Christmas Paintings with Watercolours: 21 Days of Holiday Inspiration

1. Welcome to the Class!: Christmas is one of the most beautiful times of the year. It is a season of joyous moments, happiness, and cute declarations all around. Hello everyone, I am Geethu an aerospace engineer by profession, a watercolor artist on the creative side, an art instructor, and a silver brush educator. I have been teaching online for more than three years now and also conduct in-person workshops. You can find all about me, my work, and my happy moments in my Instagram page @colorfulmystique. The festive mood and the beautiful Christmas decorations changes the color palette around you into beautiful vibrant shades and before you even realize, inspiration strikes from within. To help you get into the mood for Christmas, I have created a beautiful Christmas-themed class for you. We will be painting 21 different A5-size winter-themed lights and Christmas decor things with watercolors to bring out the vibrant colors from your color palette on the paper. This course is for both beginners and experienced watercolor artists because the projects are ideal for you to relax indoors with a cup of hot chocolate before the holidays begin regardless of your skill level. Along with the materials needed for the class, I will be explaining each project step-by-step so that you can get inspired and paint it in your own style. As the holidays approach, you will end up with 21 gorgeous Christmas-themed paintings. You can gift it to someone as a Christmas card or decorate your ball along with the Christmas decor, or have it hung on the Christmas tree. You will never know the way through which ideas pop into your mind. Are you ready to get into this beautiful festive mood? Grab your watercolor supplies, and let us begin. 2. Class Overview: First of all, thank you for joining the class. I would like to quickly brief you about the class projects. There are 21 painting projects which would be uploaded each day. You will find all the 21 projects of this class after 21 days of the class publish date. We will be painting all the paintings in the portrait mode on an A5 size sheet. But you're of course open to your own innovation, such as painting on a different size paper or even a sketchbook. If you are an ultimate beginner to watercolors, I request you to brush through my ultimate guide to watercolors class. Where you will learn basic techniques such as wet on wet, wet on dry, splattering, or the blending technique, which would be highly useful to follow along the projects of this class. If you're painting along every single project, or is trying out a specific project of your choice, I request you to upload your projects here to the project section here in Skillshare. I will be personally reviewing every class project and giving feedback for the same. Lastly, if you come across any problems during the class, don't forget to ask me for support. Leave a question in the discussion section here in Skillshare, and I'll be happy to help you. 3. Art Supplies You Need: Let us have a look at all the art supplies that we need for this class. First of all, we need paper. I will be using Arches 300 GSM or 140 pounds, 100 percent cotton paper in cold pressed texture. I've cut this paper into two halves. We'll be using an A5 size. This is almost like an A4 size, and I'll be using half of this for the class. You can see here, this is the paper that I've cut into two. This is typically the A5 size that we'll be painting on all of the 21 different projects. Next, we need watercolors. I'll be painting with two different palettes for this class. For the first few days, I'll be using this palette, which consist of paints from the professional brand PWC Shin Han. I have my usual palette, which I use for almost all of my paintings. But for this class, I wanted to try and experiment and push out of my comfort zone. That is why for the first few paintings, I'm using this palette, which is basically all the colors from the professional brand Shin Han as I've already mentioned. As we advance through the class, I have used my usual palette consisting of colors from various brands such as Winsor & Newton, Daniel Smith, and Schmincke because as we move on to the further projects, I felt that we need watercolors that are more transparent to achieve certain effects in our painting. But you're welcome to use any watercolors that you want because from the first few projects, you'll understand that the colors that you use are not at all important. It is always the tonal value in a painting that is very important. Next, we need watercolor brushes. All the brushes that I'll be using for this class are from the brand Silver. You need a large brush to apply flat washes on the paper and to wet your paper at the beginning or at any stage during your painting. Then you'll need a size 8 or size 10, typically a medium size brush so that you can put down most of your strokes. Then smaller size brush for the details, so a size 2 or 4, or maybe even a smaller size than that, such as a size 0 or size 1. Lastly, you'll need a liner brush that comes to very thin point and has long bristles so that you can use it to make the tiny details such as the branches and long lines with it. Also don't forget about palette for mixing your colors. You can either use a plastic palette like this one or metal palette or a ceramic palette, or you can even use a glass palette if you want one. You'll also need some masking fluid to mask certain areas of your painting so that you can paint over it. Once it has dried up, you can peel off that masking fluid and that area would remain as it is which can be later painted on if you want. Also remember to use very old brush to use with your masking fluid because masking fluid is brush killer. Do not use your new and good brushes for this purpose. You can also use other objects, such as toothpick or even the back of your brush to apply the masking fluid. You can use a masking fluid hard eraser or a brick eraser for erasing the masking fluid from the paper. But if you don't have that, you can just use a normal ruler or eraser for that purpose. You'll also need a pencil eraser and ruler for making your initial sketches. Some paper towels or a cotton cloth to absorb extra water from your brushes and paper. Any board to tape your paper onto. Of course, masking tape to tape the paper on and get clean edges for your painting. Two jars of water for your watercolor painting. Over the course of your painting process, one of the jars will turn muddy because you keep washing your brushes and your colors into it. If you have another extra jar with clear water, you can use that for taking up fresh paint and also applying water onto the paper. Lastly, some white gouache for some white accents, highlights, stars, or the snowy effect. I'm using this Winsor & Newton designers gouache permanent white color. Wait, don't forget to grab a cup of coffee or a hot chocolate before you proceed to paint the class projects. 4. My Colour Palette: Let us have a look at the colors in my palette so that you know which colors I'm using for each of the class projects. But let me tell you the exact colors that I'm using are not at all important because I myself are using two different palettes in this class. You can clearly understand that you can go with any color of your choice, for each of the class projects. You know you can make it innovative and fun and explore yourself with colors. For example, if you look at the first-class project, I've used a lot of blues in this one. You can totally change it. You don't have to paint with the exact same sheet. Maybe you can change this whole bubble into a red sheet. The only thing that you need to remember is that to add in the highlights, the shadows and everything. Tonal value, and I will stress on that a lot because tonal value is the most important thing in any painting. You can even go for a monochromatic touch and use one single color. As long as you put in the tonal value, that is the correct tones in your painting. I'll just briefly go through all the colors in my palette so that you know. This is lemon yellow, permanent yellow light, permanent yellow deep, cadmium yellow orange, permanent yellow orange, Vermilion, permanent red, rose madder, permanent rose, crimson lake, permanent green Number 1, greenish yellow, olive green, sap green, hookers green, viridian, yellow ocher, raw sienna, burnt sienna, light red, burnt umber, Van **** brown, sepia, brown red, indigo, Prussian blue, cobalt blue, cerulean blue, peacock blue, ultramarine blue, and permanent violet. As I've already mentioned, these are the colors that are available in this watercolor set from PWC Xin Han. It's the professional set of watercolors. The reason why I actually decided to use this is because I had this lying around in my studio for a long time and I wanted to get out of my comfort zone and use this, and also to stress on the fact that the colors that you use are not important. But of course, after a few projects, I decided to go back to my usual palette. The colors in this one are; Naples yellow, lemon yellow, cadmium yellow, Indian yellow or transparent yellow PY150, Indian gold, cadmium orange, cadmium red, alizarin crimson, quinacridone, violet rose, transparent orange, ultramarine, cerulean blue, bright blue, Indian green blue, indigo, cobalt blue, dequan green, aqua green, cobalt turquoise, tailored green, sap green, dark green, olive green, perylene green, cobalt green, horizon blue, yellow ocher, lavender, violet, berlin violate, raw sienna, burnt sienna, transparent brown, Payne's gray, lamp black, and Amazon genuine. This is my personal palette that I have curated after several tries. You don't need all of these colors and we will also not be using all of these colors. You can find a detailed photograph of this palette in the resources section here in Skillshare, if you would like to know the exact colors and then give numbers in each one. Now that you know the colors that I'm going to be using, let's get to the first class project. 5. Day 1 Colour Palette: Welcome to Day 1. This is the painting that we are going to do today. The colors we need today are cobalt blue, ultramarine blue, Prussian blue, Phthalo blue, or yellow blue, indigo, and viridian. I know it's a lot of blues and hence, if you don't have different blues and you probably using a very basic palette, what you can do is you can slightly vary the mixes of your blues by trying and adding a bit of black or indigo to your blue and maybe a bit of green. You try to create different variations of the blue that you already have to make this painting. 6. Day 1 - The Christmas Bauble: Let us start with our first Christmas bubble. For that, we need to first sketch out that little bubble there and use any circular object that you have to draw the circle. This is just a candle I have and I'm going to use the bottom of that. We need that bubble to be somewhere at the bottom part, that is the focus in our painting thing and that's where we're going to add it. I'm going to quickly sketch out using the bottom part of that candle and make a circle. You can use a compass or any circular object that you have for this purpose. There, that is my circle. Now, we need to just go ahead and add in the snow on the top of it. I'm going to take out the top part because that top part is going to be covered in the snow. Here, let's assume that this is how it's going to be covered in snow and there's that large snowflake on the top and then it got to have that little ribbon that it's tied to. That is the circle, then we have the ribbon coming around here again. Try and capture the movement of the river. It's folded onto the branch in which it is hanging and then the other side of the ribbon see how I've made the sketch, then it's the branch in which it is hanging. The branch of the fur tree and you can just gradually sketch it, just to fit. You don't have to do any retailing. That's basically the sketch but if you want, we can go ahead and let's put in a large amount of snow covering on the top of the tree as well, and some areas. But now when you are marking out the positions of the snow, make sure that you do it as lightly as possible because one, the snow is supposed to be in a white color and two, we don't want the pencil sketch to be reflecting at the end of our painting. That is the reason, if you can just draw as lightly as possible, just so that you can see it when you're painting. I'm going to assume that I have a branch there at the back and that branch is covered in snow right there. That branch comes here like that and I have other branches there, some other branches there. All of these other branches are going to be really softer because we want to bring the foreground, which is this right here to the front. That is the reason why we'll be painting in that way. Then let's assume another branch, little bit on there, and a lot of snow elements. I'll show you the pencil sketch closely so that you can observe. There you go. This is just the pencil sketch that I have made. Mainly the Christmas bubble is what is the most important one. Let's get to painting this. I'll be using a large flat brush to apply the water onto my paper but you can also go ahead and use in large, round size brush if that is what you have. I'm just loading up my brush with the water and I'm just going to apply it. Don't apply to the whole of the paper. We're going to skip the area of the bubble and the snowy region at the top while we're doing this process. If you avoid all of that, go around with your brush. The ribbon is absolutely fine. It's okay to apply water on the ribbon, but just a bubble and the snow on the top, try and avoid that at the moment. I know that it can be hard to go around with a larger brush. This is why I will also probably use a point size crush to apply water closer to the bubble. First, I'm just putting in my first wash there onto the paper so that I can easily apply and cover a larger surface area as quickly as possible. I have now covered almost entirely the rest of the areas. Now, I'm just going to go closer to my Christmas bubble and add. That will make sure that I have enough water along the edge as well because it's very hard for us to apply water using a very large flat brush, especially when it's a circular area. If it was a flatter area then it would have been much easier, don't you suppose? Got my water in. Now that you've got your water in, we're now going to add in lots of snow and the fur trees. For adding the fur trees, I am going to pick up one of my dark blue. That is my Prussian blue and I'm going to use that. I'm going to mix it up with amount of dark green so it's basically my Prussian blue mixed with my viridian. Let's take more of my Prussian blue and you can see it creates a nice dark green mixture. You can also perhaps add in a little bit of indigo to the mixture so that it turns slightly darker. This is what we're going to add. This is basically the background so remember that. Here I'm going to use a slightly watery mixture towards this end here and this is what I'm going to add towards the base regions. Just going to make some nice strokes. Let's make some nice strokes and I guess I'd put in some extra strokes here. This is where the tree basically starts. You can go ahead and add in a lot of strokes at that point and here we go. I'll continue on along this side. These are going in the background. That's why it's in a softer manner. I guess, I'll add some along there then we shall move on to the top now. Remember the positions where we marked out some large snow elements, try and see if you can preserve those areas. We have one fur tree branch right here that goes through the background. Then I have another one that goes inwards there. Then I guess I'll put in some color here along the top, maybe a little at the top right. Now that we've added many of the branches, now we need to go ahead and start adding a little bit more details into our painting. So we need to add darker colors. Here I'm going to pick my indigo. I'm going to mix it up into that same mixture so that now we have a darker amount of paint and we're going to add in a shadow element. It's just basically on the top. Can you see? Just added on the top of the color that we just applied and applied in strokes like that. Use the pointed tip of your brush. I'm using a Size 6 brush and we start. We'll add in lot of lines, maybe you also use it to draw the middle line of the fig tree. Like for example, this one was the ball that we're supposed to be adding the main one. You can try it to add branch and there's another one going in the back there. Towards this region, I guess I'll just add very little. Now we placed a lot of snow elements in there. So now we need to add in many of the snow regions. For that, I'm going to pick up a nice amount of my cobalt blue. Just a tiny amount of my cobalt blue. Use a very watery mixture. You can see the watery mixture right here, and using this watery mixture, I'm going to add. We're going to add them to the base of many of our snowy regions. Like for example, this one was a large snowy region, let's apply a bit there and start adding to some regions. You can have completely going random so we assume that there is a larger drop there, so you can go ahead and apply maybe a little. Leave a lot of whitespace as well. Let's say that this region, this one has got some snow, and then go with a further darker color. The same color tone, but in a little bit more dense will apply towards the bottom. Just trying to give different color appearance and little snow elements. When we add it to this one, we will especially understand that process. I recommend that you watch the video at least once before, so that you know the entire process of what is going to come and what is going on, and that will really help you in mastering this painting. This is the background done, so we're absolutely done with the background. Now we can do is we can wait for this to dry out. I'll be using my hairdryer to quickly dry this up so that I can continue on the recording process. See you after drying the painting. Here you go, I've completely dried this up so we can now go ahead and paint Christmas bubble, and snow elements on the top of it. Now to paint along the Christmas bubble, we're now going to apply water onto the top of it. Just use your brush that you're going to be using and apply water to the top. It doesn't have to be larger brush at this moment, you can see that I'm just using my normal brush and one coat of water onto the inside part of the bubble. That should be enough. Then I'm going to be using Taylor blue. In China, that is known as the sertraline blue. It's Pb 15, and that is the blue that I'm going to be using. It's a very, very bright beautiful staining blue pigment. In case you don't have the same blue, you can go ahead and use any blue that you have. It's absolutely fine. I'm going to put that into my paper and you can see the gorgeous color shade. Just observe closely how I'm going to be painting because I'm going to have a large highlight right there. In order for me to have that highlight, I'll make sure that I leave that area as bright white color, and rest of the areas, I'll apply with this Taylor blue color. Go ahead and apply the paint. Do the bubble, but make sure that you skip the area of the snow at the top. Remember that. Along the edges you can use the pointed tip of your brush so that you get a perfect round shape. I wanted to get a perfect round shape so this is why I decided to go for a pencil sketch at the beginning. Now I'm getting towards the top region, as you can see, and that's the region that I wanted to add a highlight. I'm going to wash my brush and I'm going to take my paint from the existing region already and I'll draw a line along the edge because I do want it to have an edge, and then going to create a circular shape of paint. Then begin my rest of the paint again and make sure that I go along that circle. Can you see now we've left a nice gap of white right there? The rest of the areas you can go ahead and fill up with your paint. But obviously we need to add in a lot of dark details onto our painting, so make sure to go ahead and create that nice round highlight there, and obviously go ahead and soften out. Taylor blue is a very, very staining pigment, so make sure that you're very careful when you are applying. No stroke for creating that highlight. That highlight there. Now I'm going to pick up now. The next color that I'll pick up is peacock blue, which is a slightly darker blue. You can use Prussian blue instead, and now we're going to add this onto the top and give it some nice shadow elements. Here, I'll take my peacock blue. I'm going to add it, and as you can see, I added mostly also towards the edge of my Christmas bubble, and this is wet-on-wet because I just painted my bubble using the wet-on-wet method and it's still wet. We have to make sure that our bubble remains wet. Why we do this process? So that the paint, can you see, it blends in nicely. Go ahead, pick up the nice dark blue shade, we add in some darker spots right there, and nice and dark towards the bottom. Then now we've got to add some shadow. The shadow of the snowflake also sitting on the top casts a shadow at the bottom. So for that also, I'll use the same color slightly and I'm going to place it right there at the bottom where my snowflake is. Right there. At the bottom can you see, just adding a slight nice darker tone, and if like my paper which has already started to dry because of the dry weather here, you can go ahead and soften them. Just use the softening technique to soften out the edge, which would then make sure that you do have softer flow of the paint. Darker paint all around. I'll pick up now a little bit of indigo. I'll add it to that mixture, and I'm just going to add it along the free bottom edge to get some more darker color. That is how I've added my bubble, but you can always go ahead and keep softening out the white region. Just be careful that you don't get rid of it. We just need that little highlight on the doll. Now that we have added that, let's go ahead and add in the ribbon. For adding the ribbon, I will pick up ultramarine blue. Taking ultramarine blue, we'll just add some nice lines alone. Join it towards the top. Because all of the other colors that we applied are in the background, it's okay to paint over the top. Now you've got the ribbon shape, but you can add in and out of details on do it like the lines of the fold. For that, I have picked up a little bit of my darker indigo, and I'm just going to use that to create some lines in the middle, and I guess darker color there along that edge, which will show that it's turned inwards. I guess that's that. Now let's go ahead and add in that foreground fig tree. So we'll use the same mixture that we used for the background, which was the mix of viridian and our Prussian blue. Viridian and the Prussian blue mixture. Using that, you can go ahead and start making the leaves of the fig tree. It doesn't have to be perfect, we just add some random strokes like that into the ribbon so that it shows that the ribbon is passing through that. Can you see? If you add it like that way, can see now the ribbon wrapping around it? Towards the top you don't need to add many because it's got a nice amount of snow covering on top of it. I'm just going to add some. Now observe what I am going to do. I'm going to take my large brush, you can take any brush that you want. Let's go ahead and just little apply water there right at the base where that fig tree is going to be joining. Any edges where the water is, just go ahead and try absorb some of the water so that it doesn't show the edge of the watermark. Then pick up the same color, go ahead add it. Can you see? I'm taking a darker indigo right now and I put that in. Then that means the end of that is now going to be in a softer manner. It just shows as if it's blending into that background, and that's exactly what we want to achieve. That's why. Either you can do it this way or you can go ahead and use the softening method. See? Now, I've got a nice dark edge there and here add a line in the middle. I really love the way that has turned out. Now the only last things left to do are adding the snowbird at the top. But I guess before that, we can add in little drops of beating at random places like, for example, if you take that, go ahead and add just some branches at random places, maybe a little here. They are in the background, but just popping out a little like here. This is again the background. But if you just make some strokes, when they dry up, they will be more beautiful. Just a little, some one or two. Now let's go ahead and paint the snowy region in the front. For that, I'm going to apply water on the top of it. I have applied the water. Now we go ahead with a nice amount of cobalt blue. It's the same shape that we applied in for the shadow. Let's add. As you can see, taking this little amount of ultramarine blue and take that in a very lighter tone, we'll apply that towards the base. This is the area where you want to actually show the depth and the shadow area, even though the snow is absolutely quiet, but then you need to add the shadow element, which will make it look more real. If you add some bluish tone onto that, can you see how it looks as though it's sitting on top of that bubble like that? You can add some darker shades on the top of it, some gray tones. For making that gray tone, go ahead and make your burnt sienna and ultramarine blue together. That would create a nice gray tone. Here, I'm taking my burnt sienna and ultramarine blue together. I've created a nice gray tone, and I'm going to use that now at the base. Some gray tones also towards the base. I guess a better gray would be if I have more blue in it. There. Here, let's create darker strokes there as well. Now, all you got to do is go ahead and blend all of those strokes. Can you see how now it will flex like a snowy element on the top? Do the same, let's pick up the ultramarine blue and start adding for this snowy element here. As I have not applied water, you can go ahead and wet it and it'll be the same. Here, ultramarine blue at the bottom and the dark shadow color at the top of it. That'll give the element a nice looking snowy effect. Now, in order to add a more snow at the top, what we can do is if you water down a little area right there where we've made the pencil sketch, and then go ahead, pick up the ultramarine blue, add it towards the very base. Can you see the little gap of white there? That shows the top part of that snow element. Then pick up a gray tone and add it. Now you can see how we've created nice gluey snow effect. We've created some nice snow element, and we've added a nice reflection and everything. Now the last part left is to add in the white. Let's go ahead and pick up a white paint. Make sure that you pick up some nice dry amount of white paint. In order to make sure that your brush is dry, all you have to do is wipe out the entire hairs of the brush, then pick up the white paint. This is the bowl that I use for storing all of my white paint, and can you see? My brush is dry. Using this dry paint, we can go ahead and apply a lot of dry strokes on the top. This dry stroke that I apply on the top just implies that it's got some snow sticking on the top of it. That is why I'm applying the dry stroke. It gives the effect of little snow elements sticking on the top of it because it's snowing. See how our bubble has got like a snow element. Do the same to some of the areas. Taking that white paint and adding some dry strokes, you can have that dry strokes among the shadow as well. That'll give the effect of the shape of this gnome. Once you've done that, I guess we can go ahead and add a teeny tiny amount to the top portion as well. Once you've added that, let's go ahead and add a lot of snow in our painting. For that, take a nice watery consistency. Can you see it's now a watery consistency? I've picked up a lot of water. We're going to pick up the white paint and we're going to add in a lot of splatters. Go ahead and add in the splatters onto your painting, lots and lots of them wherever you want. It's still snowing. Now that you have applied the splatters, go ahead and apply few splatters with your phthalo blue also. This is because the phthalo blue is going to show as some of the shadow elements of the snow falling. This is a new trick that you can use. Just go ahead, pick up a little amount of the phthalo blue. It doesn't have to be dense. You can see it's a watery mixture that I use, and I'll use that to splatter. Especially if you splatter to some of the white areas, can you see? Because most of our painting area has got a lot of white, it's not going to be entirely just covered in white splatters. If you add those blue splatters as well, can you see some areas has got the darker spots? It shows how the shadow element of the snow part. Now the last part is, don't forget to sign your painting ever. I am now going to sign my painting. I'm going to use a bright red shade into my painting and I'm going to sign my painting right at the bottom. It is a masterpiece that you have created no matter where you painted it from, so don't forget to sign your painting. We are ready to remove the tape. Here's the finished piece. There you go, I hope you like it and thank you for joining me today. 7. Day 2 Colour Palette: Welcome to Day 2, and this is the painting that we are going to do today. The colors we need to do are Prussian blue, indigo, cadmium red or permanent red, reddish brown, dark brown, burnt sienna, ultramarine blue, and a little bit of whitewash. 8. Day 2 - The Telephone Booth: Let us go ahead and add in the telephone booth and do our picture. You can use a ruler for that purpose. I'm going to place it somewhere here towards the left side, I don't want it to be right at the center. So just along the side. Just need to add three lines, so one line then lets make the next line and then another one. Three parallel lines then let's trace out the top portion where it's going to be covered in snow. Make a curve like that towards the top and the same curve is at an angle towards the right side, then make a small dome like structure for covering up the region where the snow is going to be at the top and then have the base. Let's assume that it's covered in snow, so it's not going to be an even level then along the side, it's going to be at this angle towards the top. I think that's too much of an angle, maybe I slightly reduce it. Yeah, and remove the extra line and the front portion also, you can assume that it's covered in snow right there. I've made a slight difference in the levels there. Now, we've got to add in what makes it the telephone box, here is the front line. So all of these lines in order to give it the nice effect, it has to follow perspective. Let's assume that all of it is going to be in perspective so it's going to slightly bent out that way then we'll have our next lines. We'll have our box in it, the box-like structure. Go ahead and add in further some lines into your telephone box and make it like a box so there is the box. Now inside it is where the railings are going to be. Let me add the first railing there , another railing there. I'll show you the entire pencil sketch so you don't have to worry you can just do the same thing here on the railings. That's the railing on that side. Now we have to make towards the other side. Let's sketch out the same thing. Now the inside lines of that. Make it along the same level. Trace that line there but then remember to follow perspective line. Can you see how all of those lines are as if converging to one point? That is the vanishing point where it's going to converge to. That is basically our sketch. It's just as simple as that. Maybe if you want, you can sketch out the ultimate background part. Let's also just sketch out the ocean and along the door side where it's written telephone. There you go. That is basically the pencil sketch. Now let's get to painting this. While we're painting this, we're going to apply water all around our telephone box. The area of the telephone box, we're going to completely skip it so everything else go ahead and apply the water. You can also see I skipped the area of the curve around the top, which is basically where the shadow of our snow is going to be. So that part is the snow which obviously we have to add in shadow, we can't just leave it absolutely white but the rest of the areas go ahead and apply water even along the backside. Once you have applied the water, you can go ahead and pick up your smaller size brush to refine adding the water along the edge very carefully because it's obviously hard to achieve this with a flat brush. There you go. So I have applied that you can see, now we'll go ahead and paint the background. For painting the background, I am going to be picking up a very dark blue. You can go ahead with Prussian blue if you have that. Here, I will take my Prussian blue back to that, I'm going to mix in a little amount of my indigo so that it becomes more darker and you can see the nice milky mixture of the paint that I will be adding. What I'll be basically adding is I'm going to be adding a lot of bushy effects to the background. You can create in the shape of fig trees in the background, pine trees basically but make sure that you leave out the telephone box. Careful as you reach towards the edge of the telephone box but go ahead and apply some nice fig tree pined shapes and also to be careful along the line there. We don't need us a definite line so that is why we applied water to the whole but go ahead and apply on your paint only up to where you've added that line. Same here at the top, you can see. So let me get my paint along the back side because that back side, even though I'm adding it in a line, we should definitely add in more darker effects onto the top because we don't want it to be seen as a line if you understand what I'm saying. Apply some towards the back side as well, then go ahead add it in the shape of fig trees, pine trees. It's always better to add along the surrounding area of the dome-like structure. Because when we add in the shadow, it's going to shine through and look more beautiful. There. I've added the shape, like some fruit trees. Now I'm going to further darken up my strokes. I've mixed in a little bit more of my indigo. But before that, maybe you can pick up another brush that you have. Go ahead and soften out the base. Just because you've applied the water, you'll observe that your paint starts to spread towards the bottom. Just go ahead, absorb that region, and make it slightly flatter, and you get a smooth edge like that. Now, we're going to add in more of our fir tree details. I guess you can go ahead and add more darker elements because it's too in a single color at the moment, and I wanted to create some darker effects. That's why I've mixed in with a little amount of indigo, and we're going to apply that in the background. It doesn't have to be one color all throughout. The same here. If you look, I'm just going to drop my color at random. I just need to have some color along the outside. Seeing here, now, as I've already applied the base color, I'll go ahead and create some random bushy shapes. Maybe a bit more darker color. Wherever you can, pick up darker color and start adding towards the top. That is only going to add more bushy effects to your painting because it's the background, and once we add the snow on the top, it will look absolutely beautiful. Occasionally, go ahead and soften out the base. If you see it's forming like hairs, it's good to soften out. Darker colors. You can see how I'm applying the nice dark colors. I think I'll apply some more here at the base and some to the tip and the edge right there. Maybe some here. A nice background touch. That's what we've added. Now, before the bottom part dries, which I think already has, but it's okay. You can just go ahead and reapply some of the water. What a harsh edge here, which I can achieve by softening it. Remove it by softening. Then let's go ahead and apply water to the base again because I can see that it started to dry off, but I think I'll stop from not touching towards that point because I don't want my paint to seep into the bottom. Now I'll apply the water. We'll add in some nice shadows. For adding in the shadows, let's pick up a nice amount of cobalt blue or ultramarine blue. Whichever you prefer, it's absolutely fine. Just a bit of blue, and we're going to add that. If you look at your painting, just go ahead and randomly add them at certain places. Very lighter tone. Don't even use a darker tone. Leave in all the white spaces. That can act as the proper shadow. I guess I'll mix in a little bit of ultramarine blue as well because I liked the look of ultramarine blue in shadow effects. See, it creates a nice darker effect. I guess paint along the top. Some nice dark elements. We're not just going to leave it white, we just add some shadow elements basically. The rest of the areas can be absolutely white. Now, once you've added this, let's wait for it to completely dry so that we can add in the snow and the telephone box. Here, I've completely dried mine. Now, before we proceed on to painting the box itself, we have to paint the inside part of it. For painting the inside, what I'll do is we're going to water down the whole thing. I guess it's better not to bother about the railings right now. But if you do not have cadmium red or if you do not have an opaque red, check that the red color, red pigment that you have is opaque or not. If it's not opaque, then go ahead and paint each of the little squares individually. Another option that you can use obviously is gouache paint. If you have gouache paint, gouache is basically opaque watercolor pigment. The one that I used for the white is basically gouache. It's permanent white from Winsor & Newton. That's why it's so vibrant and opaque rather than using just watercolors. If you have red gouache, you can also use that on the top. If you don't have either of these, that is an opaque pigment, red pigment, or the gouache, you just need either. You don't need both of them. If you don't have, then go ahead and paint these individual squares and leave the space for the railings. But it is easier this way, so that is why I'm going for this method. I'm going to start with a little amount of burnt sienna at first, and I'm going to put that burnt sienna into my paper. Nice burnt sienna along the base. Then, now I'll go with further darker tones, so I'll take in light red. This is like a reddish brown shade. You can just mix your brown and red together to create this shade. I've just added that in random places. Then we go with a further dark brown. This dark brown is like Van **** brown or burnt umber, and as you can see, it's really dark. You can use this now, and I'm going to use this along the edge. This edge here, I will use this dark paint, and I'm going to apply that in random at some places. Possibly a bit there. Then let me go for some of the edge again here. Just creating some variety of shades into the inside part of our box. Let me pick up some more dark shades, I want this top corner to be slightly dark and maybe a little bit of darkness here as well. Then while that is drying, let's paint the other part, that is, the other inside part. I guess for this one, I will have a slightly lighter shade into it. That is because I want to depict that the inside part is actually showing the other side into the snowy area. We'll just give it a slight blueish touch, I guess. I'm just applying water to the inside part of my little rectangle. I will probably take a watery mixture of the paint that we use for the background. Here it is. I'm going to add that right there. Go ahead and add that slightly watery mixture. Once you've added that, you can pick up a random darker shade from the same mixture and apply in some corners, some edges, maybe a bit in this corner. I've washed off the pigment, now I'm just going to spread it around. I don't want it to be too dark. Just in some areas. See, some darker paint. That's it. Now, there's one thing that we need to do although we didn't add a pencil sketch for that. That is basically to add in the lines that go into the other wall. It's like a rectangular box. It's like, what do you say? A cuboid, I guess. In that rectangular box, we're seeing two sides of it, but there is a third side towards the other side, this is glass basically, so we are seeing through that. We need to depict the other side there. You don't need to add a typically red shade itself, so I'm going to go with a reddish brown. It's the same reddish brown that we just applied and maybe apply a little darker brown. If you're mixing up your reddish brown, just go ahead and mix red and brown together. I've shifted to my Size 2 brush, and we're going to be using a nice dry-on-wet method. This means that your brush needs to be absolutely dry; the paint on your brush needs to be absolutely dry. How you can achieve that is to make sure that you dry your brush completely and then when you pick up the pigment, your brush is going to be dry. See how my consistency is and running on my palette here, it's because it's dry. That is the consistency that we need, and using that, we're going to add. Go ahead, add a darker shade inside. This darker shade inside is the inside part seen through the glass basically. I've done that. Now, take each of these lines, so you see one line there. If you can go ahead and add another line like that. Going and joining each of these lines at an angle. That's the inside bar. When we add the detail in the front, it will make sense. Here, I'm going to add the center line for it. This is wet-on-wet, so it's depicting that it's in the background as seen through the glass. We are just seeing part of the other wall through the glass. When we add in the red spots on this, it'll make more sense. Once now we've added that, before we paint the red part, let's go ahead and paint the snow here. I'm going to apply water to that dome-like region so that we can apply the shadow of the snow. Then go ahead and pick up ultramarine blue or cobalt blue, either, whichever you're using for the shadow of your snow, and go ahead and apply it right at the base, just on top of the curved line. Can you see already it's forming as though it's covered in a layer of snow with the highlight and with the dark spots? You can even further dark spot by picking up a little bit of the darker color or you can use Payne's gray at this moment, or you can mix your gray as well, just like we did in the first-day lesson. You can add that at the very base. Can you see how we've given that a nice touch of the shadow of the snow? I guess this region is now completely dry. If you're afraid that it's not dry, you can go ahead and try and dry your painting. Let's now proceed to the last step, which is basically going to be to add in the telephone box. I am going to take in a nice amount of red. This is permanent red from ShinHan. I'm going to be using that, so I'm going to apply it right below the snowy regions and go around the box where I want to write telephone. Also, notice one thing, you can have gaps in between, it's absolutely fine. The main reason being if it's the gap, it's just going to be looked as though it is the snow. Here, another line. Go ahead, take your time, and fill up all the areas now with the red paint. I'm just going to tilt my paper because that's convenient for me to add strokes that are inclined. This is the reason why I said that we have to use cadmium red. Because if you have cadmium red or any read that's opaque, so this is permanent red. So any red that is opaque, even if you add it on a darker color like brown, for example, it will still come on the top. So that's the reason why I recommend using that. Otherwise, it's going to be hard for us to make this. If you don't have either of this, then I guess you would have painted the brown by going inside the boxes I suppose. There proud of that. There are just two more slides left. I guess now is the point. Can you see those lines that we added inside looks as though it's the other side. This is how I said that we can achieve that in our painting. Now that you've put all your red shade, go ahead and add in some nice shadow elements. In order to add a nice shadow elements, we need to add a dark color on the top. You can either go with a brown or maybe, go with the same dark brown that we've been using. Here's my dark brown. And I'm going to be using that. We need to create a lot of shadow effects. One would be like light below. What you can do is you can take that brown and you can mix it up with the same red that we have been using so that it creates a slightly darker red. Or you can use the red brown mixture. Here I've added to the top. Can you see? You can go ahead and create a softer mixture if you would like, but it's absolutely optional. I like to create softer strokes, that's why I do it. Brown and a bit of red together. Again, and now we have to create the separation between the boxes. Just a line right there in the middle. Then I guess lines there. But those separations are going to be using our white paint. Now we've already done all of our strokes. The only thing left is now to add in snow element. So let's see how you're going to do that. Make sure you dry your brush. I've dried my brush completely and I want to pick up my white paint, and as you can see, it's going to come off nice and dry. Taking up my white paint in a dry consistency, we're going to add that onto the doll. I guess my red has dried, and go ahead and place it on to your telephone box at random places on the top. The horizontal radius are where it's likely for the snow to settle in. For example here, the horizontal surfaces. All of the areas on the top of those railings. They don't have to be even or uniform because it's just snow and they're never going to set it down perfectly. Here along the angle, the one inside, we don't have to add that because it's like the other side and nobody's going to see that. We can see through that much. Then I guess we can add another layer of line there. Shows more of the telephone box details. Now before we add in the snow, let's just write the telephoned card. I'm just going to cover that up with a nice darker shade. Maybe I'll cover it up with a gray shade. I'm just going to take my brown, and mix it up with my ultramarine blue and cover that up. Again, don't have to cover it up perfectly. I did make an almost dry strokes, so I'm just going to write on the top with my dark brown paint. I will write telephone, I guess we'll do that one first. It doesn't have to be detailed. Just roughly as much as you can. I think this one, it's better to write it properly because you can read it. It's like on the good face of a telephone box. There, telephone. Now, we can finish off with a nice amount of splatters. Let's go pick up the white paint, load our brush with a lot of white paint to add in the splatters. I love adding snow, it's just as so pleasing part of the painting where you cover up your entire painting in snow. You're like, what? Why did we add all of these details? But then because it can be seen through the snow. That's the fun part. I'm using my larger size brush to add each of these. Then I'm going to do the same thing that we did for the other painting. That is to add some blue splatters. So we can go ahead, pick up any blue that you want here. I'm picking up the peacock blue. I'm going to add peacock blue splatters, especially some at the bottom there and maybe a little towards the top as well. I guess that you do. Once everything is dry, go ahead and sign your painting and then you can remove the tape. Let's remove the tape. Here is the finished painting. I hope you like it, and thank you for joining me today. 9. Day 3 Colours Palette: Welcome to day 3, and this is the painting that we are going to do today. Isn't it gorgeous? We'll be able to capture the light, the lamp, and all of these Bokeh effects in our painting today. The colors we need today are lemon yellow, sap green, hookers green or a darker green, Indigo, burnt umber or Vandyke brown or reddish brown, permanent yellow light, cadmium orange, cadmium red or permanent red, yellow ocher, and burnt sienna. 