Dancing Skies: Exploring the Beauty of Sunrise and Sunset in Watercolor

1. Hello & Welcome to the Class: Sunrise and sunset, two timeless phenomena that mark the beginning and end of each day, have inspired artists for centuries. These magical moments are not just a transition of day tonight, but a canvas filled with emotions, warmth and serenity. Hello everyone and welcome to my new skill, she class. I'm Maria Paria, a chartered accountant and a creative artist. I love working with watercolor and quash and recently found love in creating thread cards with different silo heads. If you want to know more about me, make sure to follow me on Instagram under the handle, Creating from the Heart. In this class, we will delve into the artistic interpretation of the celestial events of sunrise and sunset. Capturing their essence with fluidity and transparency that watercolor offers. The medium watercolor, known for its fluidity and transparency, becomes the perfect vessel for translating the delicate interplay of light in these atmospheric scenes. Blue with its myrid shades symbolizes the calm and cool serenity, while yellow radiates the warmth and hope that accompanies the first light of the day. I will first be diving deep into the materials that we'll be needing for this class. Discussing the paper, the watercolors, the different other accessories that you would be needing throughout this four day class. Before each class project, I will even be giving you a rough overview of the painting for that day. Guiding you through the various techniques details, the watercolor basics that you would need to know before you dive deep into the class projects. For each day, through the use of various shades and techniques, we will create paintings that echo the beauty of dawn and dusk, portraying the subtle shifts in light and atmosphere. These colors not only symbolize the sky's transition, but also evoke a sense of tranquillity and hope. Whether you are a seasoned artist or a pig, this class is designed to inspire and guide you in capturing the ethereal beauty of sunrise and sunset using the captivating medium of water colors. So get ready to unlock your creativity and witness the magic unfold on your canvas as we paint two stunning sunrises and two mesmerizing sunsets, each telling a unique story of sky's enchanting dance. So without a further ado, I will see you, kays, into the next lesson of this class. 2. Materials Required: So before we dive into the day one class project, let's have a look at the materials. The first being the sketchbook that I will be using. This is a handbound sketchbook from my own brand. It is a 270 GSM, 100% cotton cold pressed paper. You can see this has a little rough grain texture to it. This is the paper that I will be using. This is the same sketchbook in which I will be painting. The thickness is 270 GSM. It is 100% cotton paper, so it will hold enough water to work layers on layers to create purify sunrise and sunset paintings. For this class, you can see I can use the paper on both the sides without the paper buckling up. So this is what I'll be using for the paper, even for the techniques. I'm going to use a sketchbook with the same paper for taping down. I'm going to use a masking tape so that we can tape down the edges and have clean edged look. Next. As I told you, even for the technique section, I will be using in the same material paper sketchbook. So it's the same, 270 GSM, 100% cotton paper, but just in a smaller sized sketchbook. I will be showing you all the basic techniques for each class onto this sketch book before we dive into the class project in detail. The next important thing being the watercolors, I'm going to use this palette of watercolors from the brand white nights. It has 35 shades. I have a swatch card of all the 35 shades that goes inside my, this palette. It's a custom made palette with the shades that I have selected for myself and customized in. So the first line has all the yellow oranges, second has the pinks, third has the blue, then the greens, and then the brown and the black tones. So that's how my palette is organized. And I'm going to be using the colors majorly from this palette only. And you know, to squeeze out the colors from this, I'm going to quickly use a ceramic palette so that I can wet my brush, pick up the color, and dilute it into the right consistency on my palette separately. So that's about the watercolors. You can use any watercolors in tube format, in any brand as per your availability and your convenience Coming next to the brushes I'm going to be using in some flat and some round brushes. Majorly, these three brushes that will go into use, that's the flat brush for giving in the background wash. Then the silver brush, size eight for adding in details. And then a detailer brush to add in some pointed details. So you can go ahead use in the mix of flat and round brushes that is available with you. Apart from that, you would be needing a pencil and eraser for some basic pencil sketch. And next you would be needing a rough cloth or some tissues to dab out the excess water and pigment. Especially while working with the try brush technique or cleaning your brushes. So make sure you have one handy all the time. Next you would be needing white quash or white acrylic color because watercolors will not give you that opaque, transparent look that we will be creating in a few of the class project. You can see the wave detail that we've given. For these, you would be needing in the white quash so as to get that opaque look of the waves into the painting. Next you would be kneading in a black and a white pen for adding in few of the details into a painting. A 0.5 black and white pen, both for adding in minute details into the painting like birds or some silo had details. Lastly, you would be needing in two jars of clean water. One for cleaning your brushes and one for using in clean water while picking up your paints so that your paints do not get spoiled with molds later on. That is about all the supplies that you would be needing for this class. Go grab all of them and I'll see you guys into the technique section and then into the day one class project for today. 