of those. What are strokes? I think all we got to do is to now wait for it to try so that we can add in the waterfall itself. That was simple, isn't it? All right. It's, here's the part where it actually gets difficult. You've got to take your white quash and you need it in a nice and literally creamy consistency for it to work. My white quash that I took has already dried up, so I just need to basically activate it really nicely. It needs to be in a creamy consistency, not in a milky consistency. And I'm using my mop size brush. If your paint has dried out, the best solution is to actually use wet paint. If you squeeze out more of your white quash or from wherever you're using it, that would actually work better. Okay? I think that works and I'm going to squeeze of excess water. We start your brush needs to be at an angle like that, like literally parallel to the paper. Okay? You're going to pull down like that, such that starts to touch the paper. Okay, let's try the straight stroke first. Here. We've got those. Once see the region where I touched and I can see that my brush still has a lot of water. I'm thinking of the excess water. Ah, see that. What? We're going to do this. We're going to do this. Oh my God. I love that. That was tough. It didn't go all the way down. We've got to do this all the way up until that point. Okay. I'm going to leave a slide gap and repeat as I reach towards the bottom. I'm actually, you know, like really lightening up my stroke because you don't want it to appear as though it's starting from somewhere in between. Okay, then here, there is a change in the direction. What's the right here? I need the paint to be a little bit more dry. I think I'll do the right side of one first. That's somewhere around here. It falls Again, I literally need my brush to be dry. What I'm going to be doing is going to absorb all the extra bits of water. It's going to be literal paint. Just paint. Okay. There. Pick more paint and still a lot of water better, isn't it? Yes. Now, here it starts and it goes like that. Wow, I like that. Then we have sister falls here. I like to call it sister falls. It's like sisters of the main ones, which actually does go all the way to the bottom. But it's like we have sister falls at the top. And this is what I said, we need lighter ones over there. Lighter ones towards this left side. Okay. And it's edges to these. Wow, I forget. I shouldn't be appreciating then just dropping in some random bits of white because I think there are some lighter details there, so does here. But since that's too white, I am going to lighten it up. Basically what I do is I've just washed my brush and then I'm just going to run over the color there it gets over the top and it gets lightened up. Alternatively, you can pick up more of your same color that you mixed up and add it. Now it's perfect. It's called that lighter tone. I should have done this before washing my brush. Such a lot of paint wasted. Okay. Anyways, before you finish, you can't basically leave your white region like that, okay? What you've got to do is try and create some watery strokes. I know it's not there in the picture, but then if you look at the picture, it looks a bit more cohesive and much better than what it is right now, isn't it? Okay. I guess you can add some brush strokes to depict form here. Okay, now I think it's perfect. We're done. I love the way it's turned out. All right, so basically we're done and that's it. Here you go. I hope you enjoyed painting this one. And thank you for joining me today. 33. Day 14 - Snowy Pine Peaks: Colours: Welcome to day 14. And this is the painting that we're going to be doing today. You can see it's got these background mountains which is not blurred like in my usual style. This is a sketch book of mine and I'm just going with so many variations in this sketchbook, I think that it's really good to experiment yourself. This painting is based on the reference image that you have attached in the resource section. Also, remember, I have attached two different things. One would be the exact image that I have used and the other reference of the page, how I've split it. The reason why it is is because I've used a paper app in my, I've had to design the page. When I keep that image onto the paper, it crops the edges. I only paint what I see on that page of the reference, not using the reference in entirety. You can use either of them, Either the entire page where I've shown how the image is cropped or you can use the entire reference and try to congest that into the space that you have. It's totally up to you. You don't have to follow the exact same thing that I've done here. Now, if you're ready, let's go ahead and have a look at the colors that I have used for this painting here. I've started with a bit of pain gray and a bit of indentrine blue. Indentrine blue is almost like Prussian blue. So don't stress out, you can just use Prussian blue for that purpose. What I've done is for the sky part here, which is where I started, I mixed up indigo and my indreine blue together. You can mix up your indigo and any kind of blue. In fact just needed to be cooler blue. All right. Mix that with your indigo and you should be able to get that sky. Then for the mountain, I've used Painsray. This pain cray here. We're going to be needing it in different values. This is a very lighter tone. This, if you look, is almost like a black color. You see that that's a very darker tone of pinscray framed myself from using any black. And in the whole of this painting, I only use pin spray. This shadow here is a mixture of pins, gray and indigos. You can see a slightly bluish tone there. Then these trees are paint, scra, very dense amount of paints gray. Then now if you look on the trees there, you can see some lighter tones there. Those lighter tones are with my olive green. The reason why I've used olive green here is because it's opaque. The pigment that I have is olive green from white nights. That is a very opaque pigment. Makes it easy to be painted over on the top of your paint gray. I know that many of you may not be using the same olive green or you might be mixing it up so there is a solution for that. Try and mix your green. Okay, here's your green and mix it up with yellow occur. Yellow occur is one pigment that I know is like a good, the opaque color. If you mix it up with yellow occur, it should have the amount of transparency that we expect in this painting because it doesn't need to be extremely bright. Those light highlights of green should be really subtle. If you mix up your green with your sap green, you should be able to get a color almost to olive green. I think I just need a bit more green in that mixture. And we got to go see it's almost entirely the same as the olive green. You can do that in case if you don't have an olive green that's opaque. Okay, I'm just showing you your options. That's it. Lastly, I've just added white quash onto it. Basically all you need is the white quash. Okay? Any brand is absolutely fine, just white quash. Okay, That's it for this painting. If you're ready, let's go ahead and paint this beautiful landscape. 34. Day 14 - Snowy Pine Peaks Project: All right, let's start. So I haven't put the tape around all the edges of the next page. I'm just going to try without it because I am more confident. Now the only thing I'm going to do is put a tape so that my paper would stick down and not bend after applying the water. Also, I'm not putting the tape because it's a blank page and there's no painting of mine that can get ruined. It's okay. If it was a painting, then I wouldn't probably take such a risk. All right. That's my page stuck down. Now I'll get to the painting process. First of all, what I am going to be doing is I'm going to be sketching out the mountain, just roughly, All right? One thing I am going to try and do is match the shape here, although in my reference, the mountain starts at the bottom. I'm going to try and change that and make it slightly match where my other level is, just for the sake of my sketchbook. Okay, here, there goes the mountain. It goes something like that. Then have a peak there, another peak there. That's how it goes. And it also matches up with the composition of having my element at one by third position, rather than like exactly the half as it is in the reference. Then do we have any other relevant things to mark? Maybe I'll mark the definitive shadows on the mountain. You give me a bit more clarity when I'm painting. Okay, that's it. I think the pine trees are probably ahead them when I'm painting. I'm going to be trying out different color schemes. Not exactly the one that is there in the image itself. Okay, so let's get started. Here's my large brush, which I'm going to be using to apply water. Since I'm going to be painting in sections, I'm going to be applying water here to my sky area. All right? Only to my sky area. That should be easy since it's a very small area. And we can easily do lots of strokes there isn't it being careful as I reach towards the edges, also the edge of the mountain, trying to mimic the shape that I created with my pencil carefully. You can sometimes use brush, or maybe even a small brush would have sufficed for this. I didn't need a large brush to apply the water for this one because it's a very small surface area. At least covered that part. Let me observe in light, which will give me more clarity as to where is the water that I have applied. When you look at the paper in light, you can see the water sheen on your paper. I am happy. If you're happy with yours, we can start with our first sky part. Okay, I'm switching to my medium size brush. Let's get started. I think I am going to go with a nice indigo shade. Okay. But I think the indigo is too dark and I'd like to make it a little bit more bluish. What I would do is I'm picking up a little bit of my blue in. It's okay if you don't have it because I've already told you before, it's almost like a Prussian blue color. Okay. Mixing that into my indigo will give me a more bluish indigo color. Okay? I like that. It's more denser than the indigo, which is why I like it. Okay. See, it's got that bluish tint in it. I'll do the same and just popping up water. Now, when I'm painting, can you see where the edge is there? It's not spreading because I haven't applied water there. But I can take my brush there. It'll not spread too because it doesn't have much water on it to spread towards the outside, which is why I paint my water there. Okay. You can take paint brush there, but don't take your water there. Take your water towards the bottom and let only your paint on your brush go there. That would help with not spreading out. Okay. And also give you the edge to edge method there. I've got to be extra careful, haven't I? Because I haven't applied a neat tape onto the other side. I'm just being extra cautious while applying my paint and colors. Okay, here I've got my bluish color tone. Now I'm just going on a, you can see I've got my paper at an angle here which will help with the blending as in my paint would. Flow down. I'll pick up a little bit more indico and try to add towards the top maybe some around here as well. Now I see a little bit of bluish stone on my painting. On my reference, I'm going to accentuate that. I've taken off my gorgeous, bright blue color. And I'm going to be putting that, adding that onto the mountain. On the mountain right above the mountain. That's what I meant. Let's first apply that. My top today has buttons here on the side and they're actually hitting my palette and making so much noise. I don't know if I can cancel them out while I'm editing and if you're hearing it, I'm so sorry. That's what it is. All right. Okay. A bit on the right side and we're done with that blue. Now, let me just apply more colors. Make sure I take the edges, blend it up nicely. You can see how the waters created a different texture just because the water consistency was uneven. But as soon as I blend it, that should solve my problem. Here, I'm taking a little bit more blue and I'll try and blend it into the dark blue there. Let's add some more here onto the left side as well. I think only the brightest part is here in the middle. Okay. All right. I think that should do. Okay. It's not that soft asi imagined. Probably. I think I didn't apply a lot of water. That could be possibly the reason. All right. Not going to be fussing about it. I still like the way it has turned out. Do you know what I did for this sketchbook page? Can you see it's literally contrasting color on this page. I'm just showing you different ideas in which you can incorporate into your sketchbook. It doesn't always have to be so cohesive and perfect as this one. Or it doesn't even have to color match like we did on another day where we did both nice skies. I'm not turning this side because it might stick and the blue might come here. But you know what it is, right? Like remember this one. That's what I'm trying to do. Now, let's wait for this to completely dry because I've got to paint the edges of the mountains. Since we didn't apply a lot of water and a lot of paint, it was fairly easy for it to dry out. Okay, I'm just going to go ahead and start painting, So I'm going to be starting with my paints. Gray here. I already have a lot of it here on my palette. So I'm just going to reuse that easier, isn't it? Okay there taking up my nice gray. And I'm going to start just going to try and make that shadowy shapes on the mountain, actually. But I think what I'll do is I'll mix in a slight amount of indigo to it. I just need a slight amount of cooler tone. That's it. Okay, that's perfect, I guess. Okay. How was it? I did mark it out here, but I guess I was too far off. I don't know what I was thinking also. All right. I can do with my brush. Oh, that's a different shadow, not the top one. Okay. Coming to the top edge here, there is a slight gap that goes on. Just creating random shapes. Like I've told you before, you don't have to follow the exact shape as in the mountain. Okay, That's very, very important to understand. Try and be free. Take your freedom and change the image as you please. I'm showing you a class, so I try to keep it to the reference because otherwise it would be difficult for someone who's following along and can't understand the perspective that I'm trying to point out. Which is why I tried to paint it from the reference itself. But you don't have to, that's my point. Okay. I'll show you what we're going to do. Let me just quickly cover this area up. Okay. I've applied a nice amount of water and paint over that region. Then what I am basically going to do is we're going to soften down that edge, towards the bottom until you see Filer edge. Okay. Taking it then have it this side as well. Now, I think towards the right side, we got to have a bit more. Let's do that even on this side because I can see the pine trees are seen through the dark edge. Okay. We'll take it down a bit more, I guess, before we soften it. I think this far should be enough careful along the edges making it towards the outside. Don't have any edges that are because that would create edge. You can see these are really strong. But I painted it. As long as I am able to go and soften those regions out quickly, I should be fine. Okay. See quickly softened it. Now, I'm just going to tilt my paper so that there is no paint hanging which creates harsh edges. Okay. Then see just keep going down until I soften it entirely towards the bottom. Okay. It also helps us in getting that lighter color tone on your paper. In between the pine trees. All right? Now, the thing that you can do is make sure that you don't have like a transition. I'm just taking my paint a little bit more and adding it like that on the top so that it doesn't have that clear transition line. I've got to bring it all the way towards the bottom, haven't I? Okay, let's make that gray tone all the way towards the bottom and cover it up. All right. Now I'll bring my paint as well. All the way from the top. It's okay if you have like these bloody edges and some even paint strokes. Can you see on my paper here we're going to be covering that pig pine tree anyway, so it should be fine. We're not done yet because we have some peak here that actually needs to have the shadow All right. Added that we're not done with the mountain and we've got lots of other details to add which we'll do later on. But now I think this is good to go. What we'll do is let's go ahead then quickly dry this up. Okay, There's