Colours of Sunset: Learn to Paint Stunning and Colourful Sunsets with Watercolours

1. Welcome to the Class!: There isn't a single person who doesn't enjoy looking at the sunset sky. But they use sipping a cup of coffee or tea that is an undeniable uplifting feeling in seeing those Colours, genes in the sky as the Sunsets during the end of the day. Now, imagine having the power to translate those breathtaking hues into your very own paper. Hello everyone. And to a Skillshare teacher, silver brush educator and Ambassador to White Nights. And see that I'm stationers in India. I have been teaching online for more than three years now and have conducted in-person workshops and various cities. There's something magical about Sunsets that I keep pulling back, hand, painting them. It is one such topic that I'd never get to it and get painting them every now and then. Welcome to this class on painting mesmerizing sunset landscapes with watercolours and thrilled guide you through the magical world of capturing these beautiful sunset landscapes on paper. In this beginner-friendly class, we will embark on a creative journey together as we explore the Art of watercolor painting. Whether you're completely new to painting or looking to refine your skills. This class is designed with you in mind. Each class project will focus on a specific dominant color of the sunset sky, from the warm hues of yellow and orange to the vibrant shades of red and purple. I'll be with you every step of the way, breaking down the process into easily digestible steps. But that's not all. We'll dive into the basics, including how to hold the brush properly, master essential brush strokes, and most importantly, learn water control with watercolours with a new technique that will allow you to paint on most watercolour papers without breaking the bank. I'll also share tips and techniques that will help you to achieve that perfect blend of colors, creating that all inspiring atmospheric effect that makes sunsets so captivating. Whether you're aiming to create stunning artworks to decorate your space, or simply want to unwind and tap into your creative side. This class is the perfect opportunity to do just that. By the end of this class, you'll not only have a collection of gorgeous sunset landscapes, also, a newfound confidence in your watercolor painting abilities. So I ready to embark on this artistic journey with me. Join along and let's start painting those beautiful, stunning sunset master business together. 2. Class Project: Hello everyone. Thank you so much for joining this class. I'm sure you're going to have a lot of fund painting along with me in this class. But before we move on to the techniques and the odd supplies section about, I'll give a brief overview of how the class is structured. In the techniques lesson, you'll learn a new method of painting with watercolors, which will enable you to paint with most watercolour papers out there. And not just the 100% cotton paper that I usually recommend. Once they confidence enough with this technique, you can dive straight into the class projects, designed to five class projects as that, each painting will have a dominant colour of the sky, such as red, orange, yellow exit. And using that dominant colour will paint the sky in a gorgeous way. Obviously, there will be other colors, but this dominant colour will be the main focus of the painting. The colors used in each of the class projects are included as a separate video right before the painting project starts, so that you can be ready with your color palette before you start painting, which will also aid in getting you focus towards the water control of the paper, rather than you worrying about mixing your colors bid way. Most importantly, this class is meant to be as simple fund and relaxing painting session. So don't forget to upload your class projects to the projects and resources section here in Skillshare so that I and all of the other students can also see it. I can't wait to see all of the magical pieces that you're going to create. I'll move on to the odd supplies section where I'll tell you all of the Arctic plays that I have used in each of the class projects 3. Art Supplies: So let us have a look at all the arts supplies that you will need for this class. First of all, obviously watercolor paper. So in this class, I'm using Saunders, Waterford, CP or not, or fine-grain or cold pressed. That's what TV is, 300 DSM, which is the weight of the paper, or 140 pounds, or 140 LD is what it means. 140 pounds. So this is the paper that I'm using in this class, but you don't necessarily need to use a paper that is 100% cotton paper like this one. Because I've tried and tested many of the projects. Width. Another paper that is not 100% cotton paper. So you basically, all you need for this class is a Watercolor paper, which has a minimum thickness of 300 GSM. That is essential because you need to make sure that your paper can withstand the washes, heavy washes of water that we're going to give it in the technique section, I'm actually explaining with this paper, which is Canson 300 GSM, and it's not 100% cotton paper. It is cold pressed. I would highly recommend using cold press paper because it has a nice texture to it, or even a rough surface to paper. But don't use hot pressed paper because it's really smooth and not good for Landscape watercolor paintings, especially for the techniques that I'm teaching in this class. I would highly recommend a paper that's the only condition is that it needs to be Watercolor paper obviously, and 300 years and that's it. Okay. Next is watercolor paints. I'll be using this custom-made palette of mine. I say it's custom-made because all of these colors are carefully chosen after so many months of research. And I've come down to this basic set of 36 Colours. I wouldn't say it's basic. Obviously if part is X is a lot of colours, but there are some colors that are usually gravitate towards. This is my palette. So I'll upload a PDF containing all of the colors in my palette in the resources section, you can check that out. So this is actually made up of colors from various different brands, such as a Shameek, a Rembrandt, white knight, Daniel Smith, Winsor, and Newton. So I've just, after several months of painting with watercolors, I understood which are the best pigments that are alike and which I mostly gravitate towards and which I like in my been things to be more vibrant and colorful. So I've chosen those colors and these are the colors that went into my palette. So you don't necessarily need all of these Colours. The complete list of colours that we actually need for this class is inside another PDF and the resources section. So before you head onto the class projects of this class, you can check out that PDF to know which are the colors that you would actually need. So the colours for the individual projects are also mentioned right before each of the class project, so you can check that out as well. Next thing, of course, what you need is watercolor brushes. So these are the only brushes that have used in this class. Basically, it's basically three more brushes. I just switch between them as I deem fit like if I need a very small pointed brush, I switch to this size 01. Sometimes it's size ten, sometimes it's, this is 20. But the most important thing that you need to understand, as you need a medium-sized brush, something that's in a medium range of six to eight, and then you need a larger size brush, something around like a size ten. Nora's is 12 and you need a smaller one as well. I could have actually skip this one and then just use this for the glass. But it's just my way of paintings and that's why I've used it here. This one is size four, brush from silver. So you can either use a size two, Orange is four for the details. And I would say for applying the water, the most important thing is this one which is a very large brush. But obviously, I know that some of you may not have larger brushes like this one, and you just work out with one large brush like this. And that's absolutely fine because you can do it with this one as well. Just as one. Just that it's going to take you a bit longer. But when it comes to painting and if you're enjoying the pluses than there is nothing else that matters, right? So this one is the Silver Atelier size 20. These more brushes are the Silver Atelier blend quill brushes. The one I have here are the 010.20 sizes, but that doesn't matter. All you need is, like I said, a medium-sized brush, a larger size brush as well as as brush and a flat brush to apply the water. You'll also need white gouache paint for what of the class projects. So the white course that I normally use as from Winsor and Newton, It's the permanent white designers brush color. You can also use any other gouache such as this idea in white, which is here. It's the extra fine gouache from White Nights. And this palette here is usually where I put in my white paint just to separate it out from my palate. That's it. Squeeze out my white band into those are all the time. The next thing I would recommend is two jars of water. Because when you painting with watercolors and you repeatedly wash out your brushes with the daddy pigments. One of them is bound to get very dirty like this. So when you're trying to pick up fresh paint from your palette and your brush goes into that one, and it's speaking up a very dense muddy pigment. Then you're going to put that pigment onto your palette and pick up a bright, beautiful yellow color. It's going to fade out because it's got muddy pigment in it. So that's why you need a second jar of water which is always clean. So make sure that when you're working with watercolours Try and get this jar clean as possible. So always wash your beans on just the same one. And then when you're trying to pick up fresh pigment, try and dip your brush in this one so that it clears out the pigment is, obviously, you're picking of muddy water from here, clearing your brush. Imagine you've got somebody pigments on your brush. So the process would be to wash your brush obviously, and then drain the excess water out like that. So all of the excess water, which contains the muddy pigment, are gone. And then wash it here on this side so that now it's just absolutely perfectly clear water. And then when you want to take more water for creating milky consistency, these are good, watery consistency is of the paint. Use this water because it's fresh and clean. So that's the process that we're going to be using for this class. Along with the watercolours, you obviously need a pallet to mix the paint to make sure you have a good palate. So this one is a plastic palette. You can use any kind of palette. You can even use them. Dinner plate, which is obviously ceramic or plastic ones are metallic palettes, whichever you have at your disposal. Another important thing that you need for this class is a board like this one. So this is kind of like an accurately board. So it's called acrylic Bueller acrylic, acrylic sheet. I think this is around MM or tea, three MM thickness. That's how you can find it. I highly recommend using this because we need a non absorbent board. So when I say non-absorbing, it means it does not absorb water. The problem with wooden votes is that it would absorb water. So the water that you're applying at the backside of the paper would get absorbed by the wooden board and that would decrease the moisture on the paper. Which is why and non-absorbing any kind of plastic board would suffice as well. You know, those Writing Board that we have which are made of plastic that would suffice as well. So you can use that. Cardboard would absorb water, so that is not non-absorbing. I would highly recommend try getting an acrylic board or like this. But if you're able to work really quickly and you're confident enough, then you can go ahead and use a cardboard or even a wooden board as well. Lastly, you will need our tissue or a tablecloth like this so that you can remove the excess water from your brushes and also clean out any edges of the paper or excess paint, anything. So just like that. So when you have excess water than your brush, you just wipe that against the cloth. So that's why you need a tissue or occlude, have this cloth which I keep using, have this in various colors. So I just keep changing them and that's what I use for my watercolours. Alright, so that's everything that you need for this class. You don't need any tape or paper or pencil eraser and all those things because we're gonna be directly painting onto our paper. These are the only materials that you need for this class. The only most important things that I would recommend is a Watercolor paper and the board, that's it. So if you're ready, let's go ahead and check out the techniques first before you move on to the Class Projects 4. Techniques: Let us understand the most important technique that we need to know in this class, which is basically paper stretching or applying water onto both sides of the paper. Usually I do this with 100% cotton paper and I'm also using 100% cotton paper for this class. But I want to tell you that I have tried and tested it on non hundred percent cotton paper and it works. So those of you who think that 100% cotton paper is really expensive, which obviously, I know you can go ahead and use this on any kind of paper. It just needs to have a minimum thickness of 300 GSM because the paper needs to withstand the amount of water that you're going to give it. If it's not that much thick, then it's going to warp or it's going to tear off possibly one block because you're applying it on both sides and you're sticking it. So warping is not the issue here. It's tearing the paper and it might lose its sizing. So in order to avoid that, I would highly recommend a minimum of 300 GSM. Gsm is basically the weight of the paper, and it's usually mentioned on the front of the block, the tube which is your papers in. So it's gonna be there somewhere on that sheet. So you can find that information on that block. Now to paint, this is our ganzen sheets that I have here. It's not 100% cotton, of course, it's a cellulose paper. What I'm going to show you is the technique known as stretching. Stretching is basically where you give the people a lot of water, where the paper eventually stretches out. That is because the individual fibers are. What do you say? The structure of the paper expands a bit to accommodate all the water particles. So you're giving it water from both sides. When you actually apply water for the wet-on-wet method in watercolor and you only apply on the top, then there isn't enough water. But in this case you're giving it a lot of water such that the paper actually expands. Obviously going to be able to see it with your eyes of course. But it expands and then, and then it stays wet longer. So that's the thing about this method. It's really in highly helpful when you want to paint a lot of wet-on-wet with watercolors. And even when the top layer has dried, the underlying layer stays wet. Eventually, which means that the more strokes that you apply, it stays wet. I'm going to demonstrate this technique here before we go into the project so that it'll help you out. One important thing that you need to note before we proceed is that every paper behaves differently. This is because obviously the manufacturers have used different processes to make these papers. So they structure of the paper is different, the texture of the paper is different. So every paper has a lot of difference, even for me when I've tried it with cancer and cellulose. And the Archie's one, the Saunders Waterford, it all behaves differently. So you need to keep that in mind when you're trying this technique. So in order to understand your paper at its best, you can pick up a sheet of paper and try this and then practice it and understand the way the beeper behaves. That is, your paper, how it behaves. So I know very well how the paper that I'm using and I'm constantly using behaves. So I know how to adjust it. I can when I look at it and I can see the amount of water on it and I know that that area is going to dry. This guy is going to dry and then I can then I also know how to control the dryness. All of this because I've practiced this technique a lot on the paper that I'm using. Similarly, you'll be able to do the same thing so long as you try and practice with your paper. So this here, as I said, is a cellulose paper and the method is simple, so you need a large brush. It's okay if you don't have a large brush and the maximum larger size brush is something like this that you have, then I know it's going to take a longer time for you to apply the water, but then it's okay. You can just take that much time. Although I should tell you there is a second method for applying the water or for stretching the paper actually. So the second method is to basically fill at dub or a bucket or something large enough to hold the paper obviously with water. And then immerse your paper into that Doug for around 10 min, maybe. Five to 10 min most