10. Day 3 - The Candle: Let's sketch out the candle first. I guess we can make the candle to be alone on one side. Maybe you can add some hangings on the candle, doesn't have to be perfect where the box has melted. This is like the candle stand at the bottom. I guess I will have a stand that's like hanged-appeared shape. You can go for any shape that you want. I'm just adopting this shade. Then obviously, we are covered in the fig tree branches all around and a lot of bouquet lights. Then obviously, we have the top of the candle to make. That's the burning part. Then for the burning part, make sure that you add a nice burning area. There. Now, the best thing to do would be to cover this up in masking fluid, but I won't do it today because it's just a small surface area. There might be other times when we want to apply masking fluid, we can do it then. Now, let's go ahead and paint everything. What I'm going to do is I'm going to apply my water all around and avoiding the area of the candle and its holder. I guess covering the bottom part of the holder is okay. We'll apply water to the rest of the areas. Again, see here, going below. Take it up to the point of the candle. The same on this side. There. I've applied the water. Now, let's go ahead and start painting. I'll switch back to my size 8 brush. I'm going to start with nice lemon yellow color. Taking that, I'm going to be applying that lemon yellow. Let's apply it closer to where the candle is, and we'll make a lot of bouquet light effects. Let's say we create some circles. Basically, it's wet on wet, so that's why we make larger circles because it's eventually going to make it come into smaller ones. Go ahead and make a lot of circles as many as you can. Then going to go painting towards the bottom, and maybe a little towards the left side as well. The lemon yellow closer to the lamp, be very careful. Then the next color I would take is my sap green. Picking up a nice amount of sap green, you're going to go add. Add it along the inside, around the edges of the lemon yellow that we've added, then you can see it blend together. Let that blend together. In fact, the reason for adding that lemon yellow on the top was that because it would just blend with our sap green and form a slightly lighter shade at the places where the lemon yellow exist. For example, this is the original sap green. But can you see it's a lighter shade there to work the top? That's because of the lemon yellow that we've added. Here, let me pick up, and we have to work quickly, and also to blend in. Here, now, I'll just try and blend in my lemon yellow and my sap green together, and creates a nice bouquet lights. Picking up a watery consistency of my paint, and I'm going on adding. Observe, let me add now to the edge of my candle. It's covered up all the areas. As we approach towards the edge, very careful. Here again, blend that on the top. Take extra caution while painting right next to the edge of the candle. We're trying to fill in the entire background here with this green color, and then we'll add the darker color on the top. Here, I filled the entire there. You can see some bouquet effects, and now we're going to create further darker shades. Here, I'm moving to my dark green, which is basically my hooker's green. In order to make my green darker, I'm going to mix in a slight amount of indigo or you can even add in a little amount of brown. I'm going to add in a little amount of indigo to my hooker's green. You can see immediately how it's turned into a nice darker shade, and I'm going to add this now towards the top. My hooker's green plus my indigo going over to the top. As I approach closer to the candle, I try and make my strokes slightly blend in and lighter, so we need an aura of green around there. There it goes green and indigo, and we apply that along the top. Here, as I start coming down, now here along, I'll start making some nice round shapes. Again, washing my brush and going around the area where I want to create those bouquet lights. Another one right there. Let me just re-apply water to some of the regions here because it started to dry out. We just have to go ahead and re-apply your strokes if they start to dry out, and make sure that you make the consistency of the water on your paper even. That's it. Now, when I re-applied the water, can you see how it's turned out? Taking my paint and mixing my indigo, I get a very nice dark green. I think I will mix in more of my indigo and try to make the top portion nice and dark, not before I add in some bouquet effects. Just making some round shapes. Going towards the edge, you can see me adding nice dark depth, but closer to the candle. Just like I said, let's create an aura of dark paint. Here, we start to come down. Let's create more of bouquet effects. Then another bouquet effect there, another bouquet there, and the rest of the regions, I'm just going to fill it up. You can see what happens when I'm filling up the regions. I've washed off the paint in my brush because I'm coming down closer to where our bouquet lights are. I guess you can also create your bouquet lights using the lifting method. Here, I'm just swirling my brush in around stroke to get back that region that had gone blended out. I think the same can be done here. I'm covering it up because my paper has started to dry up. But then I'll do the lifting method and get that right back onto my paper. Here I lifted out some paint. Here was the other one, and that was the other one. Then here, another one right there, another one there, another one there. Now we blend in the colors. I can add another one there. You can see how it turns out when you add paint around lifted-off areas that you've added. Lifting off paint, just using my brush. Here I lift off something there, here, another one from there, and then let's blend along. Going back to my darker shades. As you can see here, my bottom part has now started to dry out, but I will show you what happens and how you can solve the areas where it's dried out. As I come towards the bottom, see, it's all dried out. But if you go keeping your stroke going and going all the way up to the end of the paper, then it's almost equivalent to re-wetting your stroke. Here I apply my water and my paint and I go all the way down. Let me pick up some sap green, going back with my sap green and adding. If you re-add your strokes on the paper, it's equivalent to re-wetting your paper. See, I've re-wet the bottom part. Now we'll go with darker paint. Here I take my Hooker's green. I want it to be a nice mixture. Then let me pick my dark indigo paint and I mix it into my green and you can see how I've got a nice dark green color. Now we're going to use this on the top to create the fir tree shapes. Just go ahead and add in some nice grunge effects on the paper. I guess you can have some along there, go ahead and create. This one can extend towards this side, and maybe another one right there. Let's add some more. I want these to be like in the background. That's the reason why I'm adding. I guess I'll go with a nice darker shade here towards the bottom. I've picked up my dark indigo color and I'm adding. We can have some shapes from this side as well. See how it's turning out. I guess it's better to add with dark indigo. Here I'm using my dark indigo and I've made my shade there. Let me make another one right here. Make another one right along here. See, it's nice shapes in the background basically. You don't have to go with a lot of detailing. I want to add in some darker strokes towards the top. I'm filling it darker towards the top. Then I've washed off my stroke and I'm going to pick up my dark green and go ahead and blend that region. As you can see, if you don't blend it, then you're going to end up with a nice darker stroke there, which we don't want. Go ahead, use your dark paint, and blend it into the background. Wash your brush, and just use your water to blend it as well. See a nice dark effect. Let me pick up some more dark shade and try adding more shapes. Here I've added some nice dark shapes, I guess, nice fir tree shape. Now we'll go ahead and I know that the edges don't dry but that's okay. First, I'm going to take in a bit of my yellow ocher and go along the edge there. That depicts the light there at the top. There, taking my yellow ocher. Then I will go with my darker brown shade. We're going to blend that in right below the yellow ocher. Obviously, this shape is going to slightly leak out into your green. That's absolutely fine and that's the reason why I'm not waiting for it to dry because it's okay if it leaks out. That's the main thing. That's because we want to create an even background. Here now I've taken my brown and we're going to create a nice base and try and blend in the base of the stand and everything into that background. Can you see? I've just made that background blended into that. Now you can see there is no clear distinction, but yet there is a little distinction. It's slightly weird, but you can see how it's affected. Then let's go ahead and paint with dark portion. That I'm going to use my yellow ocher. Paint the inside part with yellow ocher. I've added that with yellow ocher. Now we'll add darker color on the top. For that, first I'll go with a reddish-brown color. Reddish brown color, apply that on top, just at random, on the yellow ocher. It's going to be harder to mix, but that's all right, that's the whole aim. Then green with a dark brown shade, like a Van **** brown. You can go ahead and add along the edges. Now it's a further darker color on the top. Don't paint that bottom part where we added the yellow coat first, that is like the edge of the base that it's sitting on. But can you see how the darker color that we just applied is looking? Go ahead and add more yellow ocher if you want to blend in those areas. The red-brown mixture. I've added a bit more yellow ocher, taking a bit more of my red and added that. Can you see how it's looking now? I guess we've added a lot of details. Now all we need to do is wait for our whole thing to dry out so that we can paint the candle. Everything is now completely dry. Now the next step I'm going to do is I'm going to try and soften now the edge of this green stroke surrounding that light there. For that I'm going to use a flat brush. Use any flat brush that's nice and hard. It should not be too soft. Using that flat brush we can soften out the edge. Let me show you how. Dip your flat brush in water and then wash it off completely. Drain it so that it's just damp. Then using this damp brush, go over the edge, running it all along like that. Then go ahead, absorb it with your clothes, and then you'll see that the edge has been softened. Let me show that to you. Can you see the difference between that edge and this hard line there? That hard line is what we're trying to get rid of. Basically go ahead, dampen your brush, then run along like that. Then absorb that water out, and you'll see that your stroke has been softened. You can repeat this process for all of the areas around the lamp. The light, basically, and we'll get the edges softened. I'm going to do that for all the areas around my lamp region. There, you can see how the soft edge is looking. Now let's get down to painting. The center part is going to be white itself. But you can add a glow of yellow to the edge of it. For that, here I'm picking up my permanent yellow light. I'm going to add that glow round. But again, don't create a harsh edge. Now I'm going to soften out the edge of that yellow immediately, using my brush. You can see it flowing inwards. But if you go ahead and absorb it out, it should be a lighter yellow stroke. This is why you always need like a cloth in hand ready to absorb anything. Can you see now we've got that nice glow all around? Then we start painting the bottom. For painting the bottom pick up a very subtle and lighter tone of ultramarine blue. Go ahead and put it at that base of where the fire is burning. Then immediately soften it out towards the top and absorb all that softening. Can you see now the glow has got like a bluish tint at the bottom? If you look at the fire closely you will definitely see this bluish tint. That's what we've added right now. Now let's go ahead and paint the candle. For painting the candle, we're going to go with our gradual tone and depict the light tone on it. Here I'm going with cadmium yellow-orange, and I'm going to add it right towards the top. That is what is going to give us the nice glow of the candle. A bit of cadmium yellow-orange. You can also add it for depicting the shape of where the wax has fallen off. Now as I approach towards the bottom, I'm going to add it with the red shade. We're going to use the same red shade, which is basically the permanent red. We can add the entire length of the candle with the permanent red shade. Now let's blend that along using the red shade. Some darker shapes along. Lighter towards the top. See? How we've created that nice candle effect. There. Then we can go ahead with a little bit of the permanent yellow deep, or even the cadmium orange. Go ahead and create like a surface there, at the back, because the candle, it's got to have like a round surface at the top. Create an edge around it. Edge. Can you see how it's turned up? We're almost done. We just need to add in the shadows to the candle now. If you go ahead and pick up that guide shade and mix in a dark brown color to it. This is just like the shadow that we added for our telephone box in day 2. Add that to the very base. Always remember, shadow has to be added. Here, this bottom part is the furthest point from where the light is burning. That's why you need to add the shadow. You can blend it along your red shade. Picking up the dark brown, making sure that extreme bottom part is nice and dark. I'm adding on to the top. See how we've made a nice shadow element. Now we can finish off by adding some nice bouquet lights and maybe a little [inaudible] tree effect. How about that? Here I take in my dark indigo color. I'm going to use that to generate a lot of [inaudible] tree effect. Basically you just go and add some nice branches, like that. You can put that in various directions, doesn't have to be in the same. You see how I'm just randomly creating some structures there at the bottom? Can use the same colors. You can go to a different direction than the one that is there in your background. I think that gives a better appearance as well. Also, if you want, try putting some yellow strokes in-between, on to the top. That'll give like a mixture. It'll mix up with the indigo to form a slightly lighter tone at random places. Now let's go ahead and add in the bouquet lights. For adding in the bouquet lights, I am going to take my red shade itself, and we're going to add in a lot of them. This is why you need a red that's opaque. Make sure it's like a cadmium red, or permanent red, scarlet. Anything that's opaque, just take your tube and you will find out. Make round shapes like that. I guess I want to make some nice ones there. I'm going to make it in like a chain. Another one there perhaps. Then we can also add a lot of them with yellow. Basically onto the right side we'll add the ones with the yellow paint, especially closer to the bouquet lights that we added in the background. You can see the lighter shapes that we've created. I didn't focus much on those. If we were to focus and paint each of those bouquet lights, then it would be more than half an hour, so that's why I didn't put a lot of attention into that one. I knew that I'd be adding a lot of these in the front, so I just thought, well why not, do this way. A lot of yellow ones, and let's just add a lot of white ones as well. Quick white ones. Various circles, basically that's what we're trying to add. But remember to preserve those background ones, we took a lot of effort to do the lifting and do those. That is why it remember to preserve them. You can have overlapping one, so maybe another white one overlapping this one. I want to add some lighter ones. For that I am going to pick up my white, but in a very watery consistency. When you add it in a watery consistency, after it dries up you'll see that they're very lighter. Let me just show you. Add few of them and when it dries out it will be very light. Make sure to make nice round shapes. Some of these are looking like stones to me. Another smaller one right next to it. As you can see, I'm not taking any more fresh paint, but rather just adding a lot with whatever is there left in my brush. We're done. Let's go ahead and dry this up and you'll see the magic. Here it is. It is completely dried up, and you can see those lighter ones that I did, it's very faded into the background. This is the reason why I said if you apply those with very less pigment and a lot of water, then those look faded into the background. Now let's finish off by signing the painting. I'm going to be using my permanent yellow light. It's almost like cadmium yellow. Let's remove the tape. Here is the finished painting, I hope you like it. Thank you for joining me today. 11. Day 4 Colour Palette: Welcome to Day 4 and it's just 21 days to Christmas. The colors we need today are permanent yellow light, permanent yellow deep, cadmium red, dark green, sap green, indigo, raw sienna, and burnt sienna. 12. Day 4 - The Window Scene: Let's go ahead and start. We'll trace out a little window now. It's basically going to be very simple. We just have to draw our rectangle at first to trace out the window obviously. It's better if you don't use a ruler. That's because it's good to have that window in a slightly bent or having uneven edges, mainly because you want to depict the brick structure. Here, I take it like that. Here it comes down again. I guess it doesn't have to be that perfect. Come down and finish the rectangle. That is basically the structure of the window. Now, we put in more structure inside. This is the outer frame, so we need to add in the inner frame as well. That is quite simple. We just have to add the line inside. It's like adding a panel line inside. Another rectangle inside, concentric rectangle. I don't know if you do say concentric. That's what cell goes, isn't it anyway? Two rectangles inside. Now we have the outer frame. Next we need the window, which means we need to add another small rectangle. But the window is going to be slightly smaller. You don't have to make it as thick as the one that we added at first. There you go. That's the window. We are done. The window bars, I guess, you can split into three for the vertical lines. That's better there. For the horizontal lines, I guess I'll split into four. One there, one there, and one there. That's right. I like it. Now, we'll have the Christmas tree somewhere on the left side, inside, of course, but it, as you can see, goes and extends. That's how they've made their Christmas tree. Possibly some presents underneath. Just adding some boxes underneath, obviously, masked out by the floor area. Then behind that, let's put in a fireplace. There is the fireplace. I guess, that can come out there and come up to that point. That is the fireplace. On top of the fireplace is the mantle, the fireplace top side. Obviously, you can have for the Christmas decorations on the top, maybe another candle or something. Just add two candles. Then it's the floor. This is the flow region. That's pretty much it. Then we have the outer region. Obviously, the window sill. That's something very important. I forgot about that. We've made the outside sketch. Then the window sill is, I think, maybe at a slight height. Then making that and making another angle shape like that. If we shine that along and give it a height. That's basically the window sill. The rest of it is house spark. That's the pencil sketch. There you go closely if you want to have a look at it nice and close. Can you see that? Now, let's get to painting. These paintings, obviously, you cannot paint it without the pencil sketch, unless you perfectly know where to place on these segments. But I prefer to have a pencil sketch for shot paintings like these. That's why I go for a pencil sketch. Now, shall we go ahead and paint the inside part of the window first? Let's start. What I'm basically going to do is I am probably going to paint it with the wet on wet method, the inside part. I'll just go ahead and apply water towards the inside. I'm just using my smaller sized brush itself to apply water. I don't need to apply a lot of water. It's such a small surface area that we can cover it ourselves. I'm just using my size A brush. I'll apply water to that whole region. That's it. Now, I've applied the water. Let's go ahead and start. I guess I'll start with permanent yellow light shade. I'm going to use that. I'm going to start along the top side. I have the shape. Don't mind the window walls for now, let it be. Here I go. I'm trying to create a white space around the candle. If it's possible, let it be there, otherwise you can totally skip it. I've managed to do that, but maybe my paint will spread and get rid of all those shapes. Let's see how much I can retain. Here, going with a nice yellow shade. I'm going around the fireplace as well. Obviously, it'll spread into the fireplace and absolutely fine. Again, it's better to create a nice effect of a fire. Let me try and create a nice fire effect. Here, again, I've tried to create a nice shape like that. Can you see it's just made around a teeny-tiny shape. I'm trying to retain that white obviously. Here I go. Now, the rest of the areas, I'll put in my yellow. Only that white region that I've tried to leave is the fire region, I guess. Now, I'll try and add the further darker colors. I think I'll go with permanent yellow deep right now. That's permanent yellow deep. If you have white span it, I guess this would be Indian gold. Adding that onto the top, as you can see, just adding there and maybe a little to the top. I am trying mainly to avoid that area where the candle is. I won't go any closer to it because that might just push my pigments. I'm trying to keep away from as close as possible to the candle region, where I've tried to leave the white so that it shows that the candle is glowing. Again, permanent yellow deep. Here, now I'll go around. Now, the next step is to leave a little bit of yellow behind. We've tried to keep a little bit of white, now we'll try and keep a little bit of yellow. That's the region that I've left out my yellow. The rest of the regions, I will paint with my permanent yellow brown. I guess I'll leave that right side as it is. I like a nice yellow shade or maybe not. Let's actually paint with yellow deep and give it a nice color. Now, we need to give darker shade for the inside part there of the fireplace to give it a little bit of depth. I guess I'll go with a nice burnt sienna right now. A burnt sienna or reddish brown color, and use that to create further depth in your painting. Now, next time you're doing it, obviously, you have to go ahead and leave more of your permanent yellow. Create a nice fire shape. Because I take it towards the edges or you can already see as it's a fire that is glowing inside. That's the aim. So that's burnt sienna. I guess that's burnt sienna. Probably not, to give the effect of fire, you can also take in a little amount of red, possibly like cadmium red, and it'll give some area a nice reddish glow into your painting. Here, I've added some red shade into that fire in, I guess. Here towards the right side, see a little reddish to the fire. Now I love the way that fire has turned out, it's glowing. So the fireplace and the rest of the details, I think I'll add it after the wet-on-wet has dried. So let's go paint the floor right now. So that floor, I guess I want to go with a nice brown sheet. So I think I'll take my raw sienna. So taking my raw sienna, and that's what I'll add to the floor. So there's the floor and obviously, as you can see, I'm trying to avoid the areas of the tree and everything. But if it's spread, I'm absolutely not tensed. I'm fine with it, let it spread. But obviously try to keep your strokes within the window itself. I guess these paintings are actually very easy because there are a lot of details, but the end process is actually very simple and very enjoyable because you see how things come alive in your Christmas paintings. So that's the floral area done. Now we've got to make the tree, the Christmas tree. Let's do that. Before I make the Christmas tree, I think I'll add the Christmas bubbles into my tree so that we can paint around it. Does that make any sense? Yeah. So let's do that. So here I pick my raw red and I'm going to add in a lot of Christmas bubbles again, so we will get another in one there. Nice red Christmas bubble, one right there, maybe another one there. So obviously that's half of it is going to be on top or behind the window bar. Then I don't want too many reds, so I'll add another one there and another one there perhaps. Nicely drawn. Shall we add some with yellow as well? That will look good. So maybe I'll take my permanent yellow deep and add a few. So here is one, another one there, another one there. You know what, maybe we'll add some white as well. So for the ones with white, I guess we just have to paint around it. So let's go ahead. So we'll start our tree right now. So I'm going with sap green. Nice amount of sap green here. Taking my sap green and I'm going to start right at the top and we're going to make the shape of some footrest. Use the pointed tip of your brush. And basically all you have to do is hit along and try and do some shaky shapes, exact shapes. So here you can see me doing. I try and go around the shape right now, shape of that bubble. First of all, because the whole part of the left anywhere is going to be covered with the tree part. Let's go ahead and cover it up. So see, you can draw a definite line and cover it up because that's in many ways, the left part of the tree which is ending is going to be there. Then the right side is what we have to be careful. I guess this brush is a little bit too large, so I think I'm going to switch to a smaller size. So I'll get my size 2 brush for that purpose and then go with my sap green. Yeah, and that's much better. Here we go round. Didn't we say we light some white ones? Yeah, I'll add to that. I actually could have forgotten. That was just at the last moment I just remembered that we have to leave some white spaces. So maybe that'll be one white bubble there. So I'll go around. All you have to do is just with your brush, make some round shapes and then try and get it. So yes, when you do make the yellows and if they're still wet, they might spread a little. But I'm okay with it spreading because it just implies that it's behind one of those branches. See for example, I deliberately add a little bit on the top. So it just means that there is a fir tree, the part of the Christmas tree like hanging on top of that branch there. That's just how it's going to look like. So that's actually good, isn't it? So that's the reason why I like my strokes when they're spreading out. I guess we got the Christmas presents at the bottom. We got to be careful with those. If you've forgotten, you just added the whole thing with the sap green, that's absolutely fine. There's no necessity that you have to paint the Christmas presents. So it's totally up to you. Why is my tree shape weird? That's because it's going like that and like that, so I guess I have to add a bit more here on my tree shape. We want a nice tree. I still feel that my tree shape is weird, so I'm just going to go ahead and keep adjusting that. This right here, that's actually weird. Yeah, that's actually much better right now. So here, a little part of White Christmas. Well, but I think I only added one. That's absolutely fine. We'll do it later on. So here, taking my sap green and it fills the entire part. Now we need to add some darker colors on the top. For that, I'm going with my darker green. So this darker green is basically Hooker's green and I'm going to add that on top. You can also mix in some darker green viridian or maybe a little bit of indigo if you would like to further darken the tree. If you will have the dark green from White Nights, you can also use that. You know how much I loved that green. So this time I've been using a separate palette, mainly because I wanted to push my limits and try out different things. Because I got so comfortable with my other palette that I wanted to push myself out of my comfort zone and try out new stuff. So that's the reason why I decided to go with this one this time. I love to do such things, that is, push myself from out of my comfort zone and try out new things. Do you like that as well? So I know that following my class, some things might be new to you and I wanted something that is new for me as well, so that's the reason why I chose to go with a different palette this time. Because the other palette is so natural to me, I've gotten so used to it. So I've added some nice shapes there. Let's go ahead and paint that mantle right now, the top of the fireplace. I guess I'll go with raw sienna for that, so I'm going to pick up raw sienna. There is the raw sienna and let's just cover up the top. The reason why we painted on the top is so that color will come forward and anything that's sit outside, that is, no matter yellow or any color, will look inside that fire place. That's the reason why we paint this after it has dried up. Also adding that separate line along the edge of the floor, but also make sure that it shows that it's a separate thing. That is a fireplace. Obviously. There, a nice fire place at it. But always don't forget shadows. Here I'm going to take in a little bit of darker brown. I guess I'll go with a darker brown. I'm going to mix in with that raw sienna again. I'm going to add there at the top. Why? Because we are now going to add in a little greenish tone right there for the decoration on top of the fireplace. That has to have a shadow. Don't forget shadow ever. That's the most important thing. Also maybe let's use the same brown in order to create some lines on the floor. What do you think? Doesn't have to be detailed. I've just put in some lines, maybe you can mark tiles along the floor. That's much better. Now let's go back with our green shade to add the decor on top of the fireplace. Let's see just some normal green strokes. It's okay if you're brown and your raw sienna hasn't dried. It will just try and spread out a little and give a nice cubed shape I guess. Because some of it will blend, and some green will flow downwards. That's absolutely fine. Here, up until along there. Maybe let's make this green like something hanging down like that. See how it's hanging down, then go in with the dark green now. Always remember to add in some details. I like that. I'm going to go with the same brown and raw sienna mixture. I'm going to create a little candle holder. Most of it is going to be masked out by the window, so it's absolutely fine if you don't add it as well. Now, the candle, let's take red shade and put in that nice candle there, another candlelight on the left side. Two candles, and you can see how it's creating the glow, so I've managed to create the glow. Thank goodness. Now the presents at the bottom. I guess I'll make a new different colors and everything. Here I'll add a present. That's red, maybe another yellow box. You could go with any color box you want. You don't have to go with the same color tone that I'm using. I am just adding on my own. I'm happy with all of these as it's done now, I'll add the Christmas bubbles onto the adaptation of the top of the mantle later on. I think for now it's time for us to paint the outside. Painting the outside, let's just go ahead and do it with our larger size brush. I'm going to go apply water along the outside, there. All along the edge. This is why we created actually a perfect rectangular shape. It's okay to go ahead and apply water to all the areas around. Use the larger size brush that you have and do it. Yes, I know that some of your green or your red or anything might just spread out onto the paper. That's absolutely fine. The reason being the color that we're going to be applying is so dark, so that it's absolutely going to be fine. Trust me on that. It's easier to paint with a flat brush, so that's why I do it. I have now applied the water. Let's go ahead and use a large flat brush and try and apply the shades. I'm using my black velvet three-quarter inch flat brush for this purpose and I'm going to go with a nice dark, but I shade in blue color at the moment. You can see me loading my Prussian blue. Let's load up nicely, the Prussian blue on my palette. Just go ahead and apply. The reason now we're going for a Prussian blue is that we've already added a lot of warm tones in our painting. Isn't it time to add some cool tones? That's why we'll paint the rest of the areas with blue so that there's like a even balance in our painting. Using a lot of blue, and maybe I shouldn't do mixture. Go ahead, apply it. Yes, it's okay to have some edges like you can see some edges of white. I'm absolutely fine with that because that areas are all going to probably just depict the snow in our painting. Yes. It would've been great if I could have left white spaces for my snow. But I think I'll just add them with white later on. I prefer that way because it's easier to paint the window in this way. That's why I going to add the snow later on. Here, cover the whole part of the window. But now we need to add the details. Now, I'm going to take indigo. Can you see it's a nice dark mixture and I will add that on the top now, so that's indigo. But now when you are applying it onto to the top, make sure that you apply to the outer side of the rectangle that's outside. That's the outer rectangle. Make sure you add it there. This is just going to be the base layer of that outer part, just adding some darker colors. Here I can see that it's spreading inside, so let me flatten it out. It's absolutely fine the way it spreading because we'll be adding darker colors on the top anyways. Now we wait for this whole thing to dry. All right, here, it's completely dried up now. Let's go ahead and make the outside part of the window. Here again, I'm going to use the same mixture, but now because we are going to be adding another layer on the top that will come nicely on the top. But can you see it's a nice and watery mixture and I'm going to be adding that on the top. Can you see right on the top and use that outside line of your rectangle to make that stroke, and also don't forget this edge here for the edge of the window. Yes, let's apply right at the base. Go ahead and fill up those areas. Then again, go up to the top at an angle there. Adding paint again, and at the top. You can clearly see how now we've distinguished the window out from the rest of the areas. There you go. Now, we've taken out the window. You just applied paint there, so now there are some areas that you have to darken up. Just to give it a better appearance, so here I've switched to my size 8 and I'm loading my brush, and we're going to darken out the area underneath the windows lab. That's because that is like an area that's under shadow. Can you think of it, how the windows lab extends outside, and so the area, why do I say behind, the area below it should be darker. That area below the window still that needs to be slightly darker. I guess, you can go all the way towards the bottom and make it darker, I guess. Then I just want to put in darker strokes at some other random places just so that when we add in the bricks, it'll be slightly darker. Maybe a little around the edge. This is all just so that our colors are not in a completely perfectly uniform manner. Do you understand that? Here, maybe draw some lines. These lines obviously has no relevance. I am just trying to put in a different shade of color into my painting, that's what I'm trying to do. Like here you see just added a dark tone, maybe here a bit of darkness, some dark tone there, no relevance at all. Now that our inside part is dry, you can go ahead and add in the Christmas bubbles, again so onto that mantle piece over here, just picking up a little amount of red and adding a lot of small red dots onto it. I don't know if any of you can see clearly but small dots. You can do the same with maybe a bit of yellow as well. I missed a little bit of yellow there, so I'm just going to go with it. I guess maybe a little ribbon for my box. I can see some of my blue spread into that, but it's looking beautiful there. I actually like the way it stand out. Now for that box, let's have a wrap around that box. I will go with a different green shade. It's like the gift wrap. Now, we'll wait for this to completely dry out. There you go. It's completely dried now. Now let's go ahead and add some nice shadow elements. I'm going to add in a shadow to the inside part of my window. For that, I am just basically applying a little bit of water, so that my paint will spread. But note, I'm applying the water towards the inside only, just to the inside part. We're trying to create depth effect. If you take your indigo shade and add it to that dark region, and let it flow in the water. Let it flow. You can see that that edge gets a darker shade. Can you see? And you can use that to just spread it and give it a nice edge. You don't want any hairy structures, so that's why I'm just trying and then we spreading it out. Same around here. Then I guess now it's time for us to add in the different regions, different window areas again. Here I'll go with my indigo paint, and I'm just going to draw a line there for the edge of my window, and I guess another line along here for the edge of my window. Then this part here again is the next edge of my window. That was the bottom part and we have another part there. We have a lot of areas that we're going to be covering in the snow. These areas, as you can see, it's wet because we've just applied the paint and I'm okay being it slightly wet, actually, it's just better that way. All right, now let's add the window bars. For adding the window bars, I'll go with the same indigo color. Again, make sure that everything on your window is dry. That's absolutely essential, and use a nice watery mixture. Let's add. I'm just going to turn my paper because that's comfortable for me when I'm adding lines like that. Here you go, add it on the top. The horizontal ones. Observe one thing, they don't need to be perfect. The reason being, they are going to be covered in snow, so then even if your lines are not perfect, you can just mask out all of them in the snow. That's why I'm just randomly adding with my brush without looking for any perfect edges. Let's create an edge line there with my indigo. Another one down here, because we need to have a wooden structure, or a metallic structure or anything. That way those bars are attached. There's something there at the bottom as well , and at the top. Now let's go over the top of the frame. There you go. Now I guess the next step is to add in the brick effect. For that, I'll go with my flat brush, again. Going to pick up my indigo shade. I'm going to add brick structure. The brick structure, I'm going to just add it around the windows, the rest of the areas we leave it as it is. It's basically going to use my whole of my flat brush and using that. If you don't have a flat brush and you're not comfortable in doing it this way, you can just use your normal brush, and just draw a lot of rectangles towards the top side. Remember, they don't have to be perfect, as you can see evidently from my strokes. I don't try to get them perfect. I just try to capture whatever I can. You see? I'll go all around the edge. I try to create some smaller ones as well. See, Just so to give it the brick effect. I guess I'll leave out the bottom. But here we need to make some more, there. Now, let me go over to the side. There, covered that. I guess we should do a little towards the bottom as well. Make sure you do it in a slightly zigzag manner. Now that you've done that, I've switched to my size 2 brush, and we're going to add in larger bricks possibly. Just go ahead and use your brush to create some lines and some effect. See, I'm just adding some horizontal lines, and I'm going to add zigzag lines to depict the effect of brick lines. I guess that's it. Now we can finish off by adding in the snow element. Here, we're going to use my white paint. Again, a nice amount of my white paint, I'm going to add in the snow. On these windows in here, it should have a lot of snow. Keep most of this region, it's going to be covered in snow. Go ahead and paint the whole of it, and you can create random edges. Doesn't have to be perfect. That's the whole point of it. Here again, so any surface that's got a horizontal edge to it, you can add in the snow effect. There's the snow there. Then, now to this window soap that I've already added, I'm going to add in another drop of white just to the top region, so that the bottom part has a little thinned-off indigo from the color that I had already applied. Can you see there's a little dwell tone there? All of the horizontal bars, and towards the edges try to accumulate your snow. You can have some dry strokes as well , a bit there. See how it's all covered in snow? Now, obviously, we'll add it to all the other horizontal bars. Because these bars, as you may know, are places where the snow can actually collect in. Don't make them as perfect lines, go ahead and create unevenness. But obviously, along the flat horizontal line, the unevenness should be towards the top, I guess, because most of it is going to be towards the top. It settles as a flat line. Go ahead, create a flat line, then the unevenness towards the top, so there. A flat line, then the uneven way the snow that settled is towards the top. I guess we've got quite a lot of those regions, where the red ones can be fit in. There, let me add some white. Can you see what I was talking? What can you see now here we've got a little edge of indigo there which will act like the shadow bit of the snow. Here again, I'm going to add my snowy bit, but I'm only adding it to the very top region, so that some of the bottom region remains lighter, so that it gives a dwell tone. Do you understand that? Now, we can finish off with the splatters. Obviously, this is the most fun part trying to add in splatters, and give the whole painting a snowy effect. I love this process, trust me. The only thing is that I always worry that my tableless is going to get ruined. That's why I prefer the one-hand method for this splattering always because it's so convenient, and I'm able to control it to some extent to stay where it is, like the splatters, although some of it goes into my table. Such a bright snowy day. This is why I said, you don't have to perfectly paint all the details because you are going to cover it in snow anyways. Then what's the point? There you go. We're absolutely done. Let's just wait for this whole thing to dry out so that we can remove the tape. Let's remove the tape. Here is the finished painting. Hope you like it. Thank you for joining me today. 13. Day 5 Colour Palette: Welcome to Day 5 and it's just 20 days left to Christmas. This is the painting that we are going to do today. The colors we need today are sap green, hookers green, viridian, Russian blue, indigo, ultramarine blue, and some white gouache of course 14. Day 5 - The Snow on Fir Branches: Let us start. I guess today this is going to be quiet easier. We'll sketch out the place where branch of the full tree is going to be. Branch of the tree that we have. It's just some branches that are visible, but I'd like to show how we can paint such a beautiful background. That's the purpose of this one. Also placing the snow and then the shadow of the snow and all of that. Let's have a branch like that there and maybe another branch crossing over behind that one. Comes around there. Then let's have some there and I guess another one that goes up to here. Maybe another one, maybe this one can have a small extra branch here for the branch and another one right there. We'll have a lot of smaller ones here. Maybe this one can have another one behind like that, and another one there. Another one there. Just adding a lot of branches. This one I'm going to have a larger one, basically the largest one that we are going to have all the way down there. This one can have further some extra branch. Another, and this one can have another bunch. This is just all the branches that I have just added. Maybe another one there. There you go. This is the pencil sketch that we're going to add. Now for painting this, we have to paint the background first, but we've got to leave the snow behind. How do we do that? by leaving a lot of white gaps. Here I have just my size paint brush, which is basically a larger size brush. Go with a larger size brush and you're going to apply water. But observe closely now. When you're applying the water, we're going to leave a lot of white spaces. Let me just go ahead and apply water to all the areas that are literally outside of my region. If you know, I don't want to be using any masking fluid for this one. I'm just going to go ahead and show you how it's done. Here, I've applied a lot of the outside regions. Now I'm going to come closer to my trees. The tree branches. Here along the branch I leave a slight gap and then go and I guess towards the bottom part of the branch I can get as close as I want. Towards the bottom side of a branch. I guess this one I don't want to add in a lot of snow, but I guess I want to add snow to that one so I stay away from that one. Then the bottom part of that is okay. Then we have the next larger one. I want a large chunk of snow there, a large chunk of snow here, some large chunk there, then staying away. There. We've got to cover up that bits. I'll come below it is fine for me again. Then you're taking around to the edge, coming closer to this one. Staying away from the top bits. Then here I come again. I want my water to go there. Here again, water there, and here again at the base, nice amount of water but staying away from the top most part of my line. That's basically what I'm doing. I guess here I'd like to have a lot of snow and the same for this large branch will have a lot of snow admins, I guess the rest of the areas I'll apply water. For this one here again, there'll be a large chunk of snow there and then columns a large chunk of snow but here what's the immediate bottom side should be okay. Here again, a large chunk of snowy region. Another large chunk there. I've applied the water. You obviously know applying this water process was like a tedious task because obviously you can't see where the water is on my paper. Let me see if I can show you in a specific angle. It's way tough to show you where the water is about. Can you see the areas that I've applied the water? We're going to go ahead and I'm just going to re-apply water to some of the areas. When I hold my paper like that at an angle, I can actually see the areas where I have applied the water. I'm going to use that and re-apply my water. Make sure that my paper is nice and wet. There. Now let's go ahead and add in the colors. The color that I'm going to add is I'm going to make a nice dark washy color for the background. Here, I'm taking my viridian and I'm going to mix it up with my indigo, gets a bit more indigo. I guess I'll go with a little bit of Prussian blue as well. Gives a nice bluish appearance. That's my Prussian blue, my viridian, and my indigo mixed together. Can you see the color that I've created? I want it to be more bluish, so I take more of my Prussian blue. I think just a teeny tiny pinch of the viridian should do. That's the background. If I put that onto my paper, can you see the color? That is my background color. Here I go. I'm going to apply onto my paper and I'm going to tilt my paper and look at where are the areas that got my water. I guess I have a little bit there. I have my water area there, my water area there. The point of applying paint like this is your paint is going to only flow to those areas where there is water. In fact, the areas that doesn't have water will not get the paint. Also, make sure that you put your stroke only to those areas where there is water. Because if you put it to other areas, then it'll create harsh edges. Yes, it's going to create a harsh edge where the paint ends and the water ends, that's fine. But we're going to create a background. Here there's a little bit of water and I can hold it like that also. I'm just holding it in various angles so that the areas where there is water my paint is just going to flow. I guess I need to mix more paint now. The important thing about mixing is that when you mix sometimes you're going to get different shades and that's absolutely fine because you don't have to have the exact same shade that you're using throughout. For example, if you look at this color right now it's slightly different from the first one and it's fine. Because then you get varying shades on your paper and that's beautiful, isn't it? To get all those different colors into your painting rather than looking one single flat wash. That's what I like. Here I'm just adding and I've put that color in there. I guess adding to this region now. A little bit on that region. I guess I had a little bit there. Which just started to dry because I didn't re-apply my water and I guess I had a little bit there, but my water region has dried. Probably maybe I'll just re-apply a bit into some stage in their, literally there. You can use another brush. As you can see, I'm just using another brush to apply a little bit of water. Yeah, as you can see I've applied the paint. I love the way it has turned out. Now, let me just pick up a hold of that paint and I'm just going to put it at random. I don't need an even wash. I'm trying to get as different stroke as possible so somewhere whenever [inaudible] touching, I get these dark marks and it's absolutely fine. Here I can touch a bit. Here. I'm going to use all of that pain that I have mixed it. Let's make use of it. Let's not waste paint. We've put all of that into that background there. Now the next step would be to add some, let's put in some splatters that is deliberately, let's put in some blooms into a painting again. Here I'm just going to switch to my smaller size 4 brush because I guess the blooms with the size they would be like literally big. We generally want it to be. Just using my size 4, I'm just going to drop in blooms on my paper. Can you see it better but it's falling. It creates the spread of the paint. Go ahead, add some blooms. Now literally, let's go ahead and add in some white paint as well. This white paint that we add right now, is going to act like the background snow. That means it gives a direct effect to the snow. If you observe the paintings that we've done till now, it looks as though the snow is like in the foreground only. We want it to be nice and snowy day. Make sure to take the white paint and add a splatter effect with the white paint as well. Because when you add the splatters, you'll notice they go into wet-on-wet mood. Can you see that. Those snow particles are now in the wet-on-wet mood. Then, once the paper has dried and we add in more snow on the top, you will see that these are in the background and it has like a nice depth effect. It gives a view of the atrial perspective effect. You can already see how some of the white splatters that I have added has spread out. Can you see it's all spread out. That's because there's water on the paper and it's wet-on-wet splatters. That's exactly what we want because it gives the way how it appears to be in the background, goes towards the background. Now the next thing we'll do is we'll wait for this whole thing to dry out so that we can add in all the folder elements. There you go. It's completely dried up and you can see clearly how the splatters and all those white spots are looking. They like embedded into the background. When we add more white spot on the top, this is going to look completely different. Now we'll go ahead and paint many of our fig trees. For that, I am going to first use a dark brown paint because we're going to add in teeny-tiny branches at first. Here, loading up my size 4 brush with a little bit of brown. I'm going to use that to draw a line. We're going to follow along with pencil sketch that we've done. We can easily spot our pencil sketch. It's right there. Let me see. I guess I'm going to skip that part because I want it to be covered in snow. That part. Also don't draw a continuous line. Try and see if you can break up your lines. It will depict as though it's covered in snow. Another one right there. Then I've got here. Make sure that you do add as many breaks as possible. Doesn't have to be continuous. Remember, thickness at the end there, it should go tapering towards the right side. This one is quite long, so I guess I'll have it a bit more thick and thinner as I go towards the right. This one's got branch. Finally this one. I'm going to leave a huge gap there because I guess I'll depict more snowy effects. Added the branches. I guess we can go ahead and add in the leaves right now. Here I'll take my sap green again. We're going to go with sap green shades first. Here, I'll take my sap green and I'm going to start right at the top. At the top portion, wherever you want your snow to be. Because we said the snow is going to be at the top portion. Go ahead and towards the top, only make smaller, smaller strokes. But at the bottom, you can go ahead and add larger strokes, especially it's extending on top of your background as well. Anyways, the bottom part doesn't have a lot of snowy effect. Only the top portion is going to have a lot. Go ahead and add, missed a branch here. But I'm sure, it's fine because when you add your branches it should be fine. Towards the top, just some like one or two. Can you see this one or two? Show that you previously once more so that you know what to do. If I were to add for this one, but I want a lot of snow effects to be there for. Here also at the bottom, just do one or two. Again it's just a little visible through the snow. That's it. Now as I come here, I guess I'll add a bit more I guess. Now here let me show you the top portion here what I'm doing. I'll just basically not just one or two branches like that towards the top and also smaller effect. Because you're trying to make it look as though it's covered in snow. But at the end, let's add some nice strokes. I guess you can add a lot more towards the bottom as well. Go for a smaller size brush, which is more convenient with you. I think I'm going to take my size 2 brush for this purpose. My size 2 is considerably small and it's got a nice pointed tip, so I'll use that. Using that, I'm going to make some nice branches. Can you see on towards the bottom they don't have to extend in the same direction. Make them in different different directions. Now let's keep going, so I'll add more here. I guess this is the step that's going to take a long, long time. You've got to go and sit and add all of those teeny-tiny branches. But trust me, it's going to look beautiful in the end. It's worth the process, I believe. I said towards the top, just some teeny-tiny lines. Now, let me show you something. You see this large area there. Towards that region, I want to do something different as in I want to add some branches, but like make it towards the background. But how do we do that without disturbing the whole thing? What I'm going to do is I have my brush here, which I've just wet again. It's wet and I'm basically going to roll my brush and putting a little amount of water in that region. When you roll your brush, your water doesn't go into all of the places but just in some areas. Then if you go and pick up your pigment and start adding in those areas where you literally put the water, you'll see that it goes to only those areas are where there is water and it is so random that it's such a good technique because you'll see that it doesn't get into the areas just like you want. It gives the effect of like a little random snow effect which you cannot otherwise create. Basically it's just using a brush, rolling it, a wet brush so that the water gets attached to only some of the places. Let's continue. As you can see, I've just used the rolling brush method in that region. I'm going to keep adding my stroke. That's better. I guess to the ones like literally on top of my dark color, I will mix in a little bit of my lemon yellow into my sap green mixture. That'll make it a little bit lighter and I'll use that on the top. If you look closely, see a little bit of lighter color added on the top because that will make it light nice and visible on the top. Just go with your instincts and add in a lot of these nice strokes. Let me add some to the top. In some areas you can go for the usual dark sap green as well. Let me take that as well. Here's my sap green. I think I put that in some areas in between here. If you look at the way that I pick up my strokes, you'll see that it's completely random. I don't take sap green then perfectly the lemon yellow next, something like that. I just go and randomly pick up the colors and that's what creates the beautiful effect on your painting. Because it's totally random and there is no control over how you've done it. Maybe a little towards the top and maybe some showing up through the snow because this here is now the dense snow. You got to add some showing up through the snow as well. I guess at times you can pick up the darker shade also. Can just go with different greens. I mean, if you have a basic palette and if you don't have fresh dark green, go ahead and mix your indigo or your dark blue with your green and you'll be able to create beautiful greens. I'm going to pick up a little bit of my background color. Again, that's there and I'm just going to glide right there at the base a little bit because I felt that there's a lot of white gap there, and then I'll go with my green. Obviously, yes, my green is going to slightly mix it on there and I don't mind, I don't want it to be like a steady background right there. See just adding some nice strokes there. I guess it is one more region where I have to add in my background, and that's like right here in between. If you look, there's a little gap for my background. Filled in the background stroke, then just filling in a little heavy strokes there so that it doesn't look detailed, and now you can pick up a darker shade, probably mix in with indigo if you want, and try adding darker shades. Now okay remember perspective, either perspective. Just adding some darker shades on the top. I missed out this branch here. You can see there is a gap in the snow, which means you need to have branches poking out there. You can already see how this whole thing is coming into picture. It's looking beautiful. Once you've done that, the next thing for us to do is to add in the snow itself. I mean, if you ask me the snow is already there why to add it? But we need always add shadow. For adding in the shadow of the snow, basically what I'm going to do is wet those region. But how I'm I going make it to embed it completely? Just use the rolling brush method again. Randomly wet the regions. Go ahead and use the rolling crush method for the areas of the snow. You don't need to wet all of it just a bit here and there. The rolling rush method. Then, now we're going to use the ultramarine blue for creating the shadows. Very subtle amount, you can see how watery mixture here I'm using and it's a very light mixture, and use that and add it to the areas that you've added the water. Again, like I said, look into your paper while adding. This will show you where are the areas that you've actually put in the water using the rolling brush method. I can see on mine. Here, see. Just adding and some of those strokes are going to be wet on dry as well. That's okay. That will give the effect of a better rounded element for the snow. Just randomly adding a teeny-tiny amount of the snow. This is the shadow of the snow, basically. That's what we're trying to add here. If you look again, see now how it already looks beautiful with the shadow. Always remember shadow guys. That's very important when we're doing any painting in fact, because the shadow is what makes you picture as a whole and gives it the natural beauty that we're looking for. There was a branch here that I was supposed to add. I forgot about that and I have like, can you see a snowball effect there? That means I need to have a branch. Now, that's better key. You can also use this method where you apply some ultramarine and then go ahead and soft and only some edges, not all of the edges. Now, look at your painting. You see the difference that it makes while adding that shadow bit to go snow. We're done, the only step left is to add in the snow itself. I mean, you can make it snowy if you like it just like that, you can leave it as that as well. But my whole point of having that background was to add in a little bit more snowy element. That diagram looks like in the background. I'm going to make this interesting. I'm just going to add in a lot more snow to this. Let me take out my white paint and I'm going to drop in a lot of smalls splatters. I'm using my larger size brush for the splatters. I don't mind. I guess that's it. I don't want to add a lot today because if we add a lot, then all those background splatters that we added will be gone. Look at your painting right now, so have and observe it. You see those background splatters, there is splatters in the front and then there's those backgrounds splatters. They also look like snow but giving the effect of depth. This is what is known as aerial perspective. Aerial perspective is creating the illusion of depth in your painting using your watercolors by giving such effects that goes into the background and the foreground. We're done. Let's go ahead and dry this up so that we can remove the tape. I forgot to sign my painting, so let's go ahead and sign it. Let's remove the tape. Here you go. Here is the finished painting. I hope you like it, and thank you for joining me today. 