3. Basics of Watercolor: The first technique is going to be the wet on wet technique. In the wet on wet technique, we have a clean layer of water which is wet onto this wet layer. We are going to be adding in paints, which is again going to be wet. This is called the wet on wet technique, wherein the layer in the underneath a space is already wet onto that wet layer. You are adding in the wet layer with the colors again. Now, wet on wet technique can even be colored on color. Here we are adding in the details wet on wet with or layer of water. I've just used in one simple color of blue. Added it throughout to show in the wet on wet technique out here. This is the first technique which is very important, that's the wet on wet technique. Now the next technique is going to be wet on dry technique, where the base layer is dry, there is no water or wet layer of color onto this direct dry layer. We are going to be beginning in with wet paint. Hence, it is wet on dry just using in, going to add it completely. Now this technique is used when there is a very small space to be painted in and not much detail to be added in. And you want your space to dry in quickly. If on larger surfaces you will try to use this ton dry technique. You may get in sharp edges in between because the paper will dry much sooner as compared with the ton dry technique. This is only when adding in details or working on small spaces. You can already see the color differences coming in out here because of the wet on dry technique, Because the paper was not wet evenly places it began to dry in. I'm just running a dam brush over it to make it even layer throughout like this. That is why we will majorly be using ton wet for bigger surfaces, only for detailing we will be using in the wet on dry technique. Now next one we're going to learn in different kind of wash. Let's begin with a clean coat of water. As I told you, we are going to be going ahead majorly with the wet on wet technique. Let's begin with the ton wet technique and begin with the first type of wash out here. The first wash is a gradient wash wherein we are just going to be using in one color and we are going to be having a gradient to this color. At the top, you can see we have the darker tint, and at the bottom, the tint has turned lighter. I have picked up the same color again and just running from top to bottom again. Now I just add the color at the top. And using a dam brush, I just get a gradiation till the bottom space, creating a gradient wash. Now, this gradient wash can either be top to bottom or bottom to top, depending on how you need it. Say if you need it bottom to top, you can begin adding in the tint from the bottom and move topwards. Now let's move into the next wash. Again, I'm going on with the wet on wet technique. First adding in a layer of water out here. First, in with the blue color at the top space, that is still the center line of this box. I'm going to add in this blue color from the bottom. I'm going to shift into the next color. Now I'm going to use in a darker tint of the blue color, almost all of an indigo color of this set, which is more towards the black side. All right, so this is called a variegated wash, wherein you use in two colors blending them to each other. Now, these variegated wash can be of different colors as well. Need not be just of the same color family, but just according to the colors that you pick up. The variegated wash will vary a little depending on the color harmony of the colors that you're using in. So you can see there are two colors, both of them blending well into each other. This is the variegated wash. The first one was the gradiate wash, and the second one is the variegated wash. Now let's shift into the next one out here. Again, I'm going to begin with a clean deer of water first and then begin adding in the colors. Now here I'm using in the indigo color from this set. This third wash is nothing but a flat wash. It's just one color in a simple same color tone throughout. In the gradiated wash, you will see that at the top or the bottom, you will have darker tones moving from the darker to the lighter color. But here in flat wash, you will have one single color tone. Same throughout, everywhere you can see. I'm trying to add in an equal color tone onto the entire space throughout, having in the perfect same color spread throughout. This is known as a flat wash. These were the three different washes. First, we learned about the wet on dry and wet on wet technique. Now these were the three different washes, that is, the gradated wash, variegated wash, and the flat wash. Now let's move on to the next technique for I'm going to go ahead with a clean layer of water. Again, here I will show you a variegated wash with two different color tones of blending of which may form in a third color. So how we can do that as well, I'm going to do in a variegated wash with the blue and the yellow color. Now we know when the blue