a dried up. Now, I'll go ahead and do those. Pine trees, pine trees basically, you just need the color. All right. Let's just start. The smaller pine trees are going to be towards here at the bottom. Just going to make lots of lines and tops of the pine trees. Okay? You can also modify the image, don't think that you have to paint it in the exact way. Okay? If you don't want to add pine trees there and you just want to add some pine trees towards the right side, that's also absolutely fine. Just go with the flow. Okay. You can see here what I'm doing on the left side, what I'm just going to do is I'm just going to fill up this middle part inside with paint. I'll just ensure that there is no white. At all in my sketchbook. Okay. Then coming to the bottom with my pine trees. It's here. It just goes down, but we'll have to add in snow then it'll make more sense here. We've got the bottom part, the trunks of the pine trees. It's like in a path comes there, We have this tree over here. Then we have more trees ending there. Okay. You can see it's just minute details and I try to taper down towards the bottom as I make these pine trees. All right? Okay. Let's get going. Oh, okay. Then I got to add in the shadows for that paints gray again. And the shadows of all these pine trees are like towards this site, on towards the road again, there that, that I'll take in a lighter amount of the gray to mark in how the tree trunks are going towards the top. Okay. Now we've got the shadow there, Now we'll make the larger tree. Okay, My first large tree is up to here and it comes down all the way. Okay. Then I'll probably have like in the reference, another tree there. Then another tree again, which is quite large, an empty kind of tree there. Okay. Another tree over here, and finally the trunk of the next tree. We can't see it. Okay, Let me just get going. As I'm painting and I'm looking at my picture, I can see defect, different colors on it. And I'll show you how we can incorporate those different colors. Okay? It's not just if you look at the reference picture closely, You do see some different color tones in there and we are going to implement those color tones. Okay, I'll just show you how we can do that. First of all, let's just finish off with a pine tree and adding the details. The details but all of these tree shapes key coming down. This is why. Don't worry if you're like shadow bit is looking weird looking because we're anyway is going to be covering it at the bottom sea. You only have a little bit of that shadow area to be worried of. All right, let's get to the next one. Just loading up my brush with more and more paint. This one is, again, I also don't always go with the shape, as in the reference for my pine trees. I go with this random flow that I have with my brush. It just goes on to create random shapes. Another one, again, starting with a very thin edge towards the top. Then increasing the strokes as I go towards the bottom. These pine trees like it leaves could have fallen off and they could be empty at some places as well. Just like this, it's a bit emptiness there. That's absolutely fine. It's winter, it's dried up. So you see now the problems that we had along the mountain side is not going to be that visible because we've covered it up with pine trees. So that's why I said we don't have to worry about it too much. Okay. All right. That's done. Now, the next one was the one that was like empty right there. It's a bit empty. I remember to use dense pigment. Okay? In this stage, especially when I'm using paint. If you're using black, then it should be all right. But if you know me by now, I try to refrain myself from using black pigment. I don't know why, but I've heard this saying that artists don't use black because nothing in reality is actually black. Always got some undertone in different colors in it. Or even if it's an object that's black, then it's going to reflect some other colors that's surrounding it. Like if you keep a red ball next to a black object, that black object is going to have a red shadow, but red reflection of that ball right next to it. It's not actually black because it's got those reddish tones on it. Okay. If it makes sense what I'm saying, which is why nothing in reality is just black, you always use some other color. That's why I keep myself to using paint screen rather than other colors. All right. Filled up that bottom. Now let me just paint the bits of the tree that's seeing so there's the bit. But to make sure that the color is more denser than what's there on the mountain. So make sure you pick up a very darker tone of paint screen for this purpose. Okay? All right. Now we've reached the point where it's just covered and doesn't have anything showing through. Now is the part where I told you that I'm going to show you how we can implement some color tones here. I have my olive green. The olive green I have is from white nights, and it's opaque, not entirely opaque. But trust me here, if your olive green is not opaque, then try and mix an opaque color. The best way to do it is, I've already discussed this in the color section. I'll tell you again, the best way to do it would be to mix your green with yellow ochre. Yellow ochre is like a earthy yellow, right? So it's going to make it olive greenish. Another method to do this is to use an opaque brown color and mix that into your green color. This yellow occur is from white nights and that is really opaque, I know that. Okay. Not to the extent that it would in my painting, but just just so ever slightly that it would start popping up in the front. Okay. Here, just going to use it and add some tones. Can you see how it's popped up in the front? Okay, I'm going to use that exact same thing to add. Over the top here, you'll see how my color pops out. See, it doesn't have to be a lot. And that is enough. Okay. I'll just go on do that. We've got to add in the snow as well. Consider this as the little additional part that we have to do. All right, then here last one I guess because the ones I see on the right side are like really dark. It's mostly towards the left side. Because remember we made the shadows like that, which means that the light is from this side, which is why these ones on the left side are really lit. Okay. You can just add few tiny bits of light here and there and then stop it. Okay? You don't have to go that far. I guess I love the way the light pops up on these ones. Can you see now how it's looking so nice. Now, we're going to start with our white paint, where we're going to paint the snow. Here's my white paint. I'm just going to load it up nicely in my brush, make sure that it's dense because if it's not, your snow is going to turn too light. Okay? You don't have to add too much, especially on these trees here. You just need tiny, tiny bits, okay? Because they're smaller trees, anyway, they will get lighter, eventually. Don't bother too much. All right. Now for the ones, again, always here while you're doing. And add it towards the bottom, like trying to follow the shape. Drops are like settling towards the bottom. See that angle towards the bottom because where there's snow on those branches, it makes its top downwards. Okay, see how I'm adding those snow bits? Okay, paint. We'll do the same towards the top. It can be extremely small because it's a very small surface area. As you come towards the bottom, start making them larger, bigger bits towards the bottom, because that is the foreground that you see. Oh my God, I love the way this is turning out bigger, bigger chunks. If you look at the picture also, you can see that those ones at the bottom are bigger, especially for this tree. If you look, oh my God, I see some bigger chunks, see something of that sort. I'll show you once more how we do that. Shape observe on this side. Okay, I use the entire length of my brush and place a stroke like that. Then use the tip of your brush to create some variations like that that looks as though it's resting on the branch or the leave of pine tree and stooping down. See that? Okay. That's how you can do that. That's what I'm doing here now. We've got to do on this side, like I said, follow the shape, then just add some downward strokes. Okay, see that would give it a nice shape. I think that's good. I love the way it's turned out. It will turn lighter eventually so we don't have to worry too much about it. Now, the only thing left for us to do is to add in a bit more detail onto the mountain area because it looks empty now, if you know what I mean. So let's do some dry strokes. Okay. Dry strokes basically try a pick up dry pigment. Yeah. Starting to get dry, and we can add those dry details onto our mountain. These details need to go into the area there is shadow as well. Just fill it up on the mountain. Can you see? Make sure that the paint taking up is nice and dense. Okay. At the same time, it's in a creamy consistency of heavy pigment. If you take pigment, then it'll reflect and show that darkness. Okay. In the dry strokes that you're applying, can you see that darker, darker edge there? Just do the same and try and add these various details in. See what I did to those mountain regions. Now I like it, we're basically done. There you go. I love the way it's turned out and obviously paper on the other side is safe. There you go. I hope you enjoyed painting this one. Thank you for joining me today. 35. Day 15 - Underwater Jellies: Colours: Welcome to day 15. This is the painting that we're going to do today. Can you see? It's a lot of jellyfish underwater and it's very simple. Only the background is what you have to take care about, nothing else. Those jellyfish are very simple. You're just using white paint. If you want, you can go ahead and look at references other jellyfish and have that as well in your painting here. I haven't gone through so much. My only aim was to paint that background, which I did. And that's it. If you're ready, let's go ahead and have a look at the colors that I've used for this painting here. The first color that I've started with is of course my lo blue, my favorite. Then I went on to mix in a little bit of my indent thre in blue, which is basically almost similar to Russian blue. Then I've also mixed in a little bit of indigo into that mixture. That's it. Those three colors are what I have used for painting. The background in the foreground are those jellyfish which I've painted using various tones of my white paint. If you're ready, let's go ahead and paint this one. 36. Day 15 - Underwater Jellies Project: All right, let us start. Okay. So this is a brand new empty page, and for me you can see it's the center page. All of the paintings I have designed that way. And you want to see the big risk I'm going to take today. Look at this tape. What I'm going to be doing is just taping it down so that it's secured in position, but no tape to prevent the edges from bleeding. That's a very big step, wouldn't you say that here? I've got my usual tape. I'm just going to use that to keep the paper in place. That's it. Okay. There you go. Now, for this painting, since it's like in a continuous pace, you can actually split it up and paint on one side and then the other if you're afraid that your paper is going to dry out. Okay. For me, in my case, I'm just going to go at it together. Since I've not used any tape, I'm just going to be extremely careful not going towards the edges. See, I've skipped the whole edge. Not going towards the edges. Okay. I'll only take my paint brush there, not my water brush there, if you know what I mean. Okay. The background is the hardest part in this painting. The rest of it should be like really easy. The jelly facer mean, it's not a lot of work here in this painting. You just have to this paper, you have to make sure that you don't have too much water there because that water can seep in and go towards the other pages and ruin it. One thing again, to be careful. Okay? Okay. I know that I've finished applying water on all of the areas, but now I just want to reinforce it because our background is kind of like a bit dense and it needs a lot of attention. It needs a lot of water. So I'm just not going to risk it and risk my paper drying out. I'm just heading a lot of water. Okay. But without going towards the edges All right. I think I'll also keep going on with my larger brush because it's a larger, larger area to cover up. And I start with my most favorite, halo, blue. Okay. It's an entirely blue painting. And remember your strokes, they have to be from the top towards the bottom. Okay. With a slight angle along the edges. Just pick up your paint and go and add. Okay. Those strokes again, like I said, careful along the middle part. Also, I think the best way would be to start from the bottom and go towards the top so that you don't have denser color there. I should have said that before applying the stroke. Isn't it towards the top, from the bottom would give that denser, denser color at the bottom and less dense towards the top. Okay. Now I've got to make sure that I cover my edges without taking too much water. Towards the edge. Okay. So I'm being extra careful and avoiding the edges, especially for my paper here. If you see it's not even and it's got a separation between the underlying page. Okay? You can clearly see it. That's why I kept my finger in between and did that so that my brush would really never touch that point. Okay. There are several ways that you can avoid spills and dangerous things from happening here. Again, picking my pigment upwards. If you notice, I am not picking up any fresh pigment. I am only using whatever's there on the paper and pulling it upwards. Okay. Now, on the contrary, when you're going to use at the bottom, pick up more pigment because you want more denser at the bottom part of your paper. Okay. Again, being careful on this side here. Once you've put the pigment in, then it's easy to let it flow. Because you've got water and pigment on all the areas, it becomes easier for us to apply the paint again, which is why you've got to keep working Okay, and make sure that all of the areas are wet. If there is some area that you don't work, then that is going to dry sooner, which we don't want to allow. Okay. Here, taking my blue again, Now that we've put paint on all the areas, it's going to be easy. All you have to do is just make sure that your strokes towards the bottom, if you can do these kind of strokes and such that you leave some gaps towards the top, then it's going to reflect that light effect. Okay, we'll make it and towards the bottom, go ahead and use as much pigment as you want. Doesn't matter adding those upward strokes of dense figument. Okay, keep working. Don't let any part of your painting out then. I think, yes, we can add some lines here, like in the reference. Okay, we've only done one blue till now. We've got to add some more blues. Okay, Like the Prussian Blue, indent three in blue in my case. Going over to the next blue, which is indent three blue to make it tense. And starting from the bottom. Towards the top. Okay. And along the edge here, towards the top like that, there is a dark spot there, which I see in my reference, some nice lines, a lot of lines along this side. I think I'll just paint a bit more there because I see that it was starting to dry out. I just went ahead and applied a little bit more. I've got to be extremely careful. Now, if you want to make it even denser in some areas, pick up indigo like I just did, and use that for the upward stroke. Then if you feel that the blending on your paper is gone, wash off the pigment of the pick up one of some of those blue again. Go over the top. See my bright blue blending along in that background. All right. I love the way it's turned out. I know that on the reference, the dark blue kind of goes over to the top. But I think I won't do it all the way to the top, but you do it and stop it somewhere there instead, Not all the way towards the top. You can go ahead and do it exactly like in the reference. Absolutely fine. In fact, it would be making your painting so Goachus as well, isn't it? Because that reference is indeed, really beautiful. Okay, I think we're good to go with the background. I don't want to do anything anymore, so let's wait for this to try. All right. It's completely dry and my this side is almost say I say almost because I can see some bleeds here in the center. Let me quickly clean that up. This is what I said. So you paint and water can see through this edge here. But I'm just going to quickly show you