probably. And then take it out. Be very careful because this actually loosens the paper and it's gonna be very bendy. Then bring it back onto your board that you're using and stick it firmly onto the board and then remove excess water from along the sides. Just done the board and the board at an angle so any excess water will flow out and that's it. So that's another method to apply water. So those of you who actually don't have a larger brush to apply the water, you can actually try that method. I'm pretty sure that it's gonna be really helpful for you. Because with a smaller brush and if you're painting a very large painting, it's gonna be really tough. But if you have a larger tab and you can just fill it up with water and immerse it in 10 min. And while your paper is going to be readily stretched So this is the backside right now, which while I've been talking, I've been applying the water. Okay. So clearly, just keep applying, make sure that it's coated nicely in water. I mean, realize it's not pools of water, but just make sure that it's quoted nicely. Then once done. Now the next part is to take your paper started towards the other side. That is towards the front side. Water onto the front side now. So this way your paper is actually sticking to the board that you're using, which is why I recommended to use a non-absorbing surface. So imagine if you're using surface that is a wooden board. The problem with wooden board is that good, absorbs water. So it's going to absorb the water that you already applied on the other side. Whereas a plastic surface will never do that. It's not going to absorb any water. So the water stays there, stays on the underside of that vapor. So now you can see some air gaps here. What do you need to do is you need to apply water towards the front side and then use the pressure on your brush or your hand to make sure and press, Enter the paper firmly onto the board. So here I go along this edge and I know that this edge being fixed. Then I go along this edge. I know that there's no air gap or anything. I see an air gap here. So we can fix that. If you run along the edge. Fix that firmly. There, you see that? So I know it's a lot of water that I'm moving around. So first, we need that amount of water at first. So just make sure that your paper is nicely coated and ready. Having a lot of water. So those of you, if you're trying this, but the cellulose method, Here's what you need to do. Make sure that you absorb excess water from the outside of the beeper. So here's what I'm gonna be doing. I have a piece of glue that I usually use for my watercolors. You can use either a tissue or another piece of float like this. And I'm going to absorb all the excess water from along the edges here. Absorbing all the excess water, that is an artifact support around this paper. So I'm going to turn it and hold it at an angle like that, such that all of that excess water comes out. See that? I do this, but my hundred percent cotton paper as well, because I usually apply more water than I actually need. Because I like to be I like the paper to be really stretched and having a lot of water so you can see the water droplets coming out. So these are the excess water. So hold it and angle for quite awhile, let all the excess water come out. So this is going to make the paper wet because you're actually pulling down the water. Then repeat this process for one more time. For those of you who are using cellulose, if you're using 100% cotton paper, then it's absolutely fine at this point and you can go ahead and paint. But because this is cellulose paper, Let's go ahead and apply once more. There you go. Keep applying the water. So you can grab the excess moisture also by using running along your brush like that and then wiping it alone, the pillows or the tissue. But make sure that it doesn't have you don't take away all of the excess water. Okay. So now let me show you the good thing and the best thing about this technique. So the best thing about this technique is obviously can be in the whole thing with bedroom wet. And it's kind of tricky because there may be places where you don't want to bend in my dorm red and where you want to keep white or something. If it's a smaller area, go ahead and apply masking fluid and let it work its magic on its own. But if it's a larger area than just make sure that your paint doesn't flow to that region. That's the only way you can actually absorb out excess water or lift off excess paint from that area. So those are methods that you can try out. Okay. So in this, I'm just going to quickly show you the magic of watercolor is actually like this because it spreads out loud. Maybe I shouldn't be actually showing you this because it does this. The other way that color spreads. This is one of my favorite colors. It's quinacridone, a loop Lets out like that, whereas as opposed to other colors, maybe I should show you some other color so that you see the difference. What I'm talking about, I get, so this is Taylor blue, another one of my absolute favorite. Here, I applied halo glue and it doesn't move out like that. So the pigment inside of this quinacridone gold spreads out like that. And do you know what that pigment is? Okay, wait, is this a pigment class? No, it's just too exciting for me. It's understand user, it's PRA D3, which is alizarin crimson, quinacridone gold. I have a SBRT, D3 and B15. We're just transparent yellow. So the alizarin crimson is what makes it look like that. So there's alizarin crimson and this pigment, which is why it looks like that. Okay, So the whole point about this class is basically you see how the paint spreads. You're able to do a lot more with this. Because let's say that you're trying to paint like a cloud or something. So you've got your paper. Your paper is like real nice and wet. Again. You're able to work on it for a longer duration. So don't worry that your paint is going outside and some of the paint is also going to go underneath. And you'll be stuck there. And it's absolutely fine. Let's make it green sky here. This is not part of the class as part of the technique that I'm trying to show you how it works. Okay, So that's why I'm just quickly or randomly making unnecessary things up into my paper. So also, another thing here is when you're painting on your paper, this brush stroke that you're applying. So here I just picked up a little bit of pigment. Your brush has water. So when you're applying your paint, the first layer of paint, make sure that it sounds a lot of water. This is because if you really apply a very dry pigment, let me show you do so here. This is a very dry pigment. So this doesn't have much water. When your paint has a lot of water, what it actually does is, you know, the water that we applied at first, you're reapplying the water at this stage, your brush is giving it moisture again. So then it's like the paper. If you think about the mind of the paper, the paper was like, okay, I'm now going to start to dry up. But then you give it more water is like, Oh, no more water. Okay. Now I'm not going to be dry. This is how it works. So there so you've applied water so the first layer, make sure it's like in a milky consistency. So let me just quickly go through the consistencies that I talked about. It's not such a rocket science. If you that is a watery consistency because that's like literally a lot of water on my palette. See that? So that's watery consistency. Now what is making consistency? That's like 50% water and 50 per cent paint. This is like 25% being done 25% water. I'll show you the difference. So this has a lot of order c. That's not what I used earlier. I used earlier was milky consistency, which is basically 0 pigment into this. So this now is like milk. It's a milky consistency of the paint. See that? Okay, So that's what I used earlier. Now there's another consistency which is 75 per cent pigment and 25% water. If you add more pigment to it, more, more and more and more, that the creamy consistency. See that that's very, very creamy consistency of paint. But notice the more paint you add, it stays wet longer because you're reinforcing the moisture on the paper. Then. Now there's another consistency which is almost like a dry creamy consistency. I might use different words for it because it's what comes out of my mouth naturally as I'm teaching. So here, if it's a dry consistency than it means probably means a brush needs to be a bit more dry. And then I pick up the paint. And if you look at the way the paint is moving on my palette, you'll understand it. See that. That's like a very creamy, dry, creamy consistency. That's more dry. See that it doesn't have a lot of water. But it still says that. So these are the ones that we're gonna be using for louds and when you're doing this second layer. So when you're adding clouds on the top and you want it to not spread out a lot. So this is what you will use. See that, see how the paint behaves and stays dark place. Whereas earlier on it was just spreading out a lot. Even with the case of alizarin, It's going to stay in that place and let me show you that to you. So alizarin was going to spit out a lot, right? But if you take it in a creamy consistency, there you go, creamy consistency and you apply, see, it doesn't spread out. It's still got softer edges, but it stays in one place. So that is the dry, creamy consistency Of course, the next consistency is our dry brush technique, which everything should be dry. Brushes dry, the paper is dry, everything needs to be dry. So I guess you've understood the point of this technique. So another thing to understand is little my hands are gonna get dirty. Your paint is going to seep underneath. So when you're painting is done, there'll be a lot of seepage and the back and that's completely okay. Because who's concerned about the backside? You're not right. You just need to be bothered about the front side where it's gonna be a beautiful painting. So I guess that's that about this technique. So make sure that you cover up every inch and every area that you want to do. Here again, I didn't apply a lot of paint here in this region. I kept on going over the other sides to this area has a little bit started to dry. But the point about this technique is that all of the other areas are wet and only this started to dry. So if I take a little bit of pigment now and go over it and join it along any of the areas that already has been. See that. Then I've reinforced the moisture on that area. And it's not going to create any blooms because it's already got water along the edges. How our blooms formed, blooms, or the cauliflower effect is formed when there is excess water on your brush and you drop it onto the paper and the paper doesn't have that much water. Let me just show it to you. No, I'm going to deliberately create a bloom here. So this is just water on my brush. And if I drop it there, that separates out the pigment and creates a cauliflower effect. Can you see it's got a lot of water and it's separating out the pigment, pushing it away and creating a cauliflower effect. So if you don't want to create the cauliflower effect, the first layers that you print should be having more water. And as you go up the layers in wet-on-wet radios the amount of water. That is why we start with the milky consistency and then go up towards a creamy consistency eventually to try or consistencies for the wet-on-wet. When it's wet on dry, you don't have to worry. You can just paint with anything, right? That is now wet. But I want to show you is I'm going to dry this up and then I'm going to show you how we can re-wet this. So if you're using a hairdryer or a heat gun or something like this. I use this which is basically literally hairdryer to dry it up. Don't dry the underside. Apply the heat gun or the hairdryer such that only the top layer is dry. You can just watch and see the thing is still wet or not. And if it's still wet, then you can go ahead and dry it up a little bit more. But still make sure that your paper is stuck onto the board. The moment your paper starts to dry, it will start to leave from the edges. We'll start leaving the board. That's when it is too dry. So we want the underlying layer to be still wet. The top layer is what I mean. The the this side the front side is what? It should be. Dry. Dry. Okay. So let me just go around. See the top layer is dry. It's still going to be called when you touch it because the water underneath this cold. But then you can see that you're able to paint wet on dry because it's dry, don't bother here. There was a lot of water here and I didn't bother trying it up. Okay. It's the balloon that we created obviously, so I'm not going to bother. But the good thing about this is like if you want to create another layer on the top, maybe something like a beach or something. You go and you paint over the top and you create another layer of wetness. It's not going to dry out quickly even though it's a wet on dry stroke. That's because there's water underneath that's preventing it from drying. But even then, when you're applying, make sure that you apply it in a milky consistency. So here my consistency of paint is really flowy. See that? So that's like a milky consistency of my beans, Ryan. I'm using that to paint and create a surface like that. See that? Then it can go forward and add further details on the top with our creamy consistency like there. See, Now that's a creamy consistency of the paint. So it stays in one place. See that? So that's a creamy consistency of the paint. But the point about this is that it stays dry. And can you see this paper, this is cellulose and still see how it behaves. Don't look at my stroke strokes. I was not concentrating. I was just explaining to you and I've put literally lots of different amounts of water consistencies on the paper. So it's not what you should be looking at, but you should, what you should be looking at is How this technique really works on any kind of paper, so long as it's thick enough to take the watercolor, obviously don't go for a hot press paper because it has too much of a smooth surface and the paint doesn't have a surface very against that alone. So use watercolor paper, but of any brand doesn't have to be 100% cotton paper. That's my point. Now let me show it to you after I quickly dry this up and you'll see what I mean. If you look here, can you see how it's starting to leave along the edges here? So it started to leave from underside. That's when I know it's like literally started to dry out from the underneath area as well. So this is when you should not apply any paint, tried to play into wet on wet on the paper because it's not that wet underneath. Let's see. It's still got a lot of water this side. Maybe it's got water on that side. It's been so it's still a bit wet. So now we've got to dry it up. So in this method, when you're drying up your paintings, either naturally or either using a heat gun or anything. You should try both sides. So your paper or your painting is completely dry Only when you drive both the sides. So see here, it's still wet underneath. So what I usually do is because you can't keep your paper back onto the board to dry it up because this is wet and your pupil will get that the, of course, I put my paper aside and then I wipe this off using my cloth. Usually, that's what I do. So here's my clothes. I usually wipe it off. And to be just super, super safe because there might still be some water, which I don't want my painting to be ruined with. I run my hairdryer on this as well. So now I know my board is super dry and my painting wouldn't be ruined. If I keep it like that, then any excess bit of water, like if there's any too much water, I'll just go ahead and absorb that. Then I'll try the backside. Now, if I draw the backside side, front fungi, then it's done basically right? So I'm not going to waste my time and dry this out because this is not a painting. But you get the point right. And those of you who are trying this up naturally just take this painting of the board because obviously you might need the bold for the next painting is this is probably going to take more than around 2 h to completely dry out. So take the paper out and place it somewhere else, maybe on a newspaper or some surface where it's okay that the underside get to the D. So it's best on a scrap piece of paper, like some newspaper or something, so keep it away, tuck it away, and then clean out and wipe your board. Make it try and go ahead with the next painting. That's what he can do. I was just showing you my process. And for those of you who have a hairdryer or this is how you can dry the painting and use the board. Again, ingest next 5 min. I hope you've understood the general gist of the techniques that we're going to be using. Obviously this glass carbons with the basic assumption that the basic techniques that is wet on wet, wet on dry, dry on wet exedra. So just make sure that you do know that. Because if you don't and if you're an estimate super ultimate beginner, then I have a glass in sculpture itself, which is my ultimate