and the yellow mixed together, they will form a green tone to avoid that. In between, we will leave a little white cap and let both the colors blend easily into each other. You can see I have added in both the colors in between. I left a little white cap. Now using a dam brush, I will just blend from the bottom of the blue till the yellow color. And you will see there is no green color formed and there is a perfect flow happening in between the colors. This is how you can achieve variegated wash with two colors, which may form in a third color by leaving in a white cap, you can get perfect transition between the colors and go ahead with the variegated wash. These worth the different kind of wash. Now moving on to the next technique. Again here I'm going to begin with a clean layer of water. Now I would recommend you to try out these basic technique first. If you are a complete pigner practice these basic techniques will help you a lot in getting the class projects much easily and this will also help you understand where you go wrong. I recommend you to try out these techniques and get a hang of these before moving on to the final class projects. Now here we are going to learn about adding in the clouds. Again, this is wet on wet technique, I have a wet layer of water. Now onto this, I'm going to be adding in wet paint, but I'm going to add in paints leaving in some wide gap for natural clouds to act in. Just adding very simply small patches of the blue color going to form in little cloud shapes in between. Then onto this I will show you how we are going to be adding in the wet on wet technique or using in another color at top of this. For now you will see how easily I've left in little spaces in between to act as the cloud. Now onto this I'm going to pick up the indigo color. I'm going to shift into a smaller size brush. Now this space is still wet. Wet on wet. Again, I'm going to add in the next layer. Now this darker tone, I'm going to add in very little as compared to the blue color that I added it. Because I want the blue color as well to be visible so you can see how you can form in the clouds as well onto these using the wet on wet technique, creating in perfect depth. Now you can see three colors coming into our sky, the white caps that you left in. Now when you add these clouds, wet on wet, you need to make sure that into this indigo color, you do not add much of water. You need to control the water. Otherwise, you will just get one flat layer of the color and all the colors will blend and bleed into each other. And you will not have any color distinctions in between. Now, wherever I feel the color is spreading. A little extra, I'm just lifting it up with a dam brush and there we have got the perfect kind of clouds. Now let's begin with the next technique out here. Again, going ahead with a clean layer of water first. Again, here as well, we are going to learn adding in the clouds. This time I'm not going to leave in any white gaps. I'm going to use in the blue and pink color. This time I'm using in the serene blue color. Next I'm going to be picking up the opera, the quin rose color. In the quin rose color, I'm going to add it completely now. When the blue and pink mixed together, they will form a little purple line. As you can see, if you do not want that purple color, you can leave in little white space and blend just as we blended the yellow and the blue. These are different ways that you need to understand about blending in water colors. Whether you want the third color to be formed or you do not want the third color to be formed. Now I have picked up a little of the violet color and I've shifted to a smaller size brush. Now you will see just using in the tip of my brush, I'm adding in this color, wet on wet forming in little cloud shapes into the sky. Now in case if I will add in lot of water to this violet color, the violet color will spread a lot and give me a flat look of the violet color. In retaining these cloud shapes that I'm trying to add in, it's very important when you're working wet on wet with the color layer on color, you need to make sure that you control the water content because to maintain and retain the shape. Now automatically these cloud shapes will have a soft blending because working wet on wet. But also they will maintain the shape. Because I've tried to control the water content and the liquidity of these water colors. Out here, I have added in the clouds using two colors, that's the red, violet and the violet color. You can see these cloud shapes are retained because I've not added much water. Also, the clouds are in the form and all base layer colors are visible. Here is the dried look of the complete thing. Let's remove the masking teeth. These were the basic techniques for now. These were the basic ones. Again, I would recommend if you are a complete pigno practice all of these, they will help you a lot in overcoming your fears with watercolors and help you get better with your basic techniques. In the last one out here, you can see how beautiful the clouds are looking wet on wet. Maintaining the tones as well, but maintaining the shape as well. In this first technique session, we have learned wet on wet, wet on dry, gradiatedh variegated wash, flat wash, variegated wash with two colors. Which may form third color avoiding. In the third color, adding in clouds, leaving the white space, Adding clouds wet on wet with two colors forming the third color. I would see you guys into the next lesson. 