how you can save up. I've observed that. I've cleaned that up. That's it. All right, there you go. It's completely dried up. Now, it's very simple. We just have to go ahead and make those jellyfish. Those jellyfish, again, you don't have to do it exactly as in the reference. Okay, And we need white paint. So it's pretty simple. All this, while we've been using the white paint in a very dense format, today we're going to be doing the opposite. You're going to be using your white paint with a lot of water, so it's going to be a watery white paint. All right? So that it becomes transparent. Have you used your guash in a transparent manner? I'm pretty sure you have. Okay. Let's do that here. The first jellyfish. Okay. Also, make sure that your brush doesn't have a lot of water because you see I had a lot of water, but I took it off and then I'm trying and adding the shapes, okay. With a very lighter tone. You can see how light that is. Then we have a sheet that goes like that. Then let me get rid of extra water and then I'll squeeze in the details. It's basically, I've added a large white blob, then try ten, spread it out, then I've made some lines from it, then I've added some blobs onto it again. But in order to refine the shape, what we do is now we pick up tense pigment and we add it to some areas. Like I add it to the end, then I added to this edge, it gets a bit denser and starts to see through. That is how you can make those. Don't worry about creating the exact number and exact same. You can stop whenever you want. I guess because this is inverted, I am going to make a straight one here. Even though it's not straight in the reference, I'm just going to make it straight. Okay, It's like a cup shape like that. Then it's got a closure painting that cup shape. This white is going to get extremely lighter also because the blue pig win that we've added is strong, starting in the center, joining there again large blobby structure here. Again, another blobby structure that goes there to this jellyfish. I'm just going to make it a bit interesting now. Let it dry out and then I'll show. So some more, maybe this one I'll have it inverted. Okay? So that's the thing. That's the cup shape of my jellyfish filling it up. Okay? This shouldn't have been in the same line, should have been slightly different. What I'll do is I'll try and make it smaller. You know, like the blobs a bit smaller and maybe like the blobs in a different direction. You should not have objects in your painting that are like in a cross, in a line. It doesn't look good. Ideally. Okay. Don't worry, we're not done with any detailing yet, Okay? Okay. I can see that this is like turned up very light. So I'm just going to go ahead and paint a little bit more on it because I think I use too much water and it turned up too light. Okay. If you look at some of those, you can actually see how it's turning very, very light. I think that's all the number of jelly fishes that I am going to have. I'm not going to add too much. Now what we'll do is we'll start to add in the teeny tiny bit of details. Now when we're adding the details, we need dense, dense pigment to make sure now you load a very dense amount of pigment onto your paper. Okay, first thing, this jellyfish, then a lot of dots on the jellyfish. Again, these are all dense pigment. If it's not dense, then you wouldn't be able to make those dots appear on the top. And also make sure that the underlying pipes that you just applied is dry. Make some of those dots towards the edge. Okay. Such that it gives it like a three defect. Can you see the three defect along the edge here? Not all of them are like perfectly inside. These are on the surface and it's protruding outward. When you add some of those dots, not on the outside but are touching the edge, then it makes it look as though it's protruding outside. Can you see how that looks? Pick up Europa and give denser edges to some areas. Okay, I think the next thing that we can do it with a liner brush. So let's go ahead and put details first on all of the jellyfish here. I think that one I'll go last because I just added some paint onto it, isn't it? I made this slightly different. Now, the last bit of detail that we're going to do is we're going to add that with a line of brush so that we get those thin, thin, thin, thin lines. All right, here's my line of brush. Let me pick up nice and dense, dense pigment. I'm not a watery pigment. You need it to be dense. Okay. Now that's dense, remember the jelly fish. So what I'm going to do is just basically Add in the teeny tiny lines that come of it. Okay? All of them needs to have it. Also, I know that it's not pretty which visible in the reference, but if you look at that center one, it actually has those lines. Okay? It's just not that clearly visible. But we'll make it visible. The best thing that you can do is just have those lines in different directions. Okay? From the center and let it pop from the center towards the outside. This is where I said, make sure that your brush, it is light. Okay. And make sure that it's very thin. And like I said before, if you want, you can go ahead and use a very small one as well. A very small size brush. Okay. I think because of those smaller ones, I'm going to use a very small brush instead like the size zero. It's very small. For me, see it's really small. Not all of them needs to have it. Okay. And you can just keep it to one or two for some of them. I think these two are in this, in this. So I'm just going to give it more and more. I think we are good to go. I love the way it has turned out. It's very subtle, it's just transparent jelly fishes in there. And that's it. There you go. We're done with the painting. I hope you enjoyed it and thank you for joining me today. 37. Day 16 - Mountain Stream Bliss: Colours: Welcome to day 16, and this is the painting that we're going to do today. Okay? First of all, don't panic, this is not as tough as it looks. Okay? So even while during the process, you might feel lost and you might feel that this is not working, But don't worry, you can do it. All you need is to construct the shapes. Make sure you put in the shadows and different elements in the right place and then you stroke. Stone matters If you look at my mountains. It's got a lot of strokes, a lot of brush marks being visible. And that's intentional as it was just letting go of your control to get that perfect edges. Perfect blends. There is no perfect blend, perfect edge in this painting. The only thing that I've made sure has softer and smoother edges is for the sky here. Nowhere else in this hole of the painting. Okay. Don't even think that you won't be able to do it. You can just follow along. Don't worry about the brush shapes if you make any mistakes. If you make any mistake with the water, for example, you can add white to it. If you make a mistake with green tone, you can just adjust the black tones adjacent to it. Many things that you can correct, remember, it doesn't have to be exactly the same as in the reference. Okay, the reference is attached and you can clearly see that. Now all we've got to do is have a look at the colors that I've used for this painting. The colors I have used is basically started with the sky used pinscre in that paints gray mixture. I basically added a little bit of lavender so that you get that subtle tone of violet. Then for the bag round mountain there, I have mixed my sap green along with my brown. My brown is contaminated with my sap green. Okay, let me get that nice and correct there. Yep, that's my brown. This is the color that I obtained by mixing my sap green and my brown together, which is over here in my palette. Because I wanted the mountains as a backside to be in a cooler tone. Cooler things recede and warm things come forward. In order to give that appearance. What I did was mixed up my Hello blue, maybe my Hello blue as well, because it's got that residue of the brown and the green, my Hello blue. Then along the foreground I've used the same color and I've also used a bit of olive green. Okay, the olive green. Then all along the foreground, I've used paints gray. And I guess that's pretty much all the colors that I have used. I haven't even used any other color. There you go. That's 12,345.6 colors. You could actually even skip this. Olive green. If you're going to be mixing this two together, just mix it in different ratios and even mix in yellow occur. It would give a nice earthy tone, just like the olive green looks like discussed in the last lesson. Once more paints gray, lavender, sap green, transparent brown, halo blue, olive green. And if you want to mix up your olive green, then yellow occur with sap green. Okay? That's basically all the colors that have used in this. If you're happy to go and approach this and try this out, let's go ahead and paint this one. 38. Day 16 - Mountain Stream Bliss Project: All right, let us start. So first of all, I'm just going to trace out the mountain, even though this is not a middle page, I chose a picture that it's not too critical to have you like a split in the middle which were these mountains. I don't know. I'm just in love with painting mountains, which is why I'm doing it. Then it comes down here has some liberty protrusions and there it goes. Then I'll just probably add in a bit more of the shadow regions. Like this region has got to be a bit dark if I come, it's dark lobby bits here, there it's a bit dark. But then where that stream starts up, if you can see the dark bits there, here, it's absolutely dark again. And we've got a valley split here. This is probably going to be difficult, isn't it? We've got a lot of valley shift. Here's a valley, here's where the stream comes and flows into the mainstream. There's the mainstream. The mainstream goes like that. Then turn again, okay. And that until is only we can see comes to mainstream here, we start seeing more of it. Okay. That's what we see. Then got lots bits and blobs there. We've got the land area here that we need to cover. Lots of rocky structure here. Okay. Would you say that this is difficult? I don't know, but I'm excited to try this. I haven't practiced this or anything before and I want to show you how that's freeing when you're trying to do some things like that Here. What was this mark? Oh, that was the cliff. Okay, here. Now the stream comes and joins there. All of this is just land which vanishes here. And then we have another part of the stream that's coming. Okay? Doesn't bend. I don't know why I added that bend. Okay. It just that's it. Then leave it. All right. Is that a very tough sketch? Please tell me it, isn't it simplified? Draw a large mountain, another mountain in the front, a little stream in the front, and maybe another stream there. Don't ever stretch yourself. Make it as easy as possible for your capabilities. That's what I can say. If you have taken my reference class, you know exactly what I mean. Since we're done and I've taped my paper inside here, no other tapes now because I'm pretty confident to just go like approach this directly without having the tape underneath. It's only the initial stages when you're being very careful that you need to have the tape on your edges. But now at this point of time, I'm saving a lot of tape. It's my case If you're still afraid and if you think that you're not ready yet, go ahead and take the edges. Okay. Very important to know what is your level of risk taking capability. Okay. I'm starting with applying water to the sky region, of course. Okay? Taking my sky again along the edges, then adding it along the shape of the mountain. I look at the paper in different angles to make sure that I see the areas that have started to dry out. This edge where I applied the water along the edge of the mountain started to dry out. I'm going over it again. I don't want my sky to reflect strokes. I want it to be softer. I'll make sure that I apply smooth enough water. Okay, here you go. I'm happy. I'm going to start with paint scray. Of course, we're not going to retrain ourselves to using just paint scray. I'll show you in a moment. First of all, let's just go ahead and fill up the bit and blobs with our nice paint scray. You can see it's a medium tone, it's not a very light tone, and it's not a darker tone that I'm using here. And I'm using whatever that was there on my palette from the previous paintings that I did. Now comes the part where I said that I'm not going to be refraining it from to only paint gray. The color I am going to be using is a bit of lavender. Look at your reference at this point. I know that I always say that you don't have to paint exact colors. But if you look in that, you'll see that it's got a touch of violet in those misty areas. How can you achieve that? Lavender is your answer. Just put some bits and blobs of lavender into that sky wherever you think you should have that subtle violet tones. I've cleared my brush. Just spreading pigment Now, at this point, those subtle parts. Now I'll take a little bit more of my pain screen and start to add depth in the regions that I want. Like here in then some clouds there. I think maybe a bit along those edges. If you think you've done too much, it's easier to take it off, see, just spread it around, That's it. I'm basically done with the sky, but I love the subtle amount of lavender popping in my sky at random places. Okay. All right. So if you're done with that, we could go ahead and, you know what, let's not waste time, let's go ahead and paint This Bottom part right here would happen while we paint this. The sky would dry and then we can go ahead and paint the mountains isn't that beautiful. Okay. In order to paint that bottom part, you can clearly observe it's in a, paints gray color. But let's try and make it like in a matching way to the sky. Because it's water, it's actually reflecting the color of the sky. That's pretty easy to do. What you have to do is the color that we use for the sky was paint screen lavender. Mix them up together. Put that on the paper. See, let's start from the very edge. Follow in any random shape like you've done the reference then. Now what you can do is as you paint, that's why I'm doing this wet on dry as you paint, you might get these lighter, white, white strokes in between. Can you see that? How I've got some random white strokes. My point is, let it be, don't try to cover them up, okay? Sometimes try and create those deliberate white points. Like if you use the side of your brush and just see sometimes you get those white strokes. I'm trying deliberately not to cover up and intentionally take away all of those white strokes. See, I've white gaps here and there. And I've got some variation in my water area that was mainly because I use the wet on dry method. Okay, now let's try and paint that little water area as well. We can always add more white if we want. I know that as a watercolor artist, you should probably be leaving white space rather than using entire white paint. It's okay. Okay, here. Here in this edge, I'm just going to use lighter. Let's make it join towards our painting. But as it, I'm just going to make sure that it blends nicely. Blend here without having too much water added onto it. Okay, I guess here there is an extra bit of white which we do have to add. We'll do that later on when it comes to it. Okay. I guess at this point our sky might be dry here. If it's not dry, it's absolutely fine. Which will give us a little bit of that blurry, misty edge to the mountains. Okay, I'm using this mixture here, which I will show you what it is. It's a mixture of my sap green and my brown paint. Okay, Sap, green and brown mixed together. That's what we're going to be using today. More of sap green, I guess. I want it to be on the greenish side. Can you see? It's more on the greenish side. All right. Now, there is one thing that I want to discuss in the painting. It looks as though it's like in a whole one single color. But it's best if you can apply some cooler tones towards the background as in the further off mountains and then get warmer towards the front. You see my blue over here on my palette. I am going to mix that. That was basically ind and green blue, but I guess you can use a little bit of bright blue and try and mix that. We start with that. Okay. I'm going for my wet on dry here, a bit more blue. See it's not entirely dry. Some areas are like blending. I guess it's okay because like I said, it would show the misty edge of the mountain. Okay. Not all of the areas would be spreading. Only some area, absolutely