Colors of Autumn - Around the World

1. Introduction Colors of Autumn: Season of the year between summer and winter, when the temperature starts decreasing, knight starts becoming longer days cuz shorter. And nature starts changing the colors. We know how to pass, right? Hey guys, I'm down with an artist instructor, a mother, a Skillshare teacher, business owner, or 500 fossils from Kolkata, India. Mapping parcels manufacturers have made products like artist grade, watercolor, sketchbooks, brush roles, can washi tape. Many of you who are joining me for the first time I go by the name watercolor illustration, that letter on Instagram, most of my heart books are displayed over there. Over the next seven days, we will be traveling to seven different places around the world. Each of these mini painting essence at bite-sized so that it can fit into your regular show. You. All the lessons are almost of equal difficulty level. Therefore, you can choose Kennedy has your day to celebrate the autumn season hand. They are perfect to be sent out as gift cards to your near and dear ones. We will start by discussing all the materials, colors, pigments, and its properties. A few basic rules of perspective and drawing, which will in turn help us to get our framework correctly for all our current and future paintings. Let's find that cozy corner of our house where an oversized sweatshirt, get a cup of coffee, light up a candle, grab your supplies. And let's start with our first lesson. 2. Materials Required: Guys, let's discuss everything that we need for completing the painting. The first is the paper. The paper which you see is really thin. You can see how it is as well as you can see backside to know exactly it is the cold press paper. It is 200 GSM cold press paper from Fabriano artistic or a 100% cotton. That is what I do like to use for all my smaller paintings. It is quick, easy to dry off. And that's one of the reasons I have been using this paper, not only fought this autumn series, but also another class of mine which is around the world and 80 days or travels get series, where you'll get to see these kinds of paintings only around the one. We have done about eight paintings on this. The last one is a bonus lesson. We are going ahead with for really small size paper, if you absorbed. It, is, I will just show you exactly what's the number. It's around 12 centimeter, 12.2 that I have taken. This side is again R-square, which is also an output 0.2. You can even go ahead with 12 centimeter if you want or 13 centimeter, whatever suits you, it's absolutely fine. They are very small paintings, so it will not make a lot of difference. I am keeping an acrylic sheet for myself. Now the second Alex sheet is very good when I want to actually go ahead and tear down my paper on this, I'm using mellow tape from my own brand that is fibrin parcels. So this is a very beautiful deep that can actually hold the paper very well. It's so washi tape to the sides of the song sheet that we have. Now, if you are also going ahead with any kind of a board of your own, That's also great, but try to use washi tapes rather than using only the carpenter washi tapes because these are quite easy to remove as well as they will never tear off the paper. I'm using a very simple ceramic palette for my paintings. You can also go ahead with any other ceramic palette that is available with you. Let's discuss all the pen. I need a black pen for doing these kinds of maps, for white pen for adding these kinds of marks. So I'm using a unique pen fine line 0.3 and a uni-ball signal 0.7 are really small scale that I've kept for myself. Now, this is really easy to measure and draw lines on a smaller size sheets like this. That's one of the reasons I have kept to scale. One is the standard scale where you get 15 centimeter. And this is another scale where only about four centimeters is around five centimeters. So that's how we go about it. I'm using my geographic, my graph gear, thousand Enter and 0.5. So I have been using this very often in many of my other job painting strand, it's, it's amazing. I mean, once you start using it, you will get to understand the best passes. The whole lid goes inside though. And therefore, you can practically protect your leads or the graphite whenever you are traveling or whenever you are taking it anywhere with you. A small monograph. Again, eraser, this is one or 0. This really helps me to take off extra maps from smallest pieces, like I have drawn a single line over here. I can pick it out very easily when these are smaller paintings, then that really helps. Okay, these are the three main brushes that we are going to use. That is size two. Then size hate is caught up. And this is the line of one brush from Princeton, Aqua light. I'm also going to use this optimal size six. Brush and hit is beautiful cat down brush. You can use it. For many of your other paintings. You will see how beautifully he had these kind of bigger dots onto the painting without doing much that for that I've kept it, but if you do not have this, it's fine to go ahead with size two brush or size four brush for creating these kinds of marks. Using Ph Martin's bleed proof for all the whites that you see on the painting, the bigger weights that you see on the painting. I'm keeping only one jar of water for myself over here. Because once you are done with one painting, the jar becomes darker or everything goes dark. And then now you need to change the water. So precisely there is no need for two jars of water as we are not going ahead, but absolute white colors. Or you really do not need to take off the first supply of water. Given the fact the size of the paintings are so small, we are doing a delete SM, which means that you do not need to change. So water again and again, when you are painting with me and do keep a few tissues handy for yourself. 3. Color, pigment & properties: Hi guys. So let me discuss all the colors that you need for completing the painting. The first is my permanent yellow light. The second is my permanent yellow deep. Now the permanent yellow light, of course, is from CDC. So there are a lot of colors which are from series a, B, C, D. And depending on the series, you usually get the prices of these column. I would like to tell you even about the pigment, the fastest E14 for a permanent yellow deep, it is series B, and this case BY 65 that they have used in this particular color. So P y means permanent yellow light. You can say PYY denotes yellow. And then BY 154, again, Y denotes yellow. Now, then we are going to bond CNR. It is again Series C, and it has a lot of color combination. If you see it's PBR, which is 25, and then ASP RPR means read a 112 and E15 T, which means that it has even yellow in it. I always say that my Brown has an underlying red in it as well as a bit of yellow, which makes it look really beautiful and nice. You have to look at the color combinations that you say are the pigment combination, I would say to be more precise on these tubes that you get for yourself. The next is my Permanent red. You can use permanent red. This is a pretty easy color that is available anywhere. And it is again from Series C, it is a PER 112 that who get then is your permanent Van **** brown or any dark shade of brown? I'm using the Nike brand new and even makes Qing legal width. You are born CNR to get this color. It is PBR seven. Again, it is your single pigment. And this is greenish yellow. Greenish yellow is from Series C. It has fought lot of pigments. And at PGY1 Fifi, that is yellow, peachy. Thirty-six directors, you are green. And then p y, that is your pigment, yellow, again, 65. They have a mix of all of that put together. Olive green. Olive green is PG 36 BY E15 TPR 112. Surrealism. Surrealism Blue has, again BB, 15 is 23. This is basically a pure color shade of blue, made out of Paleocene in blue. Okay, Now this indigo, indigo, again, is a very beautiful shape that you get from mom. This Magellan Mission Gold. This is particularly from the Series B. You can also have from CEC. They have a lot of their particular ones. Like one particular color in many seeds is like burnt sienna. You'll get CAN series K, B as well as I think C. So this particular one burnt sienna, is from Series C, whereas I even had the other ones here now from CBC, which is not so vibrant and series C. And depending on the quality of pigments or the mix that they use, I think the prices also changes accordingly. So Syriza is cheapest. Series B is a bit higher compared to series. Cdc is again with higher compared to Series B. Series D is highest, I think according to the all a, b, c that is available. That's how the whole of these go together. So this is Pb 29, P B27, PB K7. They even have black in it, that is CBK, you can see, and this is seven. Over here. What you can always go ahead and check is the light fastness, how transparent it is. So it shows that it's semi-transparent and it's non staining. Non, non staining means you can actually remove the shade from the paper very easily. Whereas if you have more steaming nest like this, a bit semi-stable. Now semi steaming means that you will have the marks on the people and removing the color will not be so easy compared to if you have non staining color. So these are a few properties that you should always check while you are buying your colors. If it is transparent, it's always great to use the shape. The white of the paper will show up and they will practically reflect the color that you see on the paper. Whereas if it is opaque, now, there are many shades. That's one of the reasons I just do all of these that we are using are transparent. But there are a few sheets. This is semi-transparent. Then semi-transparent means that we will not be reflecting to the extent or it will not be seen so much see-through on the white paper. When we apply it on the paper, there will be some amount of orange color that will remain on. The white will not be shown so properly compared to if it is completely transparent. So these 45 properties, I think it's very important when you are going ahead and purchasing the shades. For me. These are the go-to sheets from Magellan mission world for our fall series. That is the bottom series. We will be painting all of them within these shapes. Now, if we are going ahead with any darker shade, you can always make some amount of blue into your olive green for a taco. I would say green that you need if you want the Nike Brown, of course, you can go ahead and always make some amount of indigo in your Muncie and get shade that is closer to the one which I'm using. Hence, these kind of mixing of colors can always be done and you can get at the best shade. 4. Perspective & Drawing: Hi guys. So before we start with the class, I would like to introduce to a few concepts on perspective. And let's just go to each one of them a bit in detail. The first one is one-point perspective. Go ahead and draw a small block. And I will just place my horizontal horizon line over here. Here's my horizon line is here. This t is kind of a building or a cue that I'm making, then all of these points will move to one single. Therefore, you have to adjust this line in a way that it needs to 1, which is my vanishing point. And again, you can connect these lines like this. You can very well see that we have a cube and we have our vanishing point. First, you need to mark your horizon lines. So I am marking my horizon line over here. And then this is my vanishing point. And accordingly, I can draw this q, this is a building that I want to draw. The next is, if I have o vanishing point within the scale. Suppose this is my paper and I need to figure out oh, vanishing point and then draw buildings accordingly. So let me just define a horizon line over here. Defining a vanishing point over here. And hit accordingly. You will have to draw all the buildings. Supposedly you want to come up with any burden over here. It would be like this. You have to go. That is, if you were on this side, you can always go ahead with buildings like this. This is my vanishing point over here. The court cases, when we have don't mind perspective where we are going to draw multiple vanishing points. Now multiple vanishing points as you where to find one horizon line. And with that horizon line, you will place one or two depending on how many vanishing points you'll want to place. Since it's a two-dimensional. Therefore, we will work with two vanishing points. Let's mark our horizon line. And let's monk called vanishing point. I have building movie here. So this is one way of going about it. Wanted to like Tesla. Then of course, I can go ahead and draw these lines from my vanishing point. Hand in case I want to extend this way, then I can also go ahead and organize my buildings in a way that it gives me vanishing point, the spot. So this is two-dimensional figure. When I get the vanishing point, both of these will converge to one single point that falls on this horizon line. We're already done with two basic concepts. That is one-point perspective and two-point perspective. We have learned about the horizon line and vanishing point. Let's go ahead and understand the rule of thirds. This is a golden rule which I have been applying for many of my paintings, as well as I will give you an example. Let's go ahead and draw a quick rectangle and divide it into nine equal halves. Now nine equal houses that you have to draw three lines and you will see that the whole paper gets divided into nine equal labs. Placing your subject at any of these intersection points, whether it be lower or whether it be higher, is the best way to go about the painting. Let me go ahead and give you a quick example from our own painting of the windmill. If you see, I have placed a windmill on the right side. And it is in-between this kind of an intersection with your. Now this is the best way. You can always go ahead and place your subjects. Because it would be the safest way to go down and play with your subjects whenever you are starting up on your watercolor journey. Towards us practically, or golden rule that you can follow for any of your painting. If I show you all the things that are included with it. It's thought that this painting has the rule of thirds. Where is the water area? And most of the attention and most of the focal point that you'll see lights over here. Hey, according to the rule of thirds, we have seen all the buildings on the right side. Again. This is a really simple painting. And still I can say that according to Rule of Thirds, if you might, three lines over here, most of the