4. Day 1 - Calming Blue Sky - Tecnhiques: Before we dive into the class project for day one, let's have a look at the colors and basic techniques that you would need to know for this class project. I will first begin by swatching out the colors that I'm going to be using in, and then begin with some basic techniques that would help you in painting the class projects easily. For the yellow I'm going to be using in the Naples yellow color. It's a pastel yellow shade, as you can see. For the blues, I'm going to be in Altra, Marine blue, and Dico. If you want, you can add in a little bit of the ditherin blue as well. In between for blending, the topmost is dico, the bottom is ultramarine blue, and center is a medium mix of both the tones. And closer to the mountains, it's the Naples yellow. Now when the blue and the white is mixing in, you can see there's a little white space where I'll be using in little white paint so that the blues and the yellow mixing together do not form in the greens. Now I will watch out these colors for you freshly. Again, for the Naples yellow, you can see it's a beautiful pastel yellow color. If you do not have a direct Naples yellow color, you can simply mix in your cadmium yellow light with a little bit of white to get this pastel yellow. Next watch is the ultramarine blue. The third blue that I'm going to use is going to be the indigo color. Now for the mountains, I'm going to be using in this same indigo color. But you can see the tonal variations of the color that I'm going to be using in the mountain ranges. It's going to be a light dark and a medium tint. We've already swathed a medium tone of the indigo color. Now I will swash the indigo color in its thickest consistency and you will see an opaque layer of the color. It is bold, dark. And you can see we've used this in the second layer of mountain. For the first layer, which is a light color, I'm just going to swatch it out. A very light tint of the indico color that is more of water, very less of the pigment. So you can see by adjusting in the water content, you can adjust the consistency and the color of the pigment. Dark light, medium, as per your knee. We're going to have the darkest one here, the medium in the sky, and the lightest one in the first mountain range. That's about the tonal variations for the C. Again, we're going to use in the Naples yellow and ultramarine blue only and use them in a very light consistency. I will swatch these two tonal variations as well for you. You can see how light it is, very little and more of water, it's a very transparent layer of the color that we'll be adding in for the sea. By adjusting in the water content, you can adjust the tonal variations for the sea as well. You can see a very light layer that we're going to add in to show the reflection for the pine tree and the bush area we are going to be using in the paint scray color. Or you can use in your black color as well, but we're going to use it in its darkest consistency and have a bold effect for the birds as well. We are going to be using in the same pinscrey color, or you can go ahead using the indico color as well for the birds. Now as I discussed for the Naples yellow, you can simply mix in your yellow tones, say cadmium yellow medium, or Hansa yellow, along with a little bit of white to get a similar looking Naples yellow color mix in any medium tone of yellow with white to get in Naples yellow. Next, ultramarine blue, pinscrey and indico color are the different tones that you can use. Now for the sky, let's show in the blending. First, I've added in the ultramarine blue swatch to this, I'm going to blend in the yellow. And you will see when we do not leave in any white gaps in between, you'll directly be getting in green tones when both of these colors blend in. You can see that muddy green color being formed at the blending spot. That is the reason we are going to leave in a little white gap using a little wash off the white paint so that we do not have this greenish effect coming into a sky. And we are going to have a beautiful transition between the yellows and the blues happening in smoothly here. Now let's understand how we're going to leave in that white space used in the white paint to get in that transition again, beginning in with a layer of ultramarine blue at the top. And I will leave in little gap and add in the yellow. Now in between, you can see we have a white space. We need to blend both of these colors swiftly. So I'm going to quickly pick up some white paint and begin blending in between as well. Now you will see that because of the white that we've added in, we get lighter tones off the blue. And we'll also get lighter tones off the yellow tone. And when both of these blend with the help of white, you will not get in green variations in between, you will see a smooth blend happening in between the blues and the yellows. Without forming in any greens and still not having in that white space and having in a soft transition happening in between the colors. So it's very important to avoid these green tones that happen because of the mixing of the blues and the yellow. Now, for the mountain range, as we discuss the tonal variation, it's going to be a light barn on top of that. We are going to begin with the try brush technique. Now you can see the movement of the try brush is diagonal from left to right. You need to pick up a damp brush. Just pick up some paint and thick consistency and begin dragging it so as to get this try brush effect. Let me give you a closer view. You can see my paper is rough edge and because of that, it's becoming much easier for me to get in these try brush