fine now to get the perfect misty edge. Okay, take another brush. Make sure it's damp. Wet. Okay. And go over the edge like that. See, now that's a very misty edge we have there. Okay. Keep painting such that you do not lock your brush strokes Okay. There. Don't lock your brush strokes such that it starts to form a darker edge. I keep going back and reinforcing my stroke, making sure that it's it's not dry at that point. And coming back over here, it's under there, I guess, these river marks along the further end. I think we can probably add that with white paint. It's much easier when you're trying to follow in this method. Okay. Covered up to the edge. That's my low blue. A bit of the sap green and the brown. And going over it again, I see that this valley here, it's a cooler. Remember we added a separation for the valley there. Okay. Paint up until that point there painting up until that point. Let me go over these areas once more because typically you don't want it to let dry. Okay? Don't let those regions dry and it's good to have. You don't want softer, perfect softer edges in all of those regions, which is why we're using this wet on dry method. Okay? It's always good to mix the colors again because then each time you mix the color mix in your paper is going to be different. Okay? And it also gives a variety variation your mountain. That is also why we're using this method. Okay. Now that we've painted up until that point, I'm going to add darker details. The darker details, what I'll do is paints gray. Taking dense amount of paints gray, I'm going to stuff it in to the top of my mountain. Obviously, I lost all the pencil marks that I had, but I guess I'm okay with it. And there was here along where the river area is going to be, okay. It's like a valley and there's random bits and blobs in a blob here, which is what separates this part of the mountain. We'll see that I leave a lot of gaps. While I'm doing like, you see some green bits there right now. Let's get to the bottom part again, quickly, sap green and my brown mixture. At this point, I think what we can take in a bit of olive green as well, which would make it lighter. And make sure that you try and blend it. Okay. You don't want to create harsh edge, blend it with what you already have on the paper. See, because there's nothing here on your painting. It's going to be, even if you blended it here, it's not going to turn lighter. Okay. Now, coming off towards the edges of the river stream there is that mountain hill that we marked. In fact, even if you get rid of it, what I'm going to do is I'm going to distinctly paint it. But I know that I can see my pencil sketch there. Okay. We can add dark paint when it's time. It's always good to paint with the wet on dry because like I said, it would retain those marks and that's what gives variety. Okay, I'm taking olive green and I can see dark bit here, lighter bit here comes the valley down there. Don't paint perfect. Look at what I'm doing, just randomly touching along the edge here so that when it's reaching the water area also, you're not making a perfect, We don't want that, We don't want perfect edges. Okay. We have to be extremely careful to not actually get perfect edges. That's our main aim here. Okay, then I guess this mountain also can be in the next color, you see how it instantly pushes this forward and the other goes backward. Even though in the reference it's not, it's absolutely fine. We are trying to create a variation and variety in our painting. Don't try to mimic the reference. Okay, that's not the point. And I deliberately leave dark marks. I deliberately use all the paint in my brush, even though there is some cooler greens in there. It's fine. Okay, that's the point. Because we're not using any denser paint, and because this is wet, dry, it's absolutely fine. But now let me just go back to that region and start giving a bit more color so that I can give the dark color. Okay. Now going back with my brush and taking pens, Gray will fit that in to create different mountain valleys. There's a large, bushy structure here. Some shape that goes that way. Again, coming down to the edge again. Don't make the edge perfect. Let's have a loose hangings. Okay, If you look in the picture itself, you can see that it's not perfect. Don't have any olive green hanging at the bottom. Cover that up with the paints green. Then it comes and extends to a larger section here and goes and joins there. I like to have that undertone of the olive green, which is why I didn't add paints gray at first. We have that undertone of olive green. When we're doing this, you can make some dandom, rocky shapes, Okay. In the water. Now this side is dark again, but if you look at that side, that side has a lot of olive green that's seen through. Okay. We'll just create lots of gaps. Okay. I guess I want to reinforce my olive green a bit more here. I pick my olive green, I just add it on the top. You can add it now again to that cliff. Do you see that? Along the edge so that it blends that. We've got to add a lot of cliff regions here and I like it to be wet when I'm adding those cliff regions. This is the reason why I'm going with a nice olive green shade again. Okay. We've got to make some nice regions and loss the Okay. Added the paint again. Okay. I think I'll switch to my smaller size rush for this purpose. I think size six would be perfect. Then taking my size six back to the paint gray, making it wherever needed. This bottom bit needs to be nice. And then here along this side, what my color does is it has to go like that, following along the path, but having some lighter tones at random places here. It follows along the path, goes over like that, then goes like that. Okay? Then lighter tone here, again, darker tone. Just look at your reference. Okay. Remember it's okay that black places or the black areas doesn't match as it is in the picture because like I said, it doesn't have to match. Okay. And I'm not always matching it up either. I try and create variety. That's the aim in our painting. Okay, I like that part. Then, applied a lot of paint here because we wanted to create details, right edges. There's a cliff region here, another cliff here, then a lot of cliff parts there, you can see that. And another extended detailing over there. Okay. Yeah, that looks nice, isn't it? Then this mountain over here need to have downward stroke. But in a lighter tone, I cleared my pain. I'm just going to push it downward like that. That gets it darker tone. See that? I think what we can do is we can do the same for some of the areas over the top. Wet that. Okay, then put some bits and blobs. We could do the same over here because it's not like in a perfect manner just wet that region and then start adding bits and blobs. These bits and blobs would spread and make that mountain in not uniform manner. Non uniformity is what we desire, right? We have a lot more of those black areas to add here. I guess what I'll do is apply water. You can also pick up the same color that you applied before, add it over the top, going back with the black. Then here comes the valley shape and lots of bits and lobs here. That creates like there are two valley shapes there. I just blend anything basically. It doesn't have to be uniform. Okay, that's what we need to understand from such paintings. You think about going in a very uniform and perfect manner, but you really, okay, It's just lots of stupid detailing. Actually, lots of bits and lobs. The extreme detailing is not needed. There goes the river path. Now we've got to paint this left side again to that left side. I'll start with my olive green careful as it's the edge. All right, then over the top, going with pain screen, not leaving any edge with the olive green. That's the key. See, we've got a nice edge there now. All we've got to do is make sure to add in some nice shadows, some rocky bits in the water. So there's Don on Fox here along the water, there's some large blobs. It's best if you can achieve some dry rocky shapes there see some rocky shapes and more rocks in some random places. Guys, we're almost done with this printing. Trust me just taking details and adding it at random places. Okay. Even here, try and add some extra rocks. All right. All right. Almost done. Just want to add some edge and rocky bits to the water region because I feel like it's too perfect in the water sense. I love the way it's turned out, but now I think that we need to add in some darker blobs for that we actually need this to be a bit dry. Okay. Like these rocks that we added, just wait like 1 minute for it to completely dry out and then you're fine there. I've waited like for a minute and it's completely dry now. I'll just do is just going to apply water into that water region. Okay? Just apply just one of water such that the black paint, all the rocks that you added don't spread. Very important at this point that they don't spread there just one at of water. And it doesn't even matter that you don't have water in all of the places. But what I need to do here is just to give like a slight tonal variation in some of the places here. Taking that, then taking a little bit of lavender mixing in, Because that's the same mixture that we use, isn't it? It's not too dense. Okay. Just in some places, try and have that tonal variation, but remember to do it in one direction. Remember also that we left some white gaps when we painted this. Try and retain them as well. Like see here, there are some light light bits and lobs. Okay, I think we are. Good to go now. This one, this lavender bits dries off. We can just add some white highlights and we're done. All right, there you go. It's almost dried up now, so we'll go ahead and add up those little highlights at random places. Picking up a damp brush, then picking up dry paint. Okay, Very important that it's kind of dry the paint that we're adding and just go ahead and put random white lines. Okay? So the easiest way to do that would be to use the entirety of your brush. Load it up with pigment, the entire, make sure it's dry. Start adding your white strokes in the direction of the flow here. The water is flowing that way, then it's going to have more on this side as obvious because there is a lot of rocks there which creates more foam as the water flows. Then there's obviously a lot here because there are lots of rocks. Remember to do it in the direction of the flow. Very important. Don't do it towards the bottom. Needs to go from there, towards the right side. I think that's good for that point. Now we'll go ahead and add in that stream in the middle that there we only see bits and blobs. Okay, here it comes down, then it comes down again. We see another block there. Another block there. It's gone. Okay. Then I guess there is another blob there in between. Then that blog comes out here. There is a stream that splits off a bit there, see how it goes off. And I guess as we add it, we can add a little bit there. We're the only thing I notice now is that I think I need to add bit more shadows on this side. I've picked up my paints gray and just going to add some random bits here on the horizontal line. Can you see that it has shadow, especially for that rock there? Now, it's got a two dimension look. Oh, but I just noticed our olive green to this side is like too perfect. Maybe I'll just apply some water. Okay. On the top of it. See on the top of it apply some water blending along with the black in random, picking up a bit of my paint. Scray's two dense. I don't want it to dense, just going to um, random but because the paints gray shouldn't be perfect. Yeah, that's much better when it has that color variation, Don't you? Think so? Okay, there. Yeah, that's much better. All right. We're done, I promise. Now we're not going to modify anything. There you go. So I know this was quite tough and difficult, but I wanted to really push your limits with the wet on dry method because this was completely almost so much of the wet ray method. At the same time, trying to make your brush strokes seem natural, isn't it? I know that this is tough, but give it a try. The only concepts here is cooler tones towards the background. I tend a little bit of halo blue to the backside, lighter tones, so I've got more olive greens and warmer tones here. Color of the sky in the water reflections. Then all of this is the black tones are just mixing in at various ratios. That's it. It doesn't even have any order or perfect way in which you should do it. Okay? There is no role in painting. That is one important thing that you need to understand. If you're happy, there you go. Thank you for joining me today. 39. Day 17 - Beyond Earth: Colours: Hey, welcome to day 17. This here is the painting that we're going to do today. It's just completely random. I picked up a galaxy image and I picked up the image of an Earth. And then I just blended it together and put some things happening with the Earth guys. Oh my God, There you go. Let's have a look at the colors that have used for this painting. Okay? Additionally, you might need a circle maker, or a compass, or any kind of object that lets you make a circle dip. And one thing to note is that I've chosen to have my Earth around in this corner. But if you'd rather have it in the center of your image, which I would say is not good for composation. But you can go ahead and try if you want to place your Earth towards the right side, towards the bottom anywhere. If you want to make your Earth smaller. If make your Earth bigger, all according to your choice. Okay, just go ahead and do whatever you like. That's it. So let's have a look at the colors that I have used for this painting. It's basically, I've started with a nice sap green color and I've used a dark green color. And then further along in the background to get these depths of darkness, I have used paints, gray, those three colors for the background. Then for the foreground, where the Earth is, I started with a blue undertone. That's my yellow blue. Then over it I've put my Indian green blue, which is Prussian blue. In your case, if you don't have the Indian Treene blue, then for the land area I've basically use my Burn CNA and my yellow ochre mixed together to gate that land area. Then I've also mixed in a little bit of sap green and my transparent brown together. Okay, honestly all of my pins are contaminated brown with my sap green to get a slightly more brownish stone and then white quash for the stars and the white areas on the earth. Let me recap because there's lots of bad colors in here which I didn't intend to put. Sap green, dark green paints, gray, yellow, blue, ind and green, blue, and cena, yellow, ochre, and transparent brown. Those are the colors that I have used in this painting. Look at my hands. In my watch, I've got wash my hands now. If you're ready. Let's go ahead and paint this one. 40. Day 17 - Beyond Earth Project: All right, let's start in this one. I want to have a bigger circle over here for the Earth. Of course, I'm going to be using my circle maker, but you can go ahead and use any compass or any object like this one. I tried with this one first. It's just a coaster, but I guess this is too small, which is why I'm going with this. Try and find an object that suits your sketchbook and suits your dimension for the Earth that you want to add to. I guess mine and my Earth is not going to be in the center or anywhere. It's going to be somewhere around here, along the edge. Okay. That's where I am going to sketch it and that is the only sketch involved in this painting. Okay, there you go. I think I made a round mistake as I was coming along here at the bottom. Let me just try and rectify it. That's it. That's my Earth shape and that is the only sketch that I have. Okay. Now, for the painting part, basically we're going to apply water brush has blue. If you see the blue undertone, I need to clear it up. But I guess it's okay because we're anyways going to be painting with a darker color. Take your paintings but careful again along the edge of the thread. This is why you should clean your brush after thalo blue, because Tyloblue is like a very staining pigment and it's very dangerous. But in this painting, it's okay. That's saving the edge carefully. I haven't used any tape for the last few. I have not been using a tape because I became fairly confident after all this time. If you're confident you can, otherwise you know exactly what to do, you know exactly how to put the tape. Okay. I've shown you that a couple of times now. Along the edge of