15. Day 6 Colour Palette: Welcome to day 6, and it's just 19 days left to Christmas. This is the painting that we are going to do today and the colors we need today are; violet, permanent yellow light, permanent yellow deep, burnt sienna, sepia or Van **** brown, sap green, a dark green, indigo, cadmium red, and lavender. 16. Day 6 - The Snowy Street Light: Let us start. We'll do a quick pencil sketch of the lamb so that we know where it's in place. I guess I'll put it somewhere towards the left side. The Lamb is basically going to be, let's see we draw a structure like that, quadrilateral and there's the base. For the top, I guess I'm going to go for a slightly curved shape, there. Now extending a bit towards the door. Another bit more towards the door. The point is to make it as complex as possible. I mean not making it too simple that's what I mean. Here. Like a dome shape at the top of it. Let's say this dome, it's got like three different layers or lines again. The top there's like a small thing and possibly like a hook at the top. I like the way it's turned out. Then now we add in base, that's the base. Then obviously we have to add in the inside part. The inside it's, that's the center part inside. Then let's make the base now where it's attached. The pole around which it is attached, again, let's say it goes like that towards the bottom. There it goes. Then I'm just going to add some extra bits. Then maybe another extra layer here. That's basically, the lamp. Now we have like a little Christmasy right lead that's hanging on the pole. That's the outside part of the sketch. How is it hanging? I want to make another extension here for the lamb. Basically, something like this then a rounded edge there. Make sure that you make it evenly on both the sides, symmetrical on both sides because it's a lamb but has to follow the symmetry line. I like that. Here in the front is where the lamb is, where the lid is attached. Then we have like a bowl here on the lid. Let me drop that off so that you can make it more clearly. Here again and the ribbon of the bowl. At the bottom, obviously, it's going to be covered in the Christmas tree branches of the lid. I guess that's it going to be for the pencil sketch. I'll show this to you closely. Here you go. That's basically the pencil sketch. It's very simple, isn't it? All right. Now let's go ahead and paint everything else. For painting the background, I'm going to use my flat brush and apply water to everything in the background. Here I'll apply water. I'm going to skip applying water all towards the bottom, but I'll stay around somewhere there and I want to apply all round. Don't touch the lamp region remember it needs to be lighter, dark green light. I've applied just the outside areas now I need to go ahead and apply all towards the exact lines.Taking your paint and go ahead and apply nicely over the top and the left side as well. There you go. We're now going to add in a nice amount of background. Let's make it like a different scene so I'm going to start with a little amount of yellow but a very, very subtle lighter tone of yellow. I'm going to place that into my sky region, but basically only like next to the lamp, closer area to the lamb. It's not a lamp light it's actually the sunlight or the glue of the painting at the back here. But that's why I wanted to be a very subtle yellow and I'm going to apply it at the back so also closer to the land. That's permanent yellow light you can use Indian yellow or any yellow that you have. Then the next color I'm going to be using is violet. Here I'll take my violet and as you can see, I'm taking a nice and watery consistency of my violet and I'm going to be applying that. If you observe closely again, you can see that I'm applying my violet to watch the backside and closer to the yellow of course, so that areas just adding a little bit of violet don't have too much towards the top. The reason why we're going with this color scheme is if we want to show the lamb has been lit then it needs to be at least a night scene or an evening scene. I'm going for an evening scene here, which means that the colors of the sunset down into the yellow and violet kind of shapes. This violet is the older version of the yellow part. That is the complementary color of the yellow. That despite the background trees or the background effect, we're trying to create that with violet. Usually, we do that with a dark blue, that's when it is daytime. Now it's sunset time so the background goes into violet hue. I'm applying my violet tone again. I'm going to stop somewhere there don't come all the way down to where you've applied the water. I guess I'll stop. You don't want to cause somewhere right there and the same on the left side. We stop there and we paint along that area. That's an out here, okay? Under there. Now that we've applied the violet we need to give it more background effects. Now I'll go with a dense amount of violet. Can you see it's a bit more denser, but make sure that your brush doesn't have a lot of water because now we're approaching towards more of wet on wet itself, but needs to be very careful because it's going to be the background. I'm going to use that violet shade and making a lot of not-exactly-perfect trees. Just a lot of branches, if you can add towards the top side, and as you will see, I'm just using my same brush, it's my size 10 brush in fact and I'm using that to create these upward strokes and adding a lot of flanges. Add another one one the left side. I guess we can wash that off and add some more. I'm going to go over to the yellow. It's absolutely fine to go over to the yellow. Just some nice branches, and let's create the effect of some nice foliage. I'm just taking my violet itself and we'll add some nice wet-on-wet strokes. But now towards the top using the violet. Let it go over to the top. And also, we can go over to some of the yellow, it's going to turn into a slightly brownish shade, absolutely fine. It'll show some of that violet through the brown shade. Don't apply it all round, just a little. And I guess that I'll also apply a bit of darker tones towards the bottom to show a bushy effect. See a bit here, just shows a bit bushy effect. I like the way it has turned out. Now what I'm going to do is let's apply water to the bottom. I stopped somewhere there because that will give me a reference point where to add in my snow region. Now, I'll go ahead apply water to the bottom. Can you see it's already spreading out so I need to prevent the spreading and stop it there. I'm just using my brush to stop my paints somewhere there. Then picking up my violet again, now we're going to add in a lot of snow details. Go ahead, put in some random strokes on the snow. These are now completely random. You can see. Just some absolutely random strokes on the snow with some lighter tone. Once you've done that, we'll go ahead and pick up a little bit more of our violet. But for that, let me switch to my Size 2 brush, which is actually smaller size. Loading my brush with violet, and we make sure that my brush is not too wet. We're going to add a pathway. Let's see. Taking my violet. But make sure that it's thicker here at the bottom, and as you go further away, it gets thinner and thinner perspective there. I made it thinner and thinner. Here, you can see the thickness right here is more thicker, and as it goes there, it gets thinner and thinner. Let's make it dwell. It's not a pathway. Maybe it's something like a sledge has been pulled along on the road. That could be this. Another one but obviously respective going to take this and join the top right there. I like that. That's a nice pathway. Now, random dots and detailing onto the snow. Just completely random put in random dots details. We make sure that I get that end nicely. See some nice details, some random dots or anything you want, you can put in. Just blending it around. Now, can you see the pathway disappearing into the forest behind? Now, all we got to do is to paint the light in the foreground. So for that, let's try the background first. Wait, I actually got something that's very important here in the middle is supposed to be the snow region itself. Let's add that have just basically added water to that. It shouldn't look as flat like that, without any paint or anything. First of all, we've got to add the violet for the region behind. That's up to there. I don't mind maybe going in front of the ribbon, so that's why. I guess I need to take it a bit more downwards. I think up to that point should be enough for the background. Up to that point. If I were to dig my violet and add. A good background. Now, just in the other places, I'm just going to put in some random violet just to depict the exact thing that we did at the back like some random dots on the snow, so that's what it's going to be. Now that looks much much better. Now, we're going to dry this up. By the way, before this dries out, let's try splattering some water so that we create the effect of some background snow. But I guess my paper has already dried. I'm pretty sure let me see if it actually works. I got some blooms there. Please, some blooms. I hope my paper is not too dry. Wanted some blooms there it's not working, it's just dry. Anyways, that's all right. Let's go ahead and dry this up. All right, here, my painting is now completely dry, I only managed to create very little blooms. I didn't get any blooms here because I guess it just dried up. Now, let's go ahead and apply water to the inside part of the lamp. Here, I'm loading my lamp with clean water. Just the inside part. Then I'm going to go with my permanent yellow light. I need to create a very light, glowy shape inside. Here, I'll just go around and add my yellow. You can see I've created a nice white gap, and the rest of it, obviously, I'll paint with my yellow. Now we go with the next shade, which is going to be, for my case, permanent yellow light. If you have Indian gold, you can use that. Digging it around to the edges leaving a lot of yellow bits right now. Then the next shade, I guess I'll pick up a little bit of brown. This is the red brown shade. I'm going to be using that and I'll add that. Obviously, adding that to the top, a bit to the bottom. Added that. Now I need to depict a little bit of violet as well. I guess the violet we'll just mix in there. This is because I wanted to pick the colder side where we see through the lamp. The lamp is like a transplant structure, so that is the light. But then you're seeing the other side of the lamp through the glass in there. That's why. I know it's probably not going to work, but can still do it. Let me try like taking off some pigment there. I just need to give it a nice darker glow towards this left side. The violet will mix in with the brown to create a nice dark color. You can use that to create the other line on the left, for example, there you go I've added like a line there that's wet on wet, but that's inside part. And here again using my violet to create depth. You don't have to necessarily go with your brown paint itself, you can go with violet on the top. That's the good thing about colors, always mixing creates beautiful shades. I've managed to capture that. Now, I guess I'll have to wait for this to dry out. While it dries out, why not paint the top part? For painting the top part, I'm going to take that red brown shade mix up my violet so that it turns into a nice darker shade. Can you see? It's a nice darker shade. This is what I'm going to paint with on the top. Now, observe closely what I'm going to be doing. This top part, obviously the top portion is going to be covered in snow. So we need to add, but you can leave some gaps. It's good to leave the gaps itself, let it be there. Let's assume that this region has like a surface where the paint can accumulate onto. You can go ahead and paint the bottom part of that region and here it's going to be covered in snow. Then again, the bottom part of that line. Guess the rest of it at the top is going to be covered in snow. Here, just creating some random shapes again. Then again, this region can be covered in snow. A better way the ink can be covered in snow, leave them white. It's easier to leave them white. You can also use your white paint and lavender at the end to add your strokes. I like that. Now I guess I'm going to use a different brown. That's going to be my van **** brown, which is like a darker brown shade. Using my van **** brown. Added that. Now, let's see if it's dry. It might not be dry yet so let's go ahead and paint the bottom bars now quickly. Here, taking my brown and adding. I guess that will be an element of snow on that art surface so I've left a small gap of white. Then bringing that down again, another bit of snow region there where it can accumulate. Then here comes the lamp towards the bottom, the lamp wall, basically. Here now I'll go by trying and filling out. But I guess I'm going to create like a light shade. Here I'll go with my red brown and I'm going to put that onto my paper. Obviously leave a little gap there because that's where the rip goes. Going with my brown now, I will add my brown on the top, so gives the effect of a multi-color there. A slight multi-color, rather than going for a single color. These kinds of effects create a beautiful look in our painting basically. Add that. Now we have one side to do so here, along this side. But again, we need to add that rounded shape. But as you can see, I've left a slight gap of white there at the top so that it can show that it's the snow accumulated. I mean, yes, you can add more white to your lavender, but it's good to have them at first. Digging in a little bit of my yellow I'm going to add a little to the top there, gives the glow from the lamp on to the lamp wall. Then going with my van **** brown towards the bottom gives a nice color tone. Can you see how the yellow is mixed on the top and gives a nice glow there. I guess while we're painting the rest, the center portion has dried so we can go ahead and paint the center right now. For that, here I load my brush with a very lighter consistency of that red brown shade. I just need it to be very light and I'm going to be using that. Here comes red brown shade at the bottom. Now towards the center, you need to make it nice and light so I'm going to go with my dominant yellow deep instead, so if you take your permanent yellow deep, go ahead and add that to the top because it gets like literally lighter where the white glow is. Towards the extreme edge you all fiercely can use a darker pigment there. That's basically my van **** brown again, you can also use sepia, I guess. Let's go ahead and create a nice edge of our lamp. Here, my lamp's got a nice edge. That's the base part. Another edge here. You can see how I've connected the black part in there. Can you see how it's now looking amazing and glowing? Let's go ahead, take the same brown, I'm mixing my Van **** brown into my red brown paint and let's paint the top part. That top part again, I guess a lot of it's going to be covered in snow. But that we can add properly later on because it's got some white there. Because it's got some yellow there so I'll add it later on. I'm just going to cover up the whole thing at the top. I like the way it's turned out. Now we'll paint the reeds. For painting the light, let me go with my nice cadmium red shade. Again, towards the top, I will leave some gaps. Of course, when you're painting this, you don't have to paint it all perfectly. You can leave a lot of white gaps in-between. That'll be just the snowy part. It's absolutely fine. Here I'll take my red and add. Added my ribbon, but remember shadow, very important. Here I'll take my Van **** brown, going to mix it out with a little bit of the cadmium red. The nice Van **** brown with the cadmium red, gives a darker mixture like that and that is what we're going to add on the top. Add that to, for example, one side of the ribbon. You could also just go ahead and use your brown directly and add it. Here I pick up my brown and if I were to add it to one side like that. Can you see how it looks as though the ribbon is not twisted? Same for the top part. Always remember shadow. Can you see how I have added little amount of brown stroke there? Now, let's create the twig shape for the lit at the top. For that, I will use my raw sienna. I'm going to take my raw sienna and I'm going to add. It's just basically a lot of lines. You can start those lines from where your ribbon starts and make lots of lines like that. Use the pointed tip of your brush and lots of lines. Obviously those lines are not going to be in the same length or direction. See what's the back? Lots of crisscrossing lines basically. Added a lot of crisscross lines. Now, let's go ahead and add the far tree one. For that here I take my sap green. I guess we stopped at sap green, but we need to add darker tones. With the sap green let me go ahead and add in a lot of filtering branch on to my light. First, just creating the branch structure. Here you can see I'm just using my size 2 brush and creating these outward strokes. Let's go. At the moment there will be lot of gaps, but we'll be filling it up shortly. Added with the green. Now we need to add darker green. Here I'll take my dark green. I guess I'd want to mix it up with indigo, that creates a much better dark green. Gives darker effect. I think that mixing a bit more of my sap green into that mixture. That's a better dark green. That is what I'll add on the top and you can see as soon as I added, I start getting darker effects. But let me try in adding it to most of the areas where there is white gaps. If I try and fill up the white gaps in my painting now with this mixture. Added that. We're not done yet because now that you've added the raw sienna marks, which might be dry now, I'm going with my burnt sienna and I'm going to add some ice twig shapes. On the top with my burnt sienna, I'm going to add some nice twisted twig shapes. Can you see how now that gives the effect of a nice twig shape. Still, we need to go one shade darker. Always remember shadows. Going with next shade, which is going to be the sepia or a [inaudible] brown, again, whichever you want and fill up the white gaps with that. No white gaps in those regions where it's like the hay. It's not hay exactly. What is it? I don't know the exact term, but let's just fill up all those white gaps there. Yes. That's how it is, just filling up white gap right there with my brown paint and I really love the way it's turned out. Now let's dry this up completely. Once it's completely dry, you can go ahead and add some Christmas bubbles in your painting. So for that, you could use your cadmium red or any other red. Either Christmas bubbles or maybe this is filled with berries. I guess I'll go for berries and maybe you could use it to cover up the white spaces, not all of them. It would be impossible to cover up all the white spaces. But if you do add in a lot. Maybe how about some yellow ones? Let me try that. But the yellow ones cannot be berries, so I'm going for the Christmas bubbles. Let's see. I have a large Christmas bubble there, another large one there, another one there. That is much better. Once you've added that, now let's go ahead and finish up with the shadows. So for finishing up with the shadows, here I take my violet paint, but we're going to use a very watery mixture. Using that, we're going to add in some strokes of violet onto the extremely white areas, because we do need to put in the shadows. Always remember that. Then we'll finish off with some lavender. So here is my lavender paint, and I'm going to use this to create the nice shadow effects. But this lavender, I'm going to mix it up with my white so that I get a slightly light violet shade. So here's my white paint. We will mix them up together, a bit of lavender and a bit of white together, creating a nice mixture, and I'm going to use that. Let's apply in lots of areas like, for example, here at the top. The reason why we mixed with white is it gives a slightly much better look. We don't want it to be entirely white because it's a sunset scene, so you need to actually depict how it's the snowy effect with a little amount of shadow. There, you could put in your violet a bit there. You can see how it's all turning out. Then I guess I'll go over some areas at the top a bit. The snow can settle there. Then obviously, yes, it can fall onto the wreath, but I didn't want to show it's completely fallen on the wreath. Yes, on top of the ribbon because that's a fixed area, maybe a little at the top there, just mixing a teeny-tiny amount of my lavender. Little on that portion. We had somewhere here as well. I guess we are good to go. So now we'll go ahead and add in the splatters like we usually do. So for adding the splatters, I'll switch to my size 4 brush and take my white. So I'll take that same mixture of white and add my splatters. So careful where you add the splatters. It's a watery mixture, so then when it dries up, it's actually going to be very light. Now let me take a proper white paint and we'll add some nice shimmy splatters. So if you don't have lavender, you can actually mix in your white and violet together. You just need a teeny tiny amount of violet into your lavender, that's it. So here, we're not done with the splatters, let's add few splatters with the lavender itself. Remember, a shadow box. You can see how you get that effect. Then also add some splatters with your violet as well. See, it gets one shade darker. Can you see how now we've got a nice lots of splatters? We add some more with my white. There you go. Let's go ahead and sign the painting. Now let's completely dry this up so that you can remove the tape. Here you go, it's completely dry, so let's remove the tape. Here is the finished painting. Hope you like it, and thank you for joining me today. 17. Day 7 Colour Palette: Welcome to Day 7, and this is the painting that we are going to do today. The colors we need today are cobalt blue, ultramarine blue, indigo, permanent Rose, and sepia, or burnt umber. 18. Day 7 - The Little Snowman: Alright, let us start. So for that here is a base on which he's resting. Then we're going to have its body. It's a nice rounded shape for the body. Cute little ball there, and then, it's wrapped around with a nice shole or a scarf okay? There is the front portion of the scar. Then let's see. Then another little ball for the head. That's basically how snowmen are, right? There you go. I think I should make the base a little bit bigger so I'm going to do that. Okay? There, let me get that thing, the base of my snowman. If I make a slightly bigger circle. I think that's much better. There's the shole scarf wrapped around it. And there's the front part and it has to be sitting inside. Let me get that. The rounded shape should actually be going inward like that along the shole, there. That is where the hands are going to be coming. We've got some nice bold, snow again for the hands. That's it. How about a hat? Yes, I'll add a hat as well, instead of a perfect round shape that will look more cuter. For adding the hat, I take off a little portion from the top side and take the hat like that. And, the hat goes and comes around the head. A little round shape at the end. I guess that's it. So that's our pencil sketch. Let me show this to you closely. There you go. A cute little snowman. Now let's quickly get to the painting part. Here I'm going to be using my flat brush to apply water. So I'm going to take my flat brush and I'm going to apply water to all of the areas, but I'm going to be going around again. So we're going to skip the area of the snowman. So, very carefully going around. I guess this portion where it's supposed to be the twigs. That's fine. So just go around that circle there. This little circle. Just go around that one. And around the bigger one. So, here I applied the water. You can see that now we go ahead and start painting. I'm going to be using my size ten brush. Literally, the brush size doesn't matter because I just picked up one from my table right right. It could have been a size eight or a size ten also. I got both of them here. We are going to start with cobalt blue. Here, I pick up a nice amount of my cobalt blue. I'm going to start. I'm going to put that into the sky region. As you see, I have no specific format am just adding some random strokes. But there's one thing that I'll do. I'll try to make sure that most of my stroke stay away from my snowman. But some places, obviously you can have it close as well. I guess you can stay away from the head portion, but let's go closer to the body and leave some random white gaps in between. Here I'll go as close as possible to the body and maybe also as close as possible to this round hand. But staying away from the head. The reason why I do this is the head is a vibrant red color. It's okay to have a white gap there, but the rest of the snowman is going to be in white color to bring in the contrast. That's why we go and paint closer to it as well. If we pick up more darker shades, darker shades can go to the top. Always make sure that my darker areas at the top. Here, I've picked up a bit more of my cobalt blue and am adding towards the top. You can see the arches paper forming small bubbles on my paper. Then I'm just going to pick up my liner brush so this is a long liner brush you can paint with just any brush that has a pointed tip. That's it. Okay? Here, what we are now going to do is, I'm going to load my brush with indigo. Okay? Load your brush with a nice amount of indigo. I just mix it on top of the cobalt blue itself because this indigo is such vibrant color. And now using that, I'm going to make some small trees and be adding that small triangle so I've added a small triangle there. I'm going to do the next one. I guess the next one and have around that much height. See just a bit. I guess I can do nothing there. At an angle. Then I'll do another one right behind but somewhere up there but make that one taller. Don't make it like an exact triangular shape. Try and define it to give some detailing okay? I love the way it turned out. Okay, it's gone above. Okay, that's it. I don't want to add any more detailing. Just want to keep it simple enough. Okay? Because I promised I would make this in blue. I guess that's it. Let's just go ahead and absorb something from the base because you can see it's spreading so let's not make it spread too much. That's it for the background. Let's now wait for this whole thing to dry out. Here you go, everything is now completely dried up now let's go ahead and add the snowy region. So I'm applying some of the water towards the bottom, just at the bottom where the snowman is actually resting. I'm going to be using ultramarine blue here. Okay? Loading my brush with ultramarine blue, I will add that. And you can go ahead and add in some random direction, doesn't have to be even. Keep the base of where the snowman is resting nice and whiter. Maybe more of the ultramarine blue you can apply towards the other places. If you look at the top region, I'm adding some nice bluish shades and apply water there so that we can go ahead and quickly soften that out. So, added some nice blue shades. You can go ahead and add some more bluish tones, okay? I've tried to keep the base of the snowman as white as possible. Let's now add the snowman itself because I know it's white, but you've already known what we're going to do it. We're going to add in a lot of shadows. Shadows are what make our object more visibly attractive and gives it form and dimension. So I'm switching to my size 8 brush, and we're going to add it now. The first place, let's start at the right top side, so there's that little round shape that needs to have a shadow. Starting with that, I'm going to add ultramarine blue to its base, little around base. You can already see how it's got a nice round shape. Then more at the bottom. See how it's got a rounded shape right now as you add into shadow. Now, the next plane that you need to add in the shadow is this, the hat part. Let's see, the hat part again going with ultramarine blue and add that to the center. I guess the rest of the areas are bright. The area underneath obviously needs to go into shadow, I guess. Here I take more of my blue, raise amount of the ultramarine blue and we add it to the bottom. Let's make the top more natural. Added that part, now we have the face to add. The face, observe closely, I am going to apply water to the whole of the face. I'll try and make sure to keep away from my ultramarine blue for a little bit. I know that it still might flow in parts I guess. I have applied water to the face, now we have to add. Here, taking nice amount of ultramarine blue. Let us determine where the highlight is going to be. I guess in my painting I want to make it as all the light is from the left side. So then I'll have large highlight here, a nice white area that is going to be my highlight. The rest of it, let's add, so here I add in ultramarine blue, then we have to add the dark portion as well. As you can see, my paint is definitely spreading, but I'm just going to soften it. Yes, the water just spread to the top as well, but you can always go ahead and soften things up. Can you see? I've created a nice highlight. Create a nice highlight of white, then let's apply the darkest shade on the top. Here now I'll go with the dense amount of ultramarine blue. Away from the highlight, I need to have nice shadow effect, that would be here at the bottom. Then we need to have a nice shadow right there at the top as well. That's the position where there is the shadow underneath the hat. Again, I can see my round shape already going, so I need to go ahead and soften that bit again. Now, let's paint the bottom part. Again, we're painting the bottom part. Here I go and apply water to that. Again, part of obviously skip the region of the scarf. There you go. Then making my ultramarine blue, I will add. As you can see, I go over and add to the right base. Like I said, let's have a nice lighter region there, but right underneath the scar, we need to have shadows. So there. Now let me pick up a dense pigment and start adding. Nice and dense right underneath the scarf as well. Then let's blend all of it together. I like the way it's turned out. Now I guess just do more of those things. I guess those should be easier. You see, a little white space around? Accidentally did that, a bit too much color, so I just need to take it off. I guess that's it. Let's now wait for this whole thing to dry out and then we can add in the rest of the things. It's completely dried out, so let's go ahead and paint that hat region. For painting that, I'll go with a nice permanent red shade or a permanent rose. This is rose madder, the name from ShinHan, so you can use any color basically. That is what I'm going to use. Observe closely what we're going to do right now. Because now along the top, I want to depict that it has some fur kind of shape of the hat. That's why I've added my paint in a zigzag line. Not zigzag, but if you can just move your brush along and keep creates some white gaps like that, that would be great, isn't it? That is how we would add. Fill up now. There you go. Added the gap. We need to add depth and details. I've washed my brush, I'm going to pick up a nice dark brown shade. I'm going to put it at that end there, and let that spread onto my paper, and another line there. Then, now maybe use that to create some design or detail. Like here, just added some lines and these are our on wet lines, so it's going to spread. I'm fine with it and I like the way it's done out. We use it both for the shadows as well as for the design. This is rose madder, I don't know why I say permanent rose, because it's in my head. [LAUGHTER] There again, back with my rose madder. I guess a point what I'm trying to say is you can go ahead and use any color you like. You could actually change the color of the scarf to a green if that's what you like. Just imagine, maybe that will be a unique different painting. Why does the scarf has to be exactly the same as mine? Use your imagination and turn it into a wider reality. Go ahead. Using that added, now, let me add bottom scarf. There, added the scarf, now we'll go ahead and add in the deck again. Here, let me load up my brown and obviously right below there where the other scarf is joining you would need to have a nice dark area, right and then I'll use this to create the design and maybe like the fold, see, used it for the design and the fold. Then I guess we could do the same thing. Let's see, I need to have a little bit of dark area there at the top because it's bend and now the design part of it I guess I'll go for some nice lines on the top. I like the way that's turned out. Maybe like another line at the bottom for the design. That region doesn't have to go, the same can go spread. See how we've made the nice scarf region and also marked out the way it's like a fatty end at the top. Can you see how it now turned out nicely? Now we go ahead and add in the tweak, for that I switch to my size eight and going to use the same dark brown, so any dark brown, transparent brown, burnt umber, sepia, anything, make sure it's dry. This one, I guess I will start the air and at the moment it's going to be made of little different tweaks so that's how it's formed. Can you see? I added a little tweak there, let's do the same here. For this one, start a little towards the front, that's where it joins. Now where it's joining I guess we need to add in a little bit of shadow. Here I'll take my ultramarine blue, I love my ultramarine blue to put it right there at the bottom. Just a little amount of paint and then I'll soften out, soften out the base. Make sure that your brown doesn't spread too much into the snowman. That's fine. Go ahead and use an ultramarine blue. Can you see how it's turned out right now? Let me reapply the water a little so that I can go ahead and add in the ultramarine blue. See how it's turned out. Now I guess it's time to add in the eyes, the button eyes. Here I stick in a nice amount of brown paint and everything is dry there. Yes, so let's put in two large eyes. Just a round shape, then something I guess. Let's put orange for the nose maybe like a carrot, so there and I'll make it like a small triangular shape towards the right side. Did you see that? That's using cadmium orange, then let's use another twig to draw the mouth. See, that's another twig again, but like with the little branch head, that's how we paint the smile. How about we add two more buttons. Let's make different colored buttons so I'm just going with my brownish shade and one of the buttons is there and the other one is going to be right below but I guess it's masked out. see, it's not possible to add another button towards the base. Maybe one right there so that it shows up. See, I guess that's much better, isn't it? Lost the round shape so let me adjust that. Then maybe I'll add some dark bits on the top of those buttons. We were just using my dark brown paint and going over the top. I like it and we're almost done. Now the only bit left is to add the snow and the far portion at the top. For that here I take my white paint and now using that we're going to do just what we did for the top portion. But like if you can just randomly do some lines like that towards the head it'll show up as having the nice furry edge, then obviously finish up with the snow. Here let me load my brush with the white paint forehead and load the whole of your brush with nice amount of white paint. We're going to add in snow, I love adding snow for my Christmas paintings, you know it's just beautiful. Although there would be some paintings where we literally can't add the snow, you'll see in a while. But wherever we can add why don't we add, so I wouldn't stop. You can see it snowing. I guess for today's one I don't want to add any darker snow, I'll just leave it as light as possible, let's make it just glow bright. Since we didn't paint anything towards the edges let's go ahead and sign the painting. Let's now remove the tape. Here is the finished painting, I hope you like it. Thank you for joining me today. 19. Day 8 Colour Palette: Welcome to Day 8. It's 17 days left to Christmas and this is the painting that we are going to do today. The colors we need to do are, prussian blue, cadmium red, sap green, indigo, van **** brown or sepia, ultramarine blue, burnt sienna, and a bit of white gouache. 20. Day 8 - Snow on Winter Berries: Then let's start. We'll have that branch of the winter berries somewhere here in the center and a lot of it covered in snow. Here, that is the main branch and a branch extends until there. Let's see that one of the branch goes like that. Then we have a small branch here and this small branch there and here a small branch, another branch there. Now we need to mark out the positions of the snow. That's very important, so let's see. We have the snowy element here. I guess painting this with masking fluid is the best option because if you want to keep those areas where it's covered in snow, you know what I mean, so that is why. A bit of snow element there. Then, let's see, another large chunk of snow element here. Just adding that shape in there. Another large chunk there and that is obviously a branch that goes like that. A large junk there on one of the berries. Then on this main branch here, let's have another large chunk of the snow sitting. Another large chunk there. Another chunk here in this corner. As you can see, I'm just making large blobs. I'll show you how to paint this with the masking fluid option and if you don't have masking fluid and you're like an ultimate beginner, then go ahead and paint it using the other method where we went around each of these large blobs. That would be the other way to paint it, so don't worry if you don't have masking fluid. I mean, there's always solutions and there is ways that you can avoid that. This one, there is a plant extending and put in another large blob of white there. I guess that's all I can think of. The rest of it is all going to be covered in berries, so these are the large blobs that we need to worry about right now. Let us go ahead and apply masking fluid. I'm going to be using this masking fluid which is a old drawing gum. It's the same. It's masking fluid and one of my old brushes, so this brush is what I keep for masking fluid. Always remember to wash your brush immediately after applying the masking fluid. Do not use your new brush, the brush that you want to use for long with the masking fluid, use something that's very old. Maybe if you haven't got an old brush, then maybe you could apply it using any other things, for example, toothpick or something that's got an edge. Most people prefer to apply using the backside of the brush so that the bristles won't be hard. I'm going to use this old brush and start applying masking fluid, so all around those little bubbles or the shape that we add it. That's where we are going to add the masking fluid because it's best to preserve them white and then add in the shadows onto it. That's the reason why we do this method. Plus another thing is you don't have to have the edges perfect, so I guess it would be best if you also apply with the edge of a toothpick or something, then you won't have such strong flat edge like the one that I get when I'm using my brush. Because the edge of the snow that settles on top of trees or plants doesn't have like a very flattened, it's actually a little perforated. I'm trying to achieve that perforation with my brush, that is by going unevenly like that. There you go. I've applied the masking fluid. Now we really have to wait for this whole thing to dry out. We have no other option, we have to wait for it to dry out. Do not use a hairdryer to dry off the masking fluid because then it becomes very difficult to be read off from the surface of the paper. Let us start. It's been around one hour and all of the masking fluid, it's now going to be dry so I'm going to apply water to the whole of my paper. If you are following along and you do not want to use the masking fluid method, then at this moment you would have to apply the water all around those little shapes that we have created. This is why the pencil sketches also very important. If you don't have masking fluid, just go ahead and paint it that way. Yes, it's going to be slightly different because you would have to go around each of those places and apply the water and apply your paint. But then, trust me, it's still going to be different unique thing that you have created, so not to worry if you don't have the masking fluid. There, I have applied the water. Now let's get to painting. I'm going to use my size 8 brush and I'm going to start with a nice Prussian blue color. It's flashing blue, which is a nice dark blue color. You can also use indigo in case you don't have Prussian blue or even just mix a little bit of black with your blue to get these darker sheets, and this is what I'm going to be using. Basically I'm going to put this at the background, so this is what my background is going to be. Observe closely, I'm trying to stay away from my tree portion as much as possible and also to put in lesser colors so lighter shade will suffice. This is why I'm just moving the already existing pigment and applying that. Can you see? The already existing pigment, move that around so that it's a very lighter shade and gives you freedom to apply your berries on the top. Then a little bit of blue and maybe you can create some shapes in the background and slowly as I come down, I decrease the amount of the blue. I didn't want to go around, so that is the specific reason why I have used this. Let me take a bit more of my Prussian blue and I will apply darker tones towards the edges so we can make it totally random where we apply those darker strokes, for example, I will apply some here, some apply here. Maybe a little nice dark edge around this corner, so some dark places and leave it like that. Then we've got to add some details here towards the bottom. I guess it's still wet. Yes, it's still wet so we need to create a darker green color for that. I'm going to mix my sap green and my indigo together. This mixture here is actually the same. This is the reason why I didn't actually clean it up. A bit of indigo to my sap green that creates very dark green. Can you see it? It's a very dark green. I'm going to try and desaturate it a little. In order to desaturate it I'll add in a little amount of red to it. The more red I add, the more it's going to desaturate and turn into a slightly more desaturated green color and this desaturated green color is what we need. I'm going to pick up that paint and I'm going to use the pointed tip of my brush. We're going to add in a lot of branches here, the same like the one that we have at the top. Here, just adding a lot of branches. Again, make sure to add in different directions. It's absolutely fine, you don't have to follow along the same. See some nice branches. This is what goes towards the back. Now we'll create a little bit of gray color. For creating the gray color, I am going to take my ultramarine blue, this my ultramarine blue and I'm going to mix it up with a little amount of brown. More blue into my mixture, which will create a nice gray. This gray now I'm going to add a watery mixture. That's still a lot of paint so we're just going to add in a watery mixture all around. The reason being, I don't want to leave it completely white. I would like to add some amount of pigment and paint at random places. This is the reason why I'm applying this. Yes, we've added that. Let me pick up that green again and go over on the top once more. As you can see, there's a lot of spreading and it's absolutely fine for it to spread. This is not dry on wet, this is wet on wet itself. Let it spread freely. Then, once you've got that, let's go ahead and add in some berries. That's again, berries with the wet on wet. Here I'm taking my cadmium red and I'm going to add some random berries. You can put them over to the point where you've added those bunches, but go ahead and put the berries at random places completely. Maybe we'll have a nice bunch of berries there. What I'm doing is I'm just touching my beaver and wherever I touch, my paint spreads because it's got obviously a lot of water there. See, let me apply there. I guess I will apply some more here. A lot of places, just go ahead add in nice bunch together. Try to keep them together as a bunch. That's what I'm trying to do, keeping together as a bunch. All of that goes into the background. Now once you've done that, let's create a nice background snow effect. You remember how we used to create that by adding some splatters and then some white paint on the top. We've done that before. Here I've switched to my Size 4 brush and I'm just going to put all of these some splatters into my paper, anywhere and everywhere doesn't matter where it goes. Just randomly add in the splatters and you can see the blooms forming. Now the next step is let's add in some white also. For one of the last ones, we did not add white, but we have done a class where we've added the white. Today we'll add in the white. Randomly go ahead and put in those nice splatters and you can see how it glows on the top. See, it's going to spread out and mix together, but it's going to create a very nice background when we add in the proper snow splatters. Now all we got to do is wait for this whole thing to dry out. Here you go, it's almost dried up. Let's go ahead and start painting. We're going to start with a nice dark brown color. Any dark color like the naked brown or sepia, any such dark color would do. Taking that dark color, we're going to start. Here is where my branch starts and we're going to keep adding but like before, I don't want to completely add every place with a thick branch. I'll