guide to watercolors glass. And you can go and refer to that class for all the techniques. And you can come back here to this class 5. Class Project 1 - Yellow: Colours: Welcome to the first class Project. And this is the painting that we're going to be starting with. The dominant color of this painting is going to be halo, as is obvious from the painting of course. But let me tell you some important things that you need to consider. So this area here is the sun or the brightest part of the painting, so that needs to be white. So make sure that your water or European paint doesn't flow to that region too much. That said, basically, and then we have lots of other colors as well. And a little bit of the foreground that we need to capture in this painting. So let me tell you all the colors that you'll need for this painting so that it can be ready with those Colours. The first is obviously a yellow shade, the one that I have used as transparent yellow or in, in Yellow PY one-fifth. So the transparent yellow, It's really good. Other than the cadmium yellow is and other realized that I have because it's really transparent and gives a very vibrant look to your painting. So yellow, that is transparent, yellow. Then Indian gold or quinacridone, gold, Alizarin, crimson, bright blue, sap green. Sap green for the foreground here. Olive green, dark green. Payne's gray, burnt sienna, burnt sienna for the road area here, and a little bit of violet as well. And lastly, transparent brown. If you're ready, let's get to this painting 6. Class Project 1 - Yellow: Alright, let us start. So as I said, we're not gonna be using any tape. So here's my paper, and I'm going to turn it towards the other side and apply water on the side. Now, taking nice amount of water on my large brush and apply water to the whole of the people. Make sure that you apply the water nicely and evenly. Ako time to do this because we need the paper to stay wet and that's really, really important. I think I've got all the areas covered now. So I'm going to turn my paper and stick it firmly on to this accurately board by just pressing along. And that's it. Because now when we apply the water again, that'll stick it more firmly. There you go. I'm applying the water and you can see that as I'm trying, the paper gets stuck onto the acrylic board nicely. And that's exactly what we want. This method is known as stretching, which have already told I'm just saying it once more so that you remember. So take your time to let the water soak in nicely onto the paper. This would give us a lot of time to work with. And especially if you're not using 100% cotton paper, make sure you do it really nicely. So at the backside, like wait for 2 min, reapply water again and then turn the paper. Okay? Alright, I'm good to go. But now what I'll do is I'll take a piece of cloth or tissue which are you using, and I'll go along the edges and absorb the water. So it's not the water from the paper, but from the outside of the paper on the board here, I don't know if you can see. So there is water particles here. I mean, one dropped is here. So I'm just taking that off. It gives we don't want that extra water to back into the paper and create any blooms along the edges. So that's something that can really happens hold Let's make sure that we take off that. Once you've done that and if you've accidentally touched any part of the people along the edges and the water's gone off. Then you can go and pick up your brush again and just brush along the edges. But this time making sure to not go outside of the paper like I'm doing right now. Alright, I think that's really good. So now let's get to the painting part. Alright, so I'm gonna be starting with my size ten brush. So don't worry about the size as you just need a medium-size brush, which is at least a size eight or as high as ten. So anything, what do you have typically, that's it. And since our color is yellow, Let's start with a beautiful transplant and yellow color. Here I'm loading my brush with a nice amount of yellow. And I am gonna start on the left side. And all the way to the right side as well. Most of the sky here is gonna be in yellow, right? So let's just do that. Try to make these nice swinging motion. So let your brush be free. Don't hold it tight such that you're doing like that. So if you hold it like in freehand manner, that's the best way I can explain that brush if you hold it like that and then just a little brush, swiftly, move around. I think you'll be able to make this. And because your paper is wet, you don't have to worry about that. It's going to dry out so quickly. Oh, no, oh no. So that won't happen. So go ahead and freely do it. Here. I'm going to leave a large cat where my son is gonna be. Okay, so that's where my son, ideally, I wanted somewhere here. Okay. So around that, I'm going to create some nice yellow strokes. Here goes nice yellow strokes. So to this point, leave a large car and then go around such that you creating a lot of yellow there. See what I did. So I have a large gap there which is my son is going to be and then the rest of the areas, you can go ahead with a nice amount of yellow. So leave that and leave that area as well. I'd like to add some other colors. So you've already seen the final picture, so you knew how it's turned out obviously. Always when I'm recording these glasses, I include the final picture before you guys actually know how the end painting is. And I don't at this point, it's really funny. Okay. So I think to go there. So the next color that we're going to take is a nice Indian gold sheet. So this is quinacridone gold or Indian gold. If you don't have that color, you can easily mix it by mixing Alizarin crimson and transparent yellow or even just, you know, orange and yellow. Little bit of orange into a yellow should make that color. So I'm going to take it along the left side. And Philae. So let the center portion be yellow here and here again from the right towards the middle. Okay. Then taking some nice paint again, and I'm going to have it and now towards the right side or towards the top left side where we had left that gap. Can you see that? Here? I take it along the to top left side and along the edges of my yellow. And here as well on the right side, along the edges of all my yellow strokes. Now let's wash that off. And here now what we're going to do is we're going to create a nice purple shade. So for that, here, I pick up my Alizarin. You can also use any Pink shade if you want my Alizarin. And I'm going to mix a little bit of my bright blue, so that creates like a bubble shade. So here's my Alizarin and a little of my bright blue. So that creates like a purple shade. And we're going up that purple shade at the top. Yes, it's going to mix and create a slightly brownish tone, but that's okay. But the reason why we put that slide a golden color, is because we don't want that violet or the blue to mix and create and green shades. So we'll just write, we put that violet. Now, let's make sure we blend that a bit more. So here I'm taking a bit of my Alizarin again. And I'm gonna go along the edge, the edge where we applied the golden shade. Let's take it along that edge and make sure that there is something along the edge and it doesn't create, I'm too much of a green color or unnecessary colours. So this is going to get weird, lighter when it dries up because obviously watercolours dry one shade lighter. So let's possibly give it a little bit more color. They don't want it to be going too much lighter. I want the color to be visible once it's dry. The same with Alizarin. So I take my Alizarin and added there. And now when you take the Alizarin, you can just give some random strokes. Not too much. It's just because I don't want it to be entirely just yellow. Now I'm going back to my Indian gold. Now, remember what I said about there's no strict rule as to how you should be painting this. Okay. It's it's just sky guys. Go ahead into anything and it's going to turn our lovely, trust me on this. So here I've taken a little bit of more of Indian gold. And I'm gonna just like stuff, extra colors in here. And you can see how it spreads. It's still going to spread and it's not going to stay at that point when it dries out. I'm pretty sure that it's not gonna be even visible. That's the beauty of watercolours when it's wet. But you can clearly see that this whole thing is a lot of yellow, isn't it? And just some random other colors at the top that said, let's make sure that we paint the bottom part before it starts to dry out. So here I'm just shifting to a one size up brush. So this is one, this is 20 more brush, which means you can take as high as 12 brush maybe. Okay. And I'm starting with an olive green color. This olive green is what's going to dictate where land area is going to be. We'll add more stuff to the background, but let's just putting down the Colours first because if you don't put anything, there were water here will dry out. But when you put colour, there's already some water in the brush which will reinforce the water there and I'll stay more wet. And the same along this side. That's it. So I'm going to create a pathway. That pathway is going to be, let's say it starts from this corner right side. Let me just get rid of those hawks then. Yeah. That pathway, it starts from there and it goes that opens up like that. The same way here. Let's see. It starts like that, comes all the way here and creates a nice bend. Okay, I'm perspective. So when it comes closer to us, it's gonna be much bigger. Okay. That's how the pathway is going to be. Now let me fill the rest of the areas. Don't worry about the areas that you've already put color like a you can see I've got some bits of color there. It's completely alright, okay, don't stress about that. So let me just lay down my color and make sure that I've got enough moisture on my paper. So once I painted, then there is moisture. So that's the reason why we do it this way. Okay. And there so we've reinforced the moisture on that part. We have some more white area to cover. Let's do that with a bit of burnt sienna. And while it's mixture of benzene, there, more Valentino and less of the violet. If you take it alone, can you see it's already creating some harsh edges because that part of my people had started to dry out. But as soon as I painted, then it's going to blend out with the Colours. It's already there. And this is the advantage of when we have done the stretching of the paper, okay? So don't worry about any colours are spreading at this point. We're just laying down the paint. Our first layer where it's not just with the hair, is just our first patches on the paper. That's how it should be that. And make sure to follow along the direction of the road here. And once it begins, goes all the way and make sure you make it thinner. What's that side? You can already see how it's turned out. So pretty isn't it? So here I've shifted to back to my smaller medium-sized brush. And we're going to add some more things. So here I'm taking my Indian gold, but then I'm going to add a little bit of my Alizarin into that mixture. I think we need more of the Indian gold. I needed to be golden color, but slightly on the darker side, which is why I mixed a teeny tiny amount of alizarin. And then I'm just going to add some nice strokes there into the sky to depict some smaller clouds. Remember that area where we added some extra bits of dark color. So the same way, I want to add some smaller clouds. Now, I'm just using the tip of my brush and then just running along in a zigzag manner like that. So that I put some nice darker shades in C that again, so that's going to still spread out, but there will be a darker shade when it dries out and that's the beauty of it. We'll do the same somewhere here on the left side as well. Let's not go anywhere near the white area. That is supposed to be the bright sun. Now, another area I would like to add is towards the top here. So towards the top here, make sure that clouds are pointing towards the sun. The main focus is here that I want to make my light the focus of this painting. So if you've followed along the reference class, which was my last class, how to paint from reference images. I've explained all of this and in this painting here, the focal point here is gonna be the light. So let's just make sure that everything we paint is kind of like pointing towards the sun. Most of it works that light area. I think that's good. Picking up a little bit more Alizarin for this area here because it's slightly reddish. And I'll make the red areas. You want to point towards the sun I get again, and I think that's it. I don't want to do anything more to the sky, but let's now give some background mountains, again. For the bank or mountain, we're gonna be using the same color with the Alizarin mixture because we want it to be darker as we've already got Indian gold here. But if we apply more Indian gold in order to be able to see it in a dark matter, It's good to mix in a slight amount of alizarin steps what I've done. And it's just going to be light mountain shape. As you come here, it needs to get lighter. Let's go from the right side as well. Here. Just making sure I have some mountain shapes. And I'm stopping as I reach like really the bottom part of the light. And then I'm going to wash my brush and pick up yellow now and try to blend in that area. See that that area needs to be really lighter. So in order to bring in a bit more contrast, what you can do is pick up a little bit more of the Alizarin and make sure added towards the left and the right so that, you know the area where it's not let that's the furthest area that's lit, isn't it? So that is like darker and it gets lighter towards the middle. See how that stand out. But now the problem is we have a clear transition between the background and foreground. We don't want that. So what we're going to do is we're going to pick up our Indian yellow again and go over the top of the green area that we painted. Let's not create any strict transition over there. Okay. Just let it be mixing together. I've gotten rid of most of my transition. Now I think it's safe to go back to the olive green and start blending it together. Okay, so here I'm blending my olive green together. You can blend in some olive green to that top region as well. So we'll make sure you're slowly doing. So. This is why this method is so effective because you can just keep on working for so long and still have your paper really wet for you to work on. Now, once you've done that, let's start bringing in the foreground to the. So I'm taking a bit of my sap green, mixing it with the olive green that was already there on my palate. It's okay even if you don't mix. And we start adding this green now towards the bottom eight, just bringing the foreground closer to us with those colors. If you, if you create any clear transition, go ahead and get rid of it. Using the olive green and Indian gold. Can you see how we've made that? Now? I think we can start adding the edge properly. So I'm gonna go with my darker green now, need to get rid of excess water as my darker green. And we're going to create the edge. Okay. So the grass area here, it's like this thick. I mean, it's got the height. So when we're viewing it from this side, this edge will have the thickness, which will make sure that the grass does get that thickness there. Okay, first, let's take it towards the edge. Then, remember perspective Gonna get bigger from here to here. It's going to have that height. And make sure to have your edges like that. Don't make it as a line because we need to get the edge. This is like the edge of the grass. So that's what we need to depict. See, now you've clearly marked and hedge, but let's try to make it more smoothened out. Here, a little bit more color. Then let me take my green and a bit dark green and start adding some colors. And then I'll smoothen it out with my brush. Then the edge that we've marked needs to have volume. So here I'm picking up my dark green. You can either mix it with a little bit of indigo or Payne's gray. Payne's gray here. And let's give it a bit of volume by adding the darker colors in between here. Alright. That'll spread on its own. No, we need to do the same thing for the left side. The left side is again going to start thicker towards the bottom and then go thinner as we go towards the inside. Okay. Now that's gonna get really, really thin towards that side. So we'll make sure you use the pointed tip of your brush. Okay, so now remember we did the road there but it's kind of like vanished. Let's put back the road a bit. So here I'm taking my burnt sienna. When I go back at now, I want you to turn again such that it's pointing towards my light. Okay, So when it reaches here, It's gonna it's got a ton there. Like a zigzag. Can you see the roads kind of done the bit? So we can make more focus on the road again by bringing that green edge to it. If you take the green and give it that edge, make sure you go as ten as possible towards that side. Now, we don't add it towards