detail. I'm using the same paper book which I'm going to be using in for the final class project. So both the papers are 270 GSM, 100% cotton coal press, but with a little rough texture. So always try all the techniques on the paper that you're going to paint your final painting, so that you can understand how your techniques will be appearing on the required paper. Now, if your brush will be wet, you can see you get in patches of the color. Instead of getting in the dry brush detail, it's very important that you pick up a damp dab off all the excess paint and excess water from your brush and then just swiftly begin dragging it so as to get this dry brush detail, you need to pick up the paint as well in thick consistency so that you get in that bold effect and the details accordingly in the movements that you want the flow of the dry brush to be. You will move or drag your brush accordingly. Now let's understand the pine tree. For that I'm going to use in the smaller size round brush. And we're going to begin with the pine tree. It's going to be a simple pine tree that we'll be adding. You begin with a very thin stem pointed towards the top and moving downwards, you can thicken the length of the stem as well. Now if you notice the shape of the pine tree is triangular. After adding in the foliage first, I'm just adding in some branches. At the top you can see the branches are smaller and as I'm moving downwards, I'm increasing in the length of these branches. Now just using, in the tip of the brush, I'm randomly dabbing in details here so as to get in simple effect onto the foliage of the pine tree. You can simply go ahead with simple lines to create in that foliage effect if you want, you can directly go ahead without the branches as well and get a triangular shape just with the help of the tabbing technique and the foliage. Now you can see as I'm moving more towards the bottom side, I'm increasing in the length of the foliage so that we maintain in that triangular shape. I'm just pulling out simple branches out there so as to create in the foliage. As you move towards the end, you can just fill in by dabbing in without the help of the branches as well. This is how we are going to paint a simple pine tree for this class project. And it's a pretty simple one, just using in the paints gray color. Now the last detail that's adding in the birds, we are going to go in with simple silo hetes of the bird using in a smaller size pointed tip brush. I'm just going to begin adding in the bird details With the help of the brush, you can just see very simple silohetes that I'm adding, moving in different directions, different flight angles. If you notice towards the top, I have very tiny brushes which are basically just dabbing in the brush, creating in some minute dots to trying to show in some birds very far away in the flight. All right, so that is how we are going to be adding in birds different shapes, very simple silohates. You can see very simple strokes that you have to add in to create in simple bird. But try to make it different every time so that it looks like the difference in the angle of the birds as well. That's about the colors and the basic techniques for this class. I've shown you the blending, the simple, basic techniques of tri brush and adding in the silohates. Now we'll begin with the class project in the next lesson. 5. Day 1 - Calming Blue Sky: Now let's begin with our class project. This is the first class project that we are going to be painting in this, I have my paper taped down already. I have used 1 centimeter masking tape. Now I'm just going to use in this clean jar of water for laying out the layer of water. We're going to begin with a very rough pencil layout for the silo height and the diagram that we'll be following. That is we'll be marking out the sky, the mountain ranges, and the sea area and the bottom bush space a little below the center line. I'm beginning out with the mountain outline. This is the background mountain range which is going to be of the lighter indigo color. Now I'm marking out the horizon line and on top of it I'm going to give in the second mountain range, which is just below the first mountain range and it's quite smaller as you can see. Next I'm going to mark out the bottom bush space between the mountain and the bush, we have that little sea space. And towards the right end here, we are going to have in a pine tree which is going to be a line between the sea and the bush space, You're somewhere in the right area. I'm just giving a very rough pencil sketch for the pine tree because we'll directly be adding in with pines. We'll first begin in with the sky. For that, let's go ahead with a layer of water only into the sky. I will not run the layer of water into the mountains though. It's going to be of a darker tone later on. But avoid adding in any water or pins into the mountain range as well. I'm just going ahead with an even layer of water throughout into the sky. Make sure that you do not have any excess water on the edges. Your entire sky has an even layer of water that even glaze because of the water so that it does not begin to dry anywhere while painting. Also make sure that the excess water from the edges you lift up with the help of tissue across the mountain range. You can see I'm going ahead very carefully marking out the outline of the mountain range so that there is no water seeping through the mountains as well as you can see, I'm running my brush multiple times so that I have an even layer of water throughout. From anywhere where there is excess water, I