just add some broken lines. Again, a branch there, there is the branch, broken line there. I guess I could properly add this branch, another one there. There's a branch. Anywhere that you want to add, we'll add broken bits and bits here and there. There. Now, let's go ahead and start adding the leaves. For that here I start with my sap green again, but we are going to convert it into a darker color. Here, taking my sap green, I'll mix it up with a nice amount of indigo so it's now a very nice dark green, but I'm going to desaturate it a little bit. Then in order to desaturate it I'll pick up a little amount of red and add to my mixture. That turns into a slightly more darker green but in a desaturate. Desaturation basically means I'm trying to decrease the vibrancy of that green right there. I've decreased it by adding that red shade. Let's go ahead and add in a lot of leaves. It gets one here. Let me show you how we can make those leaves. Here I have my Size 4 brush. Using my Size 4, I'm going to place so many leaves like that by using the entire length of my brush. It's just basically starting at the tip and then pressing my brush down so that I get a shape like that and that's what I'm going to be doing entire place for adding the leaves. Here I add so many, let's say I add so many there. Obviously you can have them attached together and add some on top of the masking fluid area as well so that it looks as though it's a leaf that's gone behind the snowy region. Let's see, one there, some there, or basically don't make all of the leaves in the same direction. Try and mix up the direction of the leaves as well. Again, it's really important that we capture like that. I guess some leaves there. Many of it is going to be captured covered in the berries so that's why you don't need to cover up the entire thing with leaves and also it's okay to have a lot of gaps in between. I guess another leaf there. I guess here. I believe there may be a part of a leaf there and there. Another little bit leaf there, another there. Just adding at random places, lots and lots. Take you down to do it. It's absolutely fine. There, added the leaves. Now we'll go ahead and add in the berries, of course. Here we'll start with my nice gorgeous red shade. We're going to be using this to first add the berries and then we'll add in the details later on. We'll stop right there and we're going to add some round berry. Berries usually exist in bunches. That's why go ahead and add in a lot of berries. One there, there's another one and maybe this one is covered on the top. I think I need to add a branch there, which I'll do later on. Another berry there and one there. Make sure you cover it with a lot of berries here. Obviously when you're adding the berries, it's okay to have them all up clustered together as well. It's very important actually that we make it clustered together. I guess this one can be this leaf I'll add a lot of berries on this end here. It's basically just creating a round shape using the tip of my brush. That's it. How about another little bunch. There and also possibly a lot along the tip here. Whoops. I touched somewhere and then I went and hit but I guess when we cover up with snow, it shouldn't be a problem. This is something that I always used to do in my hundred day project. If you've been following along my hundred day class, you will understand. I always end up doing that mistake somehow. A lot of berries on that one. Then where else? We said we'd leave that, but I'd like to add actually a lot of berries closer to that area there. Yes, if your green is still wet it might actually spread out. But I'm not worried about the spreading because I actually like when my paints spread and create a random beauty there. Here is another bunch. Got another bunch there. Then I guess I'll have another bunch here. Must out obviously by again the snowy bits here that is one, again, masked out by the snow. On this tip as well some nice berries. What else? Let's say here. I already covered that part. I already covered here on this end. I guess I've covered most of the places. I see some areas where I could do with a little bit of my green leaf, maybe I'll add someone there a little there, and a little there. Some nicely use their bond heart. Then finish off with a little bit of a branch. Going back with my brown paint and adding a little branch there. Now observe. There are many cases where we should actually connect the berries together for example this one here, see it's separated from the others. If I add a small branch or something where it's connected and also use that brown paint to add a lot of the berries. Somewhere along the berry, just go ahead and add in a little brown spot. That'll serve as the shadow so you don't have to add on in one single direction or anything. This is just a small painting. Just go ahead, put it in some random direction. It's just that we don't want it to be in a single red color. It should always reflect some shadow element, your berries. That's why you'll see me adding the brown to some shape somewhere along. That's it. Now, all we have to do is we wait for this to completely dry out. Then we can remove the masking fluid and just add the snowy bits. Here you go. It's all completely dry. Let's go ahead and remove the masking fluid now. Take your time and remove the masking fluid. I'm just going to speed up this process because it's absolutely useless to just watch me doing this. There you go. As you can see, I've removed all the masking fluid. Now we'll go ahead and start adding some darker shadows for the snow. I'll be doing that with ultramarine blue. Well, you know the color choice that we've been following along. You might be pretty sure you knew it. Just some blue spots at random. Also, you can either do it wet-on-wet or you could do the rolling brush method. I roll my brush, I pick up a little bit of ultramarine and start applying. Mostly and apply to the areas towards the bottom side where it's actually resting on the surface. You can see clearly as soon as we start adding a nice shadow, see how it looks and gets the shape. We've been seeing it so many times in the class. I like the rolling brush method because you get these random spots and random hard edge, soft edge strokes. That's why I mostly go for that for example so here I've just applied a little bit. Here I take my ultramarine blue and I'm going to add it right at the bottom. Just in a little bit of blue at random. My pink wasn't completely dry when I remove the masking fluid. Actually, it's from my hand, it's gone onto my paper. But I don't mind because anyways, a lot of this is going to be covered in snow, so I actually don't mind. That's the reason. You will see how we create a nice blended ice or snow effect on the top. Here, there is an edge. Taking my ultramarine blue. Then you can also do this method where you apply the ultramarine blue. Then your strokes will be wet on dry. Then go ahead and just soften some edge. That's another method to do it. Actually let's try that for some, again, I'll show it to you once again. I will show you how to do on this bigger surface here. Here I put in my ultramarine blue and as you can see, it's a big, huge wet on dry stroke. Then I wash off the paint. Then I'm just going to run around and see soft and just some areas, not the entire thing. Let some areas that dry white look. You see how it's created a nice a soft fuzzy here to the snow. I love how it creates that. Then another one. That one is a bigger one. Here I take my brush, dry my brush, remove all the excess water, and then I go ahead and soften some edge. Here that is a hot edge, then some edges soft, dark and you see how that creates this one. Another is this one and those ones, immediately, let me go ahead and soften out my strokes. One, that one, and that one along the top. Then another one is here or this one. Again, that one, if I go and soften it out, see how this looks like two different ones. That's why I didn't paint these simultaneously. Because once I had painted this and softened it out, there was a lot of water that might have seeped into this one. That's why I painted the other ones first and then came back to this one. Just this one left and a bit on that. Added a lot of snow effect and we're basically done. The only thing left to do is to add the snow bits on the top. By now you know how to do it. Just I thought I'll add a little darker tone to this one because this is like a considerably larger bit of snow, isn't it? Just giving a bit of nice shadow towards the bottom and softened it out. I want a little thought of the branch of that one to be seen. Here I'm taking my dark brown. What I'm basically doing is here, I've got my branch, maybe I'll add the edge of the branch there and edge there and there. Now you can see how it's sitting on top of the branch, that's it. Then I guess we've covered most areas, if you see that any of the berries are looking odd, just go ahead and add in a little branch to it, but we're done. Let's not waste our time. It's time for starters. Time, do row in our table are decor pieces, are pallets with white paint. Here, I've loaded up my brush and I'm just going to put in those splatters lots and lots in various places in more watery pigment and paint. Remember to apply the splashes onto areas where you feel that you ruined, covering them up with splatters. That's one good way for example here, I believe I can go ahead and add the splatters. That is another good thing about adding those splatters. When you add in those splatters while the ultramarine blue is still wet, can you see it falls onto that area and creates some shades. It again, further adds to the highlights of the snow that we're trying to add in our painting. Everything is now completely dry and we're going to finish up by signing my painting. Let's remove the tape. Here is the finished painting. I hope you like it. Thank you for joining me today. 21. Day 9 Colour Palette: Welcome to Day 9, and this is the painting that we are going to do today. The colors we need today are permanent yellow light, permanent yellow deep, cadmium red, permanent rose, sap green, viridian, yellow ocher, burnt sienna, Van **** brown or sepia, burnt umber, indigo, and violet. 22. Day 9 - The Giftbox: Let's go ahead and add in the Christmas present. It's going to be a simple one without too many elements in our painting. Let's see, that's how the present is and the other side of it. There. Then obviously this side is going to be covered in the ribbon part. Let's say that is that ribbon on this side. I know the pencil sketch might look tough, but trust me, it is not once you get the exact shade. I'll show you the picture at the end so that you can make it for yourself. See, that's the present. Yes, this side needs to have the roughing. Then I think towards this side of the present it's brought in a nice large Christmas bubble. Its head towards this side. It's just resting on the floor. That's it. Let's not add too many elements. Then obviously this whole thing is sitting on a table. That's it. That's the pencil sketch. I'll show it to you closely. There you go. You can trace this out. Let me erase the unnecessary lines, for example these lines toward the inside of the bubble. Now we'll go ahead and start painting. To paint this is again, we have to paint the background first. Let's paint the background in a blurred method so that we bring our elements that is in the foreground forward. Here, I'm applying water to the area of the background. Anything other than the two elements in a painting we'll apply the water. For example, here alone, you have to apply water carefully to the edge and avoid any parts of the ribbon. Around the bubble that's round very carefully. I'm just going to go over one more time over the top of the areas that I had already applied so that my paper stays wet. Here I've managed to apply the water. Now we'll go ahead and start painting all around. We'll probably start with the background there. I'm going to start with a nice amount of my permanent yellow. I'm going to place my permanent yellow in various circles at the back. These could be some lights or whatever. We just don't know. It's just some random detailing that goes toward the back area. Then let's cover up the entire surface with a nice brown shade. I'm going for a nice burnt sienna shade. I'm going around my little light shapes. I'm just going around each of my light shapes. As long as you do it quickly as you've applied the water, it should be fine. The paint before it dries out, just go ahead and add in a lot of nice bright colors all around. I can see some of those ones are spreading. I don't mind. Because I don't want my lights to look perfect also. It's okay that however, my color spreads because literally I don't want my colors to look the best or perfect. My intention is just to capture a random background. Here I've got the paint and now I have to be careful around the area of the ribbon because we definitely need to apply around. Taking my paint around. Nice slides and some nice colors around. I guess we can add some darker spots on the top. I've washed my brush and I'm going to take in a nice burnt umber. That's not burnt umber. Taking a nice amount of burnt umber. There, and I guess I'll add in the burnt umber towards the top just in some areas. Here, I see my yellow and brown is spreading a lot. Maybe I'll apply to that region. A bit of burnt umber here perhaps. See it's completely random. I am not trying to place them in the perfect position that is what you need to understand. Just putting my color at completely random locations. Can you see it's like a little blended background there? I don't want even to get a perfect yellow shapes there. No we don't want that at all. Then as we come downward, maybe there is a little element of a far tree or something there. I've taken my sap green and I'm adding that to the background. Adding that to the background, make sure you avoid empty part of the bubble very careful. Here you can see me I've tried to manage to create a shape. I guess until that point is fine. The remaining area, I have to apply my burnt sienna alongside the green. There Montana there, Montana there so that I get in the shape correctly. Applied my burnt sienna. Now, as we come towards the bottom, I guess it's time to add the surface of the table, perhaps. Yes so for that, because we are going to be adding the surface of the table, go back with my burnt sienna, and I'm going to fill it up. There, here as well. Now this is bad. Actually, that the two things are resting itself is up-to-date, that's what we're trying to add. Here again, I've tried to mimic the shape of the fir tree a little. I'll fill the rest of the place with my burnt sienna. I think I'll add a slight darker color for my fig tree. Here I'm taking my hookers green and maybe a little bit of viridian mixing, a little amount of indigo to make it darker and I'll add that on the top. Some amount of darkness is required. Whoops, careful around the shape. Put the green color there. Now, for adding some details of the table first, we'll do with the wet-on-wet then after that we'll go around adding details on indigo foreground. Let's see where is the line that I traced, that's somewhere there. Then I guess I'll make another one, parallel to that some right along there and now you can go ahead and make other marks, which would be obviously the marks on the board. Here I'm just moving my brush along in a random direction like that. Just running my brush long. See that? Once you have done that, go ahead and use a nice flat brush. Make sure it says in the big flat brush because it should have harder brustles, it's not soft bristles. Hard as in not extremely soft that's what I just mean. I wash my brush and remove all excess water. What you will do is choose any side of the separation between the two plans of the wooden board. I'm going to choose my bottom side. What I'm going to do is I am going to run my brush along and absorb a little paint. Just absorb a little paint in a straight line all the way to the bottom. Take up a while to cover entire bottom bar, and do the bottom part because you're effectively moving the pigment. That's done then the other side as well. See how it's taking time gradually, from the top towards the bottom. Obviously you might have to do it multiple times. There I've done that you can go back, you're burnt umber, and add that line property. Just make sure that it doesn't go over the area that you've just lifted off. We just need a lighter spot right next to the darker spot. You'll understand why in a while it will look like the surface of a wooden table. You just quickly absorve a bit more from this one. Already I can see how it looks like the effect of the wooden table and we've got something in the background. Now what we have to do is let's wait for this to completely dry so that we can paint in the gift and the bubble. That it's completely dry and can you see how those yellow spots have turned out? This is why I said I don't mind the way that it spreads, I just want some random yellow spots there, so it's like in the background not affecting our foreground. See that? The only thing left for me to do right now before we start with the foreground is I'd like to soften the edges of the elements that we have in our painting. That is because I don't want to have a harsh edge to any of these where we haven't applied the paint. Basically, go ahead, use the flat brush, then run your brush along the edge like that. Absorb it with a cloth or a tissue, whichever you are using. Here, turning over the edge like that and I absorb it so then I get a slightly softer edge don't want a hard edge or a hard line of separation. Can you see? I've just made a slightly softer edge along there, running my brush along and then absorbing with my paint. Same thing we will do for the bubble as well. I just don't want to have a harsh edge to any of my objects. That's the reason. The same along here. I'm only doing this for the green part. I don't mind it having a harsh side along the bottom there that's absolutely fine. I guess I've soften that out now let's get back to painting. What shall we begin First? Let's paint the gift part at first. What color should we take? I think I'll go for my yellow ocher. Yes, I will take my yellow ocher and taking my yellow ocher, I'm going to add that to the surface. Basically skip the area of the ribbon very carefully because we'd like to leave that ribbon there. Paint it with some other color. I'm going back over that doll. Then adding more now towards the right side. Obviously, always remember, we need to choose a side and add in the shadows as well. First of all, before we do that, let's just go ahead and add in the colors right now then we'll go ahead and add in shadows. There, I've added the box. Now, I'll pick in a little amount of burnt sienna. I'm going to mix that in there and I'm going to add towards the top one. A bit more. A bit along the top and separate out the lid of the box. It's in wet-on-wet, it's absolutely fine. There. The lid of the box is now separated. Now the next thing is, obviously, we do need to add for the left part, but for that, let's make that in shadow. Since we're going to add that in shadow, here I'll mix it up with, I don't want to mix it up with this. Maybe I'll mix it up with a different color. For example, let me take up my yellow ocher. There's already a mixture of burnt sienna in there. That's because otherwise, our whole painting is going to be a dull yellow-brown color, so that's why. Maybe a little bit of Prussian blue into that. That'll make it into a slight taint of green in that mixture, I like it. It's basically yellow ocher, burnt sienna, and a little bit of Prussian blue. That is what we can add to this side, basically. It will depict that this side is in the shadow, giving it a slightly different taint of different color. Mind you, we're adding this on top of the yellow ocher that we already had, so it will have more yellow or green mixture, exactly like we want. Go over the edge. Also, make sure to keep it along the edge, perfect line along the edge because we are adding color here only because it's under shadow. That's what it is, the two different colors. Next thing now, we need to add the differentiating line there. I'm mixing a little bit of indigo to that mixture, just a touch. Did you see I just touched the tip of my brush there? That's it. Then we use that to create the dark edge. I guess I could pick up a little bit more of my yellow ocher. Using that along the edge. You can see it's still not much. Maybe it got to have some more indigo in. Not bad. Now let's actually paint the Christmas bubble. For that, I guess I am going to go with a bright red shade and I'm going to add it to the whole of the bubble, except for a large round here, which is where my highlight is going to be. As you can see, I'm adding to the whole. Add it to the whole. Now, I'm going to soften out the edge of my highlight just using my water and my brush. Washing my brush each time I pick up paint, which is very important process. You can see, as I go away from the highlight, I try and lift off some more paints so that we get a gradual highlight. Can you see that? Keep going away from the highlight area and picking up the paint. See, I've created a nice round shape there. Now we'll add some of the darker colors. For that, here I pick up my burnt amber and I'm going to go add that on the top of my red. Can you see? Add a little bit of burnt amber on the top of my red so that it creates a nice shadow effect. That is basically right here, away from the highlight point. Some more red, now mix that along. Can you see now it's looking like a nice ball shape? I need more depth, so taking more of my dark brown. That's what we add to the extreme bottom and obviously a bit to the top region here and spread it out. Let that blend in nicely. Now we have managed to capture a nice dark shape. Also remember, the nice dark shape should be there towards the extreme bottom. The light is now from here. We assume that the light is from there, so that's why we've got a dark base here and also the light from the ball right there. Also, because we've got it right next to the gift and there's got to be a darker area right there with the light coming from the right side, so that's why it's almost as dark there. Then let's paint the top part. I guess the top part, I'll make it with a nice orange shade. Not orange, but this is cadmium yellow deep. Let's add that. See, I've Just added a nice cadmium yellow deep color. I guess along the top, that as well, just adding the edge. Always remember shadows. Here, this side needs to have nice dark spot so that's why we need to add in darker spot to that, just only a little bit along the right side. Now what we have to add is the top part, so let's go back with the yellow ocher. We have some gaps between the ribbon to add before we add in the ribbon itself. Fill in the gaps between the ribbons. Then taking a little bit of brown, I'm going to add to these areas because those areas need to be in the shadow. Let's now paint the ribbon. For painting the ribbon, I'm going with my permanent rose shade. Taking my permanent rose, just going to add on to the top of my ribbon. Let's cover the entire thing up for now and then you'll see what we can do to add in nice shadows and effects. Make sure that you can see your pencil sketch. Just a little bit more. As you can see, I filled up all of the areas with the ribbon. Can you see how to raw it is? We need to add in a lot of shadow, lot of effects to it, so let's do that. I am going to switch to my smaller size four brush. First of all, a bit of yellow ocher towards the edge to prevent all the seeping. Then, let me go back, and now, I'm going to pick up a dark Vandyke brown color. Here is my Vandyke brown, and I'm going to use that to paint the shadows. This edge is supposed to be dark. Then we've got an edge here that is supposed to be dark. Then this edge is supposed to be dark. Then it is not the entire part of that edge, but something like that will add the dark edge in it. A little dark edge there, and obviously, a nice dark edge there in the middle. But that middle portion, we need to spread it. Here, I take my pink and I'm going to apply that on the top. We're going to blend that dark potion in towards the other areas. You see? That there is that nice blend, but it's slightly inside. Now, we're not done yet, obviously, because there are several dark areas that we need to add. For example, can you see this tape, this part of the ribbon coming from inside? That area needs to be slightly darker because it's coming from an inside area, so it's blocking the light. Just blend that along. Here, little dark area there. Same goes for this region. Digging the pink shade, blending along there. You can go with a yellow ocher to stop the seeping of the paint. Can you see how orderly, when you've added all of those shadow bits, is looking so positive, so different, how it looks. Now, I'm going to add another exciting feature. I'm going to take a little bit of my violet right now. We're going to give this ribbon a nice touch. Just one half of my ribbon, I'm going to fill up with violet. Let me take a nice tie. You did violet color, just one half of the ribbon, basically. There, this half. Let me fill up some areas nicely. Taking some more violet. Now, let's add. One-half of the ribbon added. Then, let me see what else can be done. I want to cover up the edge nicely. Shadows. Now, that's the important thing. Here, I'll take my nice dark brown color, and we're going to add in a lot of shadows. The ribbon is slightly elevated surface on the gift box. If you add in slight amount of shadow, that gives it a slight elevation. How do I explain this? I think you can probably see it right after I've added in my shadow. Can you see once I've added that shadow, it looks as though the ribbon is slightly lifted off from that box area. I guess we do the same on this side. Whoops, I got a little extra brown watery on, and hence it spread. See how we add that. Then obviously, you can add the slight darker color. For that here, I take my burnt sienna and I'm going to add some nice dark shades along the bits because we definitely need to add shadow everywhere. Such elements or such paintings has a lot of shadow, especially when there are lots of elements. See that edge where the ribbon is resting is now covered in a nice shadow. So it's here. Yeah, I like how it's turned out now. Now, we have to add the shadow of the object. A little shadow here on to the gift. That's basically the shadow of this ball onto the gift. Just adding a little drowned shape there. Can you see? Then let's add a shadow of the ball onto the surface. Something of that sort. Go ahead and paint the bottom part. Make sure you fill the nice bottom part with a darker tone and get slightly watery and lighter as you move further away from the board. See that? Now what you can see is a little part of the shadow of the ball is actually on the gift box itself, can you see? Let's define that shape a bit more. See that? I really love the way it's turned out. Nice and dark towards the bottom where it's resting. Also, let's make it dark where actually the ball is touching. There. I've added the dark color. Now I've got to spread it out and soften it inwards. Just using my brush and a bit of water and softening it. Yeah. I really like the way it's turned out. Now let's finish off by making the marks on the wooden table. Taking some nice round shapes, let's add in, that is just some nice random lines. Some round shapes like that. But don't make it very dark, so use your cloth and absorb. Some shapes, some lines. There. I really like how the brown surface has turned out. Now we'll completely dry this up. It's completely dried up. Now we'll just finish off by adding some teeny tiny details onto the Christmas ball. I'm just going to make some designs on the top. Like, let's make some little stars. I guess it's better to add those stars with yellow paint, don't you think so? Because then it wouldn't disturb our highlights. Yes, I think that would be better. So I'm actually going to go and use my cadmium yellow deep. or my permanent yellow deep and add that to the stars that I've just added so that my highlight remains intact. See, that's my highlight. It's just some random brush strokes. Obviously, you can have some stars towards the end. Incomplete star, like you can see, I've just added a dot there so that it looks as though it's wrapping around. We are almost done. Can you see how that features of the table is looking? All we need to do now is to add in the shadow of the box itself. Let's just put in a darker amount of color towards that side and try and soften out the edge a little bit. Obviously a nice darker color closer to where the gift actually is. Dark spots right next to it on the gradual color, there. Now you can see how it's resting on the table. Today there is no splatters. Let's go ahead and quickly dry this up and sign the painting. I'm going to use permanent yellow light today, it's almost like cadmium yellow and I'm going to use that to sign my painting. There. We're done. Let's remove the tape. Here is the finished painting. I hope you like it. Thank you for joining me today. 23. Day 10 Colour Palette: Welcome to Day 10 and this is the painting that we are going to do today. So the colors we need today are burnt sienna, burnt umber, ultramarine blue, indigo, sap green, cadmium red, and a little bit of white gouache. 24. Day 10 - The Boots: Let's make the pencil sketch first. So our boots are going to be hanging. They are at the tip of the bench. Let's have that bench right now. That bench is at an angle like that and that is the side of the bench. Here the wooden plants attached to the bench, obviously. It could be a fence also, I don't want to think about what it is in detail. Then here along the edge is where the shoes are hanging. Now we'll trace out the shoes. Here is the boot shape. Here is the ribbon or the lace. That is where the boat is going to be. Let's make the shape of the shoe. I know it can be quite tough to get the shape correctly, but don't worry, you just need to get it roughly, you don't need to paint the exact thing. Here I've made the shape of one if it and it goes towards the back like that. Then we've got the foot area. There are little side of the boot and obviously the blades. It's not the blades, it's these boots are snow boots, and there. It's like the little part of it is masked out and there it goes at the bottom like that. Then obviously the other shoes. I guess this one has to be through the string that's hanging from this side. Let's make the other shoe slightly behind and hanging there. We won't be able to see much of the backside, but only the front side of it, and there it goes. You just have to mark out little portion along the front of it. There, see? That's how the shoes are. Now for the lace, so let's say there is a tying part there, and here goes the front of the shoes. That's how the lace goes, crisscross. Then the string a attached there. The same for this one. Let's assume that here we have that split alone where it's been tied. Here are the crisscross and a nice tying here. That's how it's hanging on that. We don't need to have the top portion of the string to be seen. Let's add a hat on something along the edge of the chair there. Let's assume that it's a hat, so something like that so that the string goes behind and then there's the part of the chair. That's that then should we add a tree or something in close vicinity? Maybe we'll add something like a fir tree at the background here. A fir tree in the background, then we can have how about a scarf hanging? We could have a scarf hanging on the bench right there next to the hat. Obviously, it's got a nice elevation. That's the scarf lying there. I guess you can have a side of the bench. Under that is this region here at the bottom is all covered in snow. We've added the tree in the background. Anything that goes in the background is something that we can add with our brush. There you go so that's our pencil sketch. Here, let me show it to you closely. That's the pencil sketch. Now let's get to painting this. Let's get to painting the background first. I'm going to be using my flat brush and applying water. Make sure you apply water to the background along the edge of our fins or chair or whatever that is. Here, I take it along the edge of my hat and also careful along. Then along the edge of the shoes as well. Here, so I'm applying [NOISE] water. Make sure to apply a nice and even coat of water. Once you have applied an even coat of water, let's get to paint a thing. First of all, I'm going to create a nice gray color. In order to create that gray color, here I'll take my ultramarine blue and I'm going to mix it up with my burnt sienna. Here I take my burnt sienna mix it up nicely and a bit more ultramarine blue. I'd like it to be on the bluish side so that's why I always create my grays like that. We're going to add that in the background. Wrong blue, more ultramarine blue, a bit of burnt sienna, that's the color and let's use a watery mixture and add that. Here you'll see me adding that towards the background region. Guess you can add a bit more blue and add that all around the background. Then as I come downwards and add more brown into the mixture so that it's brownish. This is the reason why I mix my paint, because it gives me a uniformity with my colors. Here now I'll carefully go along the edge with my brush. Can you see? To create the paint along the areas where I have added. Here you can see how the ultramarine separates out on the paper. I like that. There are some artists obviously who wouldn't like this separation. But it's okay. It's everyone's personal choice. Now I've got to add in some details at the background. For that what I'm going to do is I am going to pick up a nice brown sheet. This is burnt amber and you can see now it's a more premium mixture, not as watery as this paint. This premium mixture I'm going to use to create something at the background. Maybe this is actually the fence. I'll put a fence there. Something like that at the back. You can see something and maybe I'll mask out those regions at the base of it by adding some more brownish strokes, maybe a bit of burnt sienna strokes as well. Just masking out those regions. Because I don't want the base of it to be like perfectly seen. We can cover up the base by adding some random colors. Then obviously, we need to go ahead and add that tree shade. Here I'll take my sap green and I'm going to put that into my background. We are trying to add it like a fir tree. Try and make it like in a small triangular shape along the edge. Then we need to add depth. Here I take my indigo, mix it in to my green, and we add that on the top. We can see some nice dark colors, more indigo towards the base. Some nice green strokes at the background. Maybe you can put some more greenish strokes. Why not? It's still the backside. It could be grass or some random stuff in the background. You don't have to add it. I've just added some green strokes. That's it. Very, very roughly. You can clearly see that how roughly I have added that. Pretty much that's it for the background. But I'd like to give it the snow effect and you know well how I do it. I'm just going to take my brush and I'm going to splatter some water so that it creates a nice blooms. Then I'll do that with my white paint as well. Here's my white paint, I'm going to load it up in my brush. Nice amount of white paint in my brush and I'll do some nice splatters with my white paint as well. Those go into the background and we'll add on the top. I guess we don't have to wait for it to dry and meanwhile it dries out, we can possibly paint the other regions like for example, let's paint the snowy region, the front here. I'm just going to apply my water. Now you've got to be careful. Go around the shoes very, very carefully, around the shoe area careful and apply. Also note here I'm not going to touch the edge where there is my brown because if I touch that edge, then it's going to be really difficult for me to apply the paint and also I guess the bottom part of the shoe, but it's supposed to be the sharp edge I can apply water there because we paint that with a gray color. It's absolutely fine to have some color over there. Then going with my ultramarine blue I'm going to add some random strokes, give it some random detailing. Basically the shadow of the snow. You know that by now. Don't go over to the edge, stay along right where you are. Don't go over to the edge. Let's see if it is white. It's absolutely fine. It's a nice shadow effects. Now I guess it's possibly time for us to actually wait for the painting to dry out so that we can paint the rest of the stuff. Here you go. I've completely dried up everything so now let's go ahead and add in the details. I guess we can paint the bench at first, and I'm going to be painting that with a nice dark brown so you can go ahead and use your burnt amber. This is my burnt amber shade. I'm going to use that. As you will notice, I'm going to paint the bench. But if at all it creates some white gaps, I'm not bothered. The separation at the top I'll let it just be the snow on the top. Let it leave white random gaps. Here again, I've created a slight separation and when I'm painting the wet-on-dry and it creates gaps like that, I'm absolutely not bothered. I'm not going to be filling it up. Let's see now towards the base. Leaving some slight gaps filling up the base. I guess now when you're doing, let's go ahead and create a slightly zigzag shape to where the cloth is going to be again, that scarf. Here I've marked some things with my pencil so I'm just going to try and get it along in that shape. Like I said, again, leaving whitespaces or white dots or lines is absolutely fine. There. That's how I've marked and I guess now there is a large gap there, I suppose. We need to follow along and create the gap of white as well. This line and this line comes and follow along there. It's okay to go over the list. We'll add that with a darker color so it's absolutely fine. Here I'll add paint over the top and you can see there's a lot of whitespaces, white gaps, and I'm least bothered. I guess I could go a little bit more downward. Now that sums up the angle nicely. Then we're going to take in a little bit of my brown now. Now very careful. We're going to add it on to the top along the edge there, so just add some part of the binge or the fence that's seen through the snow, so that's fine. Just some tiny amount like a line or perhaps. Leave gaps. Let it show through. Now that we've done that, let's go ahead and make the grade that we made. I have that mixture here. Remember I added more brown to it so if I add more of my ultramarine blue, it should turn into gray. There I've made that nice gray shade and that's what we're going to use for the bottom part of that shoe. Here, just covering that region up with my gray shade. Yes, we could go into various lengths to create the perfect silvery shade. But that would be way beyond the scope of this class because we had to have to add in a lot of detailing. For now, I'm just going to resort to just adding a gray color on the top. Made it like a nice such gray. But don't worry, we'll still add in a lot of shadow effects. Here mixing up the same gray color but in a little bit more darker one. I'm going to put it slightly darker towards this edge and it's slightly lighter here. Can you see? Let's leave that one lighter itself. Then there's the shoe. I want my shoe to be nice and white itself so we've got the center portion to add now. Let's take the brown and we're going to fill in the center portion of the shoe. Here, the same, this goes for this one. Like I said, don't fill it up entirely. If you use a lot of water, then it's going to come in without such white spot. But if you look at my stroke, there are a lot of white spots in between and it's completely okay. I'm least bothered about those white spots. Then here I take my brown paint again now. Maybe not. Let's go for burnt sienna. If I take my burnt sienna, I'm going to paint the bottom part of my shoe, just want it to be a different color so that's why I decided to go for burnt sienna. That's the one behind. Let's paint the one in the front. There it goes. Then the heels on this side. Now observe closely. This is the heels on this side, but I have added an edge and another side towards that side because we're seeing it in a slightly rotated angle. In order to paint that, pick up a nice dark brown, either Van **** brown or burnt umber and put that along that edge. Can you see now how we've got a darker edge right there? Then what? Now we've got to add in some colors to the shoe because it cannot be purely white. We need to give it some shadow effect. In order to give it the shadow effect, we're going to use the same gray that we mixed, but let's make it nice and watery. Here, I've mixed in a nice amount of water into that and we're going to use that to be in the shoe. Here I will use that and I'm going to add it at the top and you'll see that some of my brown spreads into the shoe region as I do this and it's okay. I'm fine with it spreading because I like that element with my watercolor paintings. See, a little spread right there. Yes, it's not possible in reality but then I love the way how my paint spreads to create the effect that watercolors have. Here, cover it up with gray. I know that you're going to say that it doesn't look nice but wait, we'll make it nice. Here, mixing more blue and more brown and I guess more blue because I want it to be grayish. There, now it's a very dark gray color. I'm going to switch my brush also to my size 2 brush because it's a smaller brush. Then picking up this gray color, we're going to be adding nice shadows. Let's see darker tone towards the bottom where the shoe is. A nice dark tone there, dark tone along this edge as well. Then where else? I guess some folds in the shoe. Then I just added two lines. That's how I created the folds and we'll also add in some lines on the top. Here, I guess, some darker tone towards the back. Now the rest of it is going to be after it's completely dried up so let's get back to adding the hat and the scarf. The scarf, obviously going to start with my red shade so that's my red and I'm going to add with my red shade. I'm going to follow the same principle. It's okay for it to have white gaps in between. See, as I add, it's having a lot of white gaps in-between and fill up these ones where I had added the hanging part of the scarf. See the hanging part of the scarf and here as well. My strokes are not entirely dry. It's just that because there is no lot of water in my brush when I do that and because of the texture of the paper, it gives me a slight areas where there are white spots. Can you see, a lot of white spots? It's not get carried away and are too much. Here I've reduced the number of white spots because I didn't want to get carried away and have a lot of it. Now obviously, let's add in details. I guess I'll make the gap also in bright red color. Here taking my red and I'm going to add to the cap. Obviously, there are a lot of detailing to be added in order to make it proper. There, cover data. But it's just now both of them just look raw, so we always need to add in shadows. Let's get to the shadow bit. How do we add shadow? By mixing a little bit of brown to our read there. Here taken my red, I've mixed it with an equal amount of brown so then it slightly darker shade. Now I'm going to add it into the areas where there are folds. There's a big fold there. Here let me take my red and blend it along. Added nice fold. Then let's see where else taking a bit. Just some lines on the top. Random details. I guess you could add a little along the edge. That was a lot. Let me dig in a bit of my red and I'm just going to blend it. Maybe a little of darker lines at the base. See how we've added a nice folding effect. That's the scarf half done, but we need to add in for the hat. Here going back with my brown and red mixture, it gets a bit more darker. I need to create a darker shape inside to depict how the hat is folded. Can you see immediately as I've added, it shows as if there is a fold? Then obviously shadow bits. I'll make this portion darker to blend along with my red. Here is my red, let's just blend it. Taking my dark brown again and I'll make that color towards the extreme base. That's where all my dark is going. Can clearly see how with each stroke that I add and each shadow bit that I add, I get the shape of my hat. This hat is not the normal hat. It's like the window hat that's got a bobble headed top. Can you see that? Little more and add to the center portion there, so it shows the bend and there as well. It shows how it's folded inwards. I guess I'm really happy with the way this is turned out. Now I got to see whether this one's dry yet. It's not, so I'm just going to wait for this to completely dry out and then we can add in and finish with our status. There you go. I've dried it up, so now let's go ahead and add in the lays. For adding lays, obviously, we need a nice amount of red shade. I've switched to my Size 2 to give me a nice detail as the lays. If you use cadmium red, then it should be able to come on the top. If you don't have cadmium red, go ahead and use a gouache paint maybe. There it goes under and there's the other one and there's a little tone there. Obviously, the lace part. Little excess on the shoe. This lace is obviously what extends and somebody's tired it through. Can you see? The same this side. Along the top it's one flatline. Then little excess. The excess needs to come out from the center point of the brown. I'll show it too closely, there. Let me show this too closed. If you look at the excess, they shouldn't stay inside of the black region, which will slightly come out. There we've added shoes. But now some are teeny-tiny detailing. Here I'm going to pick up my white paint for some detailing, little amount of white paint and observe here, I'm using my Size 1 brush we just got a nice point while I do this. Just lying on the shoe, like a shape 9 there then weirdos. We can possibly add in some white spots in between. That will be the highlight because don't make it just perfectly red, always think of highlights. We just added some white spots there. Can you see that? We've done enough, so now we can go ahead and add in the snow and finish off. Here's my white paint, my back to my Size 8 brush because I'd like to add a nice amount of snow. Let's add in the splatters and see how I get such beautiful, gorgeous splatters. Take some more. I'm being careful and adding as close as possible towards the paper. This is because I don't want the rest of my table to get dirty. Is already as dirty as it can be. There I've covered it up with a lot of snow, so let's quickly dry this up then we can sign the painting and we're done. Let me sign my painting. There you go. Let's remove the tape now. Here's the finished painting. I hope you like it. Thank you for joining me today. 25. Day 11 Colour Palette: Welcome to Day 11. It's just 14 days left to Christmas from today and this is the painting that we are going to do. The colors we need today are sap green, indigo, cadmium red or permanent red, raw sienna, burnt sienna, burnt umber, Vandyke brown, yellow ocher, ultramarine blue, and a little bit of violet. 