this side because the edge, if on the other volt side, we only see the light on this part. Here, we see the darkness because the light does not reaching this part of the bushes. Did you understand why we did that? So I'm just sticking my dark green and adding, you know, like and even grass shapes because it's gross. It's supposed to be having a lot of and even things. It's not grown rowing in a Leica perfect manner. Remember the thickness on this side and the uneven grass. Some more with the olive green and soft and out. Any unnecessary it. Now it's gonna, it's gonna spread out by itself and, you know, create beautiful effects on its own Oh my God, Can you see how it's done out? Isn't it gorgeous? So honestly, let's just go back and add in some details on the road because the road is kinda like in a perfect detail without any detail at this point. Here, I'm picking up a little bit of my brown and I'm just going to add it onto the road like that. And because we didn't work on the road, roads actually started to dry out a bit. So I'm just removing the paint and then I'm just going to blend it in a smooth manner. You can try to rewrite it a bit. It's okay. But make sure that you re-read all the areas to gather, help. You gonna get harsh and edges which we don't want right here, some brown. And I'm going to put the brown along the edge. This edge as well. Maybe like some towards the bottom, such don't want it to be lucky, no clear, perfect food. It's supposed to be a dirty try. Remember, if you papers like really dried out a lot, then don't go ahead. And that's the areas. And I think it's best to just leave it as it is. Otherwise you would ruin the whole thing. Okay, so here I'm now going with a mixture of brown and paint scree so that we can go ahead and add in some teeny tiny details onto the road. Okay. Like, I don't know, rocks are some things maybe could also be the shadow. Not just it's also, it is part the shadow and part of the darker details. Same along this edge. Gigo, thinner as you go towards the top. Okay? Okay, I promise we're finishing off with random Vox and myths on the road. Okay. Let me just take up a little bit of olive green and create a similar depth to that foreground. And remember what I said, if you're papers like started to dry out, don't do anything, let it peak. Don't try to work on it more. The best is to wait for it to dry out, completely dry out, and then we apply water on the top and paint. Just adding a bit more of been seeing that at some places because I feel like lighter in certain areas, this is gonna get way lighter when it dries out. Which is why I'm just putting more color. Because I knew how watercolours buck, They're just going to dry out. And you'll be like, where's all the colors of light? Especially when you're painting wet on wet. So when you're doing wet on dry doesn't matter that much. But if you're doing wet on wet, and it just tries out a lot, literally a lot. Alright, I think we're good to go now, or we have to do is wait for this to completely dry out. Okay? Alright, look at this now. So it's completely dried out. And can you see how already the colors have gone one shade lighter? So this is why I said, when you're going to be painting, you need to put in really vibrant colors. If you need to have vibrant colors at the end, okay? Because it's always gonna get one shade lighter than what you put on the paper. But I loved the way to turn out, but can you even see how faded all of it is? Now, we've got them. One last thing to put in and we're done. Here. I'm going to take my dark brown paint. Okay. And we're gonna put in a small fence. That fence is here But I want to blend it to the bottom into the grass. So I'm just going to take my other brush and kind of like blend the bottom along with some green. Ok. And now remember perspective. So the next one is gonna be a bit taller. Now, remember, these don't have to be in any way. Perfect because it's it's like a been like daddy track and path. Right. Okay. So I've kind of blended that in. I'm just using two brushes because the other brush has found and I don't want to destroy it. Let's add another one. So this another one is kind deflect, bend at an angle. Okay. I don't know. Maybe some animals come and hit it or maybe it's a car that when by its just hit it and it's done. Oh, no. Okay. He read some randomness and try and blend it. And at the same time, I'm trying to give it the cross a bit of texture so I create some upward strokes so that whatever I blend, it looks as though it's got the grassy shape. To my brown. Also remember distance. So this one's closer, this one's a bit further. Now the next one should be a bit more further. So let's make it here. And I think that would be the last one, but that would be again, taller than the previous one. Okay. I brown, thicker and closest to us right? Now, blending the bottom. Using upward stroke. For the Class C that we can have similar towards the end. Alright, I think that's set. Let's stop there. And should we connect it? I don't think so. I just like go head is now and I'm not going to connect it and ruin it. And I think it's safe to say that we're done with the painting. Yea. So I'm just going to wait for it. Typically drive because we've applied water at the back side. It's gonna be wet underneath. Do you see that? It's wet underneath? We've got to wait for the whole thing to dry out and there'll be done, completely done. So thank you for joining me on this one. I hope you've enjoyed painting it 7. Class Project 2 - Orange: Colours: Let us go to the next class project, which is this one. So this is the painting that we're going to be doing. And as you can see, the dominant color of the sunset is Orange, which is what I have to use it. But the trick here is to have the blend achievable between orange and the blue without creating much muddy colors in the sky area. The colors that you need for this painting, our Orange, cobalt blue, alizarin crimson, a bit of yellow. You can use any yellow in fact, but the one that have used as transparent yellow, then transplant and down and Payne's gray. So there isn't a lot of colors in this one, unlike the first class project, but I'm sure you'll have a great time. And remember, the trick is to achieve those blends. So let's make this beautiful painting together 8. Class Project 2 - Orange: Alright, let us start. So I'm going to turn my paper towards the other side as usual and apply water to the backside nicely and evenly. At this point, I'm not worried that my water's flowing outside because high will wipe it off anyway. So at this point, be free and apply really good amount of water. As I've explained in the technique section. The other method to do this would be to show you a paper under running water or like in a tub of water. For me, this is the easier method rather than going and keeping the paper under our planning tap or like, you know, even in a tub of water, that's like so much to do, like fill the I'll put the paper and wait for 10 min and then removed the water and all of that. This just makes it easier, isn't it? But having said that, if you don't have a paper that's like 100% cotton paper. And like I said, if you're going to be working with cellulose, we just completely alright for this class, by the way, then it's better to give it a nice silk, I would say, okay, because that would really stretch the paper and I would really make it work. And then once you bring it back onto your table, do this process. And it should really, really, really be helpful for you, for the paper to stay wet for a very, very long time. Do try it out and let me know either in the discussion section or in the Project section how it turned out. Now that I've applied water at the backside, I'm going to flip it towards the front side. And let me stick it back on applying along the front side. Running my brush firmly that I get rid of the energy gap that forms underneath the paper. Make sure that it really doesn't have any air gaps. That's very, very critical. I know it helps to have a larger brush like this. And many of you may not have a larger brush like this, and you might be using a smaller size brush. And it does take a bit longer to cover the entire surface area. Been should that stop you from Painting know, right. So you can see how long I do this, because that's really critical for our painting. Okay. Alright, I think we're good to go. So let's go ahead and wipe off the excess water from all of the edges. And actually, if you've got too much water on your paper as well, like a lot of water. You can take your paper and bednet like that at an angle so that all the water is going to accumulate and DC how it's flowing out at inefficiency. See that drop there that's flowing out and it's like falling onto my globe. That's all excess water. In fact, too much indexes that. We don't want that much. Okay? So let it come out. That's what I'm doing. So if you can see you've got a lot of excess water that's coming out. These were like the excess pools of water that was on my paper, which I don't really need, which is why I let it go off. And now that's good enough. And like I said, if you accidentally taken off any excess water from the edges, you can go and touch along the edge of your paper now, but make sure to not go outside. Otherwise you'd have to repeat the process of wiping it. Again. I think we're good enough. So let's go ahead and paint, shall we? So we're going to take my size 20 mop brush And are color is orange, isn't it? So let's pick up a nice amount of transparent orange here. This is spent and orange for which Micaiah that I'm using, but I'm pretty sure that any orange will be fine. I don't know if cadmium orange will be good, but it is a very vibrant and bright colors. I guess it should be okay. The only problem is that cadmium orange when mixed with blue, it's going to create a very muddy gray, which is why I refrain from using them. But it's okay if you have only that and you still want to be in this meeting because there are ways that you can get around to using cadmium orange. I'll show it to Justin moment. So I'm going to start with my Orange, and I'm gonna be at drawing my first row here on the left side. Like that, starting there. And let's go all the way towards the top right here. Then let's get going. Leave some white gaps in between. I will explain about the white gaps in just a moment when we get to it. So my gaps, some white gaps there. Make sure to pick up really vibrant orange guys, that's really important, isn't it? Because you wanted to painting step where you vibrant right here, left a gap. Another huge white gap. That smaller video should be enough. Then some more here. Another huge area there. Then coming back here, a large chunk over there. Okay. So you saw what we did right now. That was like the sky area. So now we need to repeat this along the water area, which is going to be towards the bottom. Okay, so let's assume that this line is going to be the water line. Let me create a line there. Okay. So I'm just going for like around one by third of the paper for the best composition. Of course, that line is going to be, my waterline will make it much better in again. But now what we do is going to mimic that shape. So my Orange goes over like that and then it creates a gap there. Then I have my orange again. And it goes outward like that. Alright. Outward. So it goes outward. So means it needs to go outward from the center as well. Yeah. There I know it's just a lot of Orange and it's what is she doing? But it's funny because you've seen the output. So shall we get to it then? Now? I've got to put in a bit of yellow towards the center. So here I'm taking a bit of yellow and I'm going to add it right there at that center region. So it's got Supplies. Bright color. So nice, bright yellows, I guess a *****, more of yellow here. No, rest of the ureters. Let's go with Alizarin. Okay, I'm gonna put Alizarin along the edge of my orange. Just along the edge guys. Okay. Along the edge of my orange. I'm going to put alizarin and you'll see why in just a moment. A bit. On the edges, here and here. All of the edges and here. Alright. Alright, Alizarin, down. Now we're going to take cobalt blue, cobalt blue and orange mix kind of like a gray color. So in order to avoid that, we create the transition with Alizarin. So when it makes us together, it's gonna be like a slight Why let rather than the to muddy gray color, which is why we pick that up here with the cobalt blue going towards the dog. And along the edge. When it mixes with the alizarin, It's going to create a subtle purple shade, which is completely okay. Can you see the subtle purple sheet? That's okay when you blend together, if you get some gray shades, That's okay because gray is also a color that's there in the sky, in the sunset sky. Make sure to take fresh been and if your brushes tainted with any grade and make sure to wash it off. Can you see how gorgeously that stand out? We will, we'll corrected and make it whole gorgeous, don't worry. Right now let's just put in the Colours at first. So yes, we need to mimic the shapes now. So we have this one is the closest, isn't it? That goes somewhere like that. And picking up the vibrant blue. Again. Don't worry, I know that this seems a bit off. And if you don't get it in the first try, That's completely okay. Alright. Let me pick up my Alizarin again. And I'm just not going to go along the edges of my blue shapes and make sure that my blending is nice. And even. So it can make sure that you've blended it. Eiseley with your blue. Make sure once you've done that, now you can go back to creating blends. Like here I see that there's a harsh edge. So I begin a little bit more blue and I start to blend in the Colours. And here there's a harsh transition. So here I pick in a little bit more blue and start to blend in. Okay, we've, we've finished laying down the colors, and now it's a matter of blending everything. There. Once you've finished laying down the Colours, that's what we do. We try and blending everything because there's water on the paper. It's also going to blend in by itself. Like do you see here, I just applied the color and while I was applying all the other places, it's just lend out by itself. That's the beauty of this. Now, wherever there's a harsh transition between the Alizarin and the orange, you can go ahead and pick up some more orange and try and blend it in. Because we don't want to ask transition with the Alizarin, the Orange either. Here, this is translation. So I'm going to pick up my Orange. What did there right next to the Alizarin, but don't go to the blue areas and create that transition C. So now, when the paper does its job and blends We absolutely fine. Okay. Created the nice reflection. I see the eyelids I didn't mixing allow missing along the edge where the blue is. So that's why I fill the Tin Man. I've taken a bit more blue and try and create even. But we'll shade back a bit of alizarin and then back to the Orange for mixing with the alizarin. That way, can you see now how the whole thing is blended? And you have a lot of blue shades in the sky and a lot of orange shades in the sky, but evenly blended together without creating any muddy colors. But that was the aim, isn't an easy, we've got it. So now it's the time before we go in to let the paper dry, we'll try to add in some smaller clouds. Oops. What did I do? It predicts this water somewhere. I did, but then it kind of blend together because the paper was still wet. There was just lucky thing that's happened. Saved. Alright, so now I'm going to shift to a very smaller size brush, okay? So that I can go ahead and put in a smallest strokes, whichever that I see is missing. So I'm going to take in a little bit of my cobalt blue, again. Blue. And I see that this line here is actually missing. I'm not sure if I add it right now it's going to turn muddy, isn't it? So maybe what we can do is this line. I missed it here. So if I like, create a gap by pulling off some paint, maybe that should help. I'm going to try it out and if it doesn't work for me, don't do it. Okay, not bad. That walked bit that need always adding edges. Okay. At least that reflection is there on papers and that's what I needed. No. Onto the areas where I feel color is missing or is turning lighter. The thing with this is that you wait and watch. This is going to turn, we lighter all of these. And can you see how it's like a very subtle pigment area that's going to turn very, very light. So that's why I am going to put in more color into these areas. Here as well. Remember to make the reflection and the front exactly the same. More color here. Oops, I dropped into water and see it's created a plume. Looks gain nothing that become fixed. Okay. Now let's go for smaller detailing. Okay? Now for this extremely smaller detailing, which needs to go along the horizon, I want to pick up my transparent brown. And then I'm going to mix orange with my transplant. And there's my orange transparent orange that's going to create like Golden brown color. See that? This golden brown and