painting lines, fainting lies within this. Again, with unknown rule of thirds. We have worked it out in a way that we have placed the complete padding on the top guide side, as well as the vanishing point goes to one single point on this particular row has, these are wine yards and simple binary acids will converge to one single point, which is called as the vanishing point. And this vanishing point is somewhere here. You are. Again, we will have plateau vanishing point as we have Canada ground that converges to one single point which goes beyond the line that you see over here. And accordingly, you can have multiple vanishing points. Asper this particular building. You can also see that the rule of thirds applies very well over here. Then most of the work has been done on the right side. Only this particular painting. I have not followed completely the rule of thoughts because according to this painting, I really wanted it took place in the middle, rather than painting it on the side. For this particular painting guys, I want to see only one single thing that every time you should not go by the time there are a few deviations which we take. This was one of the paintings in which I have taken a bit of deviation. And other thing that I want to always highlight this. Keeping your corners pretty boring for most of the paintings, the corners are pretty boring so that the whole of the UP tension, everything as well as the focus for the painting lies in-between where I have concentrated by subject and I want people to go ahead and check that out more compared to other parts of the particular composition. We're on to our fourth concept now, and it is to break your subject into major shapes and sizes. If you have a particular painting and mind, you have to break it and shapes and sizes for drawing this kind would take a major shift, which is my square, and then draw a triangle on top of it to get the final sketch. Therefore, I would say there are practically three to four types of shapes and sizes that is available with you. Whether it be a square, rectangle, your circle, triangle. These are majorly three to four kinds of shapes and sizes, which I have always seen. If you were painting on a location or if you were painting of building corals, you are going ahead and doing any kind of an urban sketching, except the nature part which is majorly trees, flowers, et cetera, that you were including in your painting. Rest. You can always go ahead and break your subject into these major shapes and sizes to get the best of your outcome. 5. Day 1 - WindMill, Holland: I have introduced you to the golden rule of thirds, which is majorly dividing your paper into three equal half's. And once you divide your paper into three equal halves from both the sides, you can always go head handpiece your subject. Similarly, we are placing the subject towards the right side. Has, you can absorb it, is whole windmill. Hence we are dividing it into two major shapes that as a square as well as our triangle. Whenever you are confused or whenever you are actually at a particular location and want to paint a particular subject. Go ahead with this rule of thirds that can really help you to Ace through on me any of your paintings. Though, I always say that this is not the only rule you can always deviate, but this ruling ever goes wrong. And we can always place if can have concrete outcome of the painting. Going ahead with three set of vendors form my windmill. This is a traditional old when milk, which pie I'm making right now. These three set of windows are very simple to draw, call absolutely free hand. The whole drawing process is kept it really simple. Once we aced this painting, we will go ahead with the castles and Slovenia painting. That we will learn how to add various different shapes and sizes of the castle, as well as the reflection of it into the water area. Again, the rule of thirds is what we would be following in most of this composition. As you know, a few more graphite melts and few of the places first going because small circle and then making across which is a bit slanted. Now, these aren't the four blade windmills which were there during the older times compared to the ones that you've seen nowadays. Now, these windmills are still being used in many of the places. They have a history to it. Go ahead and start adding the colors to your sky. Sky will be very easy and simple. We will be going ahead with the indigo shade. The sky is kept in a way that it's not cloudy as well as it's not completely. There is still some sunshine. That's one of the reasons I have kept the lighter shade of indigo for my sky area. There are various integrals which are available in the market. Some of them are made out of more of blue compared to black. So you can always pick and choose the pigments for your indigo color. As for the brand that you want to go ahead and choose, don't always go by the name of the brand. I would request you to exactly cool with the shade that you want for yourself. If you want more on the blue side, just check for the pigment that is written on the indigo color. You can always get hershey that is more on the blue side. If you want more on the black side, your work have a pigment which is more on the black side and less having the blue into it. It's always a good exercise to choose your colors by going ahead with the shade and the pigments that is being used. I am using my size two brush just to extend the clouds a bit or the sky a bit. Add a bit of drama into it. Though, if you absorb that time, keeping it really light in terms of the values which I am using for any of this guy. I will always apply a lighter value initially. And if I have to go ahead with the taco value, I would call base. Go ahead with that. In the second goal. If you have committed any kind of a mistake or if you feel that you have applied more colors, then go ahead. Use your damp brush, which you use mostly for your blending corals for other bigger sized brush that's available with you to pick up the colors from the paper. Once you have taken off any extra colors, go ahead and apply a bit here and there. As I do it with my size two brush. I think that I am pretty happy with how this guy has turned out and it's time to go with the yellow. This is the permanent yellow light that I'm hiding for the top area. You can also go ahead with any other yellow that is available with you. Try to use more transparent yellow. Over here. As we are going to use the permanent yellow deep, which is more opaque in nature. Though I am going ahead with very, very light shade, or you can say very, very light value what this color right now, we will be adding the darker values towards the bottom. And the top area will have only the light of values. The Brown has caught some yellow as well as read into what it is from CDC, as you already know. Hence, the color really makes the whole painting very vibrant. I am adding a bit of touch cough, read into the painting as I want this painting to be more vibrant and beautiful. You can also go ahead with the small touches of red, etc. And now it's always great to work towards the top side post and then come to the bottom side. Because we have applied the colors from top to bottom. And that would be the area which will become drier faster. Adding the darkest value right now, which is majorly the Van **** brown. You can also create a dark brown on your own. Mixing your indigo with some amount of your burnt sienna will give a color that is similar to the one that I am using. Going with some of the red handle mixed soft brown, mix off. I didn't round of course, is very pretty though this has lot of red in it. Can, it has underlying red in it, which you can always see. Some of you have this question whether a single pigment color or many pigment color is good. As per my understanding of segment, single pigment color is of course, a better option to go ahead with has it provides really less muddy mixes compared to if you are going ahead with any kind of a shade which has lot of pigments in it. Because we are unsure of the kind of mix that we will get when it reacts with the other colors. There was a small bit of white which I did leave towards the top area. I did tell you that I am working simultaneously and I'm not allowing any time for drying off the paper. Hence, it's great to leave a small whitespace and while the bottom area is wet, go ahead and apply the yellow towards the top. I'm pretty happy with how this whole painting is turning up smaller dots here and there. And then we will add some of our larger dots even towards the bottom. Again, I was a bit unhappy with how I have had it though. Correct color, hence sided. Go ahead and remove it from the left side. Okay. Make sure that you do not touch the bottom area. Why you add the colors to the top of the windmill? It is majorly the brown. I'm using a lighter shade of this brown towards the top area. I will blend it with some Van **** brown. On the right. My shadows are falling on the right-hand side. The sunshine is from the left. That's how I like to place my son. Though there are clouds which cry have caught it to this painting. But that's for hiding more drama to the painting and create more intense as well as a beautiful painting. The meanwhile, you were adding these colors to the top area of the windmill. You will also see that it has for the dried off completely. Once it has dried up, go to the right area and just start cutting off the bushes. They are all dried off and you know, it is at a distance, hence, you do not need to add much of Fallows into it. Simple Brown can work with. It's just a mix of brown and Van **** brown, which I am handing over here in part. Hi, I'm good to save that. You can go with any color of your choice for this particular part. Very small, easy addition of bushes. Has I did tell you that we would be adding some more jumpy could dots while we complete or while we are going ahead with the bottom area. It's time now to add those dots and a lighter shade of brown, which is burnt sienna, as well as the darker shade of brown, which is my Van **** brown. If you have a mix of Van **** brown and burnt sienna, makes sure that the intensity of the color is higher. Or you take. More pigments can do your brush when you want to end this with a liner brush to add a few lines from the bottom. These are majorly the crosses, which are also turning brown and yellow as well as orange. Nature changes its shape. And I think that is a big source of inspiration for all of us when we want to paint. There are so many times where I've been asked this question, what inspires you, how you are motivated on a regular basis to paint? The only thing that keeps me going is nature. With it. I always loved on mowed down periods, historic places. Like in Holland, we have more than 1 thousand windmills, over 600 windmills or do celebrate this national melody. On every second Saturday of me, each and every year, more than 600 men windmills open their doors for visitors. It's an opportunity to see the historic windmill that are no longer maybe operator. There are a few of them which are still operating part itself. Fantastic. Tourists visit site as well as it shows so much about the history, why these windmills were made, etc. According to the new structure of buildings and the urban landscape has changed a lot because of which call these windmills can not catch the wind as they used to do audio and hence are not cooperating. I did talk a lot about the history of these windmills. You can find out more from the websites as well as you can. All because go ahead and visit these windmills can drill. We're going with some white highlights. I have added some smaller towards pass. Well, as I'm adding some lines with the help of my liner brush, it's time to show the light and shadows. Light and shadows is something that I always loved to play with. Going ahead with my darker area towards the right hand, just using my size seat has caught up plush. Add this color pod to my Venmo. Fancy using a very light shade of indigo hand. I have removed call the paints from my plush and now blending it towards the bottom area so that we do not see a difference between the yellow in the code that I had counting on. Windmill Part. Going with the darkest shade of indigo and adding it on the Windows. You can always solve that. I am going simultaneously. At some point in time. If I feel that I have added a lot more darker values compared to what I should have, then I would take it off with the help of my size two brush. As the space is really small, we're going with my black pen now to add some of the lines. As well as these are majorly the black highlights, which basically denote the shape and size of our subject. This really helps me to go ahead with our hybrid model. My ink and wash. Of course, it's not that time adding the ink first term though, going with the wash whereas I'm going with the wash first and then having the cooling in a few places wherever I feel, it doesn't necessarily hiding somewhat darker value onto the windows. And then you can observe how the light and shade works. Had some brown color to your windmill area where you have these smaller blades. Of course, it's a very, very small size blades that are adding, hence, it all make sense to go ahead and use the simple liner brush for all this area. And I'm going absolutely free hand. I'm not trying to add any pen marks anywhere. Just maybe a few once we are done with the painting. I'm pretty happy with how it has turned out. We have a very nice when we're being done. And then adding some more black highlights in few of the places to add the final details, finer details of something which I have always, always loved to go ahead and add. Because that really changes the look and feel of your painting. Going with some more white highlights. Once we are done with this part, this is 0.7 MM signal uni ball off hand. I have been using it for event, another class of mine, which is fat around the world and 80 days for travels gets series. If you really want to learn more, ponder travel sketching, as well as you want to paint on the location. That's one of the classes which you can go ahead and check out. It has not only got one single medium, like watercolors, it has way more medium that is given in, as well as kid talks a lot about the sketching, the importance of sketching and drawing, removing a pattern angle and having a final look at the painting. 