my Earth, carefully along the circle. When you're tilting your paper and you see that there's water accumulating along the edge. Make sure to get rid of it because you don't want the water to flow down all along the edge and ruin your paintings. Okay, Or your paper underneath. I see a lot of water accumulating there, which is a danger. Let me just quickly make sure that see, it's already seeped in. Which is why you've got to be extremely careful of the way you paint Okay. The water that you put along the edges. So let me just clean up the edges in the middle. I know that it's very risky. I'll just take my paint there and not a lot of water, I guess. Okay. That's the easiest and safest thing to do. I'm just being extremely careful as I go along the edge of my circle. Okay, I think I'm good now. The rest of it I'll add with my starting. With sap green. Okay. Then beautiful sap green. Any green would suffice. Don't worry that, oh my god, I don't have sap green or anything like that. Okay, This sap green that I'm using is from white nights. It's a bit on the denser side. As you can see, it's a vibrant green that I have here. Going to carefully take it along to the edge. Yeah, that's it. You can see as I painted, it spread which made it look a bit beautiful. Isn't it tilt my paper? Always try to keep your paper in different directions as you deem fit. Okay. That was it. Then I'll go over to the next dark shade, which for my case is going to be dark green. This dark green is again from white. Nice. But you can create your dark green by mixing paint gray with sac green. Or you can mix it with indigo as well. But mixing it with indigo would make it slightly cooler, which is why I refrain from using that. They're going over. You can see how my paint is like watery at this point because I'm just trying to get the colors in, but keeping it away from the edges is my aim. So you can see, I've got my paper at an angle here. Always keep an eye at every part of your paper and see what's happening here. Dark edge, hash edge towards this side, It's going to be only the dark green as you can see from the reference I've created using two photographs. Use your brush to absorb extra pigment from areas that don't need that extra pigment. Okay, careful when you're painting along the edge of the earth. Once you've put down one layer of color, then we have to keep adding a lot more. Let me remind you of what I say always. If you find at some point that your paper has dried out, I guess it's best to let it dry out completely and then paint rather than trying to paint over and create a lot of harsh edges I guess. Okay. Done with the rounded areas, but now we've still got a lot smoke color to do. We're still in a very lighter stage here, paint gray over the top, I guess. I see that this region here in the center which we started with has started to. I'm just blending a bit more of my green there, making sure that the whole thing just blends out, pick up extra water from other areas. I think for this painting, maybe I will show you if we can apply an extra layer, maybe this painting might need it. This edge here is supposed to be really dark. The green is just the undertone. Need sap green at this point because you can see it's like drying out. But I know how to adjust my paint and lend it along. I'm just doing that, just that I'll probably drop in water along the center, see how it's created a blue. But then as soon as I spread it around, it should be fine some darker spots. That's what I do with my darker green, dark spots here in the center. You can create an even lighter tone if you pick up a little bit of yellow and try to stop it in there, okay, see some yellow tone. That's basically made it a bit lighter. But now let's finish off adding the dark regions. Okay, It's absolutely essential that we keep it as possible towards the edges, keep applying. You can tilt your paper in different angles to make sure that your paint blends like here I'm taking my paint gray and I'm just going to go over this region once more so it'll be more dense. Now, I'm going to try something new here. Here's my black paint and I'm just going to put it onto the paper. Okay. If you see I put a large blob. Okay. I'm very sure. I haven't seen anybody do this with put colors. I take that large blob and I spread it around. Oh my God. Now, isn't it? Now, that's given me a color. I need to blend it up with a little bit of green. Each time you do it, make sure that you know, your brush is devoid of excess water. Okay? Excess water can completely ruin your painting then picking up more paints. Gray or the edges pigment. The reason I do this multiple times is I know that it is still okay. But then when it dries out, you will see it one shade lighter, which we don't want, right. I want it to be as dense as possible, so that is why I'm adding more and more color and making it really dense. Hey, see it's now denser along that region. Oh, I see a separation between the pains over there. So I'll just get rid of it and blend that in. Okay, Yeah, I think that's cool. Then if you look here, my sap green, this edge has dried and forming a harsh edge. Okay, that's really good. Now all we'll do is like wait for this to dry out, then we can add some stars, and then we can add in the Earth, basically. All right, it's now completely dry paper, we'll start to paint the Earth. Okay. I'm just basically going to start with applying a little bit of water all around. It's good when you apply the water because you'll be able to paint it softly. Okay. I guess that should do. And then I am going to start with my halo blue first. Okay. I know it's like a blue in the reference, but that doesn't matter. Here's my Hello blue. I take it to the right very edge. Okay, Right now we're not going to focus on the white paints, we'll be adding that later on. So I guess there is Africa. Then let's just trace out the different shapes that we see in the Middle East and there, careful as we paint the edge. I can already see the shape here has gone a little bit wonky. I probably might have to adjust that. You could use a masking fluid if you're not that confident in order to paint along the edge like this. Okay, You could have used a masking fluid earlier on and prevented your Earth from getting any colors. Now for the Earth, what we're going to do is a mixture of color. So I've picked up a burns, a little bit of yellow stuff that on maybe a little bit of greenish brown. So here's my green, mixing it a little bit with brown and that's what we'll put along the edge there. Don't worry about the perfect edge or shapes that you're creating. Okay, don't worry at all because we'll cover entire mass of it with a lot of white paint. It doesn't have to be perfect. Okay, that's Madagascar. Then we've got the Middle East lying there like that. We've got the Middle East over there. I know the middle East is not at all supposed to be green. Here along the Africa is the Sahara desert. It's supposed to be more yellowish, I would say is the Middle East region. Then I'll take in a little bit more blue and put blue along the top edge. We need more color. All right. Then I'll go with my indenten blue. Okay, I'm going to add. Over the top of my blue, I always like to give this undertone of pride blue whenever I'm using my Prussian blue or my Indian threme blue. Okay. I don't know. This undertone is always great, that's why I use it. Also, it gives a different appearance to the ocean. Don't worry that you're going to ruin your Earth, because when we add in the white tones, it'll all make sense and there'll not be much to worry about. Okay, the only thing I would say that you need to worry about is actually getting the shape right. Because if it's not round, then it's as though like created some different shape, isn't it? I'm getting some harsh edge there, so I'm just going to soften that up. Some nice watery pits here, some water, like a current here. Some watery bits there. Okay. I guess that's enough. We're going to be covering it up with a lot of white. All right. I think I just need to adjust the shape a bit here because I see it's got. All right. Now what we'll do is we'll wait for this to completely dry. Okay? All right. It's completely dried and now we're going to add in a lot of whites. Okay? So make sure that your brush is like a semi dry brush. You don't need it to be really wet. Okay? Because there's a lot of dry brush strokes involved. The first thing is I'll start from the top. Okay? Get rid of any random, uneven shapes. Wherever you made mistakes or wherever your shape doesn't make any sense, just go ahead, cover it, white paint. That's why this is the easy and fun bit, because you are covering up the entire mass. Okay, I guess towards the bottom we need to have more of the white paint, because it's Antarctica down there. Observe the shapes on your reference. I see there are some darling current activities going over there. Try and mimic all of that. Towards the end of Africa, there's activities first, let's draw in the larger shapes. After which we'll switch to the lighter strokes and the dry brush ones. Okay, I see that there's a huge load of activity going there. Then a lot of now I'll get on to adding Antarctica and the bottom bits. Okay. If you look at the reference picture closely, even along that Antarctica bit, you can see the bluish underdone. This is why we're not using paper white because it's really not paper white. There's a lot of cloud forms there. Yes. But then it's got that bluish undertone even on the reference. Okay. Which is why we first painted it with blue and then going with these darker tones of white. Okay, then go ahead, start with those strokes. They won't have too many clouds over to the desert region, okay, because it's a dessert. Because the Indian Ocean is always dense, cloudy. Okay, try and create those various shapes that you see towards the bottom. You might actually need more coats. Okay, not just one, possibly. Okay, Covering the entirety of that bottom heart with a lot of smaller clouds. Again, you could use a smaller brush for this, but I didn't mind with whatever I'm using. Okay. Now you see that when you've covered up a lot of it and then it's fine, isn't it? All there's left to do is add the stars. This is possibly a scene where our Earth has gone, wandering off into a different galaxy. Don't freak out if you're one of those signs guys, but this is just, you know, like a painting. That's it. Okay, here comes the dangerous part. Oh my god. Oh, no, wrong rush 'cause that's wet and it's dropping water, love mode, denser stars towards the right side. Okay, let me close my palette. All right, Look at my hand again. So I'm really happy with the way this has turned out. And if you're happy as well, you can start. And here you go. Here's the painting. I hope you enjoyed it, and thank you for joining me today. 41. Day 18 - Green Meets Snow: Colours: Hello, hello, hello. Welcome to day 18. This here is the painting that we're going to be doing today. Second you see it's a blend of two different pictures as it is clearly evident because you're never going to find a scene like this in real. It's totally random. It's totally absurd, isn't it? But I just combine two different images, and you'll find both of these images attached to the resources section, along with the blended page, so that you can clearly see how I've structured it. Okay, let's have a look at the colors that I have used for this painting. So I've started with the left side for the sky and I used lavender. So lavender is a very common color that I have used in this painting. And if you guys don't have lavender and if you're thinking of mixing it up, what easy mix to do is with violet and white, because lavender pigment is exactly that. Okay, then I've used a bit of Queen Rose, but I haven't used it in this consistency. It's a very, very lighter tone for the whole of the background, if you look at it. Okay. Right side of the sky, I have yellow, then I have orange. Okay. Then for the clouds here, it's just lavender. And for this clouds here, it's a mixture of Alizarin and lavender. So it's Alizarin, crimson and lavender mixture. The mix I created is this one, and it's this, basically lavender and Alizarin mixed together gives this color. Okay. Then as we come down to the bottom, I've used different kinds of green. So that's a sap green at first, my darker green. So if you want to stark green, you can just mix sap green with pains gray and you'll get that darker green. I tend to mix it a lot which is why it's there in my palin's a convenience color for me. I have transparent brown of course, needless to say paints gray. Then I also have a bit of Bunsen for some areas here on the rock. Then the right side I have is amounts of greens which is again, my sap green, my dark green, my paints gray, a bit of transparent brown and of course the famous olive green. Okay, so those are the colors that are heaviest in this painting? I guess there's nothing else. Yeah, that's pretty much all the colors that are heaviest. So I'll say it once more. Lavender, queen, acrodone, violet, rose, transparent yellow, transparent orange, Alizarin, crimson, sap green, dark green, transparent brown paints gray Manzana and olive green. Okay, so if you're happy and ready, let's go ahead and paint this beautiful painting. 42. Day 18 - Green Meets Snow Project: All right guys, let's start. This is the first time actually that I've seen bleed over here. That's from the green of this painting and it didn't actually bleed on the edges. But what it bleed was through this gap between the thread so the water could easily flow through those holes. And that's how it happened. That's a real big warning, which is why I also tried to keep the water away, but I guess it didn't work out and it bleed a little. That's definitely going to stay in my sky. My sky for this painting is not at all in this color. I guess it's okay. I'm completely fine with it. It's acceptance basically because there's nothing I can really do about it. Let's get started. We'll start with our pencil sketch. If you look at the reference again, combined two different reference images. Okay, I'll start with a mountain here along the one by third position. I've got a cliff here, right? A cliff that goes like that. Then the mountain again comes and we have a cliff like that. Then it protrudes a bit, something like that then and joins there. Let me mark out the cliffs now. Okay, Cliffs there is the cliff of that mountain. Okay? Some dark editor, some dark arches. Then we've got the mountain road over there vanishes somewhere there. We've got another cliffy edge over here. Don't worry about adding it like in a too detailed manner. This is where it starts. You see that little lake over there? That's where I thought put in this combination. Okay, It doesn't make any sense. So we've got a lake over here. How about we start adding another leak? Okay, this picture is not going to completely make sense, but then it's going to be like a blend of two images. It's unlike the other images that we've done. Where was the other one that we did, which we blended two things together. Merged two things together. It was the tree image, right? This made sense because it was just a tree. This is not going to make sense, but it's a blend. Okay, That's what I'm trying to show here. Here comes the lake. As you reach here at the edge of the mountain, this transitions into a rock, okay? Then it goes like that and go over there, we'll make this a water body. Again, here is rocky edges. Rocky edges, There's a large rock over here, some smaller rocks, the water part there, and so many lighter areas that we need to capture. That's it. Now, where does this mountain part end? Okay. Let's see. We said that this was going to be like a lake. Okay. How about we've taken a little bit of green over to that side. We make the mountain. Okay, Come over there again. This is all part of the water area. If you'd like to have a look, there is a closer look of the sketch that we're going to be doing. I'm going to be starting with the sky here, obviously. Let me just quickly water the sky region. I'm going to seriously stay away from the edge because I'm really worried that it'll ruin up. Once you've done that, let's get to painting. Okay, so first what we're going to do is we're going to try and give the sky and everything a background color. Okay, let's do that first. Towards the left side here. The background color that I will add is lavender. Okay, so here. It's a very subtle and light color, You can see