see the creamy consistency of the peanut. It's not too wet. I've made it into a very creamy consistency because if you put a lot of wet paint is going to just print out a lot, which we don't want obviously. And now we will find the horizon line that's gonna be along the one by third, that point there is a horizon. Okay? So just going to create some random cloudy shapes into the horizon. So this, these are the further of small local laws that go into the horizon. Okay? So make sure you make a straight line. And because they are clouds and it doesn't need to like, you know, how be flattened out. You can go create different shapes. These are supposed to be smaller clouds at the horizon again. And because of that, it wouldn't have any reflection as well. Because they're like We really at the horizon and we're missing out thing any anything anything there? Okay. So you can go ahead, pick up your brown, mix it with you, Orange. And you know, go ahead and add in these subduct loud around the edges. And smaller ones as well. Then let's make it makes them move them a bit more darker. So I've mixed a little bit more of my dark brown. And some of them along the edge here will be the haka. And let's see some. He'll be darker. Let's put another darker like that there. Some darker clouds pointing to some area here. That is going to be our focus. Maybe you might have realized by now when I made all of these clouds like pointing towards this area. Because that's been my one my focus point to be. So that's why I'm stopping the Docker Cloud there. Let's add some docker cloud senior, like pointing to the bottom here. Okay. Anything that should do want to try and see if I can put in a bit more yellow to this region. Not going to be visible, but it will lighten up the Orange a bit, okay, here as well. Alright. Now that's done. Let's wait for this to completely dry out. Alright. You can see how lighter it's turned out. It's not completely dry it but I think the area where I wanted to be in right now it's dry, so I'm gonna go ahead and paint. The color I'm going to take is my dark transcend brown color or burnt umber. And then mix it up with a little bit of Payne's gray. Don't want it to be completely black, which is why I'm using my dark brown along with it so that it's just like sepia. So if you actually have Serbia, that's the color you want to be using there. So I've shifted to my size, four smaller brush as well. And we're going to be drawing the boat. So let's say the boat is gonna be right here. I know it's quite hard to paint without a sketch, but we've got to try having to eat. So there That's the boat. And then did I say that's the boat? I mean, that's the edge of the boat. And then we line like that. This edge Now let's fill it up. Do make some like unevenness just to show some some things that might be on the boat. That's what it means. It doesn't mean that the edge of the boat is like a wonky shape. It just means that there are some things inside, okay. Now to draw the person, let's see. So let me get like he's product cap. Then person is cleaned of like sitting like that. They're along the very edge. And then now he's gonna have the row, isn't it? That extends out like that and something out there. Okay. Let's have some more things on the boat. So it's gonna be like maybe nine there. So yes, it's the most of the bow of the board, but it's not up. Just random, uneven stuff. Now what we need to do is we need to create the reflection of it. Now, that's gonna be a bit tricky, but I'll show you how we're going to do it. So remember, our paper is dry. So what I'm now gonna do is I'm going to wet the underside of the boat. Just the underside. I'm going to wet. But now, when you went did makes sure that you don't put too much water so that it starts to show through. Okay. And if your paper is not completely dry, then also it's good. It could be a problem. Okay. So I've just wet the underside. Now we pick up the same color again and going to add not a lot, but a very subtle kind of reflection. See that. But it such that it should be connected to the boat. Okay. And when either to fluctuate at the person as well. So just make exactly as he is with the cap and everything, it's gonna be really subtle. The row makes sure that everything is aligned. And then this line. But can you see it's in a very lighter manner. There. We've got the boat in. So now we're not going to touch any of that areas, but now we'll put some stones and things in the water just so that we could to give some subtle details that point towards the boat. I think it's debris or autosome rocks are some bland and things in the water gets. But they are going to be such that the point towards the Bulge, again, like that side. So I want to make some of them like really big Okay, somebody doubts. But don't you think we need to add reflection for each of these way to do the reflection is just wet the underside of these rocks. And can you see some maned actually flows down and you can even add in a bit towards the bottom. Just wet the underside. There. I went to the underside. So some paint actually close down, see that? It just needs to be very subtle. So we actually don't need to do Art. And you can even avoid the smaller ones. Actually. Hey, here you go. We're pretty much done. If you want, you can go ahead and add some teeny tiny birds in the sky as well. I'm gonna do that. I'm going to take my paints gray, and I think I'm going to add the birds in here on the orange side. So I know bots can be tougher. So let me just show that to you closely. So it's basically these reshapes but in different directions. So you can either do one that goes up or it can do one inverted, or you can do know in different directions. So they, they are flat. It's not that they're flying in different directions. They might be going along the same direction, but when they're flapping their wings, the moment the photo or the painting is captured, their wings are in different directions. That's why we see them differently. Like this. Like that. And as they approach the horizon, they should be even tinier. Okay, make sure that you've captured that. And towards the top, they can be a bit bigger. But let's not make it too much. I think that should do as we done with that painting. There you go. This is the final painting. I hope you like it. Thank you for joining along on this one with me. 9. Class Project 3 - Red: Colours: This breathtaking view of the Stonehenge is going to be the third class Project. So as you can see, the dominant color for this one is red. So the red that I have used here a is alizarin crimson. Although I know that Alizarin crimson is mostly like in the pinkish this height, but then you can still use that because it's got that cold color. So in this guy here, I wanted to capture the cool colors of the sunset. So the colors that I have used, mainly our Indian yellow or transparent yellow, Alizarin, crimson, transparent brown, Payne's gray, dark green, sap green, quinacridone, gold, and a bit of whitewash. If you do not have whitewash, that's completely okay. You can also go ahead and use white watercolours, but remember that you might have to apply multiple layers in order to achieve the opacity such as this one. So if you're ready, let's go ahead and paint this one. 10. Class Project 3 - Red: Alright, let us start. So I'm going to flip my paper and apply to the backside of my paper. Lying water evenly, make sure that you apply nicely. I know I repeat this in all of my projects, but it is critical and it is that important, which is pi. I make sure that you do the same. Now I'll flip my paper to the front sight and apply water on the front. Alright, I think we're good to go. That was long. What's going to hit? So now I'm going to absorb the excess water from along the edges as usual. I think the water on my paper is fine. It doesn't have any pools, so I'm not going to bend it this time. I'm happy the way it looks right now. So shall we start with our beautiful red shade? Let's go do it. So the color I need is basically alizarin. I'm using alizarin because I don't have a perfect red in my palette. What I have is the cadmium red, alizarin and I conducted on rows. So I'm going to make my red using the Alizarin. If you have a direct red shade, you can use that. But I prefer the Alizarin because it's adenine. Why just have a liking for it? Even though I know that it's a very fugitive pigment and it fades away quickly, but I just love it. So I'm picking up a little bit of my Indian yellow and I'm mixing it into my energetic. There you see, it's created that beautiful worksheet. And a bit more of my Alizarin, a teeny tiny amount of yellow that should give me the perfect rigid. See. Now this is what I'm gonna be applying into the mice sky. So I think I'll stop. This point here is where I want my horizon line to be. I think from there, and I apply in a straight line. Okay. I know I might've been that point, but do you see the alizarin? It's because of the alizarin that the paint behaves this we just spent a lot. It's very, very strange. I don't know. It just looks like that. For this one, I'm not going to leave any gaps for my son. I'm just gonna go ahead and paint the whole thing and then worry about the sun later. Yes. I mean, it So here, painting alone, up till the home. Then now I'm going to pick up some nice yellow sheet that is my transparent yellow. It's also known as Indian yellow in White Nights and some other plants. So I think it's incentives. It is Yellow lake BY E15 pigment. I just love PGY1. I don't think I can live without B1502, my palette, I love it. Okay, now that I've got yellow, I'm going to bring that down, blend it along with my Alizarin. Okay. Like that all the way towards the bottom. Now I think we're going to need more of the alizarin. Hear more of the alizarin along. That be. Then as we pick up the Alizarin, I'm going to go along with the Alizarin towards the top. Needs to be blending the Alizarin along the top. This painting should have been the first, isn't it? So I know that this is, it'd be really easy for you if you've mustered watercolor blending. So you can use a flat brush to blend as well. But I don't know. I kind of proof Sometimes I prefer my brushes over other brushes when I'm trying to blend something because I liked the uneven strokes that it creates for the sky. Oh me, when it creates the perfect flat shade, I just don't like it. That's just me. But if you like to have perfect perfect shade, then go ahead. Okay. Don't worry about it. Remember to do Take your time to apply the water. Okay, That's very, very important. And have your paint blend into the yellow starts supposed to be completely yellow. So just pick up your alizarin and make sure to kind blend it. Here. We just need that suddenly yellow at the top. Now we're going to paint the foreground. So for the foreground, the color, I'm gonna be using, sap green. But in Rio, because the sky is this red, the sap green is not going to be entirely sap green. It's going to be desaturated because of the colors of the sunset. So we're going to desaturate it with red. You see that when you add red, it gets desaturated and turns into a branch ID. So let's fix in a little bit more sap green so that it is not perfectly green, but it is desaturated. And this D saturated green is what we will use for the foreground. But because we used the same Alizarin, the desaturated, can you see it doesn't create like a huge color difference there. Okay. That's what we want. Sap green, alizarin. And as you come towards the bottom, you can decrease the amount of alizarin and bringing sap green into your mixture. So got to tell you something, can you see how spread out the pigments are here? It's just basically water. So when this dries out as literally going to be nothing there, I mean, it's just going to fade out and be so much lighter. But my purpose was to apply water onto the whole thing right now and then worry about more colors on the top later. Handout, later, right now, since I've already done with filling up the paper with all the paint. That's because if you don't fill up your paper in the first instance, then it's going to dry out all the water that you applied. It will dry off. So you don't want that to happen. Once you play down the paint, you have some paint already over here. And paint that you applied will make the paper keep wet for a bit more longer because the, of the water that you had in your brush. So it's like reinforcing the moisture or it's like re-wetting the paper. In fact, you didn't read about it, but it's still got that excess moisture there. Okay. So now, once you've done that to the whole painting, we can go ahead and start adding the details and extra bits of things that you want to be put in your painting. So now I'm going for like very, very intense and dark alizarin pigment here. And we're going to be adding on the top. And we're going to be adding some nice cloudy shapes and details. But make sure it's really, really dark. If you want, you can put in a teeny tiny amount of brown as well, which would make it even darker. Or you could go for a teeny-tiny amount of green which would be saturated. So it's only a choice which color you want go So the knowing which color goes in is all about color theory. So I put green because green is the complimentary color of red, which will be saturated. When you say D saturate, it just means that it's going to turn into a brown or scale. So as I reach towards the center here, let me begin a little bit broad. So as I reach towards the center here, I make it like a line and maybe another line that comes up till there. Then towards the I can just go and create more. You can already see how it's like started to fade out. You see that that's why I'm making more brown into my mixture because I want it to be nice color and not fade out. Things. Adding more brown would do good. In. Mix it with Alizarin. And let's lay down more cooked louds. Have a feeling that says that this is going to look really pretty. Kids if that yellow there. It's like it's the clouds of code like an under glow, isn't it? Speaking up a little bit more brown. And then I'm going along in the center of those clouds that we've already added. Love the way the skies turned out. So don't worry about how you're holding the brush or anything when you're trying to make the clouds, what you need to actually do is you take up the paint or the pigments, what are we using? And then you're going to use the whole end of the brushes, eat that she had done. And then you press down the brush as you move. So that would create better clouds. Then going and touching on the top and just painting with the, don't do that. Okay. Now let's add some more. Here. I take my Alizarin and two that I'm going to add in a little bit of violet and see how it's done. The bits like a red, purple shade. And that's exactly what we want. A bit of red bubble sheet, which we're now going to use to add some beautiful ground mountain or details. Okay. Don't do anything in the center. Leave that there. Okay. Let's go back. Do have a green. But we need Alizarin D saturate. Our greens. Apply that nicely. More vibrant green towards the bottom. So that's the sap green pigment, again, making sure it's vibrant towards the bottom, but gets desaturated towards the top. Okay? So the saturated with Alizarin towards the top. But remember to use dense, dense pigment because this will turn light Okay, Now that you've added that, we can go ahead and add in some random details. Okay. And that would be with black. I would the dark green. But I think I'll shift to a smaller size brush. So I'm gonna go shift to my size ten mode, which would be your medium-sized brush. And I'll pick up my dark green. And you know what? My darker green into some and don't places, especially in the foreground. Make sure that blend nicely. And that might be Bruce got nice color. So making sure that I coined these strokes towards the center. Okay. Alright. I'm happy with the way it's turned out. Just making sure I spread these evenly. Now, we'll add some background trees and little details so make sure that the pain that you take is very creamy and not watery. So you can see my brush is almost dry. And I'm picking up the paint. And we'll put that along the edge of our foreground. Okay. I think up until that point should be enough. Then again, it's become along this side. You can add some. Then you can put in some trees. Okay, So for the trees, you're gonna do vertical strokes, but don't do it such that you're drawing with your brush. Rather, what I do is I tried to press my brush once along so that it takes the shape of that belly of the brush again and creates like a pointed unique shape, but do that in different heights. So that is the trickier. It's not just the trick. That is the difficult part, I would say. But you can have some of them clustered together then maybe one longer. Just a lot of trees at the back. I think that should be enough. I think we're done with the background. Although you know what, I want to create the glue of those clouds a little bit. I hope it's