6. Day 2 - Castles, Bled, Slovenia: This part as mutually about painting, castle and black Slovenia. It's one of my own favorite composition. First, if you try to just see all of the painting is divided in a way that the concentration is towards the middle part according to the rule of thoughts. I hope you have gone through the section of perspective and drawing. And I have mentioned about the Golden Rule of Thirds. Be hard following it in most of our composition. And that's one of the reasons scientists added that as one of the most important aspects in perspective. Going ahead and dividing my structure into basic shapes and sizes. Again, Asper, the understanding of on-location or any kind of structural drawing, it's important to break your subject into various shapes and sizes that really will help you to get this sketch in perfect order. This is a very, very small sketch. That's one of the reasons if you start off with that, it will hardly take you any time to finish it off. And I have tried to make it even more simpler so that even if you were to be no, you will be in a position to kneel this painting altogether. Adding some more shapes and sizes. I am using my scale for this drawing of the structure. As I do understand, many of you are new to watercolors and you would still like to just have that perfect painting without much of a hassle. So go ahead and start adding some more lines. Lines are very important and I hope that you keep enjoying adding these lines as they are really simple and easy to go ahead and add. As I always say, you might have to erase it a bit. It's okay. That's one of the reasons you have kept the eraser. I'm do not make your graphite months a lot darker. This is something which I have always absorbed than I have always worked on. Seriously. It takes a while to get hold of it that never, ever and very dark provide marks. It would be very difficult for you to take it off from the paper. And watercolors are transparent, which is one of the reasons if you add these dark marks, it becomes very tough for you to take it off. If you paint over it, then you have to add the black pen, a white pen to go over it. It would not go away. When you are painting with the help of your watercolors. If it is acrylic or gouache, is very different compared to if you are going ahead with what colors. Okay. I guess I have added the mountain that I needed and now I'm going ahead with my indigo. Indigo has a very little underlying blue in it. I really liked that part, you know, when the indigo has a bit of blue in it. But the Interco, that this one, which crime bruising is from my art philosophy. Whereas the one that initially I was using from us, from Magellan, Mission Gold, and add philosophy's pigments are more on the blue side compared to what we were using in Magellan Mission Gold. That's the only change which I have done in this particular structure compared to what we were using in the last one. Every time. Whenever I do these changes, It's very important to understand why this change is happening. Or if you also come across, can you change like this where you have all the blue for those seem kind of a color which you have. Just add it to your colors. And you want to understand why it is happening. Please go through the pigment structure. What is the, what are the different variety of pigments that they have used? Or if it's a signal being men of color, everything, try to understand it. Then go ahead and walk around with it. I think some water onto the mountain and blending. It's time to start with the yellow. We will start with the yellow on the bottom part. Cough to Castle and then just extend it with some permanent yellow deep as well as I would be adding some brown. So while you are going towards the top, just had the more brighter and warmer shades of yellow. And then you are going towards the bottom area. Go ahead and add the orange or brown that you have in your mind. Now, if you do not have this permanent yellow deep, please go ahead and mix some red with your yellow to get the final column. I'm going ahead with my size two brush for the brown, as well as adding one or two drops here and there. This is my way of counting the depth into the painting. Something which I have been pretty vocal about adding to your paintings. If you add depth, the way to do is to go ahead and add some darker values towards the bottom area of these bushes. Or if you want adding depth to your buildings, you should add light and shadows. Light and shadows means some part of your Rome, Berlin would be enlightened value use the white of your paper, and some part would be in darker value. You can use indigo to do that. So these are few important aspects of watercolor that you can always keep in mind while you paint. Once you are done with this part, it's a very, very small part. Go ahead and use the bottom part for adding some flesh and clean water. If even you do not have that clean water, your water will not be that bad by now. Hence, you can go ahead and apply the same water and add some of your indigo while you are towards the bottom side of the paper and exact reflection of the bushes you will find on the top part. Just add this yellow color, your orange color, burnt sienna, whatever you have for this part so that the exact reflection can be seen. No, I will not be adding a lot of reflection of the building into the water. One of the reasons offices that there is quite an amount of ripples in the water and it is moving. Hence, you will not get a clear reflection like you usually get in a static water. So that's the difference between a static water as well as a moving water. One of the reasons of this painting becoming more simpler compared to if it would have been a static water, as well as the reflection would have been accordingly. I'm going ahead and adding some browns towards the bottom area. Please. Go ahead. In a similar way. You have to also add some amount of your Van **** brown. I'm using my size two brush for adding all these details. It's a very simple way of adding drops and dots here. And why I say this, I have tried to keep a whole lot this part really simple. It's just add a mix of colors which you need to know is important. It is to go ahead and apply some water on the Cloud area and then add the indigo towards the top right corner. You can keep adding it even a bit towards the middle. One step top area is dry. Go ahead and start adding these darker values as you observed me. Now this is my size two brush which I am using. I have been using this brush very extensively throughout the whole of this painting series. As you know, it's a very small paper. I would not say it's a very small paper, but it's not as big as you would usually like to paint though. You can always go ahead and convert the current painting into optical paper. But I tried to keep it really small so that you have this feeling of gaming and achieving something over the day, as well as you are in a position to even finish it within the time limit that you have. All of us have caught back to our normal lives now and it is becoming tougher to paint on a regular basis. I do understand that many of you did have this hobby of going ahead and painting on a regular basis when it was pandemic, but over time, it has changed a lot and still so many of you have been telling me that you have the scourge of painting but can't do it because of their daily routines and the errands, your work pressures, family, etc. That's the whole land sold. Reason of making these bite-size lessons, bite-size lessons really help you to just go ahead, sit, not think much and get a beautiful painting out on your sketch book. If you are maintaining a sketchbook or even on. A holiday card if you want to send out to people, if you want to keep it for your beautiful walls. So that's how I see it. When I tried to paint something, going ahead and adding some more brown towards the right side and yellow towards the top, you will observe the left side. When I did add this bushes towards the background, there was some amount of Brown's that I added. By the way, I tried this painting two times. The first time, what happened is the whole part of this middle area became too huge ham, That's one of the reason the painting did not come together. Well, I just tried to paint it once more and I guess the real fun was there. The way this painting turned out, I was not expecting the same. Add some amount of burnt sienna and orange towards the top area of the castles. These are some of the buildings that you see and it is important to add this color for roof part of these buildings. It's important to understand how do we create these light and shadows. Now the darker shadows that you observe is in blue. And this is the indigo color which we did apply for our mountains. Again, I am currently using my size two brush, very small area. I do not want to take a chance now, most of the painting has already come to life. We are done with the major parts of the paintings. It's majorly the final details so which we're going to take some time. So you're not taking a chance as something that I really like using 200 GSM Fabriano artistically paper as I did you already. I have been using this people very often for most of my painting and it dries off very quickly. You do not need to wait for any time or give it any time to dry off simultaneously, you can keep working. That's the best part which I see for using these kind of paper which has lesser GSM compared to papers which are from hi Jason, adding a darker value even to the roof of this smaller castle part. The long line. And this is one which stands tall as well as it shows that this is Blood Slovenia. Okay, adding some of these windows. Again, going really simple. When I even add these vendors, I do not think much while I add these vendors, just go ahead with a gut feel. I haven't seen it entirely. Where's the window, where's the door? Where is everything going ahead with what I feel it look gray over here. Some of the part for an artist is based on intuition. What they think would look absolutely great on paper. This is something which I have also can, I have learned over time that there are parts of an artist which you need to figure out, which we need to understand what do apply only to what extent to apply enough. So it comes with time. And you will also get to understand the smaller paintings, as I say, is a great way to practice and keep your creative juices flowing. I think some of my indigo in darker tonal values. We have already added in lighter tonal values. And over here in this particular sketch, CDs, we are going ahead with a few layers as you absorb. Hence, I am using my lettering technique to go ahead and add this darker value. If you want to learn more about lettering, if you want to understand how to paint around the world, I would definitely suggest you another class of mine, which is around the world and 80 days. And there you are going to paint API various places across the world with 20 different destinations. You start off your size eight brush. Now size eight brush is usually what we will not like to use for our paintings, but use the tip of your brush to achieve the kind of work that we are trying to do right now using my 0.3 m m pen to go ahead and add these black marks. I really like to add these highlights to my painting. It's very important to add these benchmarks which is like in can watch and it really defines the building in a better way. Keep adding few more places. And then we will go ahead and add the white marks off signal, white Jelly Roll pen. That is 0.7 m, which I will go ahead and use. The best part. Which pie like to do over here right now is to start my painting is one more stamp, and it's just all few highlights, as well as final details that we need to go ahead and add the rest. Most of the aspects seems to be in place. There are some ripples start, you'll really need to create that troubles. We can do. Now quarrels, you can go ahead and do it at the end. I'm to add those ripples, simple lines on the right as well as on the left side. I like to keep my corners pretty boring. That's one of the reasons I am going ahead and adding the darker values on both sides. The hole concentration and the focus of my painting is towards the middle part. Now, middle part is the most important aspect over here and the concentration and attention, the focus, everything glides over there. Hence, when you are adding these lines, make sure that they are simple, straight. That's it we need to understand. And while you go towards the top, make it a bit more lighter. Or you can say you have to make it in a way that there are only few of them compared to while you go towards the bottom where you have to paint a bit more by white Ph martin, opaque color for few of the lines. And then going ahead with the darker values for the top area of the roof. Now this I am going ahead with only the sites where there is the shadow compared to the ones which are in lighter values. Making it a bit more detail and more precise with the help of wind chill hit Open. Once you have removed the tape at an angle, please go ahead and have a look at your final painting. I'm pretty sure about it. You will fall in love with it if there are any further details which you think you have missed out, go ahead and add that as I am doing it right now, I would really love to see this in the project section as well as Can't wait for tomorrow to show you another location where we are going to paint quantum. Hope to see all of your beautiful paintings together in the project section. Once we are done with all these seven days, that is actually one bonus lesson where we are painting pumpkin on the barge for the last day. 7. Day 3 - The Lonely House in Kyiv,Ukraine: Hi guys. So we are back on our third day and 30 is going to be, or lonely small house in Kiev, Ukraine. This is one of the paintings where we are not going to follow the rule of thirds. As you know, we have gone ahead and added the structure of the house in the middle of this off the paper. Usually if you go by rule of thirds, you do not get to do this. But there is no gravity or fat. And hence, if there aren't any rules, you should try to break it and see if the whole painting or the composition is fallen in place or not. Okay, I guess I have divided my house in basic shapes. The roof part, I have decided that it would be in triangle structure and the bottom part in a square structure. Always, if you are painting at the location for, if you are even drawing from a photograph, you should try to see that you can break in an urban sketching kind of view or a plain air. Basic shapes and sizes. Now, if your basic shapes and sizes up fine, you will get the final structure