26. Day 11 - The Bicycle: Let us start. We're going to add the pencil sketch of the necessary elements at first which is basically going to be the little part of the cycle that's actually seen through. I know it can be really tough but you don't have to go and think of making a perfect shape. Let me see. If I read to make the wheel of the circle and as you can see, I don't get a perfect circle and I'm not trying to get that perfect circle either. Just need something there. I think that's good, then add an inside bar to it. The main reason being most of these elements are going to be covered in snow, so then you could actually cover important part with a snow and get away with it, that's my point. If that is the center and there add the connection of the circle then here it's going at a slight angle like that and bends and joined there. This is what goes over to the top to create the handle. The same along the other side but we don't see entirely because we get masked off in the front there. Then obviously that is what comes and joins sticker, then you can have possibly a little light there, then it's time for us to add the handle again. The handle is again attached from here, bends like that and that is the main handle. The other handle, let's actually mask it off with the basket. Obviously we need to add the place where the handle is. There you go. The other part of the handle is masked with the basket, so let's put in the basket first. There is my basket and in front that, and we see some of the other side of the basket as well and obviously now entire part of our basket is covered in some nice Christmasy stuff. Yes, there is some things here but we need to add part of a handle like that. Then let's make the other area. This goes like that and creates a bend right there and goes over to the right side. The same and I guess another one along the same but this is going to go slightly upward and there is a connection like that and obviously the chain part is in a circle there and it goes towards the back then attached to this area here is the pedal. You don't have to add too much. Here, that's the pedal and there the portion goes behind. Let's join some areas together. I guess that's it. That's the pencil sketch then obviously towards the base, don't draw it in a very dark angle because we need to make the snow. Here, it's covered in snow, that region then obviously we have the the bars on the cycle. The bars you have to understand. It's like a two-way bar. We've got to add a lot of bars on this one using this as the center. You don't have to add with the pencil. Let's not add with the pencil actually because I don't want to waste pencil stroke because at the end when we start painting, it's not going to be seen at all. Here, the guard extending up under there, I guess. Wait I forgot to attach the basket on. How is that basket attached? There it's attached to the side. Good, it's something like that. Now, we have filled everything. The backside is basically at this level. It's completely straight line that's the back level and let me show you the pencil sketch fearlessly now so you can have a look. Should we add a bell here? Where are breaks? I know I haven't added it, but I don't want to complicate stuff. This part could be the brakes and obviously you need to add the lines for the break. That we'll add with our brush. Here you go. That's the pencil sketch that you have to make. Once you've done that, we don't have to worry about any part of the cycle because I'm going to be painting that with cadmium red which is obviously a very vibrant opaque red. I am going to go ahead and apply water to the whole of my paper. Don't worry about anything for now, I don't think there are any areas that I want to leave white, I'll do that with my brush stroke itself. Right now I'm just going to go ahead and apply water to the whole of my paper. Now, that you've applied the water, go ahead and we're going to paint the background at first. For the background, I'm going to mix up my sap green and indigo together. This mixture here was already the sap green and indigo, I just added more sap green into it. I think a bit more indigo so that it turns slightly darker. If you had the dark green from White Nights, I guess that's a very good color to use since this is a different palette of mine, that's why I'm trying to mix that color in. Sap green and a bit of indigo, there you go. We're going to put that color in but make sure when we're adding this, let's go ahead and leave a lot of white gaps in between and those white gaps are going to be like the snow areas. Careful when you're painting next to the cycle because obviously you want to add cadmium red, but let's not make it too difficult to have the cadmium red. That's also there. Adding a lot of paint and I guess more along here and also this area where the basket is. Let's try not to paint too much inside that region. You can see some of it does go into my cycle and the dark parts, but I'm not I'm okay with that. You're taking light green and you'll see me add in literally lots of gaps. See, a lot of gaps. Then here taking my green again, make sure to add. Now let me add some darker shades in-between. For that I will further mixing my dark green, make my dark green by adding more indigo to that. I will add that to the top of my strokes. Not all the areas, but and also remember this is now on top of the green, not on the white areas. We're trying to create like a further darker area. This would be on some of the sap green areas. I guess now we can go ahead and paint actually the bottom part, fill up the snow region. I know that my paper is probably dried out while I was painting the top part. I'm going to go ahead and reapply some of the water, but make sure you don't touch any part of the top part, because then the green can all flow down, which we don't want it to happen. Want to prevent any hairs forming by just going around like that. Then, now at the base, let's add in the reflection. Now at the base, let's go ahead and add in some nice shadow. Here I'm going to start with my ultramarine blue and put that in. Just nice amount of ultramarine blue into my snow region. See lots at the back. I guess you can go over cycle. It's absolutely fine because the color that we are applying right now is like really subtle, so it's okay. Then now to create the whiteness of the snow right below the cycle. I'll show that to you. I've wet the whole region but then I want my paint, to not flow down to the area underneath that line that I've added. Here I take my cloth, and I've absorbed the water from that bottom region. Then using a very diluted amount of ultramarine blue, I'm going to add my paint to the top portion of that. Can you see? We leave the paint there at the top portion. Let's not make it flow down. That is the reason why I've absorbed everything from that region. Then any paint that you pick up, leave a gap always when you're adding. Because the color that we want to add, we want to leave that region white. I guess then you can go ahead and add more bluish paint. Maybe let's try a little bit of violet as well. Just in some random areas. Put in a little amount of violet. Make sure nothing towards that region where we want to depict the snow, right below the cycle. As you can see, I'm just using my hand also to absorb and create a little white cap there. Can also use the lifting method to create some nice white shapes. Got a nice white. Think I ought to to add a little bit more ultramarine towards the backside there. Now I'm happy. Now I actually forgot to add in the splatters. Let me see if it works. I'm pretty sure it's not going to, so I'll just try and drop in some splatters. Maybe it'll create some blooms. Not really, so let's add some white on the top. Here's my white paint. The white paint still splatters around because it's still got a little wet edge to it. I'll use that to my advantage. I've put some nice white splatters at the back. Now we got to do is wait for this whole thing to dry out. There you go. It's completely dried out. Let's go ahead and paint that part of the foreground right now. For that here, I pick up my sap green and we're going to add it into the foreground. Here, and maybe a little bit of indigo to create a slightly darker green mixture. Basically it's nothing. We're going to add in a lot of random shapes. But using the tip of our brush is a nice shapes and some random shapes. I guess you can go with a lighter green as well. I like to give it a nice edge. Here first I'll do a little bit of lighter green. That's basically my sap green. Basically some nice green sticking out right at the top of the basket. Then going with my dark green, let me fill up. There. We don't want that to be like extremely detailed, so it's absolutely fine than taking my red, just going to add in some red dots. Yes my red is going to spread when it touches some areas of the green and it's absolutely fine. Just some green strokes right there. We'll add some white on the top later on. For now, let's leave it at that. Then here I take my burnt sienna. We're going to add the basket. That's my burnt sienna and let's bring the basket. I see that my green paint and my red paint spreads in and least bothered. As I've mentioned before in this class, I like to have such teeny-tiny randomness in my painting because I like to create that effect that the flowing paint creates. Then for the shadow edge, a little bit of burnt umber, and that would be this side. Some more, you can see. Nice dark edge there. Now what else should we paint? Let's paint the wheel. So for painting the wheel, I'm going to take my raw sienna and I'm going to be adding that. So as you'll see, I don't need to add perfect strokes because we're going to cover the top ocean with a lot of snow. So it needn't be that detailed as you'd expect. Just the bottom part, make it nice and symmetrical. All right, that's done. Then I'm going to pick up a gray shade. So this gray shade is the mixture of ultramarine and burnt sienna. I guess I can do that later on because otherwise, the whole thing is just going to spread out. Let's make the cycle first. Here I take my red shade, and that's my permanent red or cadmium red, whichever you like. Right there is where the red shade actually starts. I'm going to stop right there because it might flow to those regions. So let me paint the other areas at first now, for example this one. So this is why the pencil sketch is important. The correct pencil sketch means easier to paint it at the end. I can see how already everything is coming so gorgeous in this area. Then the guard on the top. So you can see how we've added those spots, but can you see clearly somehow it's still very raw? Lots of shadowing that needs to be added. So let's do that. So red and my burnt umber mixed together. Well, maybe even darker brown also. Any dark brown and red mixed together. That's what's going to give our shadow. I'm going to add that to one side. So for example here, I'm choosing the left side, there, and here along I'm going to choose the top side. It's not exactly the top side, I'm going around one of the middle regions. Now let's get back to that gray shade that I was talking about, the mixture of ultramarine and my burnt sienna. I'm going to paint another inside part of my cycle with that. There. Now, lots of other detailing to do. So here I take my dark brown color, and I'm going to go underneath the mudguard. That's because the shadow, it's acting upon the wheel itself. The wheel cannot be this perfect, so let's take that brown and I'm going to add in a little drop of that dark color onto my raw sienna, and let's mix it up. I've blended it slightly. Then where else? Let me go with my little gray shade and paint along that handle region. There's the handle, let's make it nice. A vibrant brown color. There was the little part of the handle that's seen on the other side. Just going to give a lighter color to the handle now. So for that, I'll take my yellow ocher, I'm going to place that slide along the top and blend that in. There, I guess that's great. Then I'll just use my brush and I'm going to lift some paint off from the handle so that there is a little silvery touch to it. It's not going to be perfectly silver, it's very tough to get that, and like I've said, it's possibly beyond the scope of this class. It'll take a lot of time for us to capture each part of the shadow and everything. So that's why. I'm not adding it in perfect detailing. As you can see, I'm just making some random strokes. That's because I know that it's going to be anyways covered in snow. So that's why I'm not going into too much details. Also, a teeny-tiny light there in the front. Now, let's move to a smaller size brush where we can add in a lot more smaller details like the brake lines and things like that. Here I take my Van **** brown, and I guess I'm going to add some lines on to the basket. Let's default. I like that. Then now the attachment of the basket, that's there, then like I said, something related to the brakes gear, that's there and here comes the string of that. The string goes underneath. Now the string, you need to make it go underneath the cycle. Actually let's do the center portion. I guess the center portion, let's add it back with the gray tone itself. Then let me observe that so that it's slightly light in color. Now, let's go ahead and add in those teeny-tiny lines. Like I said, we've got to be careful with those and you need to use the pointed tip of your brush very carefully. This one is the central line of my first one. I'm going to use that. Remember, you don't need to make a perfectly completed lines. You can have dotted lines. You see? Now I'm going to make with the other one. See how it looks. Just a lot of lines. Now we are almost done. The only thing left for us to do is to add in the shadow on the top. For that, I'll switch to my size 4 brush, pick up my white paint, and we're going to add in the shadow to a lot of places. First of all, let me take that and I'm going to fill a lot of these areas on the basket with white. I know that we did leave it white, but it's good to add more white to it. Obviously now a bit on the top of the handles, everywhere, that's got a horizontal edge has got like a little amount of snow on the top. There and there. Then, like I said, this part of the cycle, the top portion is covered in absolute as snow. See there. This is the reason why we added the background part with a little bit of bluish color, otherwise, if we had left it completely white, then there is no shadow element and also then there is no way that we can show the shadow on top of the cycle. See on the top there, so here at the base, especially go ahead and mask out load. Added a lot of snow elements there. I guess there are some of it can settle in the middle there as well, some Some. Some along there. I guess that's enough. Now we can finish off by adding a lot of splatters. Take the white paint, nicely, and go ahead and add in a lot of splatters. Make sure you cover up the cycle parts nicely with a lot of snow so that you don't have to worry about the fact that you did not paint a lot of it in detail. This is the reason why I said, if we're going to be covering it in snow, what is the point? Unless it's a very, very large painting, and then you're trying to add in. Let me add in some darker snow elements as well, and for that, I'm going to add in my gray tone. That's the last step. I'm going to mix in my nice gray, here to ultramarine blue and my burnt sienna together. That's a lot of burnt sienna, which means I need more of my ultramarine blue. Here I've mixed up my gray and it's a nice and watery mixture and I'm going to add this to the bottom part basically, again, because once it dries up, obviously it's going to be lighter. Add a bit to the top. That's it. We're done. Now we can go ahead and sign the painting and we can completely dry this up so that we can remove the tape. Let's remove the tape and here is the finished painting. I hope you like it and thank you for joining me today. 27. Day 12 Colour Palette: Welcome to day 12, and this is the painting that we are going to do today. It's just 13 days left to Christmas. Can you believe that? Today, we paint Sander's truck. He's taking a Christmas tree to his house. There you go. The colors we need today are cadmium red or permanent red, ultramarine blue, burnt sienna, burnt umber or Van **** brown, raw sienna, sap green, and indigo. 28. Day 12 - The Pickup Truck: Let us start. I'm going to place the [inaudible] goods somewhere around here. Let's sketch out. There we go. I'll show you how to do the process. It's basically a rectangle here at first. There is the rectangle. That's like the back potion. Then I guess you can add the sides of it. Inside part of the rectangle, let's fill it up with another rectangle with more thickness here than there is at the top region. Now, that is like a real box structure there, and here we extend a bit to the top. That's where the side of the big list. There. Then obviously the real part. That extends out from there and under there, let's go about that position. The same here on the left, if you take and take it down. That's the position of the views. Now let's extend the bottom part of this rectangle towards the bottom and add another rectangle, but slightly make a rounded edge. There. Got a rectangle there and this one, make it curved and joined like that the same along here and the number plate. Let's have it right here in the middle. Let it extend slightly towards the bottom. Go ahead and remove whatever is inside there. Then let's fit in the wheels. This one, I guess you can have a little line like that because we are seeing somewhat a little part of the other side, whereas for here we're not seeing the other side. Then here's the wheel. It extends right here onto that. Again, we also see again, it is part of the wheel there. The other wheel is here. But the thing is, you don't have to sketch it out perfectly because we want it to be showing that it's like passing through the snow. It's like it's got a lot of snow blowing off through the wheels at the backside, so we don't have to draw that clearly. Here, obviously, now the back portion of the pickup truck, adding a little extension and a little part at the front that we see here. We don't see anything on that side because it's slightly at an angle itself. Let's see. That is how the inside part. There goes the inside part which is going to be covered in snow in all that areas. This is where the backside goes. Sorry, the front side goes and we put in the truck. Now, we get the front part of the pickup truck. Again, tracing that. See, we only need to trace out a little bit, and let's trace out the top portion now. Again, only need to sketch out the half portion. That's it because here is now going to be the tree that this pickup truck is getting. That's why see you can just roughly sketch out the middle portion of the tree. There, the little portion. I guess that's it for the pencil sketch. We don't want to add anything else right now because rest of it we can add with our brush itself. Let me show this to you clearly. Here you go. That is the pencil sketch that we have to make. You can pause right here and make the pencil sketch. Now that we're done with the pencil sketch, let's get to the painting process. I guess we'll paint the background first and then we can move on to painting the car, the pickup truck. For painting the background, here I'm going to use my flat brush and I'm going to apply water over all the other areas basically. Let's go ahead and apply a nice amount of water. Remember to take a nice considerable amount of water and to avoid any areas of the pickup truck, again, we've got to paint all of the other areas. Here. Anywhere close to there we go, go ahead and apply this. Again, you can see how I use my flat brush to apply along the side. You don't really need a pointed-edge brush itself. Here along the wheel of this right side, go ahead and apply the water, it's absolutely fine to go over that again. Because like I said, we want it to be covered in the blowing of a snow part. Here you go. then, and over at the top. This is why I randomly sketched out the region where I want my tree to be so that we can go around and add in the water. Because it's quite tricky, isn't it? If not, then we'll have to go around with our brush and it might be a little tough. With the pointed round brush which we want to paint and might seem a little tricky. That's why I decided to go and make it this way. Done with that. I'm going to go with my size 8 brush and let's paint. What shall we put in the background? I want to make it like a nice snowy day, so it's got to be snowing, which means that there can't be a blue sky because it's got to be covered in clouds. It's got to be a cloudy day yes, of course. Just spending my paper so that I spotted a little bit of extra water there. They're just pulling it outside. That's it. The thing with when we're applying the water in this manner is that there is a high chance that the water could get accumulated at some point because we're not able to apply evenly, and there is a point along the paper where we're not applying the water. You can imagine how that goes. Like I said, so something in the background there. I guess let's make it a few houses in the background. For adding those houses, I'm going to go with my burnt sienna, I'm just checking a bit of my burnt sienna and I'm just going to add. You don't even have to make a perfect looking houses or anything, we're just going to imagine it as a house and just add some random strokes. This part here, that's our full run. Rest of it, just adding some random stuff in there. I guess maybe another structure of a house here. Here I'll make a rectangular shape. You can see the paint that I'm taking, it's just burnt sienna. But I also want to do another thing. I don't want to leave my top portion as entirely just white because I think when we remove the tape, that's not going to look good. What I'll basically do is we'll add in a gray shade. I only have the gray shade in my palette from the last day, which is basically ultramarine and Payne's gray mixed together, then I use that. I'm going to use a very watery mixture and put in just a random light color. Obviously, you don't have to put it everywhere, just along the edges and the area. The reason why I do this is because when I remove the tape, otherwise it's just going to be a whole white area at the top without having any borders. I like having those borders. That's why I add a little bit of gray there. Here, just added some shapes and that was a top part of the house. Then let's add in some darker details. Here I go with my Van **** brown and I'm going to add possibly some windows, maybe a door effect. It's just in the background. When it dries out, it won't be even seen much. Maybe a dark line there towards the top again. Let's actually get the top portion of the house as well. Just mark out with your brush. It's covered in snow so it doesn't have to be shown out in detail. Maybe a little chimney there at the top. You can clearly see how random I make it. Then I'm going to go with my sap green. Just a little and I'm going to put in little amount of clean stroke there at the back side. Then let's get down to business and start adding the snow. Here, taking my ultramarine blue and here is a nice watery mixture of my ultramarine blue. That's what I'm going to add for the shadow of my snow, you might have understood that by now. But now I'm going to create a pathway. That part we do with my brush and create with my brush itself. Can you see? But make it bigger as it comes towards the bottom. Another one there but again, bigger towards the bottom. Also possibly you could add it slightly darker then also right below where the [inaudible] is, there also let's add. Then this side is not going to be that visible. Let me put in a lot of blue details here towards this side and I'll show you what we're going to do. Didn't I see that this part of the wheel is going to be covered in the foggy part. I'll show you how we create that foggy part. That needs to be on the wet-on-wet. In order to do that, just let me just take in a little bit of brown, just adding on the top. Because I saw that it's really fading out. I just like to add some more. If yours is not fading or if still there's a lot of water or if the paper has dried out, don't do this process. What we got to do now is we got to mix a nice black shade. How do I mix my black shade? I'm going to make it nice and dark again. If I take my burnt umber or Van **** brown, whichever, taking that and let me add ultramarine blue to it. All this while we had been mixing our burnt sienna and ultramarine blue. Right now I'm mixing ultramarine blue and my burnt umber. Oops, that's the wrong blue. Anyways, it's just blue and burnt umber. That creates like a very nice dark black shade. That's what I'm going to be using. You'll notice when I put that right underneath, can you see? Yes, it's going to create a spread. It's going to spread out. It's absolutely fine. I'm just going to put that underneath my car also shadow. Very important here to capture that shadow. Here also, let's capture that right underneath. It's the shadow underneath the car, but I'll show you how we can blend that into the background. Here, let me add some there. Let me add some more there. A little part of that in. I've added the shadow. Now, we're going to blend that in. How? We're going to make sure that some of that black area just spreads out to the bottom. Then we also need to create like a foggy separating out effect. I've just dropped some water there and then here I'll think my black and I've just put in some black tops there. I'm going to observe what I'm going to do. I'm going to create a small pathway or, how do I explain it? We just create empty area, some area with white. In order to create that, or what you need to do is basically drop in water. Can you see see the area where I dropped in the water? The pigments separates out and that's what we need. Here, I'm going to drop in a little bit of extra water, a bit there. I think I'll drop in a little bit more there because I want to move the pigment out of that region. Let's say I've moved it out of that region and here I take my ultramarine blue and I'm going to add some nice shots there, a bit of black and blending that into the background. Along with the snow effect that we add, this will look amazing. Trust me. We're almost done with the background. Let me just fill up a little bit blue along this side. We have our pathway, we have all of that. Let's now go do usual thing, which is basically to splatter some water. The top part will be much better. The bottom part, don't worry about that right now. I guess what I can do is I'll probably take in a little bit more ultramarine blue and add some depth to this region. I know that this region has a lot of water because we just put in water. What we'll do right now, we'll add in some white spots. Splatter with white so that they become the [inaudible]. I guess you understood the process of that by now. I mean, we've been doing it for so long. Just note one thing, I'll try to stay away from my car because we haven't yet needed it. Here I need it to have a bit from that black region. I've got those nice species of snow in the there. Let me go ahead. What I'm going to do is I know that a lot of place on my pickup truck has actually got that white spot. I'm just going to use my cloth to go ahead and absorb it off from there. Wherever you can spot the splatters, go ahead and absorb it. We actually don't need it on the pickup truck itself. The rest of the places are enough. All right, so we've managed to capture that. Let me just try doing one thing, which is basically to break that part right there. Can you see a part like a dark patch, black there? Because I wanted to depict as though the snow is creating a foggy effect into that region also. Apply here, I've broken it. Can you see it, there is a break when we add in the red, you'll understand more. Now let's go ahead and quickly drive this whole thing up. It's completely dry, so it's now time for us to paint. Let's paint the tree first. Here I'm going to take my sap green. I guess I can make it slightly darker, so I'm just going to put in a little bit of indigo to that mixture. That sap green and indigo basically. We're going to put that on our paper and create some fig tree, again, the branches of the fig tree. So basically this person, this pickup guy, is transporting a nice Christmas tree, today's hole so that he can decorate and celebrate Christmas. It's basically just go ahead and start adding some branches, leave whitespaces. Observe closely how I do this process and then I'm pretty sure that you can do it too. So basically you just got to add and you can have a lot of whitespace is in this one. The reason being it will just be this snow for example here, a little towards the outside. The bottom part where you needed to paint nicely, the part that overlaps on to the backside. Now, the top portion is what actually gets covered in the snow like this one. Let's have a nice snow there, and then as you start going towards the top, you stop getting a lot of snow limit. See. I'm going to leave that knowledge gap there. So, you know, these gaps that we made, you don't need to paint over it. You don't have to add because that could just act as the snow. Like, for example, here, I added a bit and this large chunk of white on the top is the snow on it. We can see how I do it. Just add the branches and then I just add little lines towards the outside. See, a lot of those added. Some red alone. Let's go ahead and add some more. Fill in some random part. Make darker spots at certain places? Here I pick up my indigo and I'll mix it up again and I'm going to create some darker spots. Yes, the first color that we apply, it was a mixture of indigo and green. For me, if you have the green from White Nights or if you have nice dark green, you could use that. I want to probably leave it like that because I love the way I've added the tree, the way their pickup truck is carrying the tree. Now let's go ahead and paint the trunk itself. We'll start with our usual permanent red or cadmium red, whichever you have. Here I take a nice consistency of my paint. I'm going to start, so observe closely now. I'll apply my paint. I'm going to apply but like the one with the boots when we are applying. You are okay to go ahead and create a lot of gaps in between as in make your paint slightly dry. When you apply, you will see that you get a lot of an bright spots. Let it be having a lot of bright spots. Here, I'm actually adding the paint, but then can you see there is a lot of bright spots. I am going to leave those bright spots on the truck right now, so the rest of it acts like the snow. Can you already see how the top portion of the pickup truck has a snow element on it. Let's do the same here. The top portion is going to be covered in a lot of snow. Also, when I paint each of these areas, I'll make sure that I don't cover it up entirely with a dark amount of paint. I'll let it have as many white spots as it has. This week as we painting it with wet, on dry, it tends to have strokes like that. Let me go it up the right side obviously. Again, any white spots, that data are absolutely fine. Now, along the top here I want to leave an a lot of space where the snow can actually accumulate. Here and let's see, the snow accumulates on top of the car in such a manner. See that? Anything to the top of that, let's paint. When I add the paint, now, can you see how the snow accumulated at the back? Same thing too. You can see how I get notified spaces. But since here this region is like the backside, it's a vertical element in the car. There isn't much space for the snow to accumulate. You can understand that right? Now I got to go around the tree shapes carefully and follow the line some random white spots here and there is fine on this vertical element. The rest of it just go ahead and fill up. I feel that the truck, can you see how I've done that? Now let's do this right side, so the right side, I'm going to start from the bottom because the top part is like a curved part, which will again have some snow accumulated. We'll start from the bottom so that the biggest of the paint goes there. Any thick amount of paint that we have on our brush goes there. As you gradually move towards the top, make sure that you know, are you losing the paint in your brush? And see me try and make it more dry and dry and add dry strokes. That again, the top portion is covered in snow. The same thing we'll do here towards the left one. See, I left a huge gap there. Let it be covered in the snow there. Then what else? I know I need to come down here and make that base off the backside of the front part of the truck, little on there. Then this part of the truck is also like the front side. I guess this here was supposed to be like the wooden plank. Then I guess at the back there you start seeing again some part of the back. Now, can you see it's filled with snow. Now let's paint those wooden plank. Well, before that I did not paint the bottom part yet. Let's do that. Here again, I pick up my paint and add. This is the part where I said that I'll show you how we turn it into a nice foggy effect. Let me finish up the first right-side. I've added the right side now towards the left side on top of the number plate. Here as I approach, so I've put in the paint. Now I'll wash my brush completely. Get rid of all the paint on your brush and go ahead and just apply a bit of water and make the stroke. Your paint will definitely flow, but it's going to be a slightly lighter shade there. Also, once you've added the water, and you paint as flown there, go ahead, use your brush, and absorb some paint. Let me show that to you. Absorb the paint. Make sure you don't have a line of red. Just a little thin to fret. That's what we needed just because we are trying to show that it's like the foggy effect. Can you see how now we've created that foggy effect right there? Keep sorbing and see, on to the car. Now, I think we can go ahead and add in the darker regions. For adding the darker region, my burnt umber with the same red that we've been using. It's already there in my palate, that's why I mixed it, we've been using these colors for days right now. Now we've got to add in the bends. Here we have a bend in the vehicle. If I add in my color right below that, and we're going to blend it. See, then blended that. Then what else? On this right side also. Now let me blend that into the red portion. You filled up both of those regions then what else do we need to add dark paint. That's basically my brown and my red together. That's the color I mix. I guess some dark paint underneath that because whatever we're adding. It's basically the shadow of our different surfaces because there are different levels. This is like the bumper which is at different levels. The top portion is going to have like a little shadow towards the bottom. That's what we add. Then where else? This region here at the left side remember, I said that we are seeing a little part of the left side. Then I guess we have lots of lines and things to add, but that we can add once the paper is dried. I guess a little bit of detailing here. Showing the bend. I really loved the way it turned out. Now we've got to paint that wheel. I'm going to go back with the mixture of my brown and my ultramarine blue, which is basically my nice dark black color. I'll paint the wheel with it, the left wheel. Also observe closely what we're going to do with the left wheel. Here I've painted the left wheel, but we're going to break it and create a connection towards the right side onto the area where there was that foggy effect. See, all I did was just to use my brush and creating a softening effect such that my paint flows into that region. Pick up the color again, don't break it all towards the bottom. We just need a little connection right there. Can you see now there is a nice connection. We just don't want it to be like in a single element because we've made it look as though there's got to be a lot of the splatter of snow at the back. Now, in order to create the dirty track. Let's pick up a nice amount of ultramarine blue. Here. I got the ultramarine blue, I dry my brush so that there is no extra water. Right below the truck to create like line and yes, it is going to be somewhat dry. Can you see it's a dry stroke. The same along here. We can create more that goes underneath. These are basically the tracks created by other vehicles. There same on to these, but don't go feeling it all the way towards the top. I guess I could take a little and add to this side for the wheel because I can see my pencil sketch. But like I said, don't completely fill it up. Just soften out that region. See, when you soften it out. Both wheels are there but it's masked out in that dusty snow flying around. Then we go with a bit of raw sienna and allowed add the little wood effect. Every top surface you can make it as though it's covered in snow. Just a bit there and that portion on the right. Then I spotted a little red area here so I've got to paint a little red area there. Now I see how it's all covered in the snow. But remember always, whenever you add in snow you have to add in shadows. Before we do that, let's add in the number plate. I'm just going to put in a slight gray tone into my number plate, very subtle gray tone. Here I'm picking up color from there, I'm putting it into that. I've just wet that region. Just know it's not perfectly white. See, I've dropped in a color and I'll blend that in there. I got that. Let me make the wheel part a little darker there. I love how it's shown in that is a nice foggy effect. I guess we shouldn't paint all the way until the ultramarine dark color because it's supposed to be foggy. Let's make that dip foggy, that's good. Then what? Now the only thing remaining is to add the shadows. For that here, I take my ultramarine blue and not all the places, you don't have to add everywhere. But just go ahead, a little amount of blue here and there. Here inside, some areas like here, can you see a little along the top, just don't make it perfectly white. That's the only thing that we need to take care of. I guess that's it, it's very subtle whatever I have put in, you can clearly see that. Now I guess it's time for us to take our white paint and start adding a lot of our small details. Before I dip in to my white, I think the paint here is dried. We can go ahead and add in the little detail that we were supposed to add. That's basically my red and my brown mixed together and a line. I've got to have a line so I'm not going to go into that and leave it slightly lighter. A line like that and exhaust lines possibly , that as well. Paint is spreading at the end, let me take that. I've added the exhaust lines and everything. Now it's time to add in the white. Not just the splatters, but a lot of detailing with the white to do, you could drop in a random bit of white paint. Then I guess you have the backside of the truck to do, there, backside of the truck. Then I'm going to write in Ford, F-O-R-D. Doesn't have to be perfect. See, Ford. Then what? I guess, some nice lighter strokes on to the top there. Make it like a nice amount of tri strokes. Then I can go ahead and add some nice white spots wherever you missed to add the white and also you can use it to mask out your pencil sketch. I can see the areas here which I've left white, which is actually for the snow. But then you can use that to add your white on the top and you don't get rid of the pencil sketch. I like the way that stand out. Now we'll finish off with the splatters. That is the last step, isn't it? I still have the number plate to do. I'll do that after the splatters maybe. Let's do the number plate. Hope it's dry, yes, it's dry. I'm going to take the gray shade, a nice amount of my gray shade and do the number plate. This is why I should have added it first, anyways, it's fine. [LAUGHTER] It's sun car, nicely kept track. Let's assume that it is. Back to adding my splatters. Oh my God, did you realize I actually forgot something to paint? Have you noted it? Just going to quickly do that. I know that I've possibly added in splatters there. It's just basically the inside part of the truck. I'm just picking up a little bit of raw sienna. I'm really sorry, I just spotted it. If you spotted it, you can add it but you don't have to go in, I need just to see a little yellow color. I loved the way it stand out after adding the yellow color. Was looking so blank, I think. Anyways so let me take my time to do some splatters. I love that right now, so we're done. Absolutely done so let's go ahead and sign the painting. Now we can remove the tape. Here you go. Here is the finished painting. I hope you like it. Have to show you something today for this painting. Actually, look at this one. This is something that I made I guess three years ago and this was actually my reference so I just avoided so many things like the background trees, I didn't want to add, but I can see a lot of improvement and a lot of difference in the way I paint things right now. Earlier on, I used to paint my snow with just Payne's gray. But I love the way the bottom side of the car is turned out in this one. But the shadow and all of the snow I like in this one and see the [LAUGHTER] is much better here. The truck, but see the white paint on my truck. I tried to add on top of the red it didn't turn out really good. Here we've managed to keep it a lot of white paint. Also, especially the first thing to note here is the tree. see the tree on this one and see the tree on that one. It's definitely an improvement for me, the tire tracks and all of that. I hope you like it and thank you for joining me today. 29. Day 13 Colour Palette: Welcome to Day 13, and this is the painting that we are going to do today. The colors we need to do are sap green, indigo, burnt umber or Van **** brown, burnt sienna, raw sienna, yellow ocher, ultramarine blue, and cadmium red. 30. Day 13 - Girl With the Cup: Let us start. So it's a girl holding out closing drink. It's basically just a cup shape. Let's see. So we've got to add it into her hands and she's wearing tight gloves. There that's the hand and comes down to there and then she has nice sweaters. The other hand and the gloves go like that. Wait, and then that's the bottom part of the cup and here's our other finger. Again, holding the cup straight but hands are [LAUGHTER] at an angle, so there and that's her hand. This is like part of the hand that goes behind. Then we need to get this part of the hand. Again, let's go. That's basically it, it's very simple, isn't it? Got the cup. We don't want to see what is inside the cup so let me probably reduce the mouth of the cup. I want it to be very less, let's not make it possible to see what's inside the cup. There's a handle here, which of course she's holding and he's holding the other side, then, that's basically it. Let me show that to you closely. This here is the pencil sketch. Let's go ahead and start painting. We're going to paint the background first, obviously, which is the easiest part. Let's go ahead and apply water to the whole of the background. You will see me using a large brush, but I'll be careful around the edges of the hand. All her objects, around the cup, around the hand, all of that, we need to be careful, so here again. There you go. Jeff, we're very careful around the hand. Now that we've applied the water, let's go ahead and start painting. We're going to apply the background first. For painting the background, we're going to be adding some nice background trees. For that, I'm going to mix my sap green with a little bit of indigo, so that I get like a nice dark green color. I want a very nice dark green color so that's the reason why I'm mixing a nice quantity. Make it nice and dark. So even if you're using the PG8 white night green, I think this time do mix it up with indigo, okay because it needs to be some more dark or possibly, you could mix in a little bit of brown as well, that it has a slightly brownish green. Not necessary, I'm just telling. Here I'm going to use the whole of my brush and start adding. Let's add random foliage and details into the background. You can add like lots of tree background. Do create gaps, it's just going to signify that it's the foliage and just creating some random details. You can see how I'm doing it just randomly with my brush, I think I'll add some foliage here towards the top. Then, once I've done that, now I'm going to add some tree branches. Wait just a second, let me make this straight because as you can see, it has like bend, which I don't want. Now that's much better. Now, let me go take my dark brown. So either Van Dyck brown or burnt umber. I keep saying Van Dyck brown or burnt umber because I'm not sure which one is which, but I know that both of them are like a nice dark brown. It doesn't really matter, the colors in this, obviously as you might have understood by now, because this is not my regular palette and yet I'm painting with this. I literally don't care about the colors that I'm using, as in the exact shade. You just need to somewhat get the colors, that's it. An Iceman of dark brown color, I need it to be nice and creamy consistency. Here I'm going for an approximate dry on wet consistency, and let me add make some nice trees, I've added one there. Wherever you are adding, go ahead and add in the nice tree branches, maybe one there and that's what the branch of that tree is going to be, then another one there. Let's have another one starting right on top of the cup, and this one is quite large, so it's going to go over to the very top. Then let's have another one right here. Again, this is a larger tree so let's make it quite large and I guess I'll make it a little bit in the foreground. It's going to come down, so it's there, possibly somewhere around until here, that's why it's larger but we're still adding it in the wet-on-wet because we want it to be blurred. It goes in the background so that's a larger tree in the background. Obviously, go ahead and add lots of small upward strokes to mark the trees in the background. Let's take our green color a bit more and possibly add in some places like here, the top of this branch where I had added like a tree shape, maybe a little here, so that it's just not a single color, it's good to put in a little bit of multiple colors there. But make sure your paper is not dry and you're not introducing extra water, very careful. That's the background done. There aren't other colors to be applied towards the background. But like I said, I don't prefer to leave my edges completely white so I'm going to go pick up a little bit of my gray tone. You can see it's a very watery mixture, and just going to simply put it along the edges and add some paint just so that it is not plain white and I have something to go when I peel off the tape. You can see it's a very subtle tone, but just adding it. It's a snowy background. I knew it's the background snow, but then we could create some effects into the snow and make it look interesting. Here I'll go with my same brown and I'm just going to drop in some random dots here and there. It could act like the details in the snow so I'm not picking up a lot of brown as you can see, but just completely random, I am putting random dots. I think that's much better. Of course, look at this bottom part, my water spread, but I think I will adjust that. All I have to do is just go over once more and add a little of paint. Probably it's going to spread out a little, but I can adjust that. Some harsh edges there. That's okay. I guess, I made a mistake. You just saw this spot had dried and then I reapplied some water. Then my water flowed to that part and the inconsistency of water is always the culprit that causes such problems. But you can always go ahead and adjust it in various forms like I'm doing here. Just using my brush and trying to create an even stroke. I got some harsh edge and uneven strokes there, but I at least removed that water edge. Shall we add in a white background like we usually do? I like it. I've grown to liking that because it would look good when there's a white background there among the trees. When I say white background, I mean the white background splatters of the snow falling. I shall add that. Obviously, [NOISE] you only need to add it towards the top because the other areas, it's not that going to be dominant. But yes, you can add. We can add some here. It's not even coming on the top. I need to take off extra water, and I guess I dropped in a large amount of water there. But I think it's okay because it will just act as the background splatters. If I had added splatters of water, then that would be dried. See a lot of harsh edges in today's painting. How am I doing this? Did I not apply the water properly? My mind is elsewhere today. There. Anyway, now, let's go ahead and quickly dry this up so that we can paint the hand and the little cup. It's completely dried up, so let's go ahead and paint the sweater part first. For painting that sweater, I am going to be taking my yellow ocher, but I want it to be in a very watery consistency. That's because I do not want a darker color, a very subtle color like that. Can you see? It's very subtle. One another method to being that would be if you apply a lot of water, take a teeny tiny amount of the yellow ocher and add it. The same towards the right side. That's a lot of paint, so here. I am spreading that out. Yes. We do have to add shadows and the details, but for now, just adding that subtle tone of color is enough. There. Just added a subtle tone of color. Now, while it dries up, I'll go ahead and paint the hand. For painting the hand gloves, I'm going to take my raw sienna. I'm going to start with my raw sienna. I think let's just get to it. Obviously, going to cover it up. Nice amount of raw sienna. As you can see, I'm using a very watery mixture, and I'm trying my best to keep the entire gloves wet while I complete all of the strokes. You can see me going back again on the top because that's because I want it to remain wet while I do it. Coming to the edge here, I'm going to be careful because if I touch the edge, then my paint is going to flow inwards into the hand or possibly the other head arm. You can see my yellow ocher is the actual part that's actually flowing in. Before we actually paint the other hand, you could actually put in the details now. Here, I'll go with my burnt sienna. Using the burnt sienna, we're going to paint the design and the details on the hand. I want it to be the wet on wet method. That's why I said if you could leave it wet, so don't make it straight, try and bend it. That's one design. Then I've got to add another line. You can just do whatever design you want. Maybe something along there. It's just some design on the gloves, that's it. Added the design, now, I've got to obviously add in highlights and dark details and all of that. Let me take in a bit of burnt sienna and I'm going to add darker color onto the top or the right side where it's the area that's going to touch the cup. That region is under the shadow because it's enclosing a surface. Can you imagine that in your head? You'll see clearly as I'm adding it because it's enclosing a surface, so this region needs to be under the shadow. That's why there's a shadow there. Obviously, that means that this part of the hand would be lighter. For that, I am going to absorb and do some lifting. Yes, it's going to be quite hard, but we can do it only from the stump region. I guess you can add white paint later on. But for now, let's just do some lifting and create a lighter area there. Then, I guess now we can go ahead and paint the right side. For painting right side here, I go back with my raw sienna. I'm going to add to my right side, nice and watery mixture just like the left side because we do have to add the details. Here I'm just trying to keep it wet. Managed to either wet. Now immediately with my burnt sienna, need to add in the design. Here the design, let's see, is somewhat like that. It doesn't have to be exactly what you see in one direction or anything. It's the way that she wears the glove, so it's going to possibly change. But the design is to be same obviously. See something like that. Lots of other markings. Added that into the design. Now for the depth reagent. Going back with my brown, so this area, again, where she's holding the cup needs to be darker. But let's blend that in along with the raw sienna. Here's my raw sienna and I'm blending that in. Can you see it's not the design, it's the dark region where she's actually holding the cup. Need to understand the difference between both of that. Then the other region where again that is the darkness is right here because her other hand is casting a little shadow there. Obviously that shouldn't look like the design, so go back with your raw sienna. Go add it on the top and just make it blend into each other. Can see the difference between this stroke and the blended stroke where we try and make the shadow. See, that's now the shadow. It's not design. Very important to understand the difference between both of that, although we are using the same colors, that's what I actually wanted to show in this one. Then there's another place. Obviously, there's the shadow which is here, which is again under the shadow because this bar is clenched together. Here there is a shadow. I don't know. How do I show it. This hand is always going to have like a shadow. Can you see as I bring my hands close together, there is a shadow on this one. That's what that is. That means if I take in a little bit of my dark brown, that is [inaudible] brown, I can see the difference now. I guess this is burnt umber then. Here now taking my burnt umber, just going to add my burnt umber to the top here. Because this design is under shadow up until this point and so is this point. Can you see now? Now there is a clear shadow. Maybe you can take it a little bit brown. Go ahead. Add it to the edge and blend it along with the raw sienna. I like how it's done. Now we've added the shadows and everything. I guess this right side needs to have a little bit as well. This extreme right side, you wouldn't have to add too much details, just a little. But see, as I blend it. I like how it's turned out. We've added all of the shadows. We've added the way. The hands are folded. I guess I need to add in a bit more darker tone here. Because that's like literally in shadow. Let me blend that in to my raw sienna. Now the design of the yellow ocher on the sweater. Now we can take in a dense yellow ocher and I'm going to add in the design. It's not huge a design, just taking some yellow ocher and adding some lines like that. Can you see? The same on the right side. They're not perfect lines as well because I want to show the texture of the sweater. That's the lines. But again, still we're missing the shadow. Now for the shadow on that, I guess we can possibly mixing a little bit of gray with the yellow ocher. It's go ultramarine blue. This is the moment I wish I had [inaudible]. Maybe a little bit of brown along with the yellow ocher. Not bad. I'm going to use that here. See, along the edge. I use that, but obviously that's got a harsh edge so make sure to go ahead and soften your stroke. Yes, your design is going to slightly spread and it's absolutely fine that it's spreading. A nice dark edge. Then a little dark edge towards the side as well. Not as dark as the other one, but a slightly darker edge. Here I've just added my yellow ocher and brown mixture. I'm going to add but most of it and just using water to blend out. I like actually how when I'm blending with my water, the yellow ocher spreads. See how it's standing out. I actually really like it. Maybe it's going to blend it out. Not entirely, just like that, so that the yellow ocher releases out. Can you see that? It's proving out to be a unique texture on top of the sweater. May be a bit more yellow Adding on top there because you can see that it kind of went off. Yeah, that's actually brilliant right now. The issue is, I've got some white marks here, which I need to get rid of. Brown and yellow we're going to mix together, so that would create the shadow on this side. Now I've got the shadow, I've got the highlights and everything. Now all I'm going to do is let me take in a little bit of my gray, and I'm going to put it in this area in between. That's because it's the background area seen through her hands, and it's gray, right? Now let's paint the cup. I guess I'm going to do that with my red shade because I kind of like how we've been adding a lot of details and designs with red, and it's the Christmasy red. I absolutely love painting Christmas paintings because when you add in red to it, they are just absolutely gorgeous. So here building up with red. Be careful. Do not spill it out onto the hands. And another place, where I need to be careful, if you've done the same, then you too, is at the bottom here. We just applied the gray. If you touch it, then it's going to spread out into the water. Okay, there's the cup, but like I said, we need to add the shadow. So the shadow of the cup again with the red and brown mixture, and I'm going to put it right there along the end. Let me take more brown this time, and I want to fill it up at the very end. Can you see? That's where she is holding the cup, and it's got a slight bend. And as soon as I add that, can you see it's looking as though it's wrapped around her hand. The same to this edge. Just a little. How the top is like dropped in her hands, and you can blend that brown inwards. Okay, there, blended that in. Then obviously I've got the top part to paint. I guess the top part, I'll go with my darker tone itself. Just creating a different color tone there. Okay, we absorb and create a nice distinction from the borders, taking a little bit of more red like that to the top. Okay, can you see how I've created a nice brim-like structure? So just absorbing from the center portion, and then I applied a little bit of red along the top. Okay, so see how I've created that gap. Then, I guess we're almost done. Now what we have to do is wait for this thing to dry so that we can add in the details with white. Here you go, my painting is completely dry. So I'm going to take a bit of white and start adding some details like a bit of highlight. Okay, so I've added a little bit of white onto that region. Now we need to blend that. Blend it into the raw sienna. It's going to take a little ding to get that perfect. Maybe you can use in a little bit of raw sienna again, on the top, and blend it. Okay, so see, got like a nice white edge. And I said, we do the same towards this side, right? Little amount of white, but need a bit of raw sienna, and going to blend that in. Okay, yeah. So blended that, then I'm going to add some things onto the top. Okay, so let's make it a nice design onto the cup. Let's make it like a snowflake design. Just using the tip of my brush. I'm going to add that. Okay, so it's basically something like that. There. A little snowflake design and we can go for random dots. Another snowflake design. I got one simple and another snowflake design. But obviously, as you can see, it's gone out to the edge. Go ahead and add in lots of dots. Okay, so that's the cup. Now, obviously, finishing off with some nice splatters. Especially towards the top where it's the dense forest, I want some nice splatters. I don't know how she's managing to drink that by putting it in her hand in front of the snow. Maybe for picture purposes, Instagram, right? [LAUGHTER] All right, there you go. It's all done. So we'll just go ahead and sign the painting. And let's remove the tape. And here is the finished painting. I hope you like it, and thank you for joining me today. 