not too dry, it's not okay. So what I'm doing is picking up a little bit of yellow, going over the edge of these clouds there. Can you see? And giving it a bit more yellow to the edge of those clouds. Okay. Now can you see it's like really glowing the edges of those girls. Maybe we can try doing that. Makes sure that you don't have a lot of water on your brush. Again, it should be dry. You can pat dry your brush, then pick up the paint and do it. If you add some nice yellow strokes. I think that's good to know. It's, it's, it's really good to have it that way. And now let's try to, this is where the sun is going to be. The area where the sun is going to be. If you can just speak up your Yellow only if you'd be Br2, right? If your paper is dry, don't do it. But in some of those yellow strokes in the sky, see that. So that it appears to be like in a somewhat lighter man. And then we, when we add in the sun, it'll all make sense. Okay, so that's done. Now let's wait for this to completely dry out so that we can add in the foreground. So it's dried out up to a point where I'm satisfied. Now let's go ahead and add in our Stonehenge details. Okay, the rocks. So here I'm going to take up my dark brown paint, mixing a little bit of Payne's gray so that it's like Stevia. I don't want black. I rarely use lag. It's not good to use. I won't say good, but you don't see black in real black and white doesn't exist In real actually they always have subtle different tones, which is why I'm using a little bit of brown mixed. Know, that's where the sun is going to go and that's where our Stonehenge are gonna go. So we're gonna do the shapes with our brush itself. That is amazing, isn't it? So don't try to draw the shape and then paint inside. Here's the whole length of your brush, always when you're trying to create different things. So here I mug something of that sort. Then I use the entire length of my brush to come down and create a shape. We can create a bottom shaped like that. Okay. Then another one along the same line would be here. Okay. Because they are rocks, they are bound to have different shapes. So they needed to be perfect. That's what I'm I needed. They Liu here. They are absolutely not perfect. And I think there are some random shapes along them back as well. Okay. So just connect them in the middle like that. Then there's another rock there. So it's like standing in different at the back of it. Then after you leave a little gap, There's another one there. You can refer my final picture to paint this, or you can follow along as it is. So here we need to create multiple rocks that are standing together. We will create, tried to create a distinct line for each of them in the end. But for now, let's just go ahead and try to fill up. And we've got another sheet there. Another sheet there, and another sheet there. Then I've got one that's like kind of separated out. Then we have another one that's like kind of landing out a bit. Okay. That's kind of the end of it. Then on top of these ones, there's another rock. Another one that's going to flight get an angle. When you reach the critical points like that, then you can use the pointed tip of your brush to refine the shapes. But in general, try to use the whole brush. Then we have like a huge block enacting that one. Okay? Another one connecting these two. And then we've got to add towards the left side as well. So there's one there that's kind of behind like that. Then there's another one that's kind of sitting at the top like that. Then one that's below, along the same line as this one. Then, now the next ones are separated out. And the height as small as well. Another small one there, followed by a larger one that goes up to up to the end. Something on it stop Alright, so we've got all the stolen shapes in, but it's really all blended together and dark and lacks any shadows or highlights or anything at this point. Let's go ahead and put all of that right now. First of all, we'll start with a shadow. Okay? So here I pick up my dark green. Picking up my dark green, and we're going to put in the shadows there. And the shadow is going to be towards this side because the sun is lower. So the shadows are also going to be towards the side, along the lower side and make sure that you in the bodies along with the shadows. Okay. I guess the green is like literally too dark, so I'm just lightening it up. We use a lot of water in our mixture. That should work. Anyways. Okay. The next thing that and the base of these ones should be in shadow. So these ones like literally towards the left that you can see the edge of it. Okay. There you go. A shadow. I'm thinking there's kind of like a small rock Yeah. That I've missed and another along the edge here, which means that one, this one is okay because it's already got a shadow covered. This one needs to go in. Okay. Now that we've put in the shadow, we need to go and put in the sun and the highlights, and we're absolutely done. Okay, So for putting the, the sun and the highlights, what we're going to do is we're going to use white paint. So this is a white quash that I have and this is usually the ceramic palette that I keep for my white paint and it's in there. Okay, so I've just loaded up some and we're going to take a nice amount of the white paint. But here's what we're going to do. We're going to mix it with a little amount of yellow because we don't want our sky to be perfectly wait. Another way that you can do it as you can paint it white and then add some yellow on the top. Okay, So let's see how we're gonna do this. This is the sun, okay? But then the sun, the clouds are going on top of it. Okay. So that would be, I've got to create, first of all, you need something to create a nice circle. I think this is a good, or I can create a circle. I keep something there. But now look at where your clouds are. So Mike loud, this line is going like that. So the part of the sky, the sun that's visible is there. Okay. Do you see the little ark that I've made? Let me put it back in the same place. And then the remaining goes there. I need to make this slightly bigger. And oops, I covered the top. Let me weekly clear that up. So this is the mistake that you or you can do easily and which I said they should avoid. But what happened was I was trying to correct the matching lines. And then I put over-the-top, taking a bit of alizarin and go over the top, it should be fine. Yep. So back to my white mixture and back This next part is there. And the remaining goes over the top at tried to get a rough shape, choosing whatever. It's harder for me to shoot because I can't put my head right close to it because otherwise you'll be seeing just my head. It's really difficult for me, but for you it's gonna be easy because you just have to go and put your head closer to it and you can do the circle. So breaking up the yellow mixed with the white. Okay. Go ahead and follow along and tap into white. Last bit at the bottom and we're done. I tend to be silent when I'm like trying to focus a lot. That was intense, right? But I can see my circle is a bit wonky because I could not put my head closer to it. So I'm just going to try and adjust the shape right now. Okay? Yes, That's much better. Now I'll go ahead and fill it up more. So this is kinda get way more lighter when it dries up. So I think we might have to give another coat on the top if you need to get it to you in a really bright and shine up a lot. But having said that, let's go ahead and make the other highlights. So picking up a bit more yellow, mix it up with the white gay. Can you see? I've mixed up yellow with my white paint. And now we're going to add several highlights. So remember I said that we need to add highlights to many of these. So to the edge of these rocks. Go ahead and add in like ready, subtle line. So it's kinda like the light is shining on the other side and hitting that rock, but we see the shadow part of it. Can you see how that's turned out? Okay, will do the same for the other ones. So see how this rock now is in front of the other one because the other one is at the back because of that highlight that we've added. Okay. It's amazing, isn't it? Let's go ahead and add some more. So this one won't have a lot. It's just gonna be having a very subtle line there because it actually has a rock that's on the other side blocking the light that's falling on it. So you won't see much of that highlight. Whereas this one here, this rock here, yes, it's in the front, but it's not too much in the front and so as to block the whole light. But as this one is kinda like, you see the height of that one is like all over the top. So it's really blocking the light on all of it. Okay. There don't connect all of the lines. Tried to leave some gaps here in there that would make it really stand out. Again. You won't see much towards the other side because the sun is actually here. You would see more ones that aren't down the left, the whole game. So let's been that. And you, you'll in fact see the Guinness towards the bottom than at the top. Mercury just going to get rid of one of the highlight that I did. I don't think we need this one because it's kind of like sitting really close together such that there is no gap. The other highlights should do. We don't want too much on those. Okay? Then I can take up the pained and when I give random subtle lines between not a lot, okay, That one was too much. So let me just blend that in. This is this is not meant to be highlight. This is just to depict the color changes on the rock. Okay, so don't mistake it as a highlight. It's because when I add that darker color on the top, it creates a color change on the rock. And that's what I intend to buy. Okay. So we're almost done. Let me go ahead and quickly dry this up so that we'll see if we need to give any more darker colors on the sun area. Okay, Here you go. Everything's dried out, but I think we do need to give a bit taller glow to some of the areas of the sun, especially in the middle. So here I'm picking up just my white paint right now. And I'll go along towards the middle areas. You see just a middle areas. So I know it looks all right now, but then we're going to go back to our yellow and blend these in. It's not just yellow, it's that it's the yellow white paint, isn't it? And we take that and we blend it in. So that'll make the center part of the sun to be really nice, glowing. So here's the final painting, but I'm gonna go and do a really bonus part for you here. So if you're happy with it and you're scared that you're going to ruin the next part. Don't do it because this painting is itself already beautiful. And I'm sure that you did it the same way. And yours is absolutely beautiful as well. So don't do it if you're scared to ruin it. But this is just a one-step ahead that I'll like to show you how you can create a glow around the sun with watercolours. If you're ready, let's go ahead and do it. Basically, it's what you're going to do is you're going to pick up a little bit of yellow. Or in fact, I think you can go with safely with Indian gold as well. So it's a nice golden shade. But makes sure that you have a nice amount of water in your mixture. And using that golden shade, you're going to go around. Okay. Can you see you're going around on top of the alizarin. It's okay if your beans goes into the sun region, you can actually get rid of it later on with white. The focus here is now this gluey ring around. Once you've added that ring, quickly, go ahead and soften the edge so that you don't see a distinctive edge to your painting. And you can blend out the edge like that. But now, do you see the little beautiful glow around the sun outward? So I can see that my son is glowing. But now I need to just go ahead and fix up the little white mistakes that I mean, not mistake but the bleed bleed through that's happened. And that's basically just easy. Just pick up your yellow and go ahead and convert it to, that's it. So what do you think? And if you think you've gotten rid of your alizarin in the process? Like I think I have. I'm just adding a bit more there. So what do you think? I love the globe that I have run my son. It it started orange, beautiful glow, isn't it? That said, here's the final painting. And thank you for joining me in this one. And I hope your painting is beautiful. That's well 11. Class Project 4 - Purple/Blue: Colours: So here's your fourth class Project. And the dominant color for this one is mainly purple, but you can see that as an equal amount of blue as well. So I included that as well as the color option through this one because this painting is meant to be in an analogous color scheme. So if you don't know what that is, it basically means that you using colors that are closer together in the color wheel. Blue and purple kind of sit next to each other. And that's what you can see here. The analogues color scheme. So this sky mainly focuses on two colors, actually, which is blue and purple. But if you'd rather go with a single color than the dominant color, the Babu one. So the Colours using this one is violet. Hello, blue, transparent, yellow, orange, Alizarin, crimson, Payne's gray. And the optional colors that you can use, our cadmium orange and cadmium yellow. I said optional because it is for these lights here at have mixed together, getting me alone cadmium orange together to create a deep yellow color which is opaque. But if you don't have those colors, you can go with your poster colours or gouache colors to get these tiny little lights on the mountain settlements. But this is completely optional and your painting is going to look beautiful, even if you don't add that anyway. So let's go ahead and paint this one. 12. Class Project 4 - Purple/Blue: Alright, so we'll start by applying water to the backside of the paper. All along the back side. Take your time. Alright, now I'll turn my paper to the front side, stick it onto my board, and then apply water again. These black spots are actually coming from the ends of the paper here. When I store it off from the pad. Let's go. So I think we're good to go. I'm going to absorb the excess water from all along the edges. This one has a lot of Louis water, so I'm going to have to bend my paper and absorb all that excess water. And I'll just show you in a moment when it starts to come on. See that. That's a lot of water, isn't it? It's always when you look at your paper, you can judge by what do you see and decide if you actually need Daniel, apply excess water or do you need to drain excess water or do you need to wipe out all of these things? You can clearly understand by just looking at your paper. Okay? So here I can clearly see that there was literally a lot of water. So I've taken off that excess water now. My clothes like literally wet. Just going to make sure that the edges are clean and has moisture enough for me to work on. Okay, that's good. And we'll start. So I'm gonna pick up a little bit of yellow shade. And I'm going to drop it here into the edge of the sky. High. No, we said purple. Are we starting with yellow? Okay. And then a bit of orange. Okay, what am I even doing, right? Whereas the purple, I just thought that will lock in the positions of where I want my yellow tone to be. And that's their here in this subtle corner. Along with some orange, orange, orange that goes in to the corner here. And that's it. That's it. No more Orange. A promise. And so let's go ahead and paint the rest of the sky. So I'm taking a bit of my gorgeous bright blue, purple. And why should we came upload here? Now I take the purple and mix it with my bright blue. It gives kind of like darker blue effect. But then we need that. Then we take more purple and I blend it along towards the outside. I leave that blue mixture there and I start, okay. So start with my well-being. It's not really probably can see it's got a bluish tint to it, and that's absolutely fine. Then I go with my blue tones and I start taking it to words the top, okay. I've wash the brush. Now I'm gonna go with purple. You purple. Can see it's fior, purple now. And I start going downwards. Okay, then we'll pick up a bit blue. I'm going to use the blue on this side because it's already old club crop cluttered there. And here I take my blue and I go down. So as we go down, it's all going to be blue. Here's the blue, the dark blue. And as I go down, because it's the ocean area, you've already seen the final painting. It's gonna be blue all the way towards the bottom. Okay. So fill up the bottom with blue along the whole. But remember delete that slight gap there. And that's for a different reason. This left side is okay, and you can go ahead and put in a lot of blues there. But you kind of need that right side. As I said before, I like my dreams to be widened. So I keep picking up dark blue, vibrant veins and adding all the way up there. We can add liter or people are the top right is drying out, so we need to be any quick going back with my violet shade, putting it in to this chi here. Taking this little blue shades, blue and violet mixture. In fact, going here, as you can