absolutely correct. You not drawing is always a framework. As I say, if your framework is correct, your final painting, you can always nail it. Okay, let's add some windows towards the left as well as towards the light. The top part, I did add two smaller triangles and one bigger window in the middle. I think this is it that we need to do. And now it's important to show the reflection as well as to construct that small bridge or the pathway which connects the line to this small beautiful structure of the house which we find in cave you. This was one of the photographs which was there in my mind for past five to six years. I always wanted to paint it, but somehow, I was not sure that whether this painting look, come out well or not. As you know that I was not an urban sketcher or else even a planar sketcher. From the beginning. It was mostly landscape that I use to make and then post that. I started with plurals. And now the addition is our urban sketch. All of this put together, It's not very easy to practically understand and Stoli makeup progress. So I would not say that this was easy for me initially. It took some time, but believe me, once you start getting the structure correct, your final painting is going to fall in place. I have seen it myself. I have experienced it. And that's one of the reasons I can see it. So confidently to each one of you going with the top part of this time and adding some of my indigo on it. The indigo is bit bluish in color. It is basically from Art Philosophy. The indigo color, as I did not want, the same darker indigo for the clouds. That's one of the reasons, or the sky. I just thought that this indigo would be better compared to the other one that we were adding. While we go towards the bottom part of the sky area, I did just add clean water. Right now. I only have clean water because we have not started painting anything hand. We will go ahead with these beautiful orange and mix of yellow for getting our bushes correctly. This is at a distance, and hence you do not need to practically do a lot. The paper is wet, so just touch your brush and colors will do its own job. If you are working with a 300 GSM paper, make sure that it is not really wet and there are no puddles of water. I'm working with are 200 GSM paper from Fabriano artistic. One of the reasons that my paper becomes dried off quickly, and I'm pretty happy with that fact. As I always wanted, this as a small of fainting structure to warhead and become dry very quickly going with some of my red and just adding the colors to the tree area. If you see the paper is now getting dried off and the colors are not spreading. To a large extent. That's absolutely fine. If you are using the 200 GSM paper, you will get something closer to what I am getting. Okay. I guess we will go with our burnt sienna. Now. The burnt sienna that I'm using, I have told you about the pigments of it. If you are also looking for a similar burnt sienna, you can go ahead with the same color that I have shown you. In case you are looking for something else with more of yellow in it or more of red in it. Whatever you like to choose from amongst this pigments or amongst the CNS which are available. Just go ahead and check the pigments. This is one of the most important aspects of choosing your color. Never go with the brand name. Always go with the pigments that they have used and go for artists grade colors are displayed colors makes a whole lot of difference to your painting. Even if you are using lower GSM paper, I always say go for 100% cotton paper. Cotton paper really acts that glow to your painting. And you know, the colors which you add gets reflected from the paper. And the paper is not absorbing a lot of colors. And it gives you a lot more time to work on the paper compared to if you want not using a 100% cotton paper. These are a few aspects. If you keep in mind, I think it can really help you through your watercolor journey even in future. All the paintings that I'm doing right now is pretty easy. So you do not need to think much. But there will be times where you might be struggling because of multiple washes or you're trying to paint something different. During that time. All the steps of using the 100% cotton paper, using this pigments that you really want in your color and choose your colors as per the pigments, as well as going with the artists grade pigments is something that has really changed my way of painting. And all the glow, all the beauty that you guys always say is there in my painting is because of these few set rules that I have been following for many years now. Time to add the water for the bottom area as well as on the right and on the left. Now, while you add the indigo, makes sure that the lighter value of n we go only you are adding. If you see on my ceramic palette there is a very, very light, a light value of Nicole that you can see rather than going with a dark mix, you know, in watercolors, It's always tough to go back to our lighter values once you have added the darker values, lifting off is always not available because of the staining pigments that you have. So I think there again, the properties of pigments become really, really important. Having said all of it, I think going and Layer Styles and Hamas, that's one of the reasons I love to tell you to go in layers rather than going with just a particular color at one go. And then again, picking up the colors if we need, and this is burnt sienna and I'm creating the reflections of the particular area and trees, etc, into the water. I'm going very slow with the painting, if you observe, it is just some amount of burnt sienna as well as some amount of Van **** brown that I am adding to the bottom area then is some amount of orange for the right side. Sit been sienna, permanent yellow deep, which is majorly the orange. Kind of appreciate that I get this when I came around. These are the major sheets which we have been using. Though. I have kept red, but red is not the color that we are going to add everywhere. And it is pretty dark, I would say in terms of the read if you want to add. So user really dilute shade of red. That would really help you to add more layers into it. The first layer needs to be lighter compared to any other layers that you add. Though even there are secondary or third layer which are also lighter. Or sometimes, you know, people go head with many layers. Lighter, lighter, and then they go with the darker shade with 45 players. That is also something which you can try maybe in future. But right now, let's just paint our trees. Going with burnt sienna again. Now I leave a few crops are dots of these colors knowingly, just to create that in few of the places is burnt sienna and few of the places I am going ahead and adding this Van **** brown. Okay. The same process of adding the leaves on the left will be replicated on the right. And that would really create the depth, as I have told you for my tree AVL. Keep adding it. And then we will go ahead and add more colors to the white areas which are still left. I'm to add some brown lines for the house area as this is made out of wood. And we really want that would be seen properly. Go with your liner brush in case you are using a bigger size paper. Go ahead and use a bigger size liner brush. Brushes that you use is practically, I think, replaceable. If you are going with bigger size paper, you need bigger size brushes. If you are going with smaller size paper, you need smaller size brushes. The way we are using currently. Adding a few lines, really add that to the wooden house. I would say add some more values of this dark brown for the top as well as for the bottom of the triangle area for the roof. Once we're done with that, we will get back to the whitespaces that is still left. Adding some burnt sienna. Now, the bottom area. Now I have taken off all the extra colors. I think this was just too dark. Then I started painting with it, blending with some orange or permanent yellow deep, whatever is available with you. Once you blend it, you will absorb that. Yes. This looks now like the houses in an island state and then adding some lines for creating the ripples into the water. I always say that when you are going with this kind of a structure where your all of the leaves or whatever you are drawing the House leaves, then your foliage, etc, is not seeing exactly the same way into the water. It's normally sterile water. It's moving water that you are drawing. If you are drawing some moving water, you have to make sure that there are lines that you show. These lines practically show that there is some of the reports and the water is moving. Hence, the whole of this painting comes together. One important aspect of reflection and how it is supposed to work for you is something that I have learned by always seeing the photos. Now, I do have about two or three classes, watercolor ocean waves 12, as well as there is watercolor seascape switch. You can always check out. And those do have some of these in way more detail. As well as, I think if you are someone who loves to paint urban sketching, go ahead and check out my other class around the world and 80 days where we are painting AT beautiful destinations. And that class is quite similar to the one that we are doing right now. So there are additions of each and every location. Hence, you will find a lot more details in terms of how to draw, how to paint. There are monochrome painting, so you paint, sketch and even draw shade with all of these put together is there's, that's more elaborative class compared to what we are doing right now. Going with some white marks off the pen as you observe. And this white pen, you know, is a savior or else we had to use masking fluid. And practically, I'm not a person who would ask you to go ahead with masking fluid during the initial part of your watercolor journey. It's something that is a bit advanced and I would ask you to use it maybe once you are more advanced and this journey and you understand your brushes, you understand your paper well. So there are paper or like cellulose paper, it I'm not sure if it can pull the masking fluid. Well, if you are using a 100% cotton paper, then only it can now hold the masking fluid really well. Those are the reasons I don't like to introduce it right now. But an underworld radius of course has it. It has everything of it. Okay, I guess you can continue working with this white pen as I am doing. And then we will go ahead and add the other details which are still remaining for the trees, as well as for this pathway, water, et cetera. I'm creating some gap for this pathway. And this one is, again, really, really simple. Go ahead with some darker values on the right. And then just add some of the lines like this with the help of your liner brush. I have been using this liner brush so extensively throughout our whole of the painting process because they are small paper. And that's one of the reasons I do not want to take their insurance going with some brown as well as some Van **** brown mix with burnt sienna so that we can get these darker value bushes and all. But majorly, we would be adding the trees and the lines right away. Okay, guys, whenever you are adding the trees, one thing that I must tell you is holding your brush at all, 90-degree angle almost. Now the angle of the brush is very important so that you can just make that exact line which you need. You have to understand the space right now is really small. So overall, you should not face much of an issue while you add these bark of trees. If you observe closely, I'm going really slow. The bottom area is more wider as we move towards the female, make it thinner. This addition is way more easier to do. Just wait for a few seconds and you can really observe what time adding. As I did tell you, I go just start perpendicular way with my brush while I have to add these trees. So it might be a bit difficult to observe each and every stroke in detail. But you can see that I am branching it out towards the top area and I'm keeping it one or two of the major bark of the tree towards the bottom. Towards the top, more branching happens, but still the whole painting is small. So there's not as much as plunging as you would have toward that this whole painting can take. Okay, I guess that makes a lot of sense. Now, if you will see the whole painting is coming together and each and every part is so much more detailed compared to what it was. We have to still add some of our black pen. Once we add that black pen, it would be almost done. This is the time when you're painting has come together and there are only a few details that you'll need to add, like these, white marks or also the white highlights along with the black highlights. I'm not adding the white and the black highlights everywhere. The houses more of white highlights. And there will be only few spaces where we are going to add the black highlights. Now, I'm adding a lot of white and black in terms of the ink will make it ink and wash. This is practically or hybrid version of ink and wash, where we are doing the watercolors initially and just having these lines or these marks to get the finished work or to get it more defined, I would say. Hence, I think we need to be very careful when we are adding all these lines. Because these lines can practically make your break, your painting to be frank at this point, the whole painting look surreal, I must say, and the static know few dots here and there. Okay, I guess this is the time. Step back, relax and think that do you really need to do anything more? Or just leave it over here? Take a final look at it. Can be very proud of yourself because you have Franklin need a whole house. You have painted the autumn season, you have painted trees, pathway, reflection, everything put together in one single painting. And I'm super proud of each one of you who have taken the paint to paint this particular painting. I've gone ahead and mail it. I did enjoy the process and I would ask each one of you also to enjoy the process of painting this house. Now, this is something that I always say if you really want to be there in a creative field, or you want to enjoy the creative fields. Just try to enjoy whatever you see or what can you do? If you start enjoying whatever you see, that becomes your inspiration. If you start enjoying whatever you paint, it again becomes a pathway for you, find your way for the future. Let your paper dry off. I don't think you need to let your paper dry off as this is 200 GSM and most of the paper to dry or folder itself. It's just removal of the teeth and having a look at it had the final goal. I hope you have already fallen in love with it. I can't wait to show you tomorrow's painting there we are going to paint beautiful wine yards in Tuscany, Italy. 