31. Day 14 Colour Palette: Welcome to Day 14, and this is the painting that we are going to do today. The colors we need to do are indigo, ultramarine blue, cobalt blue, burnt umber or Van **** brown, burnt sienna, sap green, permanent yellow light, and cadmium red 32. Day 14 - The Gate: We'll sketch out the main elements first. Let's sketch the gate. Let's see. We have the gate at around some way, halfway point today. If I take the halfway point and I create a small dome shape, that is the top part of the gate. First, let's add the gate so that it's convenient for us to add the read in the center. Then choosing the midpoint of the paper. I think that's approximately there. Draw the center portion of the gate. Again, it doesn't have everything has to be perfect. It's absolutely fine to have like little misdirection here or there. Then let's have a line going like that. We're not adding the ratings of the gate, the different metal bars on the gate. That one in the center is the main one. Then let's add more bars. I'll add another one there. We'll start from the center because that's where we can create more symmetrical effect. One there. Following the symmetry, the same distance towards the right. That one. Follow the same distance again to the right. Same way to the left, the same distance, approximately there. Got that. Now it's two rows. Obviously, we have to improvise and add much better details. I guess let's make some designs on the gate, something like that. Let's say we have a bend that goes like that. You might have seen such designs in ways creating an S curve like that, C curve in fact, there. Symmetrically onto the other side as well. Follow the same height level and everything. Just try to match along what's there on the right side. That's basically it. Then that's supposed to create a nice curve here. See, I've added the nice curve. We'll do the same on the right side also. Again, following along the same line remember, so that line there is the one that we have to follow. That's the bottom. Same towards the other side. Added such a design. I don't want to copy the design to the other side. What I'm basically going to do this, let's add some bars to that side. I guess that's much better, isn't it? If you want, you can do the same design towards the other side. Continue on, but I prefer to do bars because it's easier. I don't want to clutter with too much details on my painting. There you go. That's much better. Then we need to put the reeds in the front. Let's say that there is something here and that's where the reed is going to be attached. How big is the reed? We need to create a nice big circle. Some of it obviously is going to go over to the sketch that we've made because that is the attraction in our painting. We need to do that in a big circle in the center. Looks like a doughnut and the tree on the gate. Now towards the backside, I guess you can trace out the outline of a house or just something. Maybe I'll put the house here. The snow-covered house. We don't need to add in a lot of details or anything. Then the window of the house there, maybe like the doors on that side. Let me show now, this is the pencil sketch. Can you see? The gate is what we wanted to trace out in a more detailed manner. Now let's get to painting this. Painting this, we are going to apply the water to the whole of the paper. It doesn't matter that we have the details in the foreground that we need to add. But again, like the name suggests, it's in the foreground. It's okay to apply water to the whole of the paper. I guess we'll add it in the front later on. All right. Now that you've applied the water, let's go ahead and start painting. I'm going to start with an indigo color. Picking my indigo paint because we want to create a night scene towards the background. That's why we're taking the indigo. Load up your brush with a nice amount of indigo and start adding, and we'll add it towards the sky region especially, and then as we come closer to the house, we are going to leave the top portion of the house as it is, white so that you can add in the snowy region. Towards the top, make sure it's nice and dark. It's darker towards the top. But as you come closer towards the bottom, in case you can reduce the darkness. Here, every time I pick up a darker amount of indigo, I make sure that I go and add it towards the top. Then as I come towards the bottom, I'm decreasing the color. What you can do is pull out your pigment like that, come down. Can you see it's lesser pigment? You're just moving down the pigment. Here you come down. You've reached that point where it's the gate. Now we'll go with a bit of violet. Here's my violet paint, and I'm going to add a very teeny tiny amount, just mixing a little amount of violet. Again, it should be very lighter tone. Don't make it dark color. Then also I want to add in some lights in the house. There is my yellow and that's basically the lights in the house. The light in the house needs to be reflected in the snow underneath. That basically is the snow just a bit underneath. Then I'm going to be in the snow region now. I just put in the violet just to show some dark spots here and there, but the major chunk of it we'll do with our ultramarine blue. The snowy region, we're going to do with our ultramarine blue. You can either use your cobalt blue also. I prefer ultramarine blue because it's granulating and then it separates out and creates that granulating effect. I like it, to see how it appears like the texture in the snow. That's why I use it. Can you see the granulation effect there? But I guess cobalt blue is absolutely fine as well. Then a bit of violet, I guess, to the right side. I've just put in a mixture of colors. Slight, violet, blue in here and there. We've reached towards the house. Let me add the snow. Here, dark is on the roof. Nice snow effect. Then here I take my indigo and we're going to go over the top and try and even out our stroke. As you can see, I created a little gap of white there because that's for the chimney. But here you'll see me using the paint, but then going around the house again, and if there is not too much water you brushed in, the mixing should be perfect. Yeah, the house itself, we've added the color. Let's go ahead and paint the house. I'm going to put it a subtle amount of burnt sienna. Clean around the windows and all the inside part. Obviously on top of the gate also because the house is behind, then a bit of details. Always, don't forget shadow even if it's the background. I'm just putting dark tone there towards the top, and the top portion there may be a bit below the window. Maybe you can create the effect of the door using that. One of them, as you can see, are based on a very soft edge method. Let me go ahead and absorb and create some even stroke. Here at the base, as you can see, I'm trying to blend it along with a little amount of ultramarine blue. We don't want it to be clear at the bottom there. As you come towards the bottom, maybe a bit more bluish effec., here, I caught my ultramarine blue to the mixture there, and the light it's also reflecting, I guess. I guess I like it. I like the wedge on that. Oh, don't forget the chimney. I left a gap there so I need to add a chimney. Just a block there, but can you already see how when we add in the block, it looks as though there is fog coming out of there? It's not fog. It's smoke basically. You can see the smoke coming out there. Isn't it gorgeous? Oh, I love it. I think I'll skip the splatters of bloom's today, but I'll definitely add a splatter of white. Before that, let me just put in the windows. Yeah. Just use my dark brown and that's how I did it. Maybe you can pick up a bit more darker. Now, make sure that your paint that you're using is on a dry basis so that when you add to the top, it's dry on wet stroke. Let me clean up any mess that it creates, a bit more of my ultramarine blue, and try and get in some darker shadow effects. Because don't also make the shadow all in one single color. Try in within various tones to do your shadow. I love it. You can see how the house is now covered in snow. It's more brown, I guess, because it's done very light. Yeah, I love that. Now, let's go ahead and add in the splatters of white. There you go. I'm going to switch to a smaller size brush to add in my splatters, basically my size 4 brush. Picking a nice consistency of my white paint. You can see they're not stars, they're the snow. Remember that. Added to the bottom as well. Now what we'll do is since the base layer is done, we'll wait for this whole thing to dry out. Here you go, it's completely dried up now. Can you see how all the bright spots are blended into the background? Now when we add the next white spots on the top of this, it will have a nice aerial perspective look. I guess now we can go ahead and paint the rids. For that, I want to start with my sap green color. Picking up a nice amount of my sap green and I'm going to start. I'll start placing a lot of fir tree shapes. But before I put in the green, I think we should go ahead and add in a lot of Christmas bubbles. I guess that's the better idea. Here, I'll take my red shade, nice permanent red. I start adding. Here, I add a nice ball. You don't have to paint in your entire circles. The reason being it's good if you can depict some of these decor items to be covered by the leaves of the rid. Some of them can be full circles of course. Always don't forget shadow. Let me quickly add in the shadow for that. You know the mixture by now. It's brown and red mixed together and allowed add it to the tip. Not just the tip, but you can go and probably add it to any one side like here and add to the top because like I said, the portion of that bubble is going to be covered in the tree shape. Then let's add some yellow as well, some nice yellow ones. Thank you. That's enough. Now for the shadow of the yellow, taking my burnt sienna and going on one edge. My paint is still wet, so it blends together at certain areas. Now, let's get back to adding the dark sap green. That's my sap green, and I'm going to continue adding. I know I added a bobble there, but I would like to add a nice ribbon there. As you can see, I'm improvising as I make a nice ribbon to the top. I like it. I like the way it stands out. But should we make the ribbon a little bigger? Yeah. Shadow, obviously. Now finally back with my green again. I know that I always say, yes, let's go back with green and then I go ahead and keep adding more and more details. But that's the thing, isn't it? I mean, like when you're painting, you improvise and then you find out that, you could add more details. You can see I add in a lot of small strokes. I guess towards the inside you can actually fill it up because we have to add in like dark effects and details. I take my sap green. I'm just going to go over, create the edge obviously, but inside maybe you can fill it up, and it's okay to have whitespaces because you can fill it up with snow later on. That's the thing, isn't it? It doesn't have to be perfect. See how my yellow slightly spreads. But you can also see how the red is coming into shape. Even with just the green and no shadow at all, it's still looking very nice, isn't it? See a nice green added. But don't forget shadows. To add in the shadows here, I mix my indigo with my sap green, and I will add that on the top at random, obviously. Now is how we have to create the darker strokes and create the shape of the leaves. Try some of them smaller, some of them larger green spaces. You see one of my green stroke actually went on top of that yellow, and it looks nice because it looks as though that decor item is covered by a little part of the leaf. That was definitely unintentional, but I loved it. I've added. Let me try and add some darker details at some places. For that, I am just taking only indigo and adding like for example here, some areas around the bobbles where you need to add nice reflections. We've got that nicely. Now, probably we can refine the shapes of the ribbon some more. Here I take that and add my red. There goes that ribbon. Maybe I'll put in another ribbon or something there. Maybe another one over here. I think we will add it to the already existing red and make that into a ribbon. We are done adding the wreath. Now, the obvious thing left is to add in the gate. Let's add in the gate, and for adding the gate, I am going to mix a nice amount of gray here. I'm going to mix my dark brown, my burnt umber, taking up my burnt umber, and I'm going to mix that with my cobalt blue. Now need more brown. That'll create a nice almost dark color, and then when we add in water to that, we should be able to create a gray color. Here, now adding water to the mixture. This is the color that I'm going to use for the gates. Let's take that, and I'm going to add. Here you go clicking for the gate. You don't have to cover the entire part of the gate. As you can see if you look closely, I haven't covered the entire pencil sketch, but I left a slight gap there so that we could cover it up with snow later on. Also don't have to make perfect sketches because again, we will be covering it up with snow. Let's make each of the shapes. This part is very easy because all you have to do is just go ahead and mark along the lines that you've already added. Be careful about the vertical ones though. Reason being, they are not going to be that much covered in snow because they're vertical ones. I guess I'll add some vertical bars there. Gates otherwise it looks very odd. I mean, how is the top part connected? Maybe there's a connection towards the other end, but we need to make sure and think about the aesthetics of the structure. Did I actually get it slanting? I guess I did. That's because of the dark part of that one. I guess I can correct it up and make that straight. I can just cover it up with snow later on. Now, that's done. Let's wait for this to completely dry up so that we can add in the snow. Now we're going to add in the snow. Before we add in the white, we need to add in some shadows. How are we going to do that? Here I take my white paint a little bit and I'm going to load it up with a little amount of the gray that we mixed. See that. Little white. Can you see? It's got a nice great touch, but I'm mixing a little bit of ultramarine blue as well. Little bluish touch, and this is what we're going to add on the top at first. If you look at this darker shade towards the top, and again, remember, it doesn't have to be perfect the way you add them. Remember, pull off the horizontal areas. That's where you want to add these. You can see clearly I'm not making perfect ones. Here, horizontal areas. Towards the top of every area that you think the snow can even settle down. Probably you can go ahead and add some in between the reed as well. That'll be the shadow. Yes, I know it looks weird at the moment. We've added in the shadow. Let's dry this up and then we'll add in the proper white paint. There you go. It's completely dry now. Now let's go ahead and add in the white, the proper white for the snow. Taking nice amount of white in my brush, loading it up nicely, we're going to cover most of the areas with snow. Don't make perfect lines. Go ahead and add random things. Can you see? When I say random, I mean don't make a perfect line, just do this. When you look at it closely, can you see there is the dark black metal bar. Then you've got the shadow of the snowy area, and then you've got the proper highlight of the snow as well. Sometimes alone, we can blend in that shadow. How you're going to do that is if you're taking another brush like for example, here, I've taken my size four brush and if you just run your brush along and blending your white to some of the areas, then it gets mixed into the bottom. Let me show that to you closely again. Look at what's happened here. The shadow part and the snow part is like covered. Looking together, isn't it? That will help in creating a unique blend mixture. We don't want to go soften out entire edge, just some areas. I'll show you here again. Here, I pick my white. And then using my other brush, if I go and soften just some areas. See there is a light softening and it looks as though the snow is wrapped around. These are just little technique that we can adopt. Here I have rectified the mistake of my gate. See, I've blended it like an O. Going back with my white. I'm going to do this blending along for almost some of the areas again on each of the areas. I take my other brush and do it along each of the areas. You'll see the difference. See, added nice shadow onto many areas of the gate. Now, on to the vertical areas, you can actually go ahead and add some random bits of snow. Here you don't have to be covering it up entirely white. Obviously, when we splatter, then also it's going to have here. I'm using my smaller brush here to do on top of the little other areas of the gate. Because we just don't want the gate area to be perfect. I really love it. Now, the task left to add some snowy areas to our gray. You know where you put the gray. Closer to those regions is where you're going to add snow. Let your gray be seen and then in some areas, go ahead and put in a little amount of snow. Mostly snow can settle in places where there are surfaces to settle, for example, like traps here, a bit top of the ribbon. On the top of the leaves. See how nicely we've added that. Now we're done. The only thing left is to do the splatters and as usual. Here, let me load up my brush with nice white paint. We're going to add nice splatters. Onto house, onto all of the areas. There you go. We've added. Now, let's go ahead and sign the painting. Now, let's remove the tape. Here is the finished painting. I hope you like it. Thank you for joining me today. 33. Day 15 Colour Palette: Welcome to Day 15, and this is the painting that we are going to do today. The colors we need to do are Prussian blue, burnt umber, burnt sienna, permanent yellow light, permanent yellow deep, violet, ultramarine blue, lavender, and White Gouache. 34. Day 15 - The Lantern: Then let us start. Our lamp is going to be resting on the snow surface, so just some random lines then, let's now make the lamb. It's going to be a big lamb we are actually focusing on towards the lamb right there. Let's say that is the body part of the lamp. Slightly curved surface like that. Let's say that comes down. You feel this is quite longer for the lamp so then maybe I'll increase the bottom part where my snow is supposed to be. That is where my snow will be now, that's much better. Now my lines as slanting let me get that straight and little curving part towards that side so it should be all in the snow. There, that's the curved part let me add that as well. Adding a line towards the bottom. It's all sitting in the snow there. Then my lines are all going wonky today anyways. Here, then we add the top part, with a nice little curve there. Let's add another curve on the top again, then a small dome like structure on the top. This obviously extends towards the other side, and on top of the dome we'll have top part of the lantern. It should be the other way around. The curve should be like that, then here on the top. Let's have a small dome again, on the top so that's how the top part is. Now the handle let's make it attached here. There goes the handle towards the top. That's the handle of the lamp. We're not seeing the top portion of the lamp. I guess that's it for the top portion. Now we'll add the inside part. The inside part again, here comes the bottom part. As it's resting in the snow. We need to draw lines such that they are like immersed in the snow. We can see this part is more immersed and the other side is less evident. There. Obviously we have to do the other side also, so the same with the other side. Follow along the same line, and very thin on the other side, perspective, pretty important concept. Then there. I guess I'll add another center line because I don't want it to be completely the area where we see so that's basically the lamb. That's it. We don't have to add anything more so we need to mark out the position where it's going to be the lamp area inside. Let's assume it's like a small ear or something. It's a small thing inside, which is obviously going to be nicely lit. This entrancing in a very light manner because obviously it needs to be very light and the reflection of this on the inner surface and also we need to be drawing line for the inner line of the lamp and hence, that is the reflection. Let me show all of this to you closely. This is our pencil sketch. There you go. Now, once you've done the pencil sketch, let's get to painting this. I'm going to be applying my water all around the lamp area. We'll avoid any part of the lamp and we're going to apply our water all around. Taking care to avoid all the areas of the lamb, we'll apply the water. There you go, applying the water all around. You can also apply onto the snow areas, it's absolutely fine Just the lamp is what we need to avoid. There. Let us start. I am going to take a nice Prussian Blue color for this. [NOISE] Here, mixing my Prussian Blue color. It's a very vibrant, nice, beautiful blue color and we're going to add that. Along the edge of the lamb, all through the areas outside, we'll be adding this Prussian Blue but should not add it in one single stroke. We should try and make some nice, gorgeous things so for that, I'm going to go with leaving some gaps. Let's create maybe some bokeh light effect. Yes, I knew that my paint is going to spread around. It's absolutely fine. Wherever there is water, it's going to spread around but it's good if you can leave some gap while you're doing it. Here, a little light effect there, maybe another light effect there. Here, I apply. I guess, as I reach towards the bottom, I'm going to decrease my stroke because I don't want it to be a very dark stroke all right next to the my snowy area. The darkest stroke all should be towards the top so here I take my dark stroke and I'm going to apply it, and I'll again try and add some round lights. Now as you can see, now the second time I add it, it's a bit more evident, those lights. That's because now there is more pigment they're to display and stay in position, so that's the reason. Here, another one there, and the rest of the areas you can go ahead and add. Maybe I'll add another one there, so that version will be a lighter region of the Prussian Blue. Nice dark color towards the edge maybe another one there. Going down and lightening my stroke. But isn't it too perfectly light? I just put in some random spots because I didn't want it to have a line there, that is not needed. Then I guess this top region, it's dry. See what happens when you focus on one side and it dries up but it's okay. You can still go ahead and just add because here I don't want to add any bokeh effect. This region, I believe, must have dried up, so I'm just going to quickly apply water into that side and just wet it up for our convenience so at the bottom. Then going back at the top again, let me try and displays of some pigment and try and create a bokeh effect. I'm not looking for perfect bokeh effect. If we were to do perfect bokeh effect, we'd have to take a lot of time and work on it but this class is intended to be like you have take our time and do it, so I guess it's okay. We're not going to do that heavy painting [NOISE] Here, I'm coming towards the bottom, lightening up my stroke. Let me take my dark paint again. We're going to add the darkest paints towards the top regions so there, maybe another round there, and rest of the regions where there is no round I'll fill it up with my dark paint. There. Maybe I'll do a little lifting in certain places. Just swirling around my brush and creating a lifting effect to create some nice bouquet. Basically, just swirl your brush around, pick up the pigment, wash it off, or rub it off on your cloth or tissue, then go back to the paper. Once your brush is saturated, make sure you wash it off, then try your brush before you'd go back to the lifting process. Or you could do that each time as well. Sometimes I wash my brush each time. I'd like to add another one there. I guess that's it. Now, let's go towards the bottom. As you approach towards the bottom, we need to create the light reflecting off. The light is there. Let's assume some nice yellow color that's very vibrant. I've washed my brush and I'm going to then lighten up my stroke. Can you see? Just a teeny tiny amount. Then the reflection part as well somewhere along here, so some nice reflection. Then, now the snow area. That closer to the light effect we need to be painting with violet because that's the complimentary color. You know that by now. Here, taking my violet and adding to the snow region, just a nice amount of violet. Go ahead and mix it up randomly there. Then we'll go ahead with the ultramarine blue, our usual mixture. Go add that ultramarine blue to the other side, creating the darker effects of the snow, not the darker affects, the shadow areas basically. You can go ahead mix in a little blue to the violet as well so that you blend it. Back to my ultramarine blue a little, just adding along the edge, especially towards the bottom where it's bound to have some nice dark spots. Also remember, don't make it as a single color. Try and place randomness and unevenness. That's what I'm basically trying to do. Can you see? Just put in a lot of randomness. I guess we should put some more here towards the edge. That's basically that. Then don't forget, I love to add the splatters. The splatters with white in the background. I will do that. I'm going to take my white paint. Let me try and hide off the idea of the lamps so that I don't have to go ahead and absorb the paint it had on. It's pretty hard with white on it. Then I guess a bit there and this side and the bottom. There you go. I've added the nice splatters, so let's now go ahead and dry this up. Here you go. You can see the areas where we have lifted off the paint and also see the areas where it's splattered. It's like a very lighter tone of white in it. I know I see this every single day because I see it at least it and just admire the way it's done. That's right. I'm so sorry. [LAUGHTER] Let's go ahead and paint the inside part of the lamp first. I'm going to start by applying an even tone of water. Let's apply an even coat of water inside the lamp region. I've applied the water. Now it's time for us to paint the inside part. Here I start with my yellow paint. I'm going to go around. You know the shape that we've actually traced out, go around and create, because that region needs to be nice and white. Then there is also the reflection part here on this side, so that also. Move around, but that can be nice and small. The rest of the areas, I'll apply the lighter stroke of yellow. There, added the yellow. Now, I guess, which color is next? I'll go with a permanent yellow deep then next. That will go on the top into some of the edges onto the other areas. Then we'll go back with brown. Now, the brown obviously would be into the areas that are farther away from the light source. Like I said, so here we are trying to create a nice reflection. All of the brown, try and add it to the areas in the middle. When I say reflection, it's like the side of the lamp, the glass wall. The glass wall is reflecting this main light source. That's what's happening. If you were to take brown paint and add, but not just brown, go ahead and pick up a little of the blue that you have. It's turning into slight greenish tone. But I thought it would turn into a nice gray tone, but this looks like a really cool blue and that's the reason why it happens. But don't use Payne's gray or anything. It's okay to have a little dark brownish tone there or a grayish tone here. Then coming down, you can see me blending my stroke, but I'm careful not to touch any areas of my yellow or the region that I want it to remain white. I guess we can go and take it a little towards the bottom as well. There going towards the bottom. I know I've added a dense paint, but I will blend it up. I've blended that up, but I know I need to add more. Like probably the small here and one which it's standing. The inside part. That's the land region. Then obviously the bottom part is going to be slightly nice and dark. Let me take in a little amount of my dark-brown to add to the bottom part of night here. Then blending a little amount of brown tone towards the top. Here, I take my brown and start blending. I guess I'll add a bit maroon towards the center. Can go with a darker brown towards the edges. Added the brown, I guess we need to add to that right side as well. Now, that right side, as we look upon it, you can clearly see that there is that light source, but then it's also reflecting some part of that night sky. The color there at the back is going to be slightly violet. Why? Because it's the colder version of the light, the same color that we applied for the snow. It's not the snow that's being reflected, but it's that little part of the sky plus the light source being reflected. If you add in a little amount of violet, then go ahead, blend the bottom part with a little amount of brown. The bottom part is where it gets more of the light being reflected and then blend it towards the top again. You'll see how it does. You see how it looks. A little amount of violet. I liked the concept of the violet. Maybe it's violet that I should have actually added here. But the problem with adding violet on top of brown is it just sounds black. I think if I wanted violet there, I should have added it at first. But I guess it's okay. I like the way that the right side has turned out. That's that. Now that's done. I think we can go ahead and paint the top portion. For that, I'm going to be taking a little amount of my lavender pigment. I don't have this lavender shade from Xin Han, so that's why I use the one from the other brand that I have, which is Rembrandt. I think I've shown you this before. This is the lavender pigment that I'm using. Loading my brush with a nice amount of lavender, I'm going to add. As you'll see, I'm adding towards the top. That also make sure that like I have some nice white gaps or white spaces in-between and that's completely necessary that I have those white spaces in-between. Because that is like the snow area. See, a nice amount of shadowy lavender shade. The same thing you can use on the other areas. As you will see, I have a lot of white spaces that I'm leaving behind. Most of my strokes are dry. There, added that. Then I guess we can start coming towards the bottom. Then as I start coming towards the bottom, I'll start to mix my lavender with my brown. That's my lavender, and I'll mix it up with my burnt sienna. A nice amount of lavender and burnt sienna mixed together. You'll get a slightly grayish tone, and that's what we're going to apply. This color while you're applying it, again, make sure that you leave a lot of white spaces in random. See that? Up to that point, then this color I'm going to apply on top of my lavender paint as well. This will be like the shadow areas. [inaudible] me out. I'll just use my brush and try and blend in that mixture. It's equivalent to adding burnt sienna on the top. But because we've mixed it on the palette, it's going to be like a different tone. If I had added burnt sienna on the top, then I would get a heavy dose of burnt sienna there, which I don't want, so that's the reason I decided to go ahead and mix it on my palette before we applied onto the paper. I got a nice mixed shade now. Now we need to create some shadows. Creating the shadows, I will take my violet because the darker color range of this lavender is violet. We can use that to create the shadows. Absorb extra water from my brush. Then for creating the shadows, let me go ahead and add in towards the base of each of the areas that there are separation. As I add it towards the bottom part of that white space that I have left behind, it implies that that's like a different surface and what's the top? There is snow settled. Can you see that? We'll do the same for this region here, which obviously again is another surface where the snow can settle in. But here, as my stroke has dried up, I need to go ahead and start to soften it towards the bottom. Can you see? Now it's softened. Then I'm going to use that same mixture of lavender and brown to draw that handle. As you know, that's a vertical surface, so it's absolutely fine. Maybe a little bit more lavender on the top. That's attached to the edge there. Then I guess now this part has probably dried-up. Let's just go ahead and paint the outside part right now. For painting the outside part here, I load up my brush with a nice amount of my burnt sienna and I'm just basically going to start. Along the outside using my burnt sienna, I'm going to paint. I guess we could add in a slightly more darker color. To my burnt sienna, I'll mix in my burnt umber. That's great brown actually. Or you could actually mix your violet and burnt sienna together. You still get a darker tone. Here I use the edge and paint towards the inside. Now why did I reach towards the inside? [inaudible] off that burnt umber and I'll take only burnt sienna. That's just burnt sienna right now. Adding that, can you see it? I guess we'll do the same. Along the top side, we can go for burnt umber which is dark. Yes, you may leave some white gaps here and there. Just paint the snow but not along the edge. Again, not towards any areas towards the bottom. Towards the bottom always cover the entire of this again. Then let me paint along the edge. That is the edge of the lamp. Then I'm going back with my burnt sienna and I'm going to paint alongside that. See, it's a slightly different color tone as it mixes with the burnt umber on the right side. The same thing towards this side and the right side also and the base. Here, note what I said about the snow in different angles. See that? Now, it's in the snow. Can you see how we have a nice bottom area? The light is playing tricks with me again because there's always light here. I've got the windows closed but then still the light is coming in and creating different shades. Now, it's time to paint the center part. For painting that center part, here I take my permanent yellow light and that is what I will add to that lit region there. That region is absolutely lit. Then I go with my burnt sienna and I blend it here into my burnt sienna, the same along the bottom. You can blend your burnt sienna into that yellow tone, gradual blending. That it. It's a lighter tone there. Then now towards the extreme top, go with my burnt umber and blend the whole thing. Can you see? Now, there is that beautiful glow. The light is back. Anyways, can you see now how we've created the beautiful glow of the inside part of the lamp? I guess I'm happy with where to stand out. Now, all we need to do is to wait for this to dry out and then we can add the snow on the top. We've captured the inner lit area. Now, it's trying to add a lot of snow regions. Here, I take my white paint and it's actually putting in lots of areas where actually the snow can accumulate and try and get in a dry brush. Here, let me make my brush dry. I dry it by drying first on the outside on my tip so that when it's dry, I know. See, it's all dry now and I will add that towards the top, some nice dry strokes towards the top. Can you see it? Probably it's just started to snow and you've got a lot of snow accumulating. Nice dry strokes. Then you can go ahead and start adding largest splatters for the snow and that's how we finish off this painting. I've added some nice white splatters. Let's also add some blue splatters for the bottom region. That one I will add with my Prussian blue, the blue that we were actually using. Just some nice splatters I guess towards the bottom should do. I guess you can add also onto the light, just that. That's it, not a lot of those blue ones. Oops, I had moved out my palette so that it won't get white and then I didn't realize that when I picked up the Prussian blue, it was out of the frame. Sorry about that. I guess we can go ahead and sign our painting right now. Here's my brush and my cadmium red to sign my painting. There you go. See my hands. Let's go ahead and remove the tape. Here is the finished painting. I hope you like it. Thank you for joining me today. 35. Day 16 Colour Palette: Welcome to Day 16 and it's just nine days left to Christmas and this is the painting that we are going to do today. The colors we need today are dark green, ultramarine blue, alizarin crimson, violet, raw sienna, burnt sienna, burnt umber, Indian gold, and cadmium red. From this lesson onwards, I'm going to be using my other palette, which I've already mentioned in the art supplies section. It is just so that you know that there is no importance to the colors that I am using. You don't have to use the exact same colors. Always go and try and experiment with different colors. This is the reason why I have used different palettes in this class. 36. Day 16 - The Bag: Let us start. You've already seen the picture by the way. It's going to be a small sac lying in the snow. Let's say there is the sac. You can mop down the snow. As you know, in the front of it, it's going to be a snowy region. Let's say that this is one side of the bag there. Again, lots of snowy region. Again, in the front. You don't have to draw the bottom part of it perfectly. Then towards the top, we'll add the mouth of the sac. Inside it is going to be the Christmas bubbles. Just add a lot of round shapes. I'll add one there, the one there, and let's see, another ball on the top. Then maybe another white one over there and possibly a smaller one. Then shall we add some at the bottom as well? Maybe we'll add one here, right here, resting on the surface among the snow. Then the knot of the bag. Here it's the shadow area. As you can see there is no specific shape. I just randomly did that circular, not circular, but almost a glass shape for the knot. There, that's it. I guess, that's it for the pencil sketch. There you go. This is how it looks closely. Now let's get to the painting part. We will paint the outside areas first. Obviously for that, we're going to apply water to the whole of the outside areas. I'm taking my flat brush, and I'm going to apply water to all of the areas outside, so here. Make sure you avoid all of the areas of the sac and even this little string bit there. I like to paint with wet on wet. That's why I add in always the water along the edge. I guess you can come down onto the snow part as well. Because maybe we don't need a definite line for the snowy region. I've almost applied the water, I think the rest of it we can add when we're adding with our brush. Here's my size eight brush, and let's start with the background. The background, I think I'll probably go with gold green today. Gold green color means that, here is my dark green and we need to make it cooler, which means we add a blue to it. I think I'm going to add ultramarine blue to it because it has a little bit of triangulation and that might be quite useful. Here a bit of green and ultramarine mixed together so you can see the cool green shade and that's what I'm going to add into the background. As you will see also, I'm going to add in the background in a slightly angled manner. We're not going to make it in a one single stroke. Here taking the cool green. The best thing about mixing such greens is that every time you mix, you end up with a different color. As you can see, I pick up ultramarine blue again. I pick up my green again. Every time I mix it, my green is going to be slightly different all the time. It won't be the same mixture. For example, if you look here on the paper, you can see that there are different varieties of green. If I add more green to that mixture, see, it's slightly different. If I add more ultramarine blue to it, it turns into a watercolor version, but see how it shows up? That's why color mixing is really amazing. Very careful along the edge of the Christmas marbles. I guess, even though we were like painting in different strokes, it is good to have your stroke right around the Christmas bubble. Then you can go ahead and leave shapes or create whatever shapes you want. More ultramarine blue. Careful along the edge of the bag again. See that the bottom part has already started to dry out. You can see how my strokes are turning out to be. Before I paint there, let me go over to this side. You can see I also tried to make use of the mixture of the green so sometimes I pick up my green, sometimes it makes it more cooler, so I want it to be having a different variety of the green on my background. As you approach the string, be careful. We are trying to leave a gap there. Go around the string area. Take a bit more green. As I come towards the extreme bottom, here, I'm using my green without the ultramarine. Here is my green. Go ahead and leave cuts. It's okay that it's got some harsh edges. We can soften it out later. Here, as you can see, I'm using a lot of dry brush. I've just run along my brush, that's it, and because there isn't even pigment, it dried out. Now I guess I'll pick up a little bit more ultramarine stroke and try adding some random shapes onto the top because I knew it's started to dry out. I really want to just do some shapes, maybe a bit of dark green. As you can see, because of the ultramarine, it's spread out. That is, it's granulated and created the sedimentary property. If you look at maybe pretty closely, you will see a lot of effects of the ultramarine there, which is exactly why I used that color. Maybe those gaps there, I'll fill it up with ultramarine. It leaves a nice amazing mixture. Created the background, let's go ahead and paint the foreground where the snow is going to be. For that, I need to wet my paper, I think it's dried out. I'm just using my Size 8 brush itself and I'm just going to apply water to all around the bottom part. Now, I'll take up my ultramarine blue and go and start adding some nice snow effects. We will leave a nice white gap there. We're only adding the shadow of the snow, so always remember that when we're adding. I've left a little white gap there where the bag is actually touching the surface. Then now I'll go with more darker ultramarine blue and put some nice details on to my snow. This is completely random. We've been doing this for all along so you know how it is. There's no perfect way that you should be doing this, it's just completely random. I think today I'm going to give it a little bit more depth, so I've taken a bit of violet, and I'm going to mix that slightly. Not in all the places, I think just towards the bottom. That should do. We're done with the background. I guess, for us to paint all of the other details, we do have to wait for this to dry, otherwise we'd be actually pulling the paint. Before we draw in the background, I'd like to put in some white. I always do that because it's good to have those in the background. Here's my white paint, and I'm going to add some nice stratus. Be careful of my bag, I don't want my paint on that. I guess that should do. Now we'll wait for this thing to completely dry so that you can paint the bag. Here my paper has now dried. Before we proceed on to painting the bag, I want to soften some of the edges. What I'm going to be using is a nice flat brush. Any flat brush that you have is sufficient and simply run your brush along and wipe it. You can use any flat brush. All we need to do is simply wet the region, run your brush along, and then quickly absorb it with your clothe so you see a quite a softer edge there. That is basically the process. I guess we'll do it on this side as well. There, I've softened that other edge as well, now let's get to painting. Here, I'll go back to my Size 8 brush, and I guess let's paint the bag first, so this we can put in the shadows. I'll start with a nice yellow ocher shade and I'm going to paint. While I'm adding my tone, observe, there'll be a lot of white gaps. Here, I'm putting in my color, but as you can see, I've left there a slight gap of white there. Absolutely fine, and also when you're putting in your stroke, you might create a lot of white gaps in between, which is again perfectly fine. Don't try to fill up all the white gaps. It's good to have a lot of gaps in-between. Also, remember the string so we've got to paint around it, which is obviously again quite a tricky process. We're not painting it in the wet-on-wet method, we're going with wet-on-dry, so that's also there. I guess this side we can make it quite dark. We made it slightly lighter there because I wanted that area to be the highlight. If that area is the highlight, this side naturally becomes the area with the shadow. Go ahead and apply a slightly darker tone towards this edge. Yes, remember to go around each of the strings, very important. Here amongst the bag is joining. It's supposed to be a little darker tone, so let me blend that darker tone towards the bottom. Now we just painted it. In order to give it a bit more shadow, we're going to add details on the top. Here I'll go with my brown paint and I'm going to put it right there into that gap. Since we just painted it, it'll blend in with the yellow ocher to create the gap. I guess a bit more yellow ocher into places where it's not blended properly. Here we do have to go around again. As you can see, there's a lot of teeny-tiny gaps among the string area. There's another. You'll see that my strokes are not perfect and I'm not aiming to be perfect either. But just try to randomly put in the color, and so here, blending with a lot of brown into the areas inside. The extreme inside part, I'm putting a darker tone as well. Can you see? The color that comes out is lighter than the one that's right there inside. Now, let me put in some more darker tone for the right side. Not a darker tone, but like a shadow area for the right side. More of my yellow ocher a bit darker tone in fact. Put some of it to the edge right here. Leave a tiny gap in between. See, so this area is considerably lighter as opposed to the area on the right. Maybe you can take in a little bit of brown and add to the edge but it doesn't have to be and also you can add a little bit of brown maybe to the bottom part of this right side to show more depth. I like that. Now we've got to paint the top. Again, the top taking my nice yellow ocher. As I go towards the left, I lighten up my stroke, leave a gap of white there towards the left. Here, applying the yellow ocher, now taking more dense pigment towards the right side. Yes, leaving a lot of gaps as I paint. Remember, more darker tone towards the right side. That's the area under the shadow. Remember, then now a bit of brown I guess. You can use that for the right side, just like we did for this region. But now remember again, this area here is still the fold. We need to have a bit more brown shade there now, towards the top. Let's create a fold at random places. I'm taking a bit more brown and fill it up along the edge. Make sure that in those gap areas we don't need any white. I had some white gaps. I've filled that up. Can you see how we've created a nice gap and a fold? How it's a bag that's tied up. Then I guess now we can go ahead and paint the bubbles, and later we will add in the string. Now the bubbles, what color shall we put in for the bubbles? Let's paint the Christmas bubble. For that here I take my Alizarin and I'm going to take in a little bit of my yellow and mix into my alizarin. That creates a very nice red shade. I'm going for transparent method this time so that's why I'm not using the cadmium red or my buck permanent red and use that to paint my bubbles. I'll start right here. I'm going to leave a little gap of white along the edge and then a little highlight. Then paint my Christmas bubble. As you can see, I've left a slight white gap there. That is where my highlight is going to be. I'll add the color for the others as well. Let's say I add here and I'll leave a nice wide area for the highlight again. Then on this one as well again, leaving a nice white area for the highlight. There I filled it up with colors. I want to leave that one as a different color, like a slightly golden color probably. We've added a nice amount of all those, but now we need to create reflections or the shadows. For that, I'm going to mix the same Alizarin with a little bit of violet. Can you see a little bit of violet into my Alizarin and it's turned a slightly darker shade. I'm going to use this for the shadows. Here we'll apply it right towards the edge. This one is like masked out and sitting inside there. We need a lot of shadow. Let me wash that off and blend it again with my alizarin. I think I'll do a little lifting there and try to create a nice edge.Some lifting, some dark shades, that's what we're trying to do. I guess here towards the edge, it should be nice and dark. Here I take my violet again and I put it along the edge. Maybe a bit of darker tone. Now see along the edge how we've made that bubble. Now for the other ones as well. Let me take my brown mixing with my Alizarin and adding to the edge here and add this edge and a bit there. Then I'll mix it up with my Alizarin. Mixes in, blended into my Alizarin. I guess the one there is Alizarin, but obviously, we need some nice transparency so here I'll run my brush along and absorb some of the pigment then blend it again. Can you see how this one now really looks as though there are three different bubbles sitting there. This end here of the ball sitting on top. Make sure to make it darker towards the inside. It's absolutely essential that you make it darker towards the inside. Now for the bubble on the right side, I will go with my Indian gold. Here again, adding the gold shade, but now I leave a nice highlight. Again, very important to add highlight. Then adding the golden shade. I know it looks perfectly golden right now. So what I'll do is along this highlight, before it dries out, lift some paint, so that it's like a yellowish stone. Can you see? I've lifted some colors and also a bit from the top. So it's now slightly yellowish. But towards the bottom, we need to add in the shadows. Here, I take my Indian gold and I'm going to add in violet again. It turns into a nice brown tone. I'll put that along the edges. A bit more violet should make it more dark brown. Am not using brown, but I'm using a mixture of violet, and a gold shade. The more violet you mix, the more darker it turns. Put that towards the extreme tip regions. The regions where the ball is actually touching the edges,. The other areas leave it as those lighter brown shade. Now, can you see that bubble how it's turned out? We have one more bubble to do. I'm very inclined to add it with the red shade itself, because I like the way the alizarin one stand out. Also it will be a good contrast here on the surface. Don't you think so? Let's do that. Alizarin with a little bit of yellow would make it a nice light shade in here, and on the edge. Leave nice highlight. Again, remember to create an uneven surface because it's actually resting in the snow, remember. Now, for the darker shade, alizarin and violet. Darker towards the right side. Can you see? I get something a bit more violet and I'm going to add it towards the base and the extreme right side. Then towards the area of the highlight. Just going to use my brush and absorb a little paint so that it's lighter. There. I love how that bobble turned out. Now for the string. What color should we do? Let's go for red itself. This time, now I'm going to take cadmium red for the string. So let's see, that's the string region gives a nice contrast. So that's the reason why I love to use this cadmium red or in the other palette, it's the permanent red. Here I am adding. As you can see, I'm not trying to fill it up entirely. There may be gaps in-between. I'm not bothered. But I tried to keep most of the gaps towards the left side. Added the string, but don't forget shadows ever. Here, I'll take my red and for that shadows, I'm going to add it into violet. You can see it's done into a nice darker shade. We're going to put this into the areas that need the shadow. For example, here along the step where it's joining, it needs to be darker. Can you not think of why it needs to be darker? Obviously, because it's a joint there and it's under lot of shadow from the top region. See. Paint along right here. Then try and add some lines like this perhaps. It'll be like the lines on a string. Not a line but you know that knotted look of the string. That's what we'll try to achieve. All of them I'm trying to be placing towards the right side. Remember, it doesn't have to be perfect. It can a bit different. I'm going to blend that into that region. Can you see as I add in a bit of red it's not as dark as the violet one? So maybe I'll take a little bit red and mix it more into that and use that. Then whenever I need it to be nice and dense that I'll use the darker shade. Then the towards the other edge I'll use some red with more mixture of red and violet. I like how the string has turned out. So we're almost done. We can finish off by adding some teeny tiny details onto the bag. For that, I'll dig in my burnt sienna. Just going to add some lines. Doesn't have to be perfect. Remember that always, and don't make continuous lines also. I'm trying to make them as broken as possible. Then cross as well. A bit towards the top. Obviously they won't be straight. Try and add them going towards the center of the bag right along where the joint is. See how I've added those lines. How did you love the way this has turned out? Should we or should we not add the snow? Let's add just a little bit because it's good to look good, I guess, on the top. So here, taking my white paint just a little bit. That's amazing, isn't it? We're done. So let's go ahead and sign the painting. I'm going to use my cadmium red. let's go ahead and remove the tape. Here you go. Here is the finished painting. I hope you like it. Thank you for joining me today. 