see, I've done my direction. Here was all towards the side. This side, I've done my direction and observe. Whenever I'm using the brush, make sure that you look at how my brush is aligned and how I'm holding it, and how, how much a gap between the brush and all of that. That will definitely give you a guiding point as to how you can paint. As I approach here now, I'm changing the direction again. So it's a whole about different angles and how you can change the direction. So here, going with the purple and a bit of blue mixture, closer to the orange, but I'm going to not touch the orange because we painted that Orange and we don't want to turn into a muddy mixture in that region, right? So don't touch the orange and just go ahead and okay. It's a nice cloudy forms and shapes. We'll see how they look. Now, let's pick up a bit of pink shades to give some beautiful effects in the sky. With Pink, it's dominantly purple, but something shades. So observe the movement. So it was like that, so that it gets a twist in your stroke. So he'll see some twisted shapes. And these ones can be towards the side. See that. And maybe somewhere here. That's it. That's it for the Pink. Now, go back to our purple and we start to increase the color tone. Okay. Now, in the area as the tab blank or white, we don't want white in the sky. We want it to be covered. So we're going to put blue there, okay. In the areas that you've left white, we add more blue into those region. No white areas in this painting So anywhere that you see those white, go ahead and add in subtle blue color. Don't put too much glue because then it will be blue painting. And remember to follow the direction of what you did initially. So here it was like this. So I go that way. See, it's like this. So I go that way. Too much color. So let me get rid of that. See how we've created a beautiful magical sky. Then breaking up the violet again. Let's go ahead and add more details. So some dark effects there. Okay, Then a bit of, I think maybe a gap and darker fix their along the bank right next to the Pink. Go ahead and and in some darker effects, always, always remember to observe how my hand is moving. Okay? So mixing a bit of the blue there, so that's making, that's made the purple into a darker shade. Let's go on. And now we're going to add more shapes into this guy. Okay, so I've added some there. Now. What's already some here? But I've increased it in. Now I'm gonna go remember the direction always. Here, it's this side. So I've made it that side again. Okay. We're going to add a bit more darker color here. Don't worry, because this will all lighten up and that's a fact. So you're okay to go ahead and put as much darker shades you think you need. Because this is literally going to light up, guys. Because it's going to light up. I think we should put more colors in other places as well. So like this, blue here could be a bit more darker towards the top. Always make sure that things are darker. Cover-up white areas, like I said before. Pick up more violet if you need to. Remember, dominant color needs to be violet. Violet or purple. That is that other right side, which we haven't been doing it and it would be dangerous if we wait too long and I hope it's not dried yet, which started to dry out. So what I've have to do is if to make sure that I dry my brush and take it like that, then seek go with the orange. Supposed to be the reflection because this is water. Remember? Then you can go with dark violet reflection as well towards the top. But they needn't be as strong as it is over the top region. Okay. All right. Adding some more here because I feel that really need some darker clouds there. And here. And this one and the edge here. Because when you add those darker clouds, That's what depicts the movement and that magic that's happening in the sky. Because otherwise this is all just going to dry out into a large blob and you'll be like what? Okay, I really liked the way it stand out. Now the only thing left to do is I wanna you see dark part there. Yes, it is the sky, but then it needs to have clouds. Okay. So for that, we're going to go with Alizarin. Let me just clean up alizarin. It's got some green pigment from the right painting. Here's alizarin. And you can put like subtle clouds from there. Okay, Like on to the orange and some of them to the wine it is, we'll see that. Okay. So the middle part of the yellow is where we stopped with the foreground. Okay. The other area is water. Now, once you've done that, go ahead and take your blue pigment over to the right side. Okay, That's the funny part here. Take your blue pigment where it's supposed to separate out. So that should be in the middle of the Yellow up towards the left side. Okay. So you'll see that it's lightened up, but then it also has that undertone glow of those colors there. Okay. And that's exactly what we need. Okay. So if you take the blue oh, the way towards the left side. Like I said, the left side is fine because we'll be adding some something else onto there. It's the right side that Tez. And make the left side as dark as possible because it's covered up by darker clouds. Then on the right side is where we need those tones. Whoops, I think I dropped in a little bit of water there. Can you see those droplets? But like I always say, nothing that cannot be fixed. We have that undertone colours of the yellow and orange and everything there. But I'm just going to run my brush and remove those heads here. Let's make sure your brushes dry. Then run the edge of your brush and that should remove any extra hairs that might have formed. Okay. So there were good to go. Now we can completely dry this up and go with the foreground. Alright, Are main thing is almost dry along the top side. And can you see how the clouds are formed? Now, all of those shapes that we did, isn't it gorgeous? So now let's go ahead and paint the foreground. So for painting that here, I'm loading my brush with bright blue. Then we use the same color. So I'm going to mix it up with violet. So when you mix it up with violet, it gets into a intends dark blue color. See that? This Indian stop blue color, we use it to make the foreground. So it's just basically let, you can trace out the shape of the mountain here, this point, because it's not important or not important to them. It's not something that you can go with the whole length of the brush, but once you're done, then go ahead and fill it up with the whole length of the brush. Okay. So take your time to create these gaps and everything, but then go towards the right and it comes decreasing all the way up till around here. Then start to fill it up So filling it up means it needs to be in a straight line as here. Okay, very important that you follow that straight line there. Now, let's spell it. Okay. We've filled it up as a slight angle to this whole thing, isn't it? My horizons going to bend a bit? How can we solve that? I have a solution to solve that. Basically, we Anyways, need to do that because there is some reflections that we need to create. So I'm going to wet this region. Okay? You're going, you're going to add it to, even though it's not bent, because we do need to create the reflection, okay. Along the perfect line above the horizon. Okay. Go ahead and apply a bit more water along the bottom. Because now we need to create wavy shapes and everything. The initial was the first layer on that region. So now how I can fix this up is just basically by allowing that area to be the reflection. That's it. So now we will look as though it's a blend of the reflection. Not the mistake. But then now we've got to add in a darker that here and here, the base. But then as you go towards the dog, start drawing septal lines, you can pick up violet and bright blue mixture again and have larger wavy shapes like that. No, to go towards the top, make sure it's light that I think that's enough. But now can you see at least a codon root of the these slides angle that I had because it's now looking as though it's it's just a reflection part of it. But then we need to detach. Although even though there's a reflection, there's always gonna be like a land area in-between that is there. For that. I'm just going to use my liner. And now is the time that I need to make sure that it's trait. That is a straight point, isn't it? So then I'm going to use my liner and just create a gap there in between the land, the water. See that, of course, it won't absorb the entire color and that's fine. Okay. You just need a subtle line over there. Isn't straighten up. It's now gone on the other side. Again, I can make this work. I'll pull out extra bits and then I'll paint over it. Alright, I've pulled out extra bit and I'm going to use the same bright blue and violet mixture. The problem is, you know why it bends out for me because I actually need to bring my head forward and look at the painting straight because I've got a perspective view when I'm looking at it. So that's why it's making all of these makes mistakes. But I've got no option to do that because the camera is like right on the top. And you guys otherwise would be seeing my head. In order to avoid that, I tried to paint even with that perspective distortion. So then it keeps getting worse for me. That's my problem. But you guys do get the point, right? Okay. I think not bad at this point. Yes, I did it. Okay. Now we have that gap. We have the mountain. Just want to give a darker tone to the mountain. So here I pick up my indigo. You can also go with Payne's gray, again, a little bit of indigo. And I'm just going to like along some of the edges of the mountain there. And we'll finish off with some lights and some birds. So I'll add the birds will speak is the mountain areas still wet? Breaking up Payne's gray for the birds. And I think with the birds over the horizon. Sometimes when I used to paint, I used to accidentally purpose, but accidentally my brushes default down on the paper and agree the dark mark there. And you know, what I used to do is to add a bird there and then few birds along with it to that, that would cover up my dark mark mistake. It's finding, isn't it? What's the horizon a little bit more bigger towards that side. And you can make it even bigger as you go towards the top. So let me know quickly draw this region so that we can add in the lights and finish off. Alright, that region is dry. So for adding my lights, I'm going to do is we're going to take some cadmium pigments because they are opaque. If you don't have cadmium yellow, cadmium orange, go ahead and use a gouache means okay. Or your poster colors or anything of that sort. Here. Picking up a bit of orange now, and I'll mix it with the cadmium yellow. I think it should be more yellowish. So I pick up a bit more of my cadmium yellow. Yes. So actually the color I'm trying to read his can Yellow Deep from Sennelier. I have it in my mind. So if you're using colors from Sennelier and you happen to have that cadmium yellow deep, then go ahead and use that orange because it's really perfect. Didn't have to go ahead through the whole mixing process. This is cadmium yellow and cadmium orange and cadmium yellow deep is somewhere in-between. So that's why I keep mixing that, that cadmium yellow deep from scenario is just amazing and high love it again. So it's just basically lots of tiny little lights on the mountain. It's a settlement there. So the dealer, that's it. Maybe somebody's got a little house up top on the mountain. Another few bits here. Maybe like a long set of light here. Let's make most of the settlement to be towards the side. Oh, I love that. Because it's too tiny. It's not going to have any reflection or anything. Okay. And we're done with the painting. Oh my God, I think this one is my favorite of all because I just love this bright blue color, even though this is purple. But this area here at the bottom is my absolute favorite. This color is kind of like my, I want it to me by my brand color. So it's like I love this color, the bright blue and the turquoise green. It's just amazing, isn't it? So there you go, guys. And thank you for joining me on this one. I hope you enjoyed it. 13. Class Project 5 - Pink: Colours: So here is the last class Project of this class. And the dominant color for this one, as is obvious, is a pink sheet. So there are lots of other colors as well. But as you can see, I've used been mostly for the sky ideas towards the right side on a little bit for the water area as well. So let's now see all the colors that have used. The first sheet, obviously is quinacridone rose. Some brands call it quinacridone violet rose at B19 basically. And wireless orange, a bit of transparent yellow, Alizarin crimson, transparent brown, Payne's gray, and a bit of white gouache, but it's completely alright, if you don't have whitewash, you can use lavender instead because I've actually mixed white gouache with a little bit of violet to create a color like lavender. But I went with the more opaque version, which is why I said, it's better to have the white gouache, but if you don't have it, it's completely alright. So now let's go ahead and into this one 14. Class Project 5 - Pink: Alright, let us start. So I'm going to flip the paper and apply water to the backside. Of course. Take your time to do it. As always. I think that's good to go on the backside. So now I'm going to flip it to the front side. They go and let me just to get and then now while you apply water to the front side, alright. Let's keep going. Make sure you apply the water nicely and evenly. Alright, I'm happy with it. So now I'm just going to wipe off the excess water from all of the edges and from my table surface as well. Alright, so I've wiped off the excess water. Now I'll just make sure that I cover up the edges which I might have accidentally taken off. So I knew even though it's paint, I am going to start with yellow at first because it's some area that I want to cover up with a yellow shade and that would be along the horizon line. Okay, so digging up a nice transparent yellow shade, Let's just apply like in a line and then maybe in a slightly slanted manner to what that side. And maybe a little slanted manner like that. Because every sky is different. And obviously we want to depict all of those interesting colors in the sky, right? And since we started with the yellow, Let's just finish it off by adding some more for the reflection part, okay? Okay. I've made the exact shape that I made, although it's absolutely necessary unnecessarily, you don't need to do the exact shape, okay? It's not at all necessary. But the next thing here, what I need is this sheet. So this is quinacridone violet rose, B19 teen again. So quinacridone rose or might be called other names and other drugs. This is basically B19 pigment, and that's what we need. Okay. And look at that gorgeous being on the paper, guys. Oh my God. Okay. The thing is, first of all, we're going to cover up all of the right side and everything. We need to have Pink Sheets and then we'll add cloudy shapes on the top thing. And some more Pink here. But Pink obviously, when it mixes up with the yellow, it forms into a red shade, giving a beautiful subtle color there. And I need to have more being shapes in that direction. Another shape here in this direction. Then my brush will go off towards the right side. So we'll have our Pink up to this point. So let's cover all of that width link in order to be vibrant, make sure that you pick a nice amount of Pink. Because you know your paper is going to lighten up in the end. Then the horizon line. So the middle part of this is the horizon line, isn't it? So I need more thing that region there. So my Pink can go all the way down there. It's a lot of pink, isn't it? Let gorgeous? So they're being all the way there, although closer to the yellow. I'm just going to leave it out a bit. Maybe we can add in orange, I guess again. So here's the pink shade there. Okay. So nice, sleek covered on the right side. You know that these areas are somewhere showing a lighter, the white of the paper through that those are the areas which tell us it's going to try out really, really lighter. Which is why I am going and applying some more pink sheets because I really needed to be nice and dark thing over there. I think now we can go with a bit of orange or with my Orange is a bit discoloured. Okay, I've clear that up and now I pick up my Orange and I'm just going to go closer to my yellow here, here as well. Then nothing I'll make orange in. Middleware actually separates out. Okay. So we've got some strong colors here. More orange, where it actually joins with the yellow. And we can kind of like blend it. So see how I'm doing that and do this so that it blends out into my yellow there. Okay. Next, I can take in a bit more yellow to blend along the orange because can you see it has like a distinct line where my Orange has joined. And I don't like that. So I think my yellow again and I blend it together again so that see how it's changed. Okay? So now what things we can go with the other colours, which is going to be a bit of