8. Day 4 - Wineyard, Tuscany, Italy: Hi guys. Day for Trump is going to be very interesting today we are going to use one of the most important concepts over here, which is basically the vanishing point. You are going to paint Tuscany, the beautiful vine yards of Tuscany during the autumn season, they turn so pretty. And I would introduce the most important concept of balancing point through easy lines and simple strokes. I think you're going to enjoy it. So let's start off with our first part where we are adding three simple lines. And with those lines, we are going to just draw a small house. Hall of the concepts that we are doing through this class has either houses in it or it has some kind of a structure of urban sketching, oral saw, the photos are taken or inspired from a particular place, though there are no reference photo which you get over here, but I have added the actual painting photos in the resource section. You can go ahead and download it for your work. Please follow in a very simple manner. I'm going ahead and drawing small house as well as its roof, etc. There is nothing much in terms of difficulty level over here. And simple lines. For the vanishing point. This has multiple vanishing point, as I say, dimensional structure. You have seen that always there are multiple vanishing point which card debt. And hence Some always say that art doesn't have any gravity. And that's one of the reasons you can have lots of different kinds of aspects that you put into it. Now we are trying to add the graphite much to the wine yard, which are closer to us. Anything that is closer to us would be broader, whereas the subject that is far away from us will be smaller in size and shape. Another thing that you need to keep in mind while you paint this is whatever is far away from us. It will not have as much detail as you are adding to something that is closer to you. Okay? I have added a light wash of indigo into my sky. I am keeping the sky very dull and simple. I do not want to actually make it very difficult because the whole concentration of the painting is going to be on the wine yard, as well as the small villa or the building that you are going to paint. First, I have added a very light wash. And through this particular painting, you will understand that every time we do not need to use all the whitespaces that is available on the paper. You can go ahead and even keep some whitespaces empty just the way I have kept right now. This whitespace which is empty currently, will give you so much of health in terms of going ahead and hiding the details. Grape plants which have already turned brown. You note it's autumn, and autumn is one of the warmest colors season, I would say. The colors around the world change completely. Nature has its own way of giving so much to us. If you see there is so much of inspiration that is lying in an add-on. And I can go on talking about nature. But in the meanwhile, let's just discuss all the colors that we are applying to the spot. I initially applied the permanent yellow deep. It is majorly in-between the color of orange and yellow. I have already told you about the pigments that is there in this color, as well as now I'm going ahead and adding the burnt sienna. The burnt sienna is from my cello Mission Gold Series. C. Anyone who thinks that it is a bit red and yellow, of course it is. As there is some amount of pigment from the red family that they have added into this shade of burnt sienna, which I'm using. I'm using my size two brush. Most of the painting you will observe is done in size to them. Liner brush. A lot of things as done in this particular small size brush because it's a small paper. As I always say, smaller people always attracts those smaller kind of brushes. But I really like the way it is moving. We do not need to spend a lot of time painting all of these. You can practically prioritize your activities as well as paved the way for your creative outlook. Or you can have your creative juices flowing. The best part about this particular painting is tuple. Understand that there are two Pavlov three-fifths which we are doing. One is a bit far away from us and one is closer to us, the one that is far away from us their job, you will add more colors compared to the one which is closer to us. I'm keeping some space empty over there compared to the one that you are observing now, I have gone ahead with some amount of permanent yellow deep. And then now I'm adding some lines with the help of my burnt sienna. Overall, this painting has really taught me so much. In terms of perspective. You can understand that the closer the fetal side, the product they are, whereas the one that is far away from us has such closer lines to each other, it becomes so easy to differentiate it. And this differentiation is very important when you are working on concepts like perspective. That's one of the reasons I have introduced this one in this particular part. Okay. I guess I'm pretty happy with how it has turned out. And let's just go ahead and hide a bit of people's lives. But what's the top? I am going on top of the wet area which we did already paint with the help of our bigger brush. It's time to add more foliage to the grape fields and to the grape plants that are already ripe. I go in a very simple manner by adding some thoughts here and there with the help of the burnt sienna. And whatever I have over here on the left, I would be repeating the same to put the right door. I have always told you to keep the corners pretty boring. But over here, we are already breaking the rule as I want the closer fields to pay more. I would say details. All of you are observing it closely. That's one of the reason keeping a detail will pay off Much more help once this part is done and you're pretty happy with the details that you have added. It's time to go ahead and just paint some more lines. I just went ahead with more layers before completely at one for whole of the painting has the only rule which I follow is go with your heart. Yes, there are a few rules which we have to always see in a painting hand. As per this particular painting, it is done with the golden rule of thirds. But still, there will be some or the other rule that I keep breaking. And frankly speaking, I have been really happy even after breaking these kinds of roads. Because all these rules are meant for each and every painting and most of the paintings, I think that rule can be applied or except a few paintings where you can always take a diversion. Adding some more details. This is the liner brush, and that's one of the reasons you can't see it right away over here. Once we are done with all the details, it would become way more easier for you. I hope that you can follow it very closely as the whole painting is done for your time. And your time really helps you to understand each and every step. One important requests that I always do in each of my classes to see it on a bigger screen. The biggest screen really gives you so much more opportunity to understand each and every detail, rather than just using your mobile or any smaller device for working this out, has a tutorial. Time to add some colors on the roof of the house. And we have gone ahead with a mix-up, our permanent yellow deep, as well as some crown. Then I am going with my indigo. Hi, and adding these lines, I have mixed a bit of brown in it. Get the shade that you also have washed my brush. And then going ahead with the color right now that you are seeing. Once I have washed my brush again, I will go ahead and add the color to the right side. As we wash our brush, it becomes so much more convenient for us to go with the lighter values. There are some other, other color that is always there on our brush. And we can still go ahead and paint with the left over color in our brush rather than just picking up another pigment or another color from our row. Going with my yellow, green and then some amount of darker value of green hip can be your dark shades of green like when Nike Green or else you can also use your indigo, mix it with your olive green to get a shape that you are currently observing. On the paper. I can add some more darker values in some of the areas that you work on solving. This is always so important aspect of watercolors to go ahead and add the colors. Optimal amount of colors needed to be added. And this optimal amount of colors, or what I can tell you, the optimal amount of pigment which you use is very important for each one of us to know. It's great to go head width or lighter value initially and then work with a darker value. This is something which I have learned over time, that lighter value gives us we more opportunities than going with a darker value initially and then again removing the colors. Okay, I guess it's time to paint some beautiful windows in the house. This gives you the app as well as it becomes more realistic when you are observing anytime though for house that you want to paint, going with some indigo and brown to paint the top mountain area or the fields area over here. I guess. This is it that I had to explain how most of the painting is called The can see it did not take us a lot of time to paint this part. Only important aspect of watercolor is to understand where to stop. Yes, that's very, very important aspect of watercolors. If you know exactly where to stop, you will be in a position to make all your paintings. And if you're struggling to understand where to exactly stop, then you might keep the whole painting, florals over to a painting, going with the darkest value of brown and then adding some of the colors on the roof. Once we have added this dark value onto our roof, it becomes easier for us to just have a look at how beautiful and how much depth this whole house has created for us. You know, every time you do not need to keep working on something small and create a lot of depth or anything like that. Even working less can be more for a particular painting. Just adding a few lines here and there. I have kept it very simple. Some of the lines are also not exactly how we want. In few places, we will just go very simply with some thoughts. This polar brush has got a very nice step, which is one of the reasons I have been using this for most of my urban sketching or any of my other plaintiffs sketching exercises. Adding the darkest value of green where you mix the cream with more and lots of indigo. And then these kind of random lines and smaller dots here and there to make it look like bushes or trees that are there far away, please. Adding a few more pushes in the background, which is actually just above. Or you can say the house that you see is in the front and those bushes on in the background. So we are going ahead and having just straight lines. You know, most of the structure that you see me adding in this particular painting or any of my urban sketching is broken into various shapes and sizes. Either some straight lines or random lines that you observe me adding it. Or else even for the house, there will be fewer triangles, lines, squares, or rectangles that I would go head width. To get the final painting. I'm to add some white and black pen in few of the areas. Wherever you see the darker values are present. You can always go ahead with the white pen for the highlights. I always say this is a hybrid between your ink and wash. That's one of the reasons we are using firstly, two pens, one is white and one is black. Otherwise it would have been only black. And we would have gone ahead with a wash cloth, watercolors. So on top of it, though, each of these have something which is very, very interesting to know, like ink and wash. It gives us way more opportunities into drawing and sketching. Whereas this kind of hybrid model really leaves us with a lot more opportunities to experiment, understand our own style, and can apply it on the paper. I would say, I am really happy with how this whole painting has turned up. I hope that you guys also enjoyed painting this along with me. I can't wait to see this project and the project section. And finally, adding some more details wherever it is necessary to remove the tape at an angle so that you don't rip off the paper. The paper I've been using is mellow from the brand by brand parcels. And I only own that brand. All these tapes have never ever ripped off my paper. Just take so well to the paper, even or 200 GSM paper or 185 GSM paper, they work absolutely fine. And of course they're available in various colors, shapes, and sizes. I would say it is a needle, 1.5 him and which perfectly sticks to any kind of paper or any kind of sketch book that you are using. Let's just have a look at our final painting and be very proud of ourselves. Okay, I will meet you tomorrow where we are going to paint something even more interesting amputate. See you in the next lesson very soon. 9. Day 5 - Bridge of Kledonia, Epirus, Greece: We are back on D5. D5 is something that is very, very interesting and I am so happy to share this out with you guys. Over here. We learn to paint not only the reflection, but also abridged from hedonia increase. What happens in this case is you will draw an arch. And how to draw an arch becomes most important. You will make half part of even the half so-called first, and then go ahead and rotate your paper and the other half. So this way what happens is you are going step-by-step while you add this arch, as well as you are more confident while you work through it. Then next part is to add the ADR, which is underneath the bridge. Underneath area of the bridge, has to be well sure. That's one of the reasons we will go ahead and add another part of this arch. Once we are done with this part of the arch, and you are pretty happy with how it has turned out. It's important at the other aspects of the bridge, like going towards the top area and adding the parts of the bridge models even showing the river which is flowing through the reverb part is really interesting for me as there will be lot of reflection of the whole warm autumn season into the water area of the river. But keeping in mind that river is always flowing. Hence, it is important to note that we will not have any kind of reflection into the water. It would be more of a reflection in generic. And we have to add of your reports. This is something that I have always told and I would request you guys, if you really