that. Okay. I applied it to water and then I'm just lightening the whole thing up over here to the lavender. All right. It's just so that our paper is not white. That's it. Although white is also absolutely fine. If that's what you prefer, then over to the bottom, a little amount of pink. Okay. That's what goes there in the water. It's a very subtle amount of pink. So make sure that you use it in a very light manner. Now, in order to make this a bit more cohesive, what we do is we'll apply the continuing on from this side. Okay. A bit of a bit of the lavender. The lavender, but make it very subtle. Okay. Then on the right side, it goes on to be yellow. Yellow is the undertone over on the right side. I don't know. Even in the other image, the warmer side to be on the right side, isn't it? Maybe because I'm right handed, because I feel like the dominant side, it's warm and towards the less dominant side is cool. Maybe if you're left handed, you might want to shift the image completely over to the other side. What do you think? Lots of yellow even in the gaps. Make sure you now go over to where the gap between your mountainous and start applying. Okay. You can see how cohesive and blended it is. I love the sky, even if it's just a soft blend. But now we're going to add in cloud. Now we go with lavender. As you can see on the left side, it's lavender denser. Okay. At lavender clouds towards the top and coming over to the right side like that, what I'm going to do is since I've got a lot of blend and wrong colors there, I just put in lavender and I took rid of my color that tad spread more in the sky. I think the clouds turn lighter as I go towards the bottom. But I've got some denser clouds over here, let me make them. They're dense lighter at the bottom and almost like a line. Now on the right side, I think what we need is a mixture of lavender, possibly a bit of Alizarin. If you mix your lavender and Alizarin together and try that over the top, See, oh my God, That color is just gorgeous. Like when you mix in lavender with your sky, it turns it into a gorgeous color. Trust me, I see that my sky has started to dry off a bit. I'm just applying water or you can just reapply your yellow paint. Okay. Here, I'll just apply my yellow pink. That's the undertone, isn't it? Applying my yellow paint because my sky has dried out. It's good when you have a separation of the sky like this, isn't it? There was a subtle pink. I just put a drop of pink and then I'll spread it around. Okay. That way it'll be more spread. Now, I'll get to my Alizarin mixture. Okay. And see that's my lavender and Alizarin, that's what we'll paint using Okay. In the sky and create different shapes. I see some orange stones in there as well. I guess I will add them later on. We love the dell color. My brush is giving me because I pick up lavender. I just like touch this. So then my brush has a lot of lavender and that's giving those, look at this one over here. Oh, it's so gorgeous. Some over to the side. Oops, oops, oops. That side is dry. I just wet that little region. But now I need to add orange. Here I am picking up orange and I see orange in the background in some of the areas. I'll just add it over the top of the colors that we have already. It blends together. Oh, look how that gorgeous orange is getting in between the land and all Add in mixture and blending. I love the way it turned out. That's enough for the orange. Just taking that mixture a bit more because I'd like to make the clouds over here a bit dense. Okay, That should do, this part is dry and this part is wet. I think what I will do is we'll start from the left side. Okay. Before that, here along the sky, there's an edge gap. Okay. I feel that maybe taking a little bit of that reddish color towards the left. Okay. The transition was too strong over there. Now for the parts on the left, I see that there is a lot of white areas, but they're not entirely white. They need to be in a lighter tone. What I'll take is lavender. I'll take a pretty much lighter tone of lavender and put that over the rocks. Okay. It's got lavender because it's reflecting off the colors from the sky. It's white, but then it's reflecting off the colors. Okay, over here at the top. I don't need to entirely fill it up because we'll have taker tones top. Then we have the water area which is again going to reflect. For that, we'll repeat the same process that we did for the water area. Basically was to use a lighter tone of lavender here, that's the water. Using a lighter tone of lavender, we'll add in the water area. That's one thing I forgot towards the top, it should be slightly pinkish. Okay. Drop some pink, then I'll spread it around and make it pinkish. It's the water, but it's the reflection of this. It should be slightly pinkish in that region there. I think that makes more sense. Then comes back the lavender again, careful of how you do it. Okay. Lots of nuances here that you need to take care of. Let's pay the left side first, and then we'll move on to the right side. That's a separate region. You could actually separate it up. You've added the base of lavender. Now you need to give in the clouds just like it is there in the sky. And that would be toward the bottom, further off. Okay. Just go ahead and mimic the shape of the clouds. Okay. The needn't be a lot, I guess that's those are the clouds. Okay. It's only there towards the bottom. Now, this is what I said about the right side. The right side is a blender. The pink is already done. Now if you go further, the middle portion of the sky, it's yellow. You need to capture that yellow over there. Okay, Taking that yellow, that's what is there in the water. Just a lot of things to keep in mind. Isn't it see some yellow mixing over to this side just like we have over here? It's like right under the clouds is where we have the longest yellow mixing in. That would be that this part is yellow. I think there is a very subtle orange over here. We need the same color we used, which is lavender and hellingether to rather. Clouds, these clouds. Then we have some clouds over here. We have the clouds trend positioning there. We have some clouds there. That's the clouds. But they need to be subtle. So I'm just going to blend it up. Needn't be as strong as it is in the sky. Okay, They need to be sub. All right. Now once we've done that, let's go ahead and paint the rocks over on this side. For the rocks on that side here at the top, if you look greenish tree, I'll take my green over there. I think it needs to be darker. So I'm just mixing it up with a little bit of paints gray. This is completely wet on dry. So just go ahead and do it. Okay. And take it over to the top of the rock that's there and give some structure to the grassy shape. It's not grass, I don't know what that is, but some detailing is I don't even know what that is. I guess here we said it's going to be continuation. We'll deal with that later. I guess there's some amount of grassy shapes there at the end then. Now, if we continue over to the left, there's the rocky bits starting. The rocky bits start there. Okay, there's lots more rock for me to add over there. I'm not doing exactly like the reference. Don't stress out that you need to mimic exactly as in the reference. Okay, here I'm taking a bit of burnt sienna and I'm just covering up a part of it here. Then I'll take some dark brown and add to the base of it, which will give it like a slightly darker tone. Then I'll place some rocks in the water area here. When we make the entire thing, then this is going to make pure sense right now. It's going to look like a bunch of what. We've got more rocky areas here. I think we've got to add some tree over there. But then as we come down to the bottom part of this rock, then there is some more detailing over there. As I'm saying, don't focus too much on exactly as in the reference. You just need to capture some kind of rocky and land shapes there. Basically, that's it. Okay, You get these slight gaps. You can in fact totally do that. Now I'm taking a bit of paints gray and I'm going to add it. I'll be careful to leave that white gaps that I just talked about. I see that this rock has I just spread the paint over that rock because I could see that there is a lot of brown shades there. Then let's take this up and this land area, it could be in a more brown shade. Bottom part of this rock needs to be dark. This part here, we can add more than what there is the rock, it's not entirely light as it is now. We've got to add in a lot of dry brush strokes, in small detailing. We'll get to that. But I think what I'm going to do is I can see that at the back of the land area, there's like a little watery structure, but I'm going to avoid that watery structure. Instead I'm just going to fill it up with foliage itself. Okay. See, I've put some foliage over there. That's how I want it to be. Then we said that the mountain was going to continue over, wasn't it? We'll take up the dark green. The mountain is going to. And there it goes. This is a complete blend. Okay? You can clearly see that we've got the little bit of the lake area to cover there. We'll do that, but let's just put the color in first. Okay. Here, over on this side as well. Remember, don't make it a single color. It's just like the other mountain painting we did. I'm picking up a little bit of paints. Gray. Adding it at random places just so that it's not, like, perfectly uniform. Coming over to the right side. Now, over to where the lake is, now what we do on the right side is we started with a darker green, but we're going to transition it into a lighter, olive green shade. Here I pick up my olive green and I'm going to immediately come across and my paint over and make it transition into that olive green shade. Okay. Here, when you pull it off and mix it up with a dark green, you're going to get a color like sap green over there. And it's absolutely fine. Okay. But here you go. Now, I've at least blended it. Okay. And we have the olive green over there. Okay. Wash brush if it gets contaminated with the darker, darker green and each time you do that, you get into the fresher, olive green version. Okay? You can put dark greens at some places. Like for example here I feel that it's closer to the edge of the lake region and it shouldn't be like that. It needs to be in a horizontal manner, like a cliff. Then you can keep going and the shape of the mountain. But when you observe, obviously the mountain, you'll see that there is a lot of cliff regions that you need to capture as well. We'll do that first. Let's just paint the whole thing. Observe also that I've gotten rid of the background mountains in this case. Okay. I didn't want that to disturb our painting. I'm just going to fill it up with the color at first. Okay. This is supposed to be the road. I guess I'll make the road in a darker color. So I'm just go over and paint the whole thing right now. That's easier for us as well, isn't it? So if at all, you want to go ahead and add in darker details while the paper is too wet. A good point to stop is where the road is because it's a split in our painting. It's a point where there is a harsh edge in our painting. I've painted up until that point and I see that my other areas are starting to dry out. I'll quickly go over taking my talk clean and just going to give a subtle talk detailingskayn maybe a bit of a detail with paint scrays. Well, here, closer to the river. I guess there is more here at the bottom of the cliff. Yes, I'd have to add darker tones for that, which I will do later on. But I guess the detailing is also important now. I think I'll get back to that now, adding darker details, I guess this region here at the bottom is kind of dark greenish and with a lot of feud. This is actually the foreground in this part of the painting. You can see how I've applied it at the bottom. Maybe here, I need to add some brownish strokes over here. This is just like the mountain we painted again. I'm doing it again so that, that whole process becomes easier for you as you go forward and try something on your own. Okay, the road comes here like that and there are some brownish strokes. I think it's best to mix that round with a little bit of paints gray. Then that's where the cliff is in it. So I'll add the cliff with pink, gray and brown mixture together. Okay, so here is the second part, right? It's not uniform. So just need to make sure that I've added some chunky bits, then I blend it. See, I guess I could add a bit more towards the right side because that's how it is next to the road. Blend and smoothen the edges. Now, once we're done that, I think we can go ahead and start painting the left side. No, but maybe let's add more details like here. I feel we could add, okay, let's paint that water region. That water region is going to be with a very, very subtle amount of pink basically. Okay? That really doesn't make any sense, right? Because for the aesthetics of it, it's good. But then I don't think it makes sense coming together. Like that was good. Okay, I'll just cover it up. I thought it was going to be good and I left it there, but Okay, here's the brown. And taking the brown again, I guess I'm going to add some stroke over here. Some here, coming down. Oh wow, I love the way it turned out. I think I'm not even going to soften that because I love the hardage look to that region over there. I guess there, some of it here as well to add some closer to the road. This one I will probably soften a bit then I'm just going to take a little bit of my thalo blue and give some color variation in my mountain at some places that is a cooler blue. Adding that cooler blue will make it appear like a dip in the mountain. Okay. It's like a really big dip in the mountain over there, blending that. Now that's a really dip in the mountain. See, it's a very good color variation to add. Okay, I just added some lines, but I need to blend it. I'm pretty happy and satisfied with that. Then I'll take some play over and try and make the bottom part of that mountain. We literally almost done, we're done with the cliff. We did all of that. And now the only thing left is to add in the dry brush and some detailing over to the left side. Okay, let's add the dry brush For that, I'm picking up brown paint, making sure my brush is also dry. Then picking up more dry paint, then I'll try and see lots of dry brush. I think it's also best to mix it up with a bit of paint. Gray. It's like a sepia color. Oh wow. See how the dry brush strokes are creating the rocky texture. Now only thing left to do is to add in some details and foliage towards tech devices and in between areas. Okay. First we'll do that with a mix of dark green and the paints gray. Okay. All right. Taking that, I'll add lots of stuff over there. Now, the only thing that you need to look at over here is that when you're adding some foliage, you need to add the reflection of it because it's a water area. Reflection means doing the same thing that you did towards the top. See, oh, wow. That instantly makes it look like the water. Okay, so let's add some. I guess we just lay in a lot more of these tiny details. Then I think next I will switch to my Sat Green and try and create like a land structure that I see there. You see the crevices in between the rocks make them darker. That gives the appearance of like lots of shadow areas in between. You can give separation to these rocks. See how they separated, like shadow under the bottom of the I'm over there. This bottom part of the rock here looks like a solid color to me. I'm going to give it a bit more shadow. What I'm going to do is I'm going to pick up my lavender and then I'm going to mix in a little bit of my paints gray. Then I need a lighter tone of that mixture. If I apply that lighter to soften it up. Yeah, see, that's much better, isn't it? When it has that color variation. Let's do the same for all of the rocks. Honestly speaking, if you look at it, I'm just having free flow with my brushes. You don't need to make anything perfect. Sometimes it's even fine if you don't soften out the edges. Okay, Look at what's happened on my paper that way. This thing is really simple. Okay. Here I'm adding the green foliage to some areas of the white, so that we definitely see that there is a green foliage. Otherwise that green is not at all going to be visible. Okay, there are other places where you can add. Like I said, this doesn't really make sense at all because it's like a completely different painting that we've blended together. Finishing off, it's more black details. Okay. Like some touch details. I think that gives a better texture. Like when I'm doing this I'm just doing my stabbing motion there. Maybe let's put in a little rock. We're done. That was long, isn't it? Okay, here you go. I hope you enjoyed painting this one with me and thank you for joining me today. 