Babu. And we can cover up the top so that purple is then going to mix up with the ping and then just form some reddish purple shades, which is absolutely fine. So let it blend along with the Pink. I was purple along the top as well. So that's why we left a large gap there. So I know it looks really odd right now. And let's, let's take a bit more purple and add here that there is gonna be a lighter blue. And then you can blend it along with your butt towards that left region, it's yellow. So we're going to blend that with Pink again. Yeah. Okay. But remember we're coming towards the horizon and towards the middle, so it'll all be subtle colors. Okay? So we've covered that area. So now we need to read more Pink in order to blend this region because you see it's got a harsh edge, which we don't like right? Anywhere. There's harsh edge along with the purple. Get rid of it. So the purple actually gives like a bluish tone to the sky. It's a very lighter purple. That's why it's giving that bluish tone. And then it makes us with the pink to give a red purple sheet. But the major chunk of it is going to be both laughed at all. I'm sorry, Pink. Okay. Now we'll take some more purple and we'll try and feed blends in the sky. Bit of purple here. Then I guess a bit of purple here. These are going to be very, very subtle. Okay. And oh, goes down this center portion here where we have a lot of activity with the clouds. So there's like lots of things going on with the clouds there. Don't worry, even if you put darker color like this is just going to spread out and eventually it does not lighter Picking up my pink again for blending along in this region. And since we actually need to go ahead and cover up the bottom, Let's quickly go do it. So I've picked up more orange here. The blend along in sky. It doesn't need to be completely yellow, it just needs to have that subtle yellow background that sets it's absolutely fine. And towards this right side, even though it's pinkish. So what we're going to do is yes, we'll start with the pink on the right side. You see my paper has started to dry out. It's okay because even though it's dried out, as soon as I apply my paint and try to join it with some area that's already still wet. So all of these areas where we've applied the paint is still wet. So now when I paint and I join it with the area that's wet, it's okay. But if you'll be printed, if if it's not allowable for you to keep blending in all of the places, then you can't do this, okay? Because like for example, if it was supposed to be a clear separation between some object and then it's dried out. You can't do anything about blending it again, okay. So it's a good thing that this is, okay, and then you can blend it. Wherever you see there are gaps. Go ahead and blend it up. When I pick up a little bit more orange and give it to you on this side. Okay, I think we've made it nice and good. So let me pick up a little bit more pink and try to soften some of these clouds and create a nice glowing blue thing in the middle here as well. Okay, I love the way stand out. I feel that some of the colors here are like way too lighter. So I'm just picking up my brush, adding it a bit on the dark, giving some more pigments there so that when it dries out, it doesn't show up to be really desaturated. Okay. Now that we've covered everything up, I think we can go ahead and like refine how the foreground are a way that things are gonna be. So we decided that along this edge of the oranges gonna be the foreground, right? So yes, let's keep it that way. So I'll just speak up a bit more orange and give it that nice glowy area there. Okay, So this line is where our foreground and the water area is going to be. Okay. Then I think we can go ahead and add some small subtle clouds that would go into the horizon region. I think we are good to go. So now what we'll do is since we've done that, the sky region look at the gorgeous pink, will completely dry this up. And then we can add in the foreground details. Okay? All right, so you can see it's completely dried up and I loved the way it's till vibrant. That's because I added indeed a lot of pink. If you have the lighter areas of Pink, then they fade out when they dry out. So that's why you need to be putting a lot of pigment if you're going to be using this method. So now let's go ahead and read distinct foreground. So what I'm gonna be doing is I'm going to be starting with a nice amount of yellow. And I'm just going to make a line where my foreground is supposed to be. So that's there. And it'll go straight like that. Okay. So I'm just doing with yellow because it's very lighter shade and it's very subtle. So that's why I'm using yellow. Okay. I hope I'm going straight this time. Yes And possibly as I reach towards the right side, since we don't need yellow anymore, I think I'll go with the Pink and fix that lineup. So am I straight now? Very hard to see with the perspective distortion. Okay, I think we're good. Now. We need to quickly get everything together. So here I re-wet the region. Okay, I'm gonna just re-wet along with color. Here's my Orange. Orange. Okay, So we already have that pink tone underneath. And now what I'm gonna do is just going to mix up a little bit of brown with my pink. It's like a brownish pink shade. See that? It's kind of darker but brownish pink shade. And I'm gonna be adding this now to the right side, so it already has an undertone of Pink. And then we're giving it a bit more brownish, undertone varnish. Brown and pink mixture. Can go all the way to the dog and join it quickly to the area where you wet the paper so that it's blend it out nicely. So now it's blend out, but it right, you need to kind of like blend it together and create good looks. So there you go. Blend that out nicely. Me, take it towards the left side, kind of join it with the orange again, such that you don't see all those variations in color. Just gonna pick up a little bit more orange and start from the left side. Try and blend it, okay, and get rid of unwanted color variations. And that color shall go there. And this darker pink color. You can have it more towards the bottom side. Okay. But then the top side needs to stay in a more warmer tone. Okay. There. I believe we can still do better for that region. So maybe I'll taken I think I'll take Pink shade there. Okay. Taken Pink and I stopped to put it along there. It's nice and dark towards the bottom than it being Gish needed to be more thing here. So I'm suddenly bringing the Pink now towards this side. In a subtle manner. Bring things over and we only need it to be nice and yellow towards that region. Okay. I like it now, so that's good, isn't it? So let me just take up a little bit more of the Yellow and try and complete that line there. So you see it's lighter tone, they're nice. Yellowish, lighter don't over there. And darker tones towards this right side again. And now it's time for us to add in wet on wet, some C form shapes. Okay? So what we'll do is we'll mix in that same color that we did with the pink skin. So the whole thing this painting has is a great deal of pink undertone. So that's why I'm using thing here. But mixed it with a little bit of brown so that I get like a pinkish brown this time. And this pinkish brown is what I'll use to create a lot of wavy structures. So the baby structure, let's point it towards our focal point in the sky. So it's not just add, it's good to have your elements all arranged together like that. Okay, so it's some lines, okay? Just some random lines. If you see what I'm doing. And actually, as you go further away because of perspective, it needs to straighten out So have undue there, they don't need to actually go on further along. C. This is all possible because the paper underneath is still wet. Even though the top portion may have dried out, the paper underneath gives it gives it still a lot of moisture for us to do this kind of work. Okay. Now let's create the foamy edge. So my lines are going to be more words. The seed like that, okay? A bit more denser and something of that sort. See that. A bit more brown and pink mixture. And let's just read darker effects on the sand. This area is supposed to be the sun that's reflecting a lot of color. So that's what happening there. So just dropping a lot of random colors. Again. We can have the C form shapes there as well. So it's still the sea, it's just a lot of rocks here are separating out the waves and everything. Okay. Then we've got some land area further away here. It'll make more sense to you when we actually add in the form, so don't worry about that. Okay. So make that area slightly darker like that. Okay. And next thing is you can take some brown now. Yes. Just brighten know Pink or anything because we're going to add in background buildings and some things. And we start somewhere not exactly in the middle, maybe like somewhere there. Hope that is the middle. Okay. Fine. And go create something. I do it while my water is still wet because anything can literally float down and that'll create like a subtle shadow. Okay? Then you can keep going and sometimes create the shapes of some buildings. See it's like a hilly region, but then it's got some buildings and things as well. See that. Alright. So first thing, actually what do you can do is you can go ahead and do this to cover up that edge and then fill it up towards the top to your liking. So any kind of buildings maybe to tree. You don't know, then maybe that's a building that and then we can have a longer building maybe there then maybe like a tree shape or something. And I don't know whatever that is, but yeah, it's just there. See that. Now to make this a bit more interesting, go ahead and add in like small towers and lines in-between. It's like when you look at it, it's gonna be even more interesting. This is literally nice, isn't it? Now, we wait for this bottom region to completely dry and we can finish off with the rocks and the font. That's it. Alright, I've dried up this bottom part here. So we'll go ahead and add in those rocky shapes that as actually creating the, the area difference, but that is actually creating the beach along the water here. So that is going to be at on here. Just go ahead and create something with your brush and some rocky shapes. You can see I just press along my brush like that and create some random and absolutely different shapes. That and it doesn't need to be in a perfectly line as well. Because we're going to have a lot of rocks and things that are like I accumulated over there. So this could actually be just rocks and seaweed as well. So it's just not rocks itself again there. And then I'm just going to observe not motion here now I'm holding my brush like that, pointed like that. Then I'm gonna do this with my hand. So it's basically goes like that. And then I'm just going to be doing random pressings. So sometimes the plasma brush, sometimes they don't, sometimes I just run along, might dip and absorb the paint consistency here as well. It's a really creamy mixture, which means that I'm just using it to the advantage such that sometimes my strokes are dry, sometimes it's wet, and it's just don't bother about how it's going to be. That's the point here. Here, again, a bit of my stroke, like that goes bad. So let's create like a zigzag here and maybe another one. And you can see how dry the strokes are and let it be dry. So it's it's like semi dry or dry, some are not. So it's just trying to create a lot of uneven texture over here. Okay. I'm just taking and trying to pull over some of it. Okay. So now what we'll do is we'll go ahead and take some white gouache. Now is the point where we start adding some form. So taking a bit of white quash, I'm going to draw along the edge here. The good thing about use a really nice wet been, don't use too much dry. So it's kinda like a creamy consistency. Something between creamy and Mickey, I would say. Okay, and try and get some random shapes there. Then we'll have a bit of purple mixed together. So take your white paint, mix it with a little bit of purple. You would actually use lavender, but I'll refrain from using lavender here. It's because lavender is still too light. The white has a lot of opacity as opposed to the lavender. So that's the reason why I'm using that and using that. Go ahead and read VV structure there. Okay. Leave, do leave some gaps and then go create another wavy structure there Let's mix it up with a little bit more of violet. And then what you're gonna do is you need a bit more white and try and pull it in words like that. So we create a bit off for me region there. It's gonna get lighter so it's okay that it's too bright at this moment. Okay, even with this one, this is going to get really lighter. So it's absolutely fine. What you can do is you can create some, for me shapes like this using dry strokes. So it's a dry brush technique, okay. And you can see when it's mixed with the violet, how it's forming. It wouldn't be perfectly white, which is why I mixed it with a little bit of violet. Mixing it with violet, and go ahead and create some more dry or semi dry strokes. Again. You can dry it off so that you'll get some dry brush strokes. You can see how it's already drying up. You can see how it's already almost gone and not clearly visible. Now we're almost done. The only last thing for us to do is some lattice. Isn't that interesting? So let's go ahead, have a spare be brew here, which I'm going to use to cover up the rest of the areas. Because I don't want my splatters to go in any other place. So I'm taking nice brown mixture and the splatters are going to go there. I know it's not visible, but I'd really have to like hide out the other areas if I want my splatters to just be on this side, I do my splatter like this, so I hold my brush. If you can see, I hold it with my second finger and my thumb. And then my other two fingers are kind of free but then it wraps around, it. Freed. It's even doesn't matter if it's three or none. And then using that, I am using my index finger. I tap on the brush so that the strokes are a bit more controlled. Not the strokes, but this platters are indeed a bit more controlled. It's really hard, isn't it? Okay, Maybe I'll just place my paper there and I need something over here. I'll use my hand for that PC. I've got lots of stratas in the sky. I don't know if you can see it. How do I get rid of it? The answer is buds. To think so. Okay, this worked. Although there are some, still, some spots, but okay. The splatters are amazing. Maybe some more you can do with your brush to where the edge is. See that last thing before you go. We need to give some surface to the wave, okay? Because it's, it's got a surface, isn't it? So to create that surface at it, you mean the shadow? Shadow gives its surface. So we go along the edge like that, only along the edge where it's facing this side. So if you notice here, there's a slight curve that goes towards the light, so I wouldn't apply that same along here. It goes towards the right, so I don't need it to their on this edge. This edge, that edge, Sadat. And already, as soon as you apply that extra edge, your wave has dimension. Can you see it's lifted off a bit from the, it looks as though it's lifted off from the paper and it has a 3D effect. So always, always remember about shadows that you have to. They're not one doesn't need any shadows because it's all ready towards the other already towards the other side. But hey, we're done with the painting. If you want, you can go ahead and add some birds or anything. But I am literally happy with the way that this is done lots. So we're done. Once this has dried up, you can obviously remove it from the papers. I'm just going to let it dry up naturally. And I hope you liked it. And thank you for joining me on this. 15. Thank You!: Here are the five class projects that we have painted along in this class. I hope you enjoyed each of them. So we started with yellow dominant colour, then moved on to orange, followed phi, red, then blue and purple. Lastly, with the pink shade. Honestly speaking, this one is my favorite among the five class projects, although I love it All as well, even this one, because it's got those blue and turquoise shades. Of course, I want to thank you-all for joining me along in this class. I hope that this class has been super fund and relaxing for you. And you have created five masterpieces which you can either use to decorate your room or your space. Now you can find many uses for European things, of course, isn't it? Or maybe you had so much FUN learning this technique of applying water on both sides of the paper. So let me know your thoughts. Don't forget to leave a review of this class so that other students can find it in Skillshare. Once again, thank you so much for joining along with me in this class. I hope you enjoyed painting all of the five class projects. If you're going to be posting your artworks and social media, remember to tag me in Instagram as Colourful, mystic, and I'll be so happy to see all of your artworks there. So see you all and Bye-bye.