37. Day 17 Colour Palette: Welcome to Day 17. It's just eight days left to Christmas. This is the painting that we are going to do today. The colors we need today are indigo, transparent brown or burnt umber, Indian gold, orange, cadmium red, sap green, dark green, cadmium yellow deep, and white gouache 38. Day 17 - Christmas Decor at Home: Let's start. We'll make the pencil sketch. I'm going to add in the window. Let's say our window is at an angle, that is, we are looking at it from an angle, that's why. If I were to make a line of my window right there and it extends like that, and towards the top, it's obviously the window. Now, I'll add another line there towards the top. You can use a ruler if you want, there you go. That's the line of the window. Here at the bottom is obviously the other line of the window. We've only made the outside part of the window right now so we need to mark down the inside part, so for the inside part where the window sill is going to be. Let's mark in a line like that, then add in. That's now the window sill. Which means it's going to extend towards the top, which is going to be the wall. Now, for the frame of the window, there, and towards this side as well. That's the frame of the window. Now, we'll add in the window itself, as in, the bars on the window, so I'll add one here. Remember, these needs to be not parallel to each other, but rather assuming a point where they're going to meet, like a perspective point, I guess, and that's like very far off from outside of our painting. Just make this slightly slanted for now, that's it. Now, let me do the inside one. The inside one is also going to be slightly slanted, not as much as this. I'll make that smaller. Now, for the window, the ones towards the vertical lines, they need not be angled or anything, they're straight. They can be straight. Let's add multiple of them. I'll add one here. They are smaller ones like this one. This is the one in the middle, that's why it's thicker, so another one towards the right side. Added that, those two. Now, let me make another one, again, towards the top. That one is, again, going to be in a more angled version. If you want, you could actually go check it where this whole thing is going to be, like where is the vanishing point? If it is helpful. For me, it's outside of the board. I know it. Now, we'll add the line on the top. Again, giving only a slight angle to that one. That'll be of this thickness again. Now, for the center one, I guess, for this one, I'll make it towards the center. Assuming that this one has got three of these window parts, that is, these two bars, then the center of this would be the center. Let's make it right at the center of that one. There you go. That's now the window sill done. But possibly, we need to add a window sill towards the outside as well, I guess. That's good to have a window sill towards the outside. That area would be here along this line towards the outside. It goes like that and a little area towards the outside, so an extension there. Now, this is the window. We are going to apply masking fluid onto these bars right here because I want to create a snowy day outside and pick the night scene. You'll see how easy it is if we've got the masking fluid. But I know that many of you may not have masking fluid. I'll tell you the alternative right how to do it. You simply have to avoid these areas and put in the colors that I'm going to put, but you'd have to work around a way in which you have to blend colors. For example, if I'm using a blue and a brown inside, I'm going to be applying it to the whole, so if you're going to be going around the edges, then, for example, apply a little bit of brown here, then go ahead and mix in a little bit of blue, so just create those uneven color combos inside each of those squares. That's how you'd have to do it if you're not using the masking fluid. It's as simple as that. But I am going to use the masking fluid because it's quite easier that way, and that's the reason why I'm doing it. Here, I'm just going to use this masking fluid because the other one that I used in the other day, for the winter berries one, it's quite very loose, and I've observed that when I try to rub it off, it leaves paint marks. That's the reason I'm going with this one today. Just using that and applying the masking fluid. As you can see, I have to be very careful in applying just along the very edge of your pencil sketch. Careful how you do it. It's easier for the brush, I guess. Maybe what I could do is, I could apply like this and then use my brush to spread it out into that area. I'll try that. Here's my old brush. Not bad, I think that's the best method to do it. Doesn't matter which masking fluid I'm using, I'm just trying to spread it out into that area where we've applied. Next area is this one. Let me spread that out again very carefully in all my pencil sketch. Let me quickly apply some more. All right, there you go. I've applied the masking fluid. Now what we have to do is wait for it to dry. Remember what I said do not use a heat gun, or a hairdryer with masking fluid because it can stick forever to your paper and not come out. I think I'll come after some time now. Let us start. I'm basically going to apply water into that window region. Towards the inside of that region. First rectangle inside. That's where we will apply the water. Now that the masking fluid has dried, we can freely paint inside. Like I said, if you're not using the masking fluid method, go ahead and paint each of the squares separately. That's as simple as that. There is no problem if you want to paint it that way. I've applied the water inside. Now, we'll add the paint. I'm shifting to my Size 8 brush and I'm going to be picking up indigo. Taking a nice consistency of my indigo paint. You can see, make it nice and darker. This indigo paint will start applying. Make sure to apply very carefully along the edge, because we want our paint to be inside. See this is the reason why I said it's easier to paint with the masking fluid, but I oops, that's green. Sorry, it's easier to paint with the masking fluid than without. But obviously, if not, you just have to go inside each square. That's it. No much difference. I guess. Here taking my indigo and I'm applying and make sure to apply a very darker consistency and along the edges as well and very careful. Now I'm going to go all the way downwards. As I go down, is where I want it to be some other colors. I'll show it to you right away. Now I'm starting to reach towards the bottom. Towards the bottom what I'll do is I'll try and put in some color like sepia. I'm making sepia with my transparent brown and my Payne's gray mixed together. Those colors go ahead and apply it on top of the indigo as well. The thing is, it's going to turn into a slightly brownish blue mixture there. You can see it. This is why I said here it's easier with the masking fluid. But if not, just go ahead and blend both of that colors together in that region specifically, That's it. Here is my brown. Applying it. Let's just round right now, you can see it's an dense amount of brown. I'll put some on this random regions. Then know the length at the bottom carefully. Then a bit of blue, I guess, blue as in indigo. Here taking indigo. I want it to be nice and dark that's the reason why I'm taking the indigo paint and adding. Now you can see it's more darker towards the bottom and there is a bluish tint towards the top. Do you see that? That's what we wanted to achieve, give that it's not a natural gradient. It's random set of colors, I would say, it's not a natural gradient. Remember that? Here, indigo towards the top. Nice and dark color towards the edges. Can you see that? It's very dark, isn't it? Now, while that paint it's in dries out, we can add in some splatters onto that paint. The splatters because it's snowing outside the window. Here, taking my white paint again, let me load up my brush with nice amount of my white paint. I've shifted to my Size 2 brush because it's quite smaller and would be much better to add the splatters because I want it to be smaller. Smaller splatters. Let me just mask off the other regions it's not necessarily to do with those regions. Here you can see how I'm splattering the paint and the way that I splatter onto the vet region, it's going to form cauliflower effect, or known as blooms. It's going to form blooms. Nice splatters onto that area in there. It's snowing outside. That's it. Now what we'll do is we'll wait for this whole thing to dry out. Here you go. It's completely dried out, so let me go ahead and peel off the masking fluid. Carefully peel off the masking fluid. Here, I have removed the masking fluid. Now let's go ahead and paint the windows. To paint that I will be using an nice Indian gold sheet, a golden bright golden sheet, because we want it to shine through showing the light inside. The vertical bars, go ahead and apply them nicely. Don't have to leave any gaps of white. But the horizontal ones, you can leave a slight gap along the dark portion. That'll just depict the snow outside the window on the other side, obviously you have to remember that. That's the snow accumulated on the outside part. The same on all of the areas of the window. Make sure to cover the bottom part nicely and also the center where it's joining. Very important. Remember that. Now, the vertical ones. Now for the bars on the windows let's add that. That is the outer frame that also we can make with the same color because it's still the frame of the window. I guess that part wasn't actually the frame, the frame is this other part here. But nevertheless, we're going to anyway, spray the whole thing in yellow so it's absolutely fine. If you ask me, if we're going to paint the whole thing in yellow then why add this at first? Well, because it's not going to be the same yellow. That's a nice golden shade. I guess, I'll put in golden shade for the next one as well but then after that we won't add golden. But you can clearly see the difference as you added multiple times because you get that line there, which is what we want. Because your strokes are going twice, you get that line there. Added that. Now we paint the inside part. For painting the inside part, now I'm going to wet my paper. Let's go ahead and wet the whole of that region. I won't go close to where I've already applied the Indian gold because that might make it spread. I'll stay away from that region and randomly apply. Can you see the paint spreading? I guess some of it might spread. Now, I'll go back to my Indian gold shade but now we're going to apply it in wet-on-wet so it's going to be lighter than the one that we've already added. Can you see how gorgeous it is and how lighter it is? I guess when you're applying the lighter paint, you can go nearer to the window because it's lighter and it's fine. Always also make sure that you're applying vertically downward strokes except for the window sill, you can follow the direction, I would say off the objects. This window sill like this so follow the direction like that. Then we've got the wall at the bottom that should go down like that. That's how we would apply the paint naturally. That'll show how it's shining through. Now we need to create a different color tone for the window sill so that it's separate. How would we do that? We are going to take in a little bit of orange, mix it up into that mixture of Indian gold and apply that on to that region. But as you'll see, it's still lighter than the one that we've applied for the bars. I guess when this dries up, we'll add it somewhere on the top so that it can be seen. Now going forward, the painting is really simple. All we have to do now is wait for this whole thing to dry out so that we can add in the elements in the foreground. I'd like to put in some random color variations. That's why just going to take my yellow, the Indian gold. I'm going to put different color variations randomly. I don't want it to be like in a one single flow of color, I wanted to pick like a wall there so it's going to have colors. I'm happy with the way that this has turned out so I'll quickly dry this up. There you go it's completely dried up so now we can go ahead and add in the decorations. For adding in the declarations, I will obviously start with nice sap green color. There's my sap green and we're going to add in the decorations onto the window sill basically. Maybe before the sap green we can actually put in the red flowers. For that, I'm going to use my cadmium red and I'm going to make the flowery shapes. Maybe flowers, maybe ribbon we don't know. We don't have to look into all those details. Just slum flowery shapes on to the windowsill. This is also the perfect time to cover out any mistakes that you have, for example, masking fluid problems or where you paint has leaked out, anything of that sort. As you can see, I'm not even making a perfect shape, I'm just randomly running along my brush and creating few petals, some random details and using my size 4 brush now going back with the sap green. We're trying to add in a dense color around the flower region and also some can go over to the top. Now, we only have an Indian gold color underneath and we're painting with green so it's definitely going to come on the top, you know by now. Some decor on the window. Added with the green. Now we need to put in shadows. Here I'll take my dark green. You can make your dark green by mixing a little bit of indigo. You don't have to use the same green that I'm using. You know how with the other pallet, I used to create a dark green by mixing with indigo. The same process you can use here and add in a lot of small leaf shapes. Shadows basically. I'm pretty sure you know by now because we've been doing a lot of such strokes now. Anyways. There that Window sill is covered. I guess since that is covered and this is dry, we can go ahead and create that nice separation. That would be with the orange and the Indian gold mixture. There's the orange and there's the Indian gold. We just slightly turn my paper because it's convenient for me to control like that. Can you see? Now along the edge, I chose orange because it's a slightly different color than the Indian gold and will stand out showing the separation. Right along the edge of the Indian gold that's where we need to apply the orange and up to this tip right here. There you go. Can you see? I guess towards the edge there, you can take up a little bit of burnt sienna or brown. I think I'll go with brown. Here's my dark brown color, my burnt umber. I'm going to put that into the edge, so that there's a separation there. We see a nice separation, and I'll try blending that into the orange color. There. As you can see, it's turned into a nice mixture now, but I need to blend that in. Here, picking up my orange mixture and blending that in there. Yeah, that's much better. Then we'll finish off with a little Christmas tree here on the left side. That's going to be easier. All we need to do is add in that Christmas tree. Here taking my paint, and we'll go over. I think I'll start from the very top. At places you can go ahead and add in, some Christmas bubbles hanging. I'm using my sap green here, and coming down. Previously, and add depth later on by using other colors. Only a part of the Christmas tree is seen. The other half is out of the paper on the other side of the room. As I come downwards, I'm going to add in more detail for the strokes. Fill that top. Now obviously, darker strokes. Here adding the darker strokes with my dark green. Random darker strokes. Some of them dry and create the shape of leaves. I think mostly towards the edges, I'll try and keep it as sap green. At the bottom here, make sure that you add in nice leaf shapes, just like the one that you've added with the sap green, and maybe nice darker area there towards the bottom because it's like the bottom it's more dense, isn't it? All right, now we've got the Christmas tree in place, all we got to do is add some Christmas bubbles on there. I guess it's better if we wait for this to dry out. But before that, while we wait for it to dry, I guess we could use a little bit of orange to paint along. These areas, this is also part of the window sill, the little tiny gap seeing there. Can you see? If I paint that with my orange mixture there. There's that orange part of the window sill and there's the wall part. While we painted the window sill, our tree has dried up, so let's add in some Christmas bubbles. I'll add that with little amount of cadmium red, it's opaque. Remember that. You don't have to paint or add fully. You can add just random. It's going to appear as though it's like masked out by the tree, some of them. It would make it seem like apples, of course. Maybe one Christmas ball there. I guess I'll have another one there. One little there, bird singing, and maybe one bubble there. Maybe we'll add in some ribbons at random places. Just ribbon shape. You can also add some nice yellow ones. Here, I'll take my cadmium yellow. You know the best thing, I'll mix my cadmium yellow with cadmium orange. That'll give me a nice orange, not orange but a lighter tone or cadmium yellow. It's like a cadmium yellow deep. If you actually have cadmium yellow deep from Sennelier, you can use that. I think these ones, I'm going to place it towards the inside because towards the edges its already caught all these yellowish tones. But always remember shadow for each of these. I'll take in a little bit of violet and I'm going to add towards the outside edges, to the bottom specifically. Just need a little color variation, that's it. It doesn't have to be perfect. I guess now we can go ahead and add in some teeny-tiny lights. I'll take my cadmium yellow first. What I'm going to do is, I'm going to use cadmium yellow, and I think I'll switch to a smaller size 2 brush because I wanted it to happen on this point. Using my cadmium yellow, what I'm going to do is I'm going to add a lot of teeny-tiny lights. I'm going to make these star shape. Can you see a little star shape? I'll show it to you closely. I made a little star shape. I want to do that for many of the areas. I'm just showing you different ways in which you can actually decorate the tree. You don't have to do exactly all of the things that I'm doing. For example, you don't want to add this star shape, it's absolutely fine, just ignore it. That's it. I guess I put some light there as well. I'm just putting a little bit drops of yellow into this region. Let's see why in a moment. Just added lots of drops of yellow at random places. They are not going to be yellow. Trust me, you've seen the final pictures you know what's coming. I'll take my white paint. I did not apply a watery mixture of my yellow, so most of my yellow is already dried up. The first one that I did, so it's basically go ahead and put in a drop of white on the top and try and mimic the shape of the star. The reason why we added yellow at first is that it has a yellow glow or like a halo outside that light. It's going to turn out beautiful, trust me. Do this process, and you will see that some of those lights has a halo shape, a touch of yellow towards on the top of it. You'll be like, how did you create that? I'm trying to add the star shade that we did, but again now on the top of the yellow. Do it such that some part of the yellow is still visible. That way, you create that twinkle with a little bit of halo effect. Also go ahead and add the little star-like structure to the dots that you added as well so that it twinkles. There. Oh my God. Can you see how the lights are twinkling? Isn't that gorgeous? Let's continue on for these ones here. You can see how it's all twinkling. Isn't that gorgeous? If you want, you can go ahead and still create a twinkling effect all the way to the top. I am actually running out of time to do that. But if you want, you can do that. What now I'm going to do is I want to put in a lot of random white dots at certain places. This could be the lights that are inside the tree. You know how the lights are draped. Not all of them is now going to be in the front, but some of them may be way towards the back. That's why I've added some certain white drops. The only thing left to do is to add in some connection. I'm loading my liner brush with a little amount of white. We don't need to draw it perfectly, just random. Try and make some of them, not all of them also, leave gaps. Connect them. Not perfectly, you can have breaks because it's going through the leaves. The same scene and do it for these ones. But try and create it like a tinsel effect draped around the tree. You can see, and also I'm adding broken lines, very important. See how I've done that? Let me show that to you closely. Now, [LAUGHTER] really finish it off, I promise, by just adding little details that I spotted here. It's a little thread for this bubble right there. It's like hanging on that branch. You can add heads to some of your bubbles. But I guess I've made most of them. This is the only one towards the end, so that's fine, and we're done. Now can you see the effect that we've created? It's snowing outside. We have the decoration in the front, a Christmas tree along this. Isn't it gorgeous? Let's go ahead and sign the painting , and let's remove the tape. Here is the finished painting. Hope you like it, and thank you for joining me today. 39. Day 18 Colour Palette: Welcome to Day 18. It's just seven days left to Christmas, and this is the painting that we are going to do today. The colors we need to do are Indian yellow, Indian gold, cadmium red, alizarin crimson, sap green, a dark green, transparent brown or burnt umber, and a bit of white gouache. 40. Day 18 - Wine Glasses: Let's start. We'll sketch out the two glasses at first, which is going to be the only pencil sketch that we have for this painting. Let's have those two glasses starting about one by third of the paper. We make the mouth of the glass an ellipse like that. Then you can use symmetry line if that's going to be helpful for you to draw. Like for example, if I draw a straight line like that, let me see if that's straight. Almost. Just drawing a straight line like that. Then you can use the symmetry line to draw the two edges of the glass again. See. Two wine glass is going to come down like that and there is the bottom part. Then the bottom, the handle part. I guess I need to make it slightly more thinner towards the bottom. There you go. Then add the bottom part, the base. A slight curve at the base. That's one of the glasses, we'll add the other one behind. Because it's behind, that means it's going to be slightly at the bottom there. Let's say it's masked out behind that front one. Again, we'll have the brim of the glass as seen. Let's draw the symmetry line. The brim has turned out to be a little bit smaller, so let me try and make it slightly bigger, I guess. Should be the same size, both of them. But notice here, the brim, I've made it thinner, the ellipse. Then the symmetry line, let me just put that. Here goes, just a teeny-tiny area below the other one. Since I said it's behind that one perspective, it's going to be slightly smaller. There's the base of the that already. It's the base. Then we can come and join it toward the base. Can you see? Yes. It looks weird now, but when we paint it with the background effect, it'll come into perspective. This is undo where there is liquid in that glass and here also. It's almost at the same level, but because it's at the backside, it will be actually equal amounts in the glass. That is our pencil sketch. Let me show that to you closely. Here you go. This is the pencil sketch that we have to make. Let's get to the painting part. I'm going to be applying water to the whole of my paper. Don't worry about any highlights or any region right now. Just go ahead and apply water to the whole of the paper. Right now, it's whole of the paper, when we apply paint is where we have to be careful, I'll just tell you that. Apply the water onto the whole of the paper on all the areas. There you go. As you can see, I've applied the water. Now, we'll go ahead and start painting. I'm going to be using one of my flat brushes and I'm going to take Indian yellow shade. Indian yellow, transparent yellow, any nice transparent yellow would be better for this purpose. Using my transparent yellow, I am going to start. I'm going to place my color towards the outside of the glass right now. Very careful when you're adding towards outside the glass. Then slowly, I'll come over to the glass area. Let me tell you where are the areas that you need to give white. You know that this outside left side brim of the glass, we need to be leaving it white, and so is for this one, which is going to be in the background, so that side brim of the glass should also be in white area. The rest of the areas, let's go ahead and apply. But again, you don't have to apply an even tone of color. Let me, oops, that was Indian Yellow. There you go, Indian yellow. I want to apply my color. As I said, it's not left corner, so it's okay for me to go ahead. I skipped a little there. Here I come down skipping a bit and then I'll add my paint. The same thing, let's do here. Here, I've come all the way up to the brim region. Then skipping that left region, I'm going to come down, leaving a slight gap of white there in the middle. Then applying my paint again. Let's leave a little light space on that right side then go back with the paint. I guess we can paint the right said as a whole itself. It's fine. A bit of color there, color in the middle, and obviously to the right side, go ahead and apply your paint normally. You've seen the areas that I've left white. Those are the important areas that we need to capture in our painting. Here, taking my yellow and a bit lighter space there, I guess the other areas you can go ahead and start applying it. There, I've applied. Now we're using the same flat brush. I'm going to take my Indian gold shade, so it's a nice golden color shade. You can mix it up using your yellow, orange and maybe a teeny tiny amount of brown into that mixture and you will get this beautiful golden color shade. Here adding that golden color shade, but make sure now you don't add it to your part of the glass. We're going to skip all the areas of the glass while you're adding this paint. You don't need to add in all the areas also, we're going to just apply in some random areas. Here, taking my golden shade, and I guess I'll apply to the left here, a bit there, and I guess a bit to the bottom. But now I'll skip the area of white glass. Going around as you can see, so here towards the right side and the left. The left, I think I'll go ahead and draw in a very straight stroke, a nice, darker straight stroke over there. Now I've washed all the paint from my brush and I've switched to my size 8 brush. Now we're going to start adding the details onto this. For I think the details, how do we start? Let's start with a nice dark brown color. Here taking my dark brown, this is my burnt umber and using that, I'm going to just randomly add details at the back, so these details, it's because it's in the background and when we bring the whole of the wine glass into focus, this will go out of focus so we don't have to worry about what actually these details are. I've made a curved shape there. Then let's say I add in a little of my brown stroke at the back like that and thin it out towards the bottom. Maybe some more brown stroke like that. Then now I've taken a bit of my alizarin crimson. Taking in nice alizarin crimson. The reason why I go with alizarin crimson is because there's already a yellow on our paper so it's going to just mix out and form a nice spreadsheet. Alizarin crimson because it's transparent, I prefer that. Let's add in the shape of some berries. Here, another one there, so it's a nice round shape, that I'm adding, another one there. I guess I'll put another one there. These are all wet on wet so very careful that your paper is wet. Then maybe like something else in the background there. Another round shape there. Something there. These are all in the background so you actually don't need to bother about what are you doing with your stroke. Then now the next thing. Let's pick up a little bit of sap green. Here is my sap green. Again, I'm using sap green, but there's yellow already on my paper so it's going to turn out very lighter. Here, let's use that sap green and let's actually create a lot of gaps. I was meant to create a gap there, but it didn't turn out nicely so I skipped that. Here we're going to create a lot of round shapes. [inaudible] either. I need to make them bigger for it to turn out, I guess. Here pick one, another big one. Another bigger one. Maybe another one here, that was small anyways. Going with my paint, now when we add in the green go around the space that you've already made those circles. I'm just trying to leave those areas as blank, I guess. Here going green. Now we have to go around the glass. Careful. Very careful. I guess here along where it's greenish, we can add some green there and so I intended this left side to be probably like some wall or surface there so that's why I'm trying to add in a straight line like that. Remember we also applied a flat stroke there so that is why. Now as I come towards the bottom, I'm trying to make these little foliage shapes. Not foliage exactly, but trying to create lots of gaps and start adding my strokes. Whatever might be [inaudible] try it out. I'll immediately try and go and blend it into the already existing part of the stroke. Here let me show you what we can do here, so going to apply my stroke there and my stroke here. Now is the part that we have to be careful. I applied my stroke there, but I don't want it spreading into the area of my glass so here it's already spread. Let me take that out. You see here I'm wiping it off and any paint that you apply, make sure that it stays over the top. Same along here. Apply, but make sure that it stays towards the edge. Then I guess we can add a bit more. Remember, we added some berries so I want to go around for the berries. Hope it's berries. I don't know what it is. It's just some detailing that we can add. Yes, it's okay to go over your glass actually because it's transparent and it's going to obviously reflect on those things. Now coming over to this side. I've lightened out my stroke and trying to thin it down, whatever I'm adding. Can you see? Now let's go with some darker shades so I'm taking my dark green, and I'll start adding into some of the areas on the top. Let me try creating some round shapes with my dark green. It's not happening. That's because my paper still has a lot of wetness and this is the reason why I'm actually unable to make it and observe here the paint is starting to spread into my glass so I'll need to do a lifting. This you have to do as well because we're painting with the wet on wet technique, we actually need to do the lifting and remove all those bleeding greens out from the edge for your glass. I've removed that part. I guess I need to add the color towards the right side also, but that I think we'll do when the paper is dry and we blend in. Here I'm picking up my dark green again and adding random detailing. Just blending in and adding random detailing. Still spreading anything that's spreading, let me just take out this bit. All right, done with the lifting. Now we'll wait for this to dry out so that we can add in the foreground. There you go. I've completely dried it up. Now we're going to do a lot of negative painting to bring the focus of our glass into the picture. Let me show that to you how we're going to do that. Here I'm going to take my Indian gold shade. Begin a nice amount of your Indian gold shade. Now, along this right side is where I'll start first. I'm going to apply my Indian gold, but as you can see, I applied towards the outside of my glass. Wherever you apply, make sure that you apply towards the outside of your glass. Then also, let me take it towards the top brim right there. Now, we have to be very quick at this. While your paper is still wet, go ahead and soften out that stroke and blend it into the background. Here, let me blend that bottom part. We already have Indian gold at the bottom there, so when we blend it out, you'll see that it's absolutely fine to blend it because it's already got Indian gold there. The more clean water you use, you'll be able to blend it without forming a water line inch. Now, taking a bit of sap green, let me add in a bit of green stroke there. Again, we'll be adding the wet on wet stroke. I just applied water there. If your strokes are not wet, go ahead and apply the green. Then immediately go ahead and soften out the edges. Here, I am applying but I'm taking my water and I'm softening out the edges. Let's do the same. Now here taking my sap green now, I'm going to go over. That's a lot of paint I guess, let me just soften and decrease here along the edge, right at the brim there. Then there's that little edge and that edge there. Now, we've done that, but as you know, go ahead and immediately soften it out and blend those strokes into the background. I know it's very tough and you look stuff also. But we've been doing a lot of these techniques now. There you go. You can see how it looks after blending. Towards the outside again, digging a little bit of green and adding because I didn't want that extra sap green to be right along the brim only. That is why we actually need to be working very quickly while we're spreading. Now, let's get to the inside part of the glass. The inside part of the glass, what we're going to do is we're going to leave a slight gap of that yellow. Can you see, a little gap of that yellow, then take your paint and fill in that ellipse. I guess, you can fill up the inside part. I know that plain, this is why I said it shouldn't have bled into that region, but it's okay. I can adjust it with other colors, so don't worry. Now you've added that brim. Now, let's go further into the inside part of the glass now. The inside part of the glass, again, leave some gaps on the left brim and also that little gap along the top such that it forms the brim of the glass. You see that? Then want to come down. Again, you've got the brim of that other glass, which is actually behind. Go along the edge of that glass. Here again, we'll add the paint only up to that top region, up to where there is wine in the glass. Filled tacked up. Maybe I'll put in some random darker shades. Just put in some darker shades. Now the other side of that glass, that is this glass, again, going to leave a little gap or space between here as well. I'm going to add that little gap that's going to come through the inside. Then let's do a similar process for painting the outside part now. We're going to bring that into focus. Let me just slightly tilt my paper so that it's easy for me to add in the color. Along the edge, negative painting again. There. Immediately washing my brush off, all the paint off, and blend that into the background. Can you see, just blended that? Because it's green towards that outside area, it won't matter. It won't look or you can see what's inside. That's absolutely fine. Going back with my Indian gold now, going to apply an oldest very edge of the glass again. This edge and this edge here, somewhere around there. Then pick up a little bit of green, going to blend in with my green. There blend it in with my green. Now going to soften it. That's softened. Now as you can see, we've made the shape of the glass by negative painting technique. Now, we're going to paint the inside part. For painting the inside part, let me take a nice amount of my yellow, and mix in some nice Indian gold shade to that and we're going to take it in a nice and creamy consistency here. We're going to be painting using that inside. I guess I want to add in a little bit of brown to that Indian gold. That's much better. A little bit of brown, that's my burnt umber with my Indian gold. Using that, I want to add. Here, I'm going to leave a slight gap along the edge. I'm going to add in a stroke like that. Can you see? Then I'll make another largest stroke here. Towards the bottom. Before we paint the other one, let's go ahead and blend this up. Now what we're going to do is, you're going to run around the edge of your brown stroke such that it releases some of the color. But don't pull it all towards the very end. We just needed to soften out right along that edge, that is. You don't have to pull the color out. This is a different kind of softening. It's just you're softening the edge of it, but not pulling the paint to where the light region is supposed to be. The light region is supposed to be nice and white. Not white, but the underlying color, which was the first yellow that we applied. There. Can you see how it's turned into a nice, gorgeous shade? I think we need to do the same along the other edge as well. Quickly along the other edge, go ahead and soften. If it's not softening, run your brush along like that, that should soften out the paint. Then we're going to pick up a little bit of my darker brown. I'm going to add that starting from the top. I'm going to add some strokes like that from the top and pulling down like that, maybe a little from the bottom up. You don't need to cover the entire region, that's the important part here. I guess here, you can add to the whole region up to there because that glass is in the front. Taking a bit more of my other brown mixture, adding some lines now, vertical lines like that. Then now let's do the same for the one behind. Now the one behind, I guess that area is still wet, so I'll do for the right side first. Here, adding vertically down stroke, leaving a gap on the right side, and added the vertical stroke. Now I need to go ahead and soften the edge. Quickly softening the edge. But remember, only softening, don't pull your paint. Soften that edge as well. Then I'm going to take my brown just like we did with the other one, adding some brown stroke from the top to the bottom like that, and maybe a few from the bottom towards the top as well. Make sure the edge is nice and softened. Then I guess this region is dry now. Yes, it is. I'm going with that brown and Indian gold mixture. Now, we'll go ahead and add this color along the edge of this glass and then coming down. As you come down, leave a gap of whitespace there at the bottom. Taking my paint along and adding. Can you see? But now, t looks immediately softened out that edge. Soften, not pull. Very important that we understand that concept. Then going with my dark brown, a bit of dark brown. Again, careful, it's only along the edge. Nice strokes like that. Let me make that golden brown mixture a bit more because we have the bottom to paint as well. Now I'll paint along the bottom, so right along the glass shape. Again, I'll leave a little whitespace there. When I say whitespace, I mean to say is the negative space. Then using my brown, I'm going to come down all the way. Here I guess you don't need to soften out because it's a very small area. But as you add the color towards the bottom, you can follow along the line. For example, here, I'm following along the line on the right side. You can leave a lot of gaps and whitespaces. Then here adding the color here, again, leave lot of gap and whitespaces. Absolutely fine. We'll add in the base like that. But the rest of it, don't add color, but spread out some of your color. Same thing. Let's do for this side. Leaving a little gap. Picking up my paint. There, I've spread out. But immediately, let's take a little bit of brown and I actually want to add in darker brown. I'll do the left side first because we did that first and I don't want it to dry out. A little bit of brown strokes. Some brown strokes. Then observe we take a bit of green and we're going to add in some green strokes inside as well. Why? Because this whole thing needs to reflect out that it is transparent. See, a bit of green there. You can go ahead and add a bit of green towards the bottom one as well to the base. I'm blending that. Now, don't forget, we have the inside part of this glass to paint as well. For that, now I'm going to take my green color, I'm going to go around this edge, carefully avoid the brim area on the right side. Putting paint inside. Also, again, the same here, leave a nice gap along the elliptical shape. I'll take some darker colors, and do some random strokes. There, I guess, towards this side, maybe we can put in some golden shade in fact, because there's a lot of golden color towards that right side. It shouldn't be perfectly green color. Yeah, that's much better. Now you can actually see that there's a lot of gaps in places that we've added, but now is the time that we need to go ahead and fill them up with highlights and shadows. Here, I've made that golden brown mixture again, and I'm going to be shifting to my small size 4 brush for that. My Indian gold and my brown. They're going to use that, and we're going to add in darker details. For example, here, on the edge, we're going to paint it into that region that we actually left white, not white, left blank. Then blend that out slightly. Then let's make up the same color, I'm going to add. You remember the paint had bled out here, so I'm going to add my brown tone there. Then don't apply in all of the places, let's go ahead and apply a little to that brim. Don't apply fully, just only along some places. Let's leave that whole thing white. Then we have this edge. Then let's go around, and make this glass now to be in the absolute foreground, so for that, you take in that color, and add it along the side edge. It looks weird as it comes to the bottom. As it comes to the bottom, go ahead and soften it out immediately. But towards the top region there, leave that for me, can you see how you've added, then taking that color mixture now, I'm going to add that now to the top there. In some horizontal and curvy lines, again, we will try to create the effect of some natural gas bubbles. Put some dots and some detailing. The inside part of the glass behind is not going to be seen. Only here where there is no liquid we'll see the part of the glass. Here again, a little bit of brown, and see, take it towards the top, let's see if you have a nice round shape there. Then, maybe you don't just in some places along here. Guess the right side, we can go and nicely cover it up. Not the entire part again, careful. Then maybe a little line here. That was a bit too much, I'm just going to do soften it out. Then digging my brown adding some nice curved shapes there. Can you see how we've created a nice brim of the glass, and also the glass improper. Taking a bit off the color, going to add some curve lines here towards the bottom. Now we're almost done. We only need to go ahead, and add in some foreground details. Here I'm taking an order of my sap green, and I'm going to put in a lot of the Christmas branches. We need to make this painting Christmas Eve, remember that. Here, taking that and here, I think, it will go behind the glass, and here. Yes, I know it's just a freebie right now. But then go ahead and add in the fair tree effect. Use the pointed tip of your brush here. It's going right on top of the base, so this is why I didn't go and add a lot of detailing into that base region. I guess, I'll shift to my size 2. This is too big for me for painting those things. Here, size 2. That might be a better pointed tip. Yes, it is, see. We'll add in an artificial tree shapes here careful, it's supposed to go at the back. This taking to the left side, because it needs to be having depth there. Then some dark paint for absolute depth, remember. Taking my dark green and adding to the extreme left side. Then using that to create oriented way to tree effect. Now I'm going to take a bit of cadmium red, and add some nice red berries at random places. Maybe I put in a half a part of a berry there, a little there, and maybe a little along there. Just some red spots. We're almost done. The only thing left to do is now to add the absolute highlights. Here we're going to use my white paint. Loading your brush with a nice amount of white paint, and we're going to add it. Let's see some white lines along there, little white detail there, maybe a little line there. These are the areas with salute highlights. This is random, so you don't have to worry about where exactly I'm adding. We know all those areas we actually left in white or left the color, so that's where I'm adding. Here at the bottom, you can see then a bit this left side. Here, also we've left. I guess, you can actually make on some other places on the top. Paint here on the base. Now, for the fun of it, we can add some nice splatters. I know it's not as Dewey painting, but just adding these little splatters for the sake of having fun. I'm adding an element of magicality to our painting. Now before we finish off, the only thing left for me is to add some nice white spot for the bubbles in the wine. I'm going to be adding that with the white paint itself. Here, loading my brush with white paint, and then going to hide the rest of the area, and going to concentrate all my white into that part of the glass. Can you see? If you hide the rest of the areas and concentrate, and come closer by doing that, then you'll get. Also using a smaller brush helps, because it's smaller strokes. Smaller splatters here again. Nice splatters, and you can see the bubbles formed inside and we're done. Let's go ahead and sign the painting and let's remove the tape. Here is the finished painting. I hope you like it, and thank you for joining me today. 41. Day 19 Colour Palette: Welcome to Day 19, and this is the painting that we are going to do today. The colors we need today are ultramarine blue, violet, transparent brown or burnt umber, yellow ocher, dark green, indigo, lavender, Indian yellow, or Naples yellow, cadmium red, Payne's gray, and some white gouache. 