43. Day 19 - The Lava Flow: Colours: Hello, hello, hello, hello, welcome today, 19. And this is the painting that we're going to do today. Do you like it? All right. This is actually very easy because it's just a lot of black tones here and there. Let's have a look at the colors that we need for this painting. Basically, for the sky region, the color that I have used is paints gray as usual. Here, we're going to need paints gray in different tones. That is a lighter tone and this is a darker, darker tone. Then for the mountain area, I've mixed it with a little amount of my transparent brown. You can also use burnt umber instead, or you can mix it up with sepia. But I like to mix my brown and black together to get the color that I want. Then for the fire area, I've basically used my transparent yellow. My transparent orange a bit of Alizarin. Okay, Alizarin, when painted over the orange, gives a nice red color like that. See that? Then I've also used my favorite mixture of the golden brown color, which is transparent orange and transparent brown together. It's already there in the colors. Then for these lighter areas, I have basically ed lavender. All right. I think that's basically the colors. There's one more color. Yes, cadmium orange. I used cadmium orange because it's opaque and lets me paint over the top of paints gray like that. Okay, after I finished painting the whole of the mountain, I used my cadmium orange to draw these small bits and blobs here and there. That's basically it paints gray, transparent brown, transparent orange, transparent yellow, Alexander, crimson lavender, and cadmium orange, cadmium orange, because it is opaque. But if you don't have cadmium orange, which is as opaque as this one, you can actually use a guash paint if you do have that. All right, so if you're ready with your colors, let's go ahead and paint this one. 44. Day 19 - The Lava Flow Project: All right, let us start. I'm going to quickly sketch the mountain over here. Okay, I'll probably have it from not a halfway point even. It's not halfway point in the picture as well. Taking my mountain upwards then coming over here towards the center then. Okay, I will show you where we can modify these images to get the better composition. Okay, here that goes as the background that we have another one here that is again in the background, right? Then this is where the fiery bits are. Yes, that's a bit in the center. I think if you look, there's an extra bit of fiery bit over there as well at the top, and we have some extra fiery bits over there. Then for the composition bit, it's good if you can change it a little bit. Instead of having a smaller bend over here, I've made it into a larger bend. Okay, obviously it comes all the way down again. It comes down thinner, then it gets thicker. The parts of it are blob, horizontal. Blob is what we need to capture. This one is horizontal as well. Can go all the way outward. There's a large blob of black area there, then a, then lots of larger blobs in the, those larger lobs inside. We won't actually sketch it out. All right. We'll just do that with our, itself. For the best of the conversation, I've slightly shifted this towards the right side because if you look at that image, it was right in the center. And that's not really good when you're trying to make a composition and a painting, because if it's like exactly in the middle, it wouldn't make it attractive. Okay, that's all there is to this sketch. Now, let's go ahead and paint this. Okay, this should be pretty interesting and easy here. I've just taped the inside. I mean, not the inside, just put there and that's it. Nowadays, I don't put the tape, you know that I'm just going to apply water to the top of the mountains. In fact, I think we can fairly go ahead and apply water to the back mountain as well because let's make that bloody. Because that's like in the further background. Okay. We can make that and have a bloody edge for that one. The picking up, adding more following along the shape of the mountain. It's also absolutely fine if you don't follow the shape of the mountain because this mountain is black or brown in color. You're good to go so long as you like. You've fairly applied water in some rough manner. Okay, then we're going to start with a bit of paints because it's background over there here. I've just picked up a very lighter tone of paint, Scra, and I'm going to be adding this to the sky. Okay, nice and strong. I think I'll apply to the whole and then I might apply a bit more to create the effect of clouds. This is a center page. I want to clearly steer away from the center and not ruin any part of my painting. I guess I'm not bothered about me going towards the outside hoops. Where did that slight yellow color came from? I think it's from my palette. Okay. All right. Now, picked up darker version of my colors. Oops, Oops. Oops, too much. But okay, I think I'll just spread it out. And that should solve my problem because it'll, anyways, be lighter Once it's dry, you know, I see a very subtle orange towards the left side. So I'm just going to take up this little orange from my palette. And put it there along the left side. Okay. It's subtle. Make sure that you make that subtle. Okay. There. I guess that's enough for the sky. One thing is let that sky dry out while let's drying out. How about we paint this region over here? Okay. That will make it easier as well. Let's go ahead and paint that region for that, I'm going to be switching to my size ten more brush. Okay, We'll start with yellow. Yellow, because I want to capture the lighter areas here where there is the fiery color. Okay. That's the only place where there is yellow, I guess. Yeah. I mean, if there is anywhere else, we'll capture it while we reach there. That's yellow. Then surrounding those region, we have orange here. It's in wet on dry. Just going and following along the edges. Okay. Carefully as I approach that. Red. Okay, This is a continuous picture, but I'm pretty sure I don't want to, being wet on wet here. It's easier this way. Isn't it getting in orange? I guess you could stuff a little amount of yellow at some place here, then just continue along with the orange, I guess. Okay, let's keep going now. This is going to take a while, all of the areas just fill it up with orange. That's what we're going to be doing. Okay. The orange that I'm using here is transparent brown. I mean, I've mentioned it in the colors before, so I just thought, I'll say it once more just to be on the saper side. Don't worry about the sketch that you've made right now for the dark that we need to be adding there. We can add that later on, so don't worry about it. Try and keep to the surface, especially when there is a paper variation like that. So just lift off as you reach towards the end so that that paper variation doesn't paint on the other side. Okay. On the paper underneath. And stay away from that. All right. So I've added, now the next thing what we're going to do is I'm going to shift to my smallest eyes. I will probably shift to a size two or four brush. This one is size two that I have. Then I am going to add Alizarin over the top. That is going to make some of the areas really bright. Alizarin is a cooler red, but that's okay. Once you add it on top of this orange, then it's going to make sense. Okay. Not in all of the areas, just in some of the areas. Just go ahead and make these random lines see lines. And maybe try and mimic the shape of those little pieces. Okay. And I guess there's a lot of edge ones here, a lot of smaller ones there. I don't mind that. You know, many of it is like drying up. It's absolutely fine guys. Okay. So don't panic that your paper has dried or it's fine. All right now that we're done with a red. That we're done with the red, we'll go back to adding the lava things. Okay. That's basically, you've guessed it, with pain spray over the top, but make sure you pick up a nice amount of dense pain spray. But if you observe there are some lighter colors on the lava, but we will add that later on with white but a different color. We'll see here I pick up and then just follow along maybe in some places create create random edges towards the center. Keep it tight just along this region. But you can also create some gap. Right now we're just focusing on the darkness of it. The black, We'll make it lighter in a different method later on. Okay, so don't worry about that. Now we start getting to the chunkier pieces, so some large pieces there. Then we have the large piece that we sketched out. I might not be following the exact sketch, but that's okay. Okay. Don't worry about the exact shapes for now. Okay. Or the highlights. Just keep adding as many of these smaller bits and lobs right now in to the lava. Okay. It's basically wet on dry, wet on wet, Doesn't matter if your lava is still wet, then you get some met on dry strokes. If it's still dry, if it's dried, you get some met on dry. That's it. Okay. Nothing fancy or big. Like we said, lots of chunky pieces over there, then some bigger pieces over there. So make sure that you don't cover up all of the Elisa that you've had. Okay, So let it be there. That's a pretty good coverage, I would say. But now you've got to capture some darker areas on the lava itself. What we'll do is darker as in a bit more golden. Here I've got my brown. I have my beautiful, usual mixture of brown and orange, so makes it a bit more golden. And then try, these strokes are pretty dry, it's absolutely fine. It's just like now you've got a surface to cling onto as in how varying it should be. Okay, because you only have the gaps to fill in. You could paint this wet on wet as well, and it would look more beautiful than this. But when it's this sketchbook, I don't think that's possible because your paper is not going to stay wet for that longer. It's little bit compromises that you have to make for the sake of the sketch. B. B, okay. I guess that looks good. Um, I think we need a bit more yellow in certain places. We've already painted something and our transparent yellow is not going to work. I'm going to use a bit of cadmium yellow. It's absolutely fine. Um, but I think I picked up the wrong brush, so I'm just going to go with it. Just some lighter tones at random places don't touch the black areas, I guess. Okay. It will be like in a flowing manner, if at all. There is okay, like it'll be flowing and some lines see that. It looks so good. When we've just added the yellow along with the contrasting dark parts, it's looking really nice. I like the way it's turned out. Okay, I think that's enough for the lighter regions. While we did this sky has dried, now we need all of these black spots to dry. In order to add in lighter spots, what we'll do is we'll go ahead and paint the mountain. I am basically going to take my paint scrape, but I'll mix in a little bit of brown to it. So that color variation, again, didn't I say that I was going to paint that softly? Actually, let's do that. Here's my I'm just going to apply water over there. Okay. And soften out the edge as I applied the water. Then here I'll take my brown paint. I'll go apply that, the mixture paint that we just did. All right. That's soft. If at all, you find some harsh edge, make sure you take a damp brush and then all you have to do is run your brush along the edge there. It's an absolute soft edge over there. Okay, then let's create some misty effect here. All you need to do is make sure to blend these edges. Can you see a plead out white areas drop in deliberate blooms. Let the color be non uniform on that mountain. Okay. See, taking that paint again now I'll paint the other mountain. I want to capture the mist. I'll leave a gap there then taking along this side. Okay. In order to capture the mist, just let it spread. Oops, that's a little bit of water. See you. Just let it red and create those fiery effect. Okay. Yeah, I think that's good enough. Now, we can't paint on that side because it's full of paint. What we'll do is we'll go ahead and paint on the right side. I have my brush here which I've been holding onto. The one I've mixed there is my dark color. But like I said, oh, I forgot to add the fiery bit over there. Okay, we'll add it. I've got the mountain over here on the right side. Just following along my pencil sketch. In fact, outside of my pencil sketch, so that we'll make sure that my pencil sketch is not visible, it's hard to capture those orange bits without taking too much time. I'll just ignore that and I'll probably add in those orange bits later on. That's the easiest method to do. Okay, here, keep creating the mixture. And this is why I like to keep creating the mixture. And I'm a at the beginning because when I mix in between, sometimes the brush be more and sometimes the black content would be more. And that gives a variation in my mountain. Okay, that's what I'm going to be doing. I just realized that I forgot something. I'm going to do that. Just going to take up my orange and I'm going to fill this large blob here, which was supposed to be orange. The thing when you mix up paint and paint this way is, like I said, you'll have different color each time when you pick up from your palette. Okay, it'll be like a mix of brown and paint screen. But also make sure that the color you're using is and don't let your brush marks strew. Instead of the brush marks. What's important is you capture like a variation in the mountain. Again, not the brush rooks. Okay, so that right side is done, I think. Now this left side is dried, see, so you can do bits of your painting here and there and combine different things so that you're not wasting your time. All right, Now taking over to this side, okay, Make sure that it's not a uniform and not in a toothy bit like that as well. Try and getting non uniform strokes closer to where the larva is filling up the entire mountain. That's basically what we're doing. Any darker details? We'll add it up later on. All right. On some of the edges you can let it go in words like that, so it'll look as though it's the edges of the lava flowing. Okay. All right. Almost done. So not just going to fill up any brush strokes and you know, funky marks that remain. My God, that was a lot, isn't it Just going to fill up that remaining piece of yellow in the painting here? Digging up yellow, then orange to go around its edges. If you notice, there is some black there as well. But I guess we could wait while that dries out. I think we can add in the details over here for adding those lighter marks. It's nothing other than lavender. So have a look at it and now you'll see that hey, it's lavender. Just use a medium size brush and try and put in lots of these lavender marks. Okay? When it dries out, it'll be even, it can have all of these darker spots, but let it be like what you see in a lighter manner. Also, if you feel that your lavender is like really dark, go ahead. Use a cloth. Absorb most of the paint and that will also give it a nice look and appearance. Okay, here, loading my brush with lavender. So as we start coming down now, have a look at where are the spots that you need to add lavender. I see that for this large blob over here, it's pretty much over the top. Then somewhere here. Just a little bit over the bottom. Over here. Okay. Oops. I touch the edge over here, I think that's pretty much it. And you can see this side of the mountain that has dried up. Let's give it another extra coat of pure colory goodness. Also, just realized, you could use lavender to add bits of lighter detail, but as you can see, I'm using a very subtle and lighter tone of lavender there. Okay. Just placing some lighter tone of lavender. See that? Okay. Even to the edge here, there are lots of places. I see that there is the lighter tone of lavender. Make sure it's nice and watery when you add, so that it turns up lighter. All right then. Okay. There's lots more over here with smaller, tiny, tiny dots. This is what I said about the bending the pages actually come loose now. I can't touch. It's wet and I'll get color over my hands. I've been re using the tape and I guess that tape is useless. Now, I've got to use a better tape for my next painting. It's started to lose its sticky path, then