want to learn water reflection, please go ahead and watch out for my other classes, watercolor, ocean waves 2.2, as well as watercolor water escapes. Both of these classes have lot more in detail to deal with how to paint waves, how to paint river, et cetera. I think it would really help you even in your watercolor journey, because landscape painting really requires the knowledge of river, water, etc. That's the place where all of this knowledge will come to your health. You can seriously use it for any of your future projects to I guess I have added most of the confidence while we were talking through the important aspect of reflection. There's a small bridge and on the left-hand side, there will be a few trees that you can add only the structure of those three lines right? Now. We'll go over it with your brush. Linkedin or framework, isn't any. And now you should go ahead and add some colors on this car. I'm going with a very, very light wash of indigo and it is just on the sky area. I'm adding it even on the bottom part, where we need to add the autumn season where I'm going with a bit of a light wash of the same indigo. And then I would add the yellow, the Omnimedia NOT as you observe me doing, as well as the event. I have kept. Interestingly for this particular hole of the bridge apart, because I just felt that the bridge looks a bit more dark compared to we had so much of competent throughout all our work that we did till now. Hence, I just wanted to keep more of interesting and warm colors for this part. So I have added quite some parts of radio intuit. What I'm mixing, even the same with some amount of permanent yellow deep. Before I go ahead and added, the colors look so amazing and so bright and beautiful. It just lifts up my day. When I sat and I painted each and every day, I felt like this is one of the most beautiful autumn seasons that I'm also experiencing through these paintings. I haven't had the opportunity to visit all these places. But through these photographs, painting painting them from these photographs and painting, along with all of you, has literally made my autumn season for this year. For the top area of the tree, I will just drop some piano and on top of it go with my size two, brush and add some permanent yellow deep as well as some red. It's just on the wet paper. You are adding these drops of water or drops off pains. Hence, it becomes really easy for roping meant to move along. Water always does it stop? I have been very vocal about it throughout all my paintings and throughout all my classes. Just let water do its job. Our job is to just added in a few places and let the magic happen on its own. Going with some indigo towards the bottom area where we have the river and then mixing it with some yellow. That can be Gu, best part is it doesn't have much of blue in it, which is one of the reasons you are also saying that there is no reaction of yellow and indigo to give me a green out of it. Whenever you are using more than two pigment or three pigments, one particular color, make sure you do not get any muddy mixes. I always try out these colors or the mixing of this colors on another paper before I applied the actual painting, orals, the whole painting were turned muddy and we really do not want that. After all the hard work, we did not going ahead with some of our burnt sienna. So burnt sienna is a color that I am using continuously throughout all my paintings. Hence, I know that you guys can very well see the lighter, darker, and all shades of burnt sienna, which we can use throughout our paintings. One thing that I must tell you, this is the first layer. For my first layer, I keep it very light except the bottom part where we have added the colors of water under the bridge. That part is not so I would say light and shade because I'm not going ahead with any other color in that particular part. And I will leave it mostly like that, except a few touches here and there. Okay. I guess I'm happy with how this has turned out. Only touching in a few more places and then taking off the calories. Sometimes. What happens as an artist or even as a homemaker has a working professional, we're a bit delayed back when it comes to even changing our brushes, you know, after the whole day when you are so tired, still you want to paint, you have made a genuine effort to sit, tape down your paper, do the whole of the drawing and then paint over it. There are times we just do not want to change our brush or change the water. Guys. Those are really small, small efforts which had onto a huge beautiful painting of your own. I haven't been more vocal about this part earlier, but whenever you just feel that I do not want to do this, just push yourself a bit more. Change the brush wherever it is necessarily like using the size toothbrush or size one brush. Depending on the paper size you have organelles. Currently I'm using size eight brush, but if you are more comfortable with size six, size four brush, use it to your advantage. All these things. You should go ahead and use it as you have all the resources available for yourself, then why not use it? You have spend money to get all these resources. And I feel very strongly that you must try to paint and try to use the best top the resources that is available with you. As that is going to really add a lot of difference to your painting. I am very serious about this part. So try what I'm saying to you. And frankly, you would be very happy once you have the final painting with you, you see how there are different shades of brown that is appearing. One is the Van **** brown and another is the other brown, burnt sienna. Now I have added the darker shade of the ground towards the top area. This part is more on the shadow side compared to the other part which is on the backside of the bridge. That part, as well as the underneath part is more related. So one of the reasons of painting this part more darker is that I really like to add contrast to my painting. This is something that you must have observed throughout all these paintings. The windmill had a contrast of white as well as the indigo. That contrast really helped me to show the light and shadow in a great way. If you go and observe the other paintings too, you will find these kind of contrast in each and every building or in each and every particular urban scape. Small parts that we have add non, whether it be house, whether it be any other part, like a windmill, et cetera, everything will have these contrast except I guess the lonely house near the key area in Ukraine. So those are one or two things that are always exceptional. And there will be a few exceptional role going ahead with my Van **** brown. When I keep Brown, I have used very extensively throughout all these paintings. Frankly, you can see my permanent yellow deep as well as my burnt sienna and permanent yellow light. Everything is almost going to get over it after a while because these tubes I have used, I don't know for how many years. I think four years from now or three years completely. So all these pigments have aged over and still the work so well. Whenever there's a touch of water to it, it just makes the painting come to life. Adding these branches which are very thin and I use my liner brush, you know, these branches to the whole of the type. Except that the medial part, or you can say the major structure was ready from the beginning. And we really do not have much to do in this case, except that there are few areas which we are just going ahead and adding the yellow, etc. Now, once this part is done, you will see within the next five or seven minutes whole of the painting, we'll come to life. These branches then few drops of your pains of bread or your yellow. All of that has to come together to make it more detail. So details really take a lot of time. And if you do not concentrate a lot on details, I think there is something that you are missing out. Details really add a lot to your painting. It adds that, it adds that flavor. It adds that beauty to the painting which we really are looking for. And it makes the painting complete, though, adding details as well as the colors or anything that you do in a painting has to be optimum. Optimum usage of everything is very, very important. If you can use it in an optimal way, you will understand that there is a great outcome which you are going to get out of it. Okay, I guess few drops off this buoyancy. And now here and there, once you have added this few drops of burnt sienna, and then we will go ahead and add some more burnt sienna on the left as well as on the right side. I think adding the branches is really meditative. And I have literally added a lot of branches. The autumn season is one of the season where the leaves are no more there on the trees. If you really want to show the trees, well, there is lots of branches that you need to go ahead and add. Now. Yes, if you are painting pine trees, there might not be a requirement of carding. These branches. Are going through all of these small, small details. But when it is more to do with a tricky area or three parts to show the change of your season. It's important to show the change in the phenomena of a particular tree or off-color particular foliage that you are painting. Like you will see more of mushrooms coming in right now and growing. You might want to have those mushrooms and all those other aspects of this season and you should enjoy the season Pumpkin, etc. That's one of the reasons I included a pumpkin for the Halloween. There is so much in and around, but no one usually paints a pumpkin from the harvest season and places it on a porch or paints it like that. And I just thought that this would be a great way to celebrate this autumn season. Each and every season should be celebrated as per my understanding, because they have so much to offer to all of us. Whether it be fruits, whether it be vegetables, whether it be any other kind of whether these weather changes, the food, fruits, everything changes along with it. And nature has its own way to help you. During the summer seasons, there are so many fruits, like mangoes or bananas. Everything that comes in. Summer season really helps us to keep ourselves so energetic. And that's one of the reasons nature has created its own way to give it back to us. We should be in a position to take it and celebrate it. I guess that's it, which I want to say. And let's make some of the reports now onto the paper. Once you have added the permanent yellow deep, then go ahead and add some burnt sienna order, some amount of red. Everything you have painted on the top part needs to come towards the bottom area. What I mean to say is the whole reflection should be as per the colors that you also, because the ripples, of course, will not be offered a separate color or shade. Water doesn't have any color of its own. That's one of the reasons you will see either the reflection of the sky or the reflection of the plants, or reflection of some other area to fall on it. And you can observe it accordingly. In case there is lot of algae in the water, then you will see the water to be more on the green aside, these small, small aspects of water, reflection, you can always observe and find orals take help from the other two classes, which I have mentioned, going with the last finer details. And I would say at this point in time, we are practically done with the painting. There's hardly anything that is left except maybe some white lines that I'm adding right now on the paper. Oral saw some amount of dots that we are left out with urine there. This is it. I'm not going to add anything more or less snow here is what I'm going to keep it as well as I'm going to stay with this what I have painted. I'm very happy with it. Frankly, celebrating this whole season has uplifted my mood to another level altogether. Using my Ph martin to add a few more white dots here and there, you can only get this white dots well, when it is made corner darker value area. So this you will not get great art scene a great way if you are not planning on a dark area. The best potters go with a few here and there. Then. These are basically the highlights. And have a final look at your painting. See, I, I'm still not done with the branches. This obsession of painting the branches, or this obsession of going ahead and adding these smaller last-minute details is something that's been bitten me. And frankly, if I say I want to leave it also, it takes a while to leave that part. Okay. Let's stop and have a final look at our painting and then go ahead and remove the tape at an angle. This is something that I have been saying. Always. Do remove your tip at an angle if the tape is not coming off, just blow some air and it has to be from your dryer that would help you or tape to get peeled off easily. Try to use washi tapes rather than using only the, the carpenter kind of tapes. See you in the next lesson. 