42. Day 19 - The Hanging Lights: Let us start. First of all, I apologize for the change in the background. I'm shooting this after a really long time. That's why the whole setup in my studio has changed, everything has changed literally, so that's why. Let's add in the lights first. For adding in the lights, it's a night scene obviously. We'll have the middle part of the light somewhere here. That's going to be like an ellipse, and make sure you don't make this in a very dark pencil sketch, because we don't want it to be seen, especially around the light area. Here, we'll draw an elliptical shape somewhere around the one by third area of the paper. There, that's the elliptical shape. This center portion is where all the lights are going to be attached. From here, we'll add in the lights. One light from here. Make sure you add a curve at the bottom right there. That's because it's showing as though the light is hanging from that loop in the center. This is like a loop. It's ellipse because we're viewing it from the side. When we're viewing it from the side, we see it as an ellipse, so it's a circle and all of these lights are hanging on it. That's why to show how it's hanging, there it goes one of them, then another one there. It's like a not a spider web, but all the lights are coming from this center loop actually. I think we can add one more there. Then another one right next to where this is ending. We will add another one and that's going outward there. Maybe another one there or not. This one, I'll make it such that it's hanging from this. Let's ignore this one. I think only three is enough in that side. Then the next one is a light there, another light there. The ones at the bottom, we'll have it closer around. That's because that side is what we see closer to us, as in that's the side that is closer to us. That's why we see it spaced apart more. As you may already know, the top portion of a painting is what's closest to us. That's why. Then I'll have more of my lights here. We've had one going there, we've had one going towards that side, then another light, so it's going that side. Let's have many more going in different directions. Yeah. Now the thing is, as we come towards the bottom ones, those cannot be going further outward from the main take. The reason is, they need to be hung somewhere. We'll make sure that those lights are hung somewhere. These are also hung, but it's going outside of the paper and we're closer to it, so we don't see the poles where it is hung. Let's say this one, it comes all the way there, and there's the pole where it is hanging. We need to put in perspective always. There, that's one pole. Then here is the ring of light. Then another one again here. I know that this looks a little bit tough, but trust me, it's not. They all needn't to be attached to poles itself, so they can be attached to different things. That's that. Let's add a pole for this one. Another pole there for that one. These are all poles that are further away , and another pole. Let's assume that the ones that are attached to that side, all of the poles are towards one line. That is why the lights are attached like that. Let's make it snowy at the bottom where the poles are attached, so the top part is where the night scene is. To make this interesting, should we add a Christmas tree? Because I feel that just the lights itself doesn't make any sense. Maybe yes. Maybe how about we do a little Christmas tree along this side. I think that would be interesting. Just the little part of a Christmas tree. Yeah. I think that's nice. Then we can make it covered in snow as well. That's that. That's the pencil sketch, and I'll show it to you closely now. There you go. That's the pencil sketch. Now let's get to painting this. This is going to be interesting. What we're going to do is, we're going to apply water to the whole of our paper. We need water on the whole of the paper, so we are not bothered about whatever we have added at the moment. But be wary of the pencil sketch, we definitely need that. Then we apply to the whole of our paper. Make sure you apply the water evenly. I know I say this always. It's those sentences that is etched into my mind whenever I'm applying the water. There you go. Shall we start at the bottom here for adding the snow? I think that's much better, we'll start at the bottom part. Here, I am going to load up my brush with ultramarine blue, of course, for the bottom part, where the snow is going to be, and we just randomly add some bluish strokes. But remember, this is a night scene, so we need to make that nice and shadowy. That would mean some violet tones as well. Let's add in some nice violet tone. I guess you can mix in your violet with the ultramarine blue so that you get some nice strokes. I think that was too dark. Maybe I'll just lighten up some areas and here adding, and we took a lot of blue towards that side, so I'm just adding. Then, don't forget, we're adding a lot of lights, so we need to add in some yellow strokes onto the ground so that there is a lot of reflection of the lights. For that, I'm taking my yellow ocher and I'm just going to randomly drop it into the ground. Yellow ocher because it doesn't mix with any of these colors to form green or dark brown colors. Yes, it will mix badly with ultramarine blue, but we did mix it with violet, so that's why. I think we can go ahead and add in a lot more shadow. Here, taking my ultramarine blue, a bit of violet, mixing that together and putting in shadowy areas. I think now let's go ahead and paint that tree. For painting the tree, first of all, let's put in the dark green. This is dark green PGA from White Nights, it's very dark. I wanted the tree and everything to be softer itself, so that's why I'm going with my wet on wet technique itself. But all I think I'm going to do is, I'm going to switch my brush to a smaller size so that my strokes gets smaller. There, that's my green. Remember to add strokes towards the outside such that it mimics the shape of the tree. Can you see that how I'm doing it? Some extensions towards the outside, and to remember to form the triangular shape. Even if your triangular shape has gone, but you know that you've got to make it a triangle from the top towards the bottom. Like see for me, I'm extending further more downwards than already what my pencil sketch is. Okay there. Now we need to add shadow effects, so for that obviously I will go with my indigo and I'm going to mix it into that green there and add lots of shadow bits. Remember, we need to add lots of snowy bits as well which we'll do in a while. First let's get the shadow. Most of the shadow they need to be towards the right side which is basically the center portion of the tree. These ones are like what is there towards the outside. Now I think my top part has actually started to dry out so I'll probably add in a little water. A lot of green in my brush but that's okay because anyways we're going to make it darker, there. Shall we now go ahead and paint the sky part and make it darker? The ideal color to use for that would be a neutral tint. The color I have in my mind is neutral tint from Shmincke. What do you see? It's not that like a grayish tone, but rather it's neutral and it's actually, you can get that by mixing maybe a bit of brown with violet I would say if I were to mix my brown and violet together. Yeah, that's the color, it's almost like that plus maybe a little bit of Payne's gray. That's the color that I'm looking for and this is what we're going to apply to the sky region. There, applying to the sky region and as you can see obviously when we apply this, our pencil sketch is going to go away and you might be wondering that why did we make that effort to put the pencil sketch? But trust me when this dries up, actually that pencil sketch is going to come forward, that is, you'll be able to see it so that's why you'll be able to add lights on the top. Let's go ahead and taking this color. This is a mixture of brown, violet, and black. Of course, I apologize for the light. I know that you can see the reflection there, but obviously, I'm shooting at night and this is already winter, and the sunsets here are at 03:45 so it's impossible for me to shoot in sunlight. I'm pretty sure that you guys are okay, you're fine with them. As long as you get to painting so I've washed off the paint because now as I come towards the bottom, I want to make it grow more brownish. Here, I'm taking my brown and I'm adding that also. Remember, I'm extending just right outside of the tree, coming downwards with my brown then we'll probably go in with some nice yellow ocher. I just want it to be lighter tones towards the bottom where it's ending because it's the night scene but then bottom part is not as dark as the top part. Here that's my yellow ocher added. Actually on my paper, I can see the lights that we have added with the pencil sketch. Make sure to make it darker towards the top. Nice and dark towards the top. Also make sure that your paper stays wet because there is literally something that we need to do right now and I'm pretty sure that you are going to kill me for this. Pick up a very small brush. There you go. I've picked up my size 2 brush here, and what we're going to do is we're going to add some white on the top. Here's my white paint, what I am going to do is I'm going to take a little bit of my white paint and I'm going to mix it with yellow. Or maybe you can mix it with yellow ocher, I think yellow ocher is a much better idea because then it's a little bit opaque and you won't lose the opaqueness of the white that we're trying to use. I think that's both the ideal color that I use. If you've got a Naples yellow from gosh beans. If you have that, then you can use that. I actually have it. I am refraining from using that because, this is designer squash Naples yellow, I'm not using it because I never mentioned it in the material section, so I thought we'll make that color. Why do we use it otherwise? Now what we're going to do is we're going to add in a lot of lights here and there and we're going to do it by [inaudible]. I'm doing for the tree first because we've painted the tree long back so I'm just going to drop in my color that I just mixed at random places. Just hope my tree hasn't dried off completely. It's dried in many places as you can see but maybe not that bad. But the sky is what we need to do very quick. First of all the ring that we made. Here you go, this is what I'm going to do I can see my ring on the paper. Make sure that you see during or maybe you do. I said that don't make the pencil sketch as dark. Maybe you can go ahead and make it dark. If at this stage, if you feel that this paint won't be seen. There's the light, I love it. Then that's the one going up with a bend. Now observe, the light as it goes further away increase the distance between the lights. Did you see what I just did? There should be one more, we're going to do the one that went up like that. The ones further away are closer together then as you come further off from that center point, we need to make it farther apart, [inaudible], very important. Again, let's do the next one so here, closer together, closer together then start building it ups, then increasing the distance. You see that? Then we need to add now towards the right. Honestly speaking, I'll tell you the truth, I'm not using pencil sketch because I have in my mind how those lights should be so I'm actually using that and I really apologize. Remember this lighting, it should go behind the tree, the tree is in the front. We cleaned before it dries up so that's why use a lot of water when you're painting that sky part so that it stays wet but also not too wet such that the whole thing starts spreading out. I disrupted the line that need a bit more yellow ocher. I'm adding the yellow color at first. As in the lights are making it yellowish slightly so that's why we added the yellow ocher. Then we had the pool the right so that was the pool located. I'll stop there maybe this can go extended. That's fine. Then this one coming towards the pool then the next one coming towards the pool there. Then we add one more pool there. I love it. I love how the way the lights have done that. Now you can go ahead and refine anything that you feel is wrong. Like for example I would like to make the shape of that center one a bit more stronger. Assuming there's a lot of lights on that's entering there. Any place where you feel that you know it's not light enough you can add more. I can't do anything for my tree right now because that's gone. There's another thing that I want to do that is to draw the lines. For that, I'm switching to my liner brush here and here using my liner brush. We take the same paint that we used, the same color, but we need it to be a very subtle line so that is why liner brush, it should be a very thin line. You're taking that, make sure that it doesn't have a lot of water because if it has a lot of water, the cool thing that you did for adding those lights is going to be missed again. Just using that thin part of the brush, we will draw the string where it's dashed. There. You've seen the final painting, so you know it doesn't end up like this. There you go. We'll add in the poles as well. For adding in the poles here, I'll go with my brown and I'm going to mix it in the same color there, but I will add toppings greener. Here, loading it up with Payne's gray so that it becomes such a dark color such as sepia. I don't want it to be completely grayish, so that's why I mixed a little bit of brown to it. There, and using that, let's add in the poles. There's one of the poles. Can you believe my paper is still wet, I love arches. This is the reason why, I always say this about arches. Can you see a little bit of spreading around? It's still wet, my God. This and another one, there but obviously we need to correct the bottom part of it. Here, I'll take my brush, I'll go with my bluish and paint and also maybe a little bit of the brown paint itself, and whoops, that was a lot of water. What did I just do? [LAUGHTER] That's okay. I know how to correct it. I'll just go around and absorb that part. What I want to do is, I want to make sure that the bottom part is blended in. What I'm doing is I'm taking a little bit of water and apply towards the base like that, then I'll absorb it. Here I apply water to that, and then I absorb it so that it looks faded into the background. Can you see all of that? It's faded into the background. Maybe I'll do that for more area of the lamppost because I don't want the whole thing to be seen. Now I know, so it's picked up color from the external region, but that's okay. I think it'll go off when we add this new and it will make all the lights and all. Now we're not done yet. I know my paper has dried, but I'm still going to give it a go. I'm just going to add in some splatters. I hope that this will be wet on wet splatters. I hope and I'm pretty sure it's not, but I guess in some areas here that are still wet, but maybe those regions will come to my rescue. Add it's nice note. I know that this looks like a whole bunch of mess right now. Don't worry. Now what we need to do is to make sure that we drive this up completely. Here you go. I have dried it up completely and you can see how it's turned out. I love the way that all of the snow plus the lights now look as though it's blended out, but you'll see in a while, why we did those things. I need my white paint again and we're going to mix that same color again. Here, taking a bit of my white and adding it there to that mixture. But I think this time I might use, maybe a yellow color into that mixture. I think that might be a great idea so that you get that bright yellowish tone for your light. Like I said, the ideal way to use at this moment, maybe it's a yellow gouache paint if you can mix that, the white. Mixing yellow gouache and white together, my God, that's going to be really ideal for this. Can you see how gorgeously light that shade is turning out to be. This color now, we're going to apply it. We need to be more whitish than yellowish, remember that always. That's why I am picking up more white from my mixture, my palette, and there. Now the point is to go ahead and add light points in the center of those regions that we did. That will make the wet-on-wet stroke that we did to look like the dispersing effect of the light. Isn't that beautiful? Make some nice round light strokes. I think on that center circle, you don't need to actually create a lot of gap. I think it has a lot of light cluster together and plus it's actually as good, but we've seen it as an ellipse, which means that definitely there's a lot of lights cluster together. But make sure here to retain the shape of the ellipse, which is actually what is more important. There, now for the lights. But again, the closer and further thing that you needed to add. Here, perspective is always important. Can you see how beautiful it's turning out to be? These ones have faded slightly, but actually I'm okay with it, because it's the one that goes further off, isn't it? Maybe that was a happy mistake. Make sure to cover all of the lights. There, added all of the light. Now we need to go and add in that string again properly. The string also has some light effect to it, which is why we added that with the wet-on-wet affected first. Here, going back with my liner, loading it up, and it needs to be really thin, and I'm going to slightly bend my paper because that's where I'm comfortable to. Also, remember, you don't have to complete the lines. It's okay if in some of the places you don't add, because your brain is going to complete it for you. I think these ones, especially I might add a bit more because whatever I added in the background is gone. Keep. There was one here. I actually didn't add any lights to it. I'll do that with my liner itself. That's why I felt like there's a gap there. What went wrong? I really love it. I love the way it's done that, so I need to add lights for this Christmas ones as well and I'm just going to do it with my liner itself. In fact, I was just thinking for the Christmas ones, how about we add like Christmas decor on the top, like lights on the top so something of this sort. Here what I'm doing is I'm doing a curve and then I add some blobs here and there. It doesn't need to be detailed. That's the thing, isn't it? Remember, don't make a curve. Always as you come towards the bottom, it needs to have more curves. See, more curves. Where the curves are, you can add lights there in between. I love it. Now, we added a lot of lights, but remember, there always needs to be some shadows. For adding those shadows, even with the strings, there needs to be shadows, so adding those shadows means we need to add darker colors. Here I'm loading up my brush with my dark tarn and, you know those gaps that we made, in some of those gaps, go ahead and fill with brown. The joint, I know that I said that the brain will fill it, leave some of them intact, not intact, but leave some of them as blank itself. But some of them go ahead and add in brown strokes on the top. I think you can add it onto the top of the yellow itself. Doesn't matter. But it's just the effect of shadow in some of the areas. Yeah. I think that's enough. See, I've added in just some of the areas. Can you see? For example just look at this one. This depicts more light areas and shadow areas as well. Now, before we add in the snow, there is one thing. Remember the shadow of the balls. I know it's a night scene, so definitely we need to add some shadow for the balls, but we can't add it in a wet on dry method. What I'm going to do is, I'm going to apply some water there towards that region. Just re-apply a bit of water to my paper so I know that if I apply too much, then I'm going to disturb the paints and you can see a line where I've applied the water. That's where I'll use my clothe to absorb towards the bottom. Then we can add in the shadows. Since the light is at the top, then the shadow needs to be towards the bottom. It doesn't even need to be in any even manner a bit and then we can have lots of drops of brown and things on the snow as well. Use your hands. Enhance the painting with little blobs here and there. Maybe it's some rocks. I'm just saying, the snow area doesn't need to be perfect. See, added some tarn spots, so maybe some extra brown spots towards the bottom. Because nothing is perfect. Maybe the areas where you know the snow has started to go of or something like that. Then I'm just going to go ahead and add some more decoration onto my tree. For that, I'll pick up a little bit of cadmium red and maybe add some Christmas bubbles at some places. It's good to have some color onto the tree, isn't it? That's why. Just a little bit of red Christmas bubbles at certain places. I like that. Now let's get back to adding the snow bit. Here is my white bead and first of all, we need to add the snow to the tree. Load your brush nicely with the white paint and start adding it onto the tree in lots of places where the snow can actually settle in. See if I had a lot of time and I was making this meeting in detail, then obviously I would have added the snow along with the wet-on-wet and added a lot more effects onto this. But since that work is outside the scope of this class, so that's why I'm not doing it. But you can see how I've added the nice snowy effects. Add some nice snow bits to the tree. Next we'll go with the splatters. A lot of splatters, we need literally like a lot of splatters to make it snowy day. There you go, it's snowing and we've added the tree, the splatters. In my head, it doesn't feel right without the shadow on the tree so I'm just going to pick up a little bit of lavender and add it. It's just that my mind wouldn't agree to the fact that there is no shadow for these white that we just added so what you can do is just pick up a little bit of lavender and add it to the base. If you don't have lavender, you can mix your white with violet and you'll get it. I think now I'm happy. I added a bit of extra lavender there, so I need to add white now. Now I'm happy actually. We're done. Let's go ahead and sign the painting there, so I guess we only added the splatters, but yeah, this end is still wet so I'll dry it up so that we can remove the tape. Here you go. Let's remove the tape and here is the finished painting. I hope you like it and thank you for joining me today. 43. Day 20 Colour Palette: Welcome to Day 20. This is the painting that we are going to do today. The colors we need today are Indanthrene blue, indigo, ultramarine blue, and some white gouache. That's just very minimal number of colors. Anyways, for the Indanthrene blue, that's PB 60, the pigment number. But if you don't have Indanthrene blue, you can simply mix your Prussian blue with indigo and you'll get that color. But make sure that you don't mix it with a lot of indigo such that when you add in the indigo, they all look similar. That's why adjust your mixes accordingly. 44. Day 20 - The Snowflake: Let us start. Today's one is quite easy as you might have seen. But I found friends pictures of snowflakes and I really loved it. I wanted to include that as part of this class. Since I'm shooting after a long time anyways. I really thought it'll be a good idea to include some snowflakes. There is no pencil sketch, we'll just go ahead and dive in straight away. I'm going to apply my water onto the whole of the paper. Take your time and apply the water evenly multiple times. I guess, there isn't much wet met to do. But then you know me. I like to make sure that my paper is nice and wet. Here you go. I've applied the water and I'm going to be starting with my flat brush today. This is a half-inch flat brush. Using this, I'm going to start. I'm going to start with the blue tones. Here, this one is indanthrene blue, so it's a very dense, dark blue color. But if you don't have this color, you can actually mix, I guess, Prussian blue with a bit of indigo. We'll be using indigo on the top. When you're mixing, make sure that you adjust the mixings of both those colors. Here see the beautiful, gorgeous color that I'm applying onto my paper. Since I'm using my flat brush, I'm just going ahead and going and applying in various strokes. I don't like to apply whole flat washes because it just looks flat. That's the problem. It's good when you're making aesthetic stuff, but that's not the case. I'm not that person who would just put random not random, but make such flat stuff. As you come towards the bottom, I want to create an uneven surface. This uneven surface is where the snow is on the ground. Mind you, this snowflake that we are adding actually is a snowflake that's actually very taken with a camera, that's got a high level of magnification. Otherwise you won't see that snowflake as magnified like that. I hope you understand that. The snow bar that we see will also be as crystallized as possible. Here I'm taking my indanthrene blue. I'm taking directly and applying onto my paper. As you can see, adding in various directions, various strokes. Make sure that you apply nicely. Nice directions, and cover the edges nicely. Taking dense pigment. I've put the indanthrene blue. Now we need to go into the next dark color, we use indigo. We don't want to be adding indigo all over the place, just in some places so that you depict that depth or dark areas in your painting. Load up your brush nicely with indigo and start adding. Here, for example, I've taken up my indigo and see just random. These are not clouds obviously. It's just, I don't know, random stuff in the background. I want to bring a lot of indigo here. Main reason is because that's one place where we're going to add in the snowflake. The background part of it, if it's nice and dark enough, it'll be really nice. Don't make it a tree shape or anything, just fit in. Maybe I think I'll go back to my indanthrene blue a bit. Keep that mixture if you've been mixing this dark blue. Here is my indanthrene blue and let me mix it up. I know that my paper is really wet, as in the top portion is going to stay wet because I've already applied paint to it, but I don't want that bottom portion to dry out. Before it dries out, I'll try and paint the snow part. I'm just basically taking the ultramarine blue. That's a very dark pigment. I've washed my brush and here I'll lighten up my strokes. Just lighten up my stroke. As in, I'll just lift off some colors and see just randomly put in a lot of colors. You can add random dark details as well. What did I pick up? I think I touched the orange slightly while I was picking the ultramarine. It's got a bit of orange there. Can you see that? Oops. [LAUGHTER] Yeah, I like that now. Let's get back to the blues that we were adding. Basically here's the indanthrene blue. Just going to add a bit more to some areas where when I look I can see that it looks a bit whitish as in because when it dries, watercolors dry one shade lighter. I don't want it to go really light. That's the reason why I'm picking up more color and just adding in random places. I think this is going to be the quickest painting [LAUGHTER] in this class, come to think some of them which were longer. But obviously when there's elements that you need to paint, strict element that has a definite shape, then it takes time. That's the problem. Maybe going for a snowflake for this one was really good, isn't it? We're done with the background. The next easy part is to add in a lot of snow. Basically, I'm just going to take my Size 4 brush, load up a lot of white paint onto my brush. Wash paint has dried up. I probably need to go around a lot on the top so that I can loosen it up and pick up the paint. You can see here. I need it to be nice and watery, giving enough splashes. I guess that should be alright. Now I'm going to add in the splatters. I love the splatter. See, I think I'll refrain from adding to this large blob of indigo, but I'll try and put it into the other places. This is just amazing. I just love wet on wet splatters. It's like [LAUGHTER] my thing, I really like it. I think I'll add a bit of these wet on wet splatters towards the bottom as well. Before the whole thing dries up, I want to add in some blooms as well. Maybe I'll stick my water and start adding. Oops, I dropped a large drop of water there. I don't want that because I don't want to bloom there, so I just use my brush and I absorb that water there. This is how you can correct your mistakes if you do any. Let me take my water and I've added. I hope it turns out well. Yeah, I can actually see, so these ones are the blooms. These ones are the white ones. Yeah, I like it. You know what, I feel we should add some additional texture also. Maybe what I'll do is, what I'm going to do is I'm going to pick up my ultramarine blue, and I'm just going to go over here towards the left side. I know we painted with some slashes of white there. See that's blended out. But then I have something else we can do. Let me just soften it up because my paper had actually dried up. The paint that I just added would leave a harsh edge which I don't want. Done with that. Now, the salt. Obviously, how would a Christmas class go without some salt technique? Here just adding a bit of salt on the top. I just hope it turns out fine and that the paper hasn't dried. I'm going to add a little bit towards this left side as well. Those area has now both, not both, splatters wet on wet water splash and some salt techniques as well. Let's see how this turns out after drying. Obviously because we've added the salt, we need to wait for it to act upon and create those slashes. But while that happens, we can go ahead and add some things. Here I'm going to use my liner brush and my white paint. I'm going to load it up nicely with white paint. We don't want the paint to be watery, just loose. Then we're going to add snowflakes. Make sure I just hope my paper is too wet, no, it's not wet here, but I started out so I have to go on. That's a pity, okay anyways. Just added a snowflake shape, but I'd like to know. What I'm going to do is, I've made the shapes so I'm just going to absorb in a little bit from the bottom part there. See, it's only a little bit and I guess we can add another one to here as well. I did some nice ones today and let me observe that as well. What you can do is just add some crisscross shapes. We're just trying to depict the crystallized part of the snow. That's why we're doing this. Well the ends of the snow part is crystallized. I think that's enough. All the edges doesn't need to be crystallized I guess, the start bar does enough. I just really hope this salt works out, I had actually added it very late and I had to reapply water. Also I've used ultramarine blue which has its own granulation. I'm not sure if it will work, but I'm all right because we already have such beautiful things on the paper. Let's wait for this to dry up. Here it's completely dried out. Well you love how this side has turned out, see all those splatters. There's the salt effect. Actually, you know what? If you need to get those large crystal shapes with salt, you need actually large crystals. The salt that I'm actually using is very fine so it means it's going to create very fine areas. I guess that's a drawback, but if you do have large salt crystals, then go ahead and use it, that's going to create larger areas. Let me show this to you up close too. Can you see these are all very small? This actually looks like the granulation of ultramarine itself. But if you had larger crystals, this plastic granulation of ultramarine would have looked really beautiful. Let me just clear up the salt from my paper. There you go. Now we'll go ahead and add that large crystal. Here I'm starting with my size 4 brush and we actually need a lot of white paint, but we need it in a watery mixture. Here, I've dropped in a lot of water, you can see the water flowing. We need the watery mixture in blind, we need it to be in a lighter tone. Don't put that entire water into it. When there's water, it means there is less pigment. Here, I've gotten rid of the excess water and I'm going to add basically. Add large crystal is going to be here, that's where we added that dark spot. Let's start it from here and we're going to create some unique shape. I'll explain how it is actually. It is basically a cross itself. Add broken lines if you need to depict the cross because there is a reason for it, then another one like that, and another one that is towards that side. That's the shape. Now, if I were to add in the details. You can see because I've added with the light stroke, you can see it's very light on top of the indigo. Now, let's start making these random shapes, and especially on this side also. I'm just trying to focus really closer to a crystal, that's what basically I'm trying to do. As you reach towards that side, try adding little shapes like that. This is basically the shape of the crystal. You'll see it forming, so just understand what that is and then you can have a pause at the end. I'll show it up close and then you can sketch out the same on your paper because there is no sketching, we're doing this directly with the pencil. Because you can understand that if we had added a sketch, the dark indigo would have just taken it off, so there was no point adding that. Then here again and here I guess I just make it some dark crystals and to this area. Obviously it continues onto this side and one to the top. Oops, oops. See, I just picked up paint and there was lot on my brush. This is why I said you should actually loosen out your brush and release the excess water, otherwise, this is what you can end up with, these kind of problems. You see what I've created now? It's like a star shape but in the crystallized form. This was using a lighter stroke. Now, we need to add in little details here and there. Again, release excess water, make sure you always do that. Obviously, I'll definitely show you the final sketch at the end. I guess I'll make one edge dense and here maybe a line through the center, and nice and crystallized along this edge. Not all edges are going to be so soft. Some of them are going to have crystallized areas. This side. I like how that one has turned out. Maybe more dense paint now. Not taking the watery bit, but taking dense paint so that the white that we add now will pop out. Also because you're adding multiple times on the top, it will definitely pop out. Let me add it to the edge like that. This side a bit more, I guess. I think that's enough, I can see how this is already looking really nice, isn't it? But I just need to refine the center portion, it needs to look like a crystal. Now, that is much better. Can you believe we're almost done? This is probably the quickest in this class, isn't it? But don't forget, splatters. The gorgeous, beautiful lots splatters, the wet on dry splatters on the top, which needs to go over. But let's not add too much and get carried away. I think this is enough because if we add too much, then the beautiful effects that we tried to create will go off. We're done so we can go ahead and sign the painting. Here you go. I'm going to sign the painting. Now let's remove the tape. Here you go. Isn't it looking gorgeous? Thank you for joining me today. 45. Day 21 Colour Palette: Welcome to Day 21, and this is the painting that we are going to do today. So the colors we need today are Indian gold, orange, transparent brown or burnt umber, violet, Payne's gray, lavender, and white gouache. If you don't have Indian gold, you can mix it up using Indian yellow, orange, and a bit of brown. Obviously, it won't be as perfect as the Indian gold color, but this is an alternative that you can use. Or you can go ahead with a yellow glow for the tree as well, rather than the Indian gold glow that I've tried to create here, okay? 46. Day 21 - The Christmas Tree: Let us start. We'll sketch out the tree first. I guess the tree, let's make it symmetrical, so I'm just going to mark the center point and draw a line towards the bottom, which will make it easy for me to make it symmetrical. Here, if my tree is starting there and goes all the way towards the bottom, and that's where it ends. Obviously, I don't make it like a perfect triangle. That is the shape of our tree. Now, I'll refine it and add the branches and stuff. There, that's our pencil sketch, very simple, isn't it? There you go. Now let's go ahead and paint this whole thing. For that, we are going to apply water onto the whole of our paper. Don't bother the tree right now, it's okay that we are going to paint the whole thing together. Apply water evenly to the whole of the paper. Take your time to do that. I've applied the water, so we're going to start with a nice Indian gold color. Here's the Indian gold and we're going to apply it onto our tree. Start right at the top, but make sure that the strokes towards the ends of your tree are continuous. Don't stop midway and I'll show you why not to stop midway. See, the place where you stop, it is going to spread out, so towards the edges, don't stop, just go and create that continuous line of stroke. You can stop somewhere in the inside part but not towards the outside. Or another way to paint it is to take all your paint from the outside and go towards the inside of the tree. That's another way to do it. For example here, coming in, like that. You can do that obviously. Painting all of the areas of the tree, and I'm using Indian gold color. The area of the tree is done so now let's go ahead and add the area surrounding. Here, I'm starting with some orange, and I'm going to just place a little bit of orange to this area, then let's go ahead and use our main color. Our main color is going to be a color that's mixed by mixing, transparent brown, violet and Payne's gray together. It creates a neutral tint color, so if you have the neutral tint from [inaudible] then go ahead and use it. That is my go-to color that I'm trying to make here. I'm trying to stick to these palette hence not taking that. I have that neutral tint [inaudible] but I'm not using that because I promised I'd stay with just these colors in these palette, so that is why. You can see my paper is starting to dry out but if I make my strokes continuous, then I should be able to create a perfect blend. I haven't mixed enough paint, so just going to mix it up as quick as possible and onto my orange as well, my orange is just going to blend out, but I'm trying to create a night scene here. You can see that. Make sure that the paints that you're using are nice and almost in a very creamy consistency because if it's not in a creamy consistency, you're going to paint onto your tree also, which we do not want. Onto your tree now, you're going to go around it. That would be like the negative painting method. We just painted the inside part, but now we're going to do it on the outside areas. Any of the areas where the Indian gold has seeped out, now is the time to go ahead, and it goes away. See, I'm using my brown mixture to go and take it away from the outside. A lot of my Indian gold had actually seeped out. Just going to blend on top of my orange there. What I'll probably do is I've taken a little bit of orange and mixed to one edge here so that I get the color that is actually obtained by mixing that. My point of adding orange there was just to get that background touch of orange, so with actually mixing orange to the same mixture, I should be able to get that. Stop somewhere there because we need to add snow at the bottom. Here, coming towards the bottom, blending my orange in and that's where I should stop. Now, we need to add depth. I see a lot of light. It's really still light, as in, when it dries up, it's going to be lighter so I'm just mixing that same color again so that it can go over the top and make the edges and those areas dark. Make sure that you're using nice wet-on-wet technique. Your paper needs to have that proper blend so that's why I always say make sure that you apply the water nicely and even if your paper has started to dry out, you should be able to know by now how to adjust that and that is the key thing to applying the best wet-on-wet stroke. Here, I can see that my paper has dried out in all of these areas, but the more pain I apply on top of it and then I make sure that the previous stroke that I applied and the next stroke that I apply are continuous so that I'm able to make my strokes match together, forming the wet-on-wet technique perfectly. See, can you know? Even see any difference? Because of the light that I'm using in my studio, you can actually see how my strokes are going. Let me do that orange and I'll probably blend in in these areas. Add mixture. Does it look like fire at the back? My gosh. I didn't intend it to be that so maybe I'll change it a little bit because these two ends looks like it's a fire there. Let me just use that. Taking my brown, violet, and my gorgeous Payne's gray. Let me get rid of that. Probably if I add in more there towards that side, then it should be fine. Mixing up that part. I only want that a little bit of orange glow there at the back. Now that's much better. It doesn't look like a fire. Later on I felt that it was looking like a fire. I know that my bottom part has dried, but I need to add snow. What I'll do is I'll tilt my paper so that I can add some water towards the bottom. Here, I've dotted my paper. I still have traces of that brown on my brush. That's okay. Anyways, I've dotted my paper. Now, I'll go ahead and add some violet paint. It's a night scene, so and we've got a lot of yellow glow on our paper, which means that the complimentary color is what we should use for the snow. Remember that. Here, using my violet for creating the snow effects. Starting from the very top, we'll be using violet. I just picked up a little amount of violet and see how dense that color is. My God. Now, I guess I'll add in a little bit of depth, so I've taken more violet, but now I'll go over the top and create that depth of effect. Maybe a bit more and make it more darker towards the bottom. What do you see? I hope it doesn't look like a whole strokes. Just properly blend that in, in case it looks weird. That's much better. Now we'll start adding details onto the tree. For that, I'm switching to my size 2 brush. I am going to mix up my orange. This is my transparent orange and my transparent brown together, so that'll give me a burnt sienna color, but burnt sienna is not that really transparent, that is the reason why I mix these two together always. I'm just going to use that to create some tree effects and some strokes onto my tree. The branch effect basically, the leaves of the boundary kind. Only not in all the areas. Leave lots of gaps and it's absolutely fine. You'll observe that because we hadn't dried our paper, some of your strokes are going to be wet-on-dry, some of it is going to be wet-on-wet. Honestly, don't bother. Let it turn out the way it wants to. Can you see here I've got a large globe of green and it's spreading. That's absolutely fine. I'm letting it do that. Need a large globe there. I actually just took the brown from here itself. There's a lot of brown and I don't mind that it's not pure brown. See, that's the thing when you start a painting, you start to ignore the fact that a lot of things about color when you want to achieve certain effects. Don't come towards the bottom, because I have other plants for the bottom part. I think I'll take a little bit more of the brown now and mix it into that to make some darker strokes, especially towards the bottom there. Towards the bottom, I guess I'll add in some more darker strokes. Also maybe we'll take this and start adding at random places. Some dark effect, that's it. Now, I'll probably go straight in with my brown itself. Here's my brown. Now we're going to refine and start adding a lot of small, small details. Like here, we'll start adding some branches. We don't need to add in a lot of branch because it's meant to be nice and glowing, and covered in a lot of snow. We only need to add few lines here and there, only a few lines here. That's why I'm using my brown and just making some random strokes here and there. Try and see if you can make more random strokes towards the outside. That marks the end of where the tree is supposed to be. Like here, you can see this is the end of the tree is supposed to be here. You can see your pencil sketch from beneath. Here you go. It's adding a lot of teeny tiny details, especially towards the end like I said, again, we're trying to create the edge of the tree. Maybe a teeny-tiny edges to the bottom part. I think we'll add more when the whole thing is actually dried up. I guess I'm too late to add the white paint actually because my paper has dried up. But I'm still going to give it a try because I can see some area here that's actually still wet so maybe a little there and little to these areas. Not bad it's still spreading. See, it's still spreading in these areas, good. Thank God. Now we will wait for this to dry out so that we can add in the details on the top. Here you go. It's completely dried out. But guess what? Those white spot that they had it they really faded away and I guess it's because it wasn't a very dark background. I didn't think of that. I should have used more dense paint. That's okay. But I guess it's really nice. It's like very subtle splatters or something. It's like very much faded, isn't it? Now let's go ahead and add this nobody does on the top. For that, Here's what we're going to do. You need two brushes. I don't mind about the size, but I guess what I would suggest is of the two brushes that you're going to be using. The larger size, use it for the lavender and the smallest size for the white. I'm using a size 4 and a size 2 here. The size 4 I'll be using for lavender and the size 2 I'll be using for the white paint. Let me have both of the colors side-by-side, because we need to be doing something of that sort. Here, this is my size 4 and I'm going to load it up with lavender there. That's my lavender paint and my white I'm going to be loading it up on the size 2 brush. There, I've got both things ready. Now we start. That's my lavender and I'm going to add like snow elements on the top. Will be going to cover many areas of the tree with snow. Especially a lot towards the edges on the top of the leaves. But those areas that we're covering with lavender, the shadow, isn't it? I need to add properly some snows and I want them to little bit blend together so that's why I'll take a little bit of white as well. Let me show that to closely what is actually happening here. Here, when I add a little bit of white on the top, can you see it blends with the lavender and creates like a gorgeous mixture of color. Can you see that and that's what I want to create. This is the reason why I said, have both brushes ready in your hand. Do few strokes then go back quickly because otherwise your lavender is going to dry out. Here added few lavender strokes with my white. I don't want a dense white just a little over the top so that it's there. These lavender once you can add a lot of it. I was just going to pick up lavender from there from my white pen. That would have been [inaudible]. Back to white. Can you see how gorgeous it's standing out? I love it? Go ahead, sit and enjoy this phase of mixing those two colors using the two brushes on the top. I'm honestly enjoying. I hope you are as well. It's the lowest painting. As you might notice and not adding like you strictly on the top of every inch. I skip areas like for example if you look at this one here, I had a large blob of lavender, but I only applied to little bits and you can see how that paints actually mixed up, isn't it? It looks nice as an advantage mixed up in some random manner. That's why I don't bother as to how am I actually adding in my white. I just randomly go in and put in some white blobs here and there. Make sure you do that as well because it looks beautiful when it doesn't have a strict uniformity in the way that you're applying, for example see this large blob here and I'm just going to see, I've touched my white paints at some random places, that's it. I let the paint do its job of mixing here and there. Don't you think that's nice that you let the paint do the magic. Here we are approaching towards the bottom. At the bottom here, make sure that you leave like a little bit of that yellow Indian gold to be seen. Because I wanted it to show that it's having a little bit of glow towards the bottom, but it needs to have a lot of snowy element as well so make sure you add in a lot of lavender than what you did at the top areas. Pick my white quickly. Yeah, there. Oh, I love the way this tree has actually turned out. I keep forgetting that I shouldn't say, I love the painting. I remind myself for a reason I shouldn't say that. But then I end up saying that. Now, I guess I'm just going to add some darker shadows as well. For that here, I'll take my violet paint. Again help with the darker shadows, but I don't need it to be in a lot of places. That's why I'll just pop it up and add in some areas to the edge of some of the lavender. It can mix on its own with the lavender, with the white, and create gorgeous shades and shapes of its own. But it'll be nice to have varying levels of shadow effect. If you don't stay and keep at a single color of shadow. It's always best to have multiple colors of shadow when you're painting. Yeah, I think that's enough and I love the way it's turned out. Now what we'll do is we need to go add lots of twinkles and then we'll be almost done. I think it's only left to add in the twinkles on the snow, which means you only need the white paint now. I guess I can move this palette out of the way and just focus on the white paint. Here I'm loading my brush with white paint, will add the first larger twinkle here, which is going to be the star on the top. That'll be like larger thing on the top. You need it to be pointed remember. Here, extending. I need to create a halo effect in the center. What do I do? This is just literally trying out guys. I'm not sure if this is going to work. I've made a circle there at the center. Then what I'm going to do is I'm going to absorb that. What happened? The stars faded, then now if I add the same thing on the top, but I just need to make sure that I follow the line. So hard to do that. Yeah, not bad. I think I have that halo in that center. Yeah, not bad. I'm using my size 2 brush and I'm not that happy. I think I'll switch to my liner at this point because for these things, the liner is actually what is the best for creating thin strokes. I always use to create stars with my liner because it creates an end. I'll just show you what I mean. There's lot of water, let me absorb extra water. Here, if I do something like this and lift off the edge of it, the pointed edge of it is really pointed. It's actually much better. Here I will add some twinkle there. I'm going to add these twinkles in and out of places. You can make them large or smaller, doesn't matter. But make sure you add them in a lot of places. If you're worried that your lavender might spread out, you can dry your painting. But actually we're only adding those twinkle areas in the areas where it's not covered by snow. Then it shouldn't be a problem. Don't touch those areas where you have your lavender. Are twinkle been seen? Yeah. I guess when we add in a lot of it will be seen. I just told people don't confuse it with snow. The best way to add these twinkles would be to actually add in with a halo like I think we did in Day 17 where we made the Christmas tree, and we added a halo using yellow at first and then adding the white ones. But I'm too lazy today to do that. Honestly, I am, and I'm really sorry. But maybe I should have done that because I'm actually having fun adding these white ones. I mean, what difference would it have made just adding some more first with yellow, that's it. The honest answer is actually, I didn't think of it at first, and now it's too late. [LAUGHTER] Where else am I missing those twinkles? Here. We've got a lot of twinkles in and I guess we can finish off by adding a lot of snow. Obviously, for adding the snow, we can go ahead and use a larger size brush and load up the paint and start adding splatters. Here we go. I've added the splatters and everything. So I guess it's safe to go ahead and sign the painting now and done. That's the last of the paintings done. Let's remove the tape. I just hope everything is clear. I do see some white there, so maybe I'll just dry this up. That would be much safer for us to do. Let's remove the tape. Here you go. Here's the final painting. I hope you like it and thank you for joining me today and if you've joined me for all the days, thank you. 47. Thank You!: Dear all, thank you for joining me for all of these days. If you have been painting all the 21 days along with me, thank you from the bottom of my heart. Even if you haven't and you've just joined here for some of the projects, still thank you so much for being so supportive and joining my Skillshare classes. Let's have a look at all the 21 paintings that we did during this class. Here you go, starting from Day 1. Once again, thank you for joining me in this class. Don't forget to upload your projects to the resources section here in Skillshare. I will be personally reviewing each of the projects in this class. Thank you all for joining me today and wish you a Merry Christmas and a Happy New Year.