this mountain has kind of like shapes that go that way. Okay. So if we've captured a lot of detail now, I guess it's time to add now. Dark, more black. Also remember I said I'd painted later on, I think the time has come to add that bit. Now there's a separation in the fire. Do you see that? Okay. This fire, this mountain has to have that fiery separation like that. Then if we add several, then that would mean it's like a fire as well. Just look at your painting and see where are the places that you can add more details, more work if you need to do anything. Okay. So just adding a random black details. Okay? Because there are some areas that definitely have extremely black details. Okay? So that's what we're trying to capture here. When it dries out, he'll make much more sense now, it looks a little bit more dry now. We'll wait for this to completely dry out, and we'll finish off with a cadmium orange. Okay, that's it. All right here, it's completely dry. So what I'm going to do is I'm going to pick up a little bit of my cadmium orange. Okay, We'll give a nice boost to some of the places. So just like adding out with the black fiery bits here, fairy bits here. Let's see the fire rising from here. Then there is a fiery bit over there. But that was supposed to be on a black mountain. I think we skipped that black mountain. Let's get that in there so that we can definitely add that orange. Okay, here's the Black Mountain. But we need to soften it if we need to make sure that it's in the misty category. All right. I've made the background mountain. What I'll do is I'll just ensure that I soften out the area underneath like we did before. Okay. That will capture a lot of light and misty effect over there. See, that's misty effect and our mountain is definitely in the front, but now we have to wait for it to dry while that dries out. I'll put my cadmure in shellswhere See how that already looks. Very interesting. If we can maybe get it even adding the cadmium orange at random places inside that lava is going to make it look interesting because this orange is actually completely different. Okay, I know this is over there and this is like elsewhere on the painting. But I like that line of orange that's I'm just going to add it up. See, I like that over there at the end. I think that's enough. And that part has now dried up. And pick up my orange, get me orange. And go over there and add. You can see the fiery bit over there. And add yellow adjacent to the cadmium orange that it looks like fire. It's like the lava flowing over to the other side. Because lava is not actually just flowing on one side, it's flowing out of the mountain. It's like following everywhere. Okay, I'm just going to pick up my black again because I feel some of these lavender strokes are really dominant. Maybe I'll just apply a bit of my paints gray over it, and that should make it less dominant. Yeah, I think that's good. Now. Anyway, having said all of that, this painting is now complete. Okay. I hope you enjoyed painting this way. Me, thank you for joining me today. 45. Day 20 - Aqua Serenity: Colours: Welcome to day 20. And this here is the painting that we're going to do today. So I wanted this painting to be really simple and, you know, somewhat easy for you because we don't want you to ruin your painting on the last day. Right? Plus it's water. So it's not that easy for everyone to paint. Although some of you may be really proficient with painting water after my aqua class, if you've taken it still. I wanted it to be simple. And it's quite tricky because with water, you have to paint it horizontally on a sketchbook without damaging the edges. And that's not easy. Okay, so now let's have a look at the colors that I have used for this painting. I'm using some paper today because I can't really find the sketchbook that I was actually marking the colors down. I'll find it soon. The first color that I have used is my lo blue for the sky. Then as I approached the water, I mixed my lo blue with my Indian green blue. Okay. Indent, thin blue is like a t bluish color. You can use Prussian blue instead if you don't have either of these. And using a single blue, you can also use ultramarine blue. But the only thing with ultramarine blue is that it granulates and it doesn't have that vibrancy. But I guess that would still work if you're like someone with not a lot of paints then in the water. I have also used indigo for some of the taro strokes. The three main blues that I have used is bright blue, Indonrine blue, which you can substitute with Prussian blue or indico. Then for the foliage, I have used my Indian yellow or transparent yellow. A bit of sap green, then dark green. Okay, I really need to fill up these palettes here. Dark green, then a bit of paints gray as well, to get some of the darker details in the foliage. Okay. Basically these other colors that I have used in this painting, let me go it once more. It's bright blue, in green, blue, then indigo, transparent yellow, green, dark green, and paints gray. All right, this painting, the reference image, is like in a landscape and I've changed it into the portrait format. It's quite tricky to paint water, especially when you have to keep your paper wet for really long, forgetting these waves. That's why I didn't want to trouble you too much and I've like ingested it into a smaller sheet, onto the portrait mode here. Okay, So you have the reference image attached in the resources section. You can refer to that. Now let's get to painting this gorgeous landscape. 46. Day 20 - Aqua Serenity Project: All right, let's start. So I'm just going to quickly apply water onto the left side here. I've taped and kept the paper secure. Now all I need to do is to apply water on to my paper. As I've already mentioned. I'm going to be painting this only on the left side, even though it's kind of like a landscape image. I'm converting it into a portrait mode. And the reason why I do it is mainly because there's a lot of water involved. And I don't want to stress you out by painting a lot of water strokes, especially in this method of the sketchbook where your paper can dry out so quickly, Let's just keep going. I've applied the water all towards the edges and carefully avoiding the other areas. You can see this is like pled here from some other painting. I'm not even sure which one, but that's okay. Let's just get going. I'm going to start with my Taloblue for the sky, okay, And going to apply toward the sky region in a completely random manner. So you can see haven't applied water towards the top region, but I'll take my brush there which will eventually prevent it from bleeding onto the other areas like we've done in so many paintings before. Here, just taking my lo blue and applying it in a completely random manner to create the effect of clouds. Okay, Up towards the edges. Okay, I need the top portion to be a bit more darker, more vibrant. Here I'm picking up a nice, vibrant amount of my thalo blue and adding Once I've applied it with my brush, then it's easier to actually go over the top of it because there's already water and you can just easily move your pigment around. Now, I won't pick up more pigment. Okay. I'm just going to use whatever's there in my brush because I want the color to red use as I go down. Okay. No more dark details. I can even take pigment from some of the upper areas and start pulling it down. Okay. And you can see just taking it downward. As soon as I reach around one by third towards the bottom, that's where I'll make a stop. Okay. I'm just going to add a bit more towards the right side. I think that's enough. All right. Okay. So now all we've got to do is like wait for this to completely dry out so that we can add in the foreground details. All right. All right, there you go. It's dried up. Can you see how the clouds have turned up the sky and the clouds which are in the white color? I always love the randomness of the water color. Wet on wet clouds, you basically what we're going to now do is to paint the water area for painting that water area. We've got to figure out one by third of the papers, that's one by three, That's two by third from the bottom. One by third, that's somewhere around there. Now, that area is where we're going to be applying our water. Okay. Make sure it's in a straight line. Let me see that. Slightly slanted, so I've got to make sure it's straight. Okay. I believe that's straight. No, it's still not straight. It's planted. What am I doing? Yeah, I guess that's okay. Then we'll apply more water. Okay. So now that when you apply the water, it's okay that your paint is going above onto some of the blue areas that you just painted. It's absolutely fine. Okay. Now we're going to be using somewhat similar blue itself. What I will be doing is alpha, my bright blue or my yellow blue. Okay, and I'm going to mix it here in my palette. There was some other blue there. I think it was ultramarine blue. I don't mind. Okay, then picking a little bit of my indtreene blue, you can use Prussian blue instead. We've already discussed this in the color section. You can pick up your indreene blue, or Prussian blue, or some dark blue. You can even mix an ultramarine blue if you don't have that. If you still don't have that many blues, you can mix up a slight amount of violet or a dark reddish color. Your blue will turn into a cooler tone. Okay, That is what you're going to be painting in that water there. Okay? Pick up the nice color and start here. I'm just going to use that border edge then I'm going to paint the water. There, all the way until there. Make sure these strokes, until now we were painting or bottom down strokes for these bottom areas, mainly because we wanted to prevent the bleeds, right? This is the trickiest part of this painting where you actually have to paint it in a horizontal manner. Okay, Here comes horizontal manner, even towards this side, mixing both those colors together, taking it up until the bottom. I always have to go and paint in the horizontal manner. Okay? Make sure your strokes are horizontal towards the edges. So I'm just going to hold my paper like that. So hold your paper and your sketchbook in any way that suits you. Okay? For me, I think this is much better. So I'm just like, you see I'm holding down a page and not even the whole sketchbook. Okay. I think that makes it easier for me here. I'm doing those horizontal strokes there. Once you lay down the paint, then I guess it's quite easy for us to keep applying, isn't it? Make sure you go over multiple times so that you're able to lay down your paint, and also to make sure that your paper stays wet. Because if you don't go over it multiple times, then your paper is going to start to dry up, which we don't want before this thing dries up. I'm just going to quickly shift to my smaller size brush at this point. Okay. Somewhat my size ten brush, going to quickly pick up that. And then I'm going to pick up more of my indent, three blue Prussian blue. If you're using that mix up the same color tone and going to give depth, picking that up and then adding to the bottom regions. Okay, towards the bottom. We want it to be darker here, taking that up and adding then once you've added it, like in a straight line all the way towards the bottom, When you go towards the top side, start to decrease the length of your strokes. So you can observe here I'm holding the whole length of my brush and then starting to add these little lines. They form like the water ripples. Okay, See that I touched my hand there and see my hands got paint from the edge. That's okay. Remember as you go towards the top, you need to reduce the size of your strokes so that we master perspective. Anything towards the bottom extreme bottom needs to be darker. I think we'll give more colors. But right now let's just go upwards before it starts to dry. I'm going towards the top now and you can see it's re lines, okay, that I'm adding with the tip of my brush. As I go towards the extreme top, it's even more reduced. I know that in the reference picture there is a lot of white strokes, but I'm not going to be implementing that. Okay. It's just a slight change that I've made to the reference. If you want to paint those white strokes, you're totally free to do so. You can do that. Okay, now I'm picking up a little bit of indigo. You can see I'm picking up dense paint. I'm actually not even mixing it in my palette. This dense paint, I will take, I'm going to add that. Okay, dense paint towards the bottom because that needs to be even darker. Okay. I think that's more than enough. I love the way it's turned out and you can see the water strokes. I really love painting. Vibrant stuff, you know. Okay. That said, now all we've got to do is to go ahead and paint that foliage or that background things, but I guess we better wait for this to dry out so that we can do that. Okay, I just spotted something. So let me just clear that up. I'm going to take up my indigo and add to that bottom region there. Okay, That's it. Yeah. So now all we've got to do is to wait for this to dry, So I'm going to quickly dry this up. All right. There you go. Okay, it's completely dried up. Now, time for the foliage. So very simple, just going to start with the sap green. Or you know what? Not sap green. I want to put in some lighter tones in there. So what I'm going to do is I'm going to start with my Indian yellow. Okay, like in that right center region over there. Just add in a bit of Indian yellow. Then I'll go to my sap green and mix it up. S okay, so that area will have a somewhat lighter tone, which is why I picked up the Indian yellow at first. Okay. And going towards the very edge. If you notice the picture, you'll see that, that the foliage increases in height towards the right side. I'm just doing the same thing even though it's a portrait landscape image. And I'm changing it to portrait. We just implement that here. Okay. Now all we've got to do, we have to be careful as you paint closer to that water region. Okay? Like that. And then coming very close, make sure that you paint doesn't go into the water region. Okay. For me it did go a little bit. Okay. Then going to pick up my darker green, I'm just going to make random spots onto my foliage here. Can you see that? Especially at the bottom is usually where you need to capture all the death. Okay. So it'll be denser towards the bottom, that's what we capture, like that, towards the edges. Slowly we capture the depth. As we come towards the yellow region as well, you can capture the depth, but you can still see that glow over there. Okay, all right, that's the aim then going to pick up a little bit of paint because I still want to capture a bit more depth in just some areas. Going to pick up and put that dark green paints gray color. Okay. What I meant to say was that when I apply paints gray on top of the dark green, it becomes like a darker green color. Can you see how it's like showing off the beautiful depth in our painting? Now, you may think that the painting is complete, but I still think that you need to add in like a bit of shadow to where that foliage is. Just because we've painted it so close, that means it definitely needs to have some shadow. I will add that shadow right now. Here's my brush. I'm taking indigo at this point. Now, field is for adding the shadow. We're going to go towards the bottom edge, okay, of our foliage. Going to make these horizontal lines. Remember, not vertical this time, it's going to be horizontal line. Okay? Now add those horizontal lines. Then what you will do is make some more horizontal lines. Okay? Such that it's like the reflection. All right, More of those reflection strokes make it more towards the right side and the left side, and lesser towards the middle because the middle has got lesser height. But this is a peak, so you can add a little bit for the peak there. Observe the height of the foliage that you've added. And then see as soon as we added that our painting has been elevated because you've got a reflection in there. All right? Was pretty simple, right? I mean, the painting is over And honestly, with all the drying up and everything, my time here shows 18 minutes. And that was real quick, isn't it? I wanted this to be short, and sweet and simple because painting water is not easy, trust me. That's why I try to keep it as simple as possible. And it's the last day as well. I want you all to be able to enjoy the painting, enjoy the process. I hope you enjoyed painting this one. Thank you for joining me. There you go.