11. Kyoto, Japan: Day seven, Kyoto, Japan. And here we are going to actually understand how to get a structure. The structure is as per the rule of thirds. And I have divided a straight line into four equal halves of around two centimeter each. Once I have added this line, I will start adding a structure to it. The structure, of course, uses one-point perspective, as well as, as per the rule of thirds. We have already seen that the structure is towards the right-hand side more. This is the main focus point of the structure, though there will be other parts which we will add on. Don't go by the time of this particular painting because I just feel that we had more structure coming in. That's one of the reasons it just took a bit more time. Everything else remains really simple. All the techniques that we have learned earlier will again be used in this particular painting. We are not going to learn anything new organ, not going to do something that is not that we have never used or that we are doing absolutely. New order is subjective to something that we are dependent on. All of this put together. Let's just keep adding all these lines. And once we are happy with how the structure has come together, we will go ahead and start adding our colors to this guy. The most important aspect of this whole structure is to draw this cost line. I went absolutely wrong while I just started it out. I must say, now when I draw this line, I think most of the things come together. Okay. I guess the lines look nice now and I'm extending it to the left exactly as well as to the right on top of it. You know, that I always divide the structure into squares, triangles, circles or anything like that. You know, even though, but are the flowers, anything that I paint has to go with some kind of a shape and structure that I have observed. This really helps to add so much more help in terms of the drawing process. Once you can see something in a particular smaller or simpler structures, it becomes very easy for you to just put it on the paper and add the painting is one part of it where you can learn a lot of techniques and understand how to add it. But drawing requires a lot of practice. That part of the drawing is something that I would always ask you guys to focus on. Drawing is a basic framework which practically paves the way for your final painting. If you're drawing comes up, well, your final painting, half of the part of 50 per cent of it is already done. Whatever you paint from there onwards will go. Very simple. So yeah, I guess that's what I wanted to say. And let's continue adding the graphite Vmax. So I think it's about six to seven minutes that you would take. Just draw this whole part. And once the part is ready, we will start with this guy. Go for this particular sky. I will use two colors. That is selenium, as well as in nickel. Selenium blue is something that we haven't used much. But for exceptionally The last day, I just thought to use this bright beautiful color from Magellan, Mission Gold. I hope you do fall in love with it. If you do not have surrealism blue, go with any other blue that is available with you. Over here. You do not need to think much when you apply the colors to the sky because guys never domain. And, or that's not what we're focusing on. We are majorly focusing on the structures of the building as well as the bottom season. Going ahead and adding a few foliage as well as branches in few of the areas. Now these branches and foliage practically helps us to explain the autumn season in a better way. Going ahead and removing the extra five marks from a few abs with the help of this. It is though that I have and then adding a few lines in a bit darker value for some of the areas where it is really light. This is the structure for us and the structure needs to be very defined. So either you can make darker lines orders and go over the older lines with the help of your scale. Don't make it all better. Row one. Let us apply some water. It's a cost to clean water because we are just starting out hand. Go ahead with some of our Selenium blue. The surrealism blue just looks so majestic over here. I can't tell you. Once I got introduced to the surrealism blue, I always wanted to use it for most of my paintings. But you can also have the autumn season is a bit about the warm shades of the nature, but darker values for the sky, etc. So the reason for using indigo is that corals, you can also go ahead with Payne's gray if you do not have indigo, going with some more lighter values and few of the spaces. And then with my cat tongue brush to apply the darker values. With the help of my indigo. You can mix indigo or else go ahead with even a darker value of surrealism, blue, whatever works well with you go with that for me, it has to be the indigo. Indigo just sets the mood of the autumn painting. The best way. Mood is something that I always love to explore for myself. You know, the better you get into the mood of the painting and the better you understand the paints, the better you understand the people. The warm cup of coffee, the cold evenings, etc. Everything just makes us feel so much like it's coming. The holiday season is just around the corner and the harvest season is there, then the Halloween. And we even have so many other occasions coming in as we can this year. Yes. I guess we need to start celebrating it now so that we have next few months to celebrate the end of this year and go ahead and set our mood for the next year or together. Mixing some amount of my ground as well as the yellow. Once I have applied, it is majorly the permanent yellow deep what I have, I do not have the exact yellow on my palette for this particular painting, as I really did not have much space. So in this part to create the yellows and the whites is more about the structure that we have. In this case. The structure really matters more over here, filling up a few spaces here and there. And this is the cutoff brush size stem that I'm using. I have more in love with this policy. These policies as such, beautiful, really want to have these brushes more to Frank. In fact, I have more from the CDS size four and a size six, but they do not have exactly this kind of a beautiful, I must say. I think I just overworked with them a bit more when I was working with gouache. Not great with gouache. I might say if you work with watercolors, they keep, you can keep them safe and better. Watch can actually, you can go ahead and work with any kind of cheaper brushes compared to watercolors. I'm going with a bit of a darker value or with the indigo that I have. And filling up the whitespaces over here. Once I have filled up the whitespaces over here, I would go ahead and even start filling up the whitespaces for the top part of the roof. This is divided into a few parts, of course, the whole of the building and some of it. So it's a very simple, some of it is a bit tough. I would not say that it is really tough. It's just a very simple structure that we have to go ahead and paint. I hope you are liking this guy now. This guy has turned up beautiful in terms of that, there are whites also within the sky. There are darker values also in the sky. It looks more likelihood. Okay. I guess it's time to add the darker part. In the left side there is light. So everything on the left as on the lighter side, whereas the darker part is facing to my front. And those would be the areas and more shadows compared to the ones that you've added on the left. This is a space where you can go ahead and add the red and mix it with some brand before you add it. Now, you can have red to quarrels of bit of yellow. Also when you had this color. All the colors that I use is from the autumn season only. And we have always used cassette values or the set colors that I have always introducing you to maybe one exception here than there, there might be like the civilian blue which we are using in this case, rather than using the indigo for the sky rest title thing that we have gone ahead and changed anything. Okay. Adding a few more lines here and there. And once we have added the line side, go just freehand with my brush. I'm so used to this brush now that I can paint anything and everything under the sun with the help of this brush, I feel so strongly if it is a smaller space that fear occupy. Once you are done with this particular part, we will start focusing on the foliation next. Now, occupying the whole of the whitespace is very important. And once you start adding the foliage, you will get a better understanding of how your whole painting is. Tony. We have talked a lot about the shapes, sizes, and values throughout all our painting. What is most important is another aspect which is perspective. Perspective is all about what you see from the closest value and what is far away from you. Whatever is far away from you, you do not need to detail much as I have told you earlier, whatever is close to you, you need to detail it more. That's one of the reasons you will often see that there are so many individuals tropes that we had to apply for the roof off these smaller temples. As well as there is so much more that you have to go ahead and add even on the left side of the house. We will continue doing this until we are more satisfied. And I guess I am now looking forward to the foliage that we have towards the bottom area. Though there is a good amount of work that is still left on the other parts of the roof as well as on the pruning. Let's keep working at it and it's an iterative process. I do not have much to explain over here. So just follow me. And once you keep adding these lines, you will see how the whole painting is coming together. Adding some darker values of brown for our railing. And this is basically it looks like a balcony, kind of a structure. Of course. It's not that we aren't going to exactly do that balcony kind of structure and all. Just the look and feel should be something like that. Going ahead with some more lines for the top area has high continue doing it. I go very loose while painting all these lines. Some of the places I don't miss it. Some of the places I do market because everything you will not be able to see in such a small kind of a painting. So having all these paints each and everywhere will not make all the sense. Handing it in few places and leaving a few will be more realistic and will be more, I think, appreciative in a quick and easy painting. This painting is a bit longer compared to all the other paintings. It's just that the work that we're doing over here in terms of detail is higher compared to what we have done earlier. Now the detailed work actually requires all these individual strokes to be seen. Now, all these individual strokes of cost per takes some good amount of time compared to what we did in our last few lessons. Though, I am super excited about my next lesson, which is basically a bonus lesson, where we're going to learn everything about light and shadows. In the meantime, many of you who haven't taken any of my other classes or who are new to watercolors, I would request you to go ahead with for easy watercolor landscape class or any other classes like the Polaroid series where you can learn a lot more about watercolors and the techniques, as well as it is really going to help you even in your future journeys. And we'll add those darker and lighter values of the grid as well as some of the prompt. Now you can either use red, Horace, you can use brown. I would leave that decision up to you. If you want a more brighter, then you can go ahead with the red. And if you wanted a bit lesser darker, you can go ahead with the brown. I really do like to keep my smaller parts has very loose and because they look more nicer when they are loose and there are some Few dots here and there. Tom, can you adding some lines to make it look like stem and branches, as well as the foliage looks more original that we keep adding the branches, as I always say, that is really, really meditative and you'll keep adding these branches and make the word painting come to life always, always. I think the whole of the painting now looked so complete to be frank, there are no white spaces that we have. It's more about adding some more layers to a few areas. And then we can say that this painting is detail. Hand, it is close to victim. Let's start adding the highlights and white and black to our ping ping. And you will see that this is going to finish off the painting in a much more detailed and nicer job. Maybe have been doing it for all our other paintings too. And so many of you have asked me about the white Jelly Roll pen. It's from uni ball. If you are having any other band from my unique ban or data rather pens, posca markers, etc, which are available in the market. Please go ahead and use that or else go ahead and use any of your gouache. And I think that will also do the work in a good way. I think some lines with the help of my scale, I have this wild grass gift. Add few more lines here. And then over here, I don't have much to explain as I have told you earlier, it's more about adding just a few lines and details. I will come back when we have to really feed off the tape and have a final look at the painting. And CDC so excited to now peel off the tape has I know we are almost at the end of it and this painting is coming to live in such a beautiful way that I initially did not considered really painting this fun as it is not very simple, I would say, as well as it is not really tough, but keep might be a bit tougher compared to all the other paintings that we have done. Hence, hydrated, not want to give it a go, but almost I hadn't done with the painting. I think it's one of the most amazing things that we have painted in now. As well as it has so much of learning and to what compared to the other paintings which we did, there is much more scale, height added on work like putting your foliage just in the front of it. And why not keep the corners boring, which we did not do in this particular painting. Only the top part where it is more to do with the sky we have kept this morning as we focused majorly on our buildings, as well as onto our foliage status and the foreground. I guess that really leads, quote paves the way for understanding the fact that we do not need to work on each and every part of a painting. There are a few parts which must be left assets. And you should continue working only on a few parts which you think is important or which you think is closer to you. I think this is one of the most important aspects that you should follow in watercolors or any other paintings that you do. Not to get into the details on, not to. Blown away with only the details that you see or you want to add that I'm more sure about is to go ahead and just work on only a few aspects and our painting not to continuously work on everything that I observed. Or I see a photograph or a painting that I do. I think that's very, very important takeaway for all of us. And if you follow this in detail for most of your paintings, I think you would be in a position to Neil, everything possible. Going with the final white marks in few places. This is the painting from Kyoto, Japan. And if you have a friend staying over there, I guess you should make an effort and send this beautiful handmade card or the painting to your friends so that they too can feel the beauty of the autumn season in Japan. I hope you have enjoyed this lesson. It is the seventh day and it is something that I have always looked forward to while I end this whole series. But over time, we have realized that nothing is going to end. We are going to progress more and more fit another beautiful painting. And it is the bonus lesson, pumpkin on the porch. One of the most elaborative, impressive, and beautiful parts that I've added to this whole series. I will meet you tomorrow with that particular lesson. We can't end it over here, and I'm so sure about it. Let's wait for tomorrow. And I'm very, very excited to see all of you guys painting along with me. I'm pleased to upload the projects in the project gallery so that I can have a look at it and give my valuable feedback. Thank you for today and meet you tomorrow. 