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 tow