12. Bonus Lesson: Autumn is incomplete without having a look at the harvest season. So why not go ahead and paint the pumpkin? I am making a basic shape of a pumpkin hand, putting it on the porch. This is pumpkin on the part, which is one of a very generic activity we will do during the season. Halloween is also around the corner, and hence so without any pumpkins, I don't think the season can really end. Since we did do a lot. In terms of painting around the world, I want to specify a few things like whenever you are painting on the location, you'll need to really think about a finished drawing because the chances are that are sketching. And you will make it use just to capture the basic few and leave it at that. But once you are in your studio to be frank, you will go ahead and try to tighten up a lot of things. Like quickly draw a particular thing and then just start finishing it off with your pencil a bit more. The quality that you actually add in your paintings or into the drawing style when you are in your studio is very different than when you were actually on a location. So this is one of the aspects that I want to tell you that all the lines that you are creating right now should not be the ones that you have to actually add onto your final paintings. Now, there are two kinds of artist whom I have practically absorbed rapidly, I would say three times. One is that who are always painting more in the loose side, whereas there are many who are always typing up the things. And the third one is more of a mixed kind. Whatever we are trying to do is from the mixed perspective, we are not going to go entirely with each and every aspect of drawing and then specifically taking out time and focusing on the sketching. Then individually go to the shading and then go to our final painting. That's not the idea of the whole painting session that we did them now. But we are in a mix of the loosening and the timing. I hope that you are now slowly getting into the zone where you can understand that this is more a mixed or a hybrid kind of a model where we are understanding to loosen up in a few spaces and make it more titan in a few spaces. Going ahead with some of my brown and adding it to the left side of the pumpkin, as well as on the right side of the pumpkin. It's a very simple process that I am following over here. Simply go ahead and add a flat wash. And you can also add a bit more variegated wash, including some lighter and darker values of brown, orange, whatever you want to go ahead and add. I think this is the time you should experiment, as you have already done about seven paintings. So if you really want to try out and understand how the colors behave, how you work it out. You can see that I am performing a variegated wash where there are two different values that we are adding in different places. In the same, or particularly one single wash that we have added to our graph paper right now. They're darker value of the Brown. I am adding with the help of my size eight brush from a SCADA. And then going ahead to the top part to add again a bit of a darker value. I am okay when I am adding this darker value, as I already know that the paper is wet, the color will not flow a lot and it would be really light. So that's one thing which I always keep in mind when I am adding this darker value to the first layer itself, which I have had it. It would turn up at least two to three shades lighter and I do not need to think much when I add this to my paper. Go make a point that all of these paintings are on the warm side, which is one of the reasons if you make it very dark, what will happen is the glue of the painting will go away. And we really do not want to take it off from our paintings or from the particular drawing that you are doing. If you want to keep that intact, the only way to go about this that tried to have more of the brown and the orange burnt sienna spaces that we have created. Now, those are the spaces which really add a lot of glow to your painting. As well as the pumpkin. We'll also add a lot of glow to the painting side. Many of you have asked me that how so much of glow is there and many of my paintings, only single aspect of all this glow is, I leave a lot of whitespaces too, as well as lot of lighter value places, which adds to the glow of a particular painting. I guess I have shared the secret with all of you do try to also do the same, going with some amount of yellow right? Now, this is permanent yellow that I am adding. This particularly is permanent yellow light that I'm adding. You can also go ahead with any other yellow of your choice. You do not frankly need to use the same yellow. Go ahead with cadmium yellow or if you have scenario yellow, if you have any in yellow, everything is great going with my permanent yellow deep. And you have seen that how I am keeping some white spaces over that. One important thing to keep in mind is the lightest falling from the left because of which the lighter values are on the left and the darker values that we will be adding on would be on the right hand. So once you have to decide what are the whitespaces that you have to leave. It has to be on this spot where your sunlight is falling. So the sunlight, if it falls from the left, you will see that the shadow will fall on the right. And that's what we're also going to show in this particular painting. Adding bits and parts of Brown and going with my lighter value of burnt sienna in few of the places, I will add some darker value of burnt sienna just to add that kind of darker shade that we really want even in our pumpkin. Okay, make some smaller lines with the help of your size two brush. I am so much in love with this brush. If you use the tip of the brush, you can get such a beautiful outcome throughout the whole. Cough. The pumpkin. Going with some more, smaller, smaller lines and few of the places and then blending it a bit wet, clean brush just to make it look more organic and a few spaces, you would have seen that it has already dried off and I'm working on their drives space only. I do like to alter my values to a great extent. And that really creates so much more organic approach to the painting. It seems like the whole of the painting has come together that way. Always try to add more and more colors or changing the values to your, any space that you try to paint. Hello, I am keeping a few spaces as white. For the top part though, I should have kept on the left sidebar. I went ahead and just added a few white spaces in between, going with the darkest value that is basically my indigo, and adding that color to the top part of the pumpkin, which is basically the stem. And then making some of the lightest value of the green onto the bottom area of blending it with my olive green. Whole of this experience is something absolutely different and you are practically going to fall in love with it. Once you are done with this painting, it is really simple, easy, just that you need to understand how we are going ahead and adding the colors in a very simple and easy manner, as well as blending it together. Initially, I added some amount of the light green or the yellow green, and then going with my olive green on top of it. Once I've added the olive green, I need to go ahead and add some of the darkest value onto the left, as well as on the right side. The darkest value of the brown now, which is basically your Van **** brown. And then just paint the particular shapes and sizes in a few areas which would make it look more like a door, as well as the wooden pieces that we need to show for this particular painting. The most lovely part of the painting is to draw the shadows. And I'm going ahead with my Van **** brown to draw the shadow part, the top part I'm covering earlier, you can see the small-scale off the pumpkin is popping in from the middle, as well as I will make sure that it falls on the door part in a clear manner. Keep adding this darker values. So do make sure that you have a bit of a change in the value. Sometimes you are lowering it down or you're making it lighter with the help of your water. And sometimes you are keeping a dark every time that I add the colors. You can frankly also of me doing it in a way that you will get these various shades. I guess. That's it, which I wanted to convey to you. And I am going ahead with some amount of the brown now. The brown is basically it a way that we can get those dry brush over here towards the top area as well as towards the bottom area. The top area is majorly the area which is more in the light. Now when anything is more in the light, you will have to just add the lighter value or the dry brush technique in a way that it doesn't show off a lot. Once that part is done, I am now starting with my highlights. Highlights are going to be very simple. Again, over here. Now, the highlights, I would go ahead and add some amount of brown. Once I have added the brown, we will add some lines to our beautiful wooden board that is lying dead. Going ahead with my liner brush to create those thinner and simple lines that has some more amount of a higher degree of control, I would say, for me to work on these particular CDS, this has come really handy. And when it is a smaller paper, you need more control over your brush. If you have size 0, brush size one brush, where you feel that you have a better control. Go ahead and use it for all these paintings. Going with my final grass layer. Once I have added this glass layer, then you can really see how the darker and the lighter value or creating so much of light and shadow in a better way. Why I go and add these grasses, I realize that we cannot continue adding this process one after another. We need to even know, just think about the darker spots in a better way. First layer was really light compared to the other layer that we have to go ahead and add for our darkest value to make sure that the corners are boring. As I've told you earlier, that's one of the rule which I always follow in most of my paintings. Though painting doesn't have any gravity of its own. And you can always bend the rules as per your choice. Yes, this is not what we are going to always, always true. But for many paintings I do use it. And most of the paintings you will see that my quarters are pretty much boring compared to what I tried to show towards the middle part. Continue painting and continue adding these smaller grasses dots here. And then I would go ahead and ask you to please upload all these project in the project gallery so that I can have a look at it. I can give my valuable feedback to each one of you. Anyone who is working on a 185 GSM to 200 GSM paper, 100% cotton, you can get the exact kind of field, as well as the colors. The colors sometimes you may think that they are not as bright as what you also, the, one of the reasons is Magellan Mission Gold is for Carlo where you can get a lot of vibrancy, but all the shades that you have, even from the other artist grade paints might not be of same level of vibrancy. Hence, Don't try to compare the vibrancy of the colors. Just try to observe how you can continue painting over here and how you can add a lot of knowledge your own self. Because all this knowledge is going to add on and you can practically have a better watercolor journey. Some of the lines pro black that I continue adding, and maybe even the white that I have. These are the highlights which I always love adding to my painting. And these highlight makeup so much to a particular painting. If you have like anything about this class do leave me or feedback. I can't wait to see your inbox and the feedback section because that not only really helps me to understand where this class is lacking, but also the high points of this particular class, which I can always carry forward even in the next classes. Font-weight to see whatever you have created in the project section, as I have told you earlier, as well as continue on this beautiful journey of watercolors. Every time you do not need to paint thick, paint small, you can not only save on the paper, but you can also see on the fallows, not be de-motivated and still get out a beautiful painting once it is done. I think this is one of the very important aspects that I wanted to highlight through these smaller painting classes, you'll get o huge opportunity to finish off each and every painting very quickly. And it can get adjusted within the day that you are trying to work on adding the white lines as I did tell you earlier, and this is what they had pulse my Gelly Roll pen. I have been using this pen for quite some time. And in the darker areas where the whites would be more visible, I tried to add it there itself. In case you are on Instagram, just tag me as watercolor illustration later. Whenever you are painting along with me and we're creating my projects, I would love to share it back on my stories so that everyone gets to know about your beautiful creativity. Can't wait to see you all in the next class where we are going to paint something different and fantastic, which I have already planned though I want to keep it a secret before I reveal it in the next class. So many of you will want to paint another set of destinations, I think you should and must show and around the world and 80 days car travels, kid sees where we are going around 20 various destination and painting. For paintings in each of these destination. Each and every destination is unique and few of the places you are getting to understand perspective and a better way. And other part we are working with sketching. In some of the other bugs. We are also working with only the sketching drawing and discussing their perspective, as well as going through the beauty of Greece, painting the particular doors or windows or any beautiful object that you see over there in your sketchbook and just making your dream come true kind of series. Once you have already taken this class, I think it would be quite a cake walk for each one of you to go through all the other paintings and that series, it has a bigger paintings and it might be a bit more longer compared to what you have been doing over here. Nevertheless, I know all of you want to paint on the location or you want to be an urban sketcher, that child inside your wants to paint on the location along with other people, plain air, capturing the mood and atmosphere and everything. And hence, I just thought that that would be the perfect class to join. And once you are done with this class, I can't wait to see this beautiful peel off the tape. Let's have a final look at it. And to clarify yourself and enjoy that you guys have created such wonderful paintings.