have lifted the water and given an even spread. Now I'm going to go ahead and begin with the colors into the sky. As we discussed in the technique section for this class project, we already know the color shades, which is going to be shades of altramarine blue, indico, and the naples yellow color. We've also discussed the tonal variations and the alternatives that you can use if you do not have the specific colors. If you have not visited the technique section of this class, you can go visit in the technique for day one class project. And accordingly, you can follow the color theory that you want to use in. I'm first bringing out a little bit of the altramarine blue color on my palette. And I'm going to begin with a layer of this altra marine blue using in the flat brush. So I've taken the ultramarine blue color till the half of the sky. And now I'm just going to use a damp brush and give it a very light layer so that when we add the yellow closer to the mountain, we do not have the blues and yellows creating in the greens. We already discussed this as well in the color technique section of this class project. So you know the details and why leaving in that white space is important while bending in the yellow and the blue. Now picking up a little bit of the naples yellow color, make sure you pick in fresh water. Otherwise, when you pick up the yellow with the blue water, you may get in little muddy green tones again. So I'm using clean water from the second jar of clean water. Now I'm going ahead adding in the layer of Naples yellow, closer to the mountain range marking the outline of the mountain. As you can see for this, I've used a smaller size brush because it's a small space that we have to add in. Now, you can either use white or like this. You can use a dam brush and lighten up both the colors and get in the tonal variations to blend both of them together. You can see the smooth blend happening between the ulti, marine blue and the naples yellow color. Now at the top, I'm going to add in little indigo for darker highlights into the sky. I'm picking up a little bit of the indigo color at the top of the sky. I'm going to give in little darker hints with this indigo color. Using a smaller size brush, you'll automatically have a gradient into your blues as well. From dark at the top moving towards little lighter tones in the center. Then quite lighter towards the yellow, and then the yellow tones. Now while you're adding in this indigo color, make sure that you do not add in a lot of water. Otherwise, it will cover up the entire Altra marine blue as well. Now to make the blending between the ultramarine and the indigo simpler, I added again a layer of the ultramarine color so that we have that blend. And now again, using a damp brush, I blended it till that meeting point of the yellows and the blues. So now I'm just going to add in little highlights into the sky. Just using, in a smaller size flat brush, just adding in little strokes. And I will blend these, so wherever I feel that the colors may dry a little lighter, I'm just adding in this little highlighted spot, again, using a dam brush. Blending it till that yellow space so that we do not have any harsh edge or harsh spots of the colors anywhere. Also, remember, watercolors always dry or tone lighter. So make sure that you know how your color will be looking once it dries out. Now let's wait for this entire sky to dry out completely, then move further. Now that a sky is completely dried, we'll begin with the rest of the elements. We'll begin with the first mountain range in the background. As we discussed, we are going to be using in the indigo color, but in a very light consistency. That is by adjusting in the tonal variation of the indigo color. So I have a little tint of the indigo on my palette. And I'm just going to remove in a little more to this. I'm going to add in a lot of water so that we get in the right tonal variation. We have to use in a very light consistency for the first layer of the mountain range. On top of this, we'll be adding in dry brush technique once this dries out. So make sure you're using a very light consistency of the indigo color for this background mountain range. Now marking out the outline very carefully of the mountain range, you can see I'm trying to give it a very rough edge. And not giving in simple straight lines so that it looks natural. And real now, this technique is the wet on dry technique that is for the mountain range. We did not add in any layer of water in the background. We are directly going ahead with a layer of water. We are directly going ahead with a layer of the paint onto the mountain range. This is the wet on dry technique. Now I'm just going to run in a darker hints at certain places. And given little you can see, I'm not adding in these darker spots completely. Just very little. Because once this tries out, I know it will give me a very light tint effect on the top of the first mountain range. Now till the first mountain range dries out, we'll go ahead paint in the sea area because we cannot paint the second mountain range until the first one dries out. Otherwise, they will all get merged into each other for the sea as well, adding in a very light layer of the ultramarine blue as you can see. As I told you again, the tonal variation that we discussed in the technique section, a very light consistency, more of water, very less of pigment. Onto this, I'm just going to add in little yellow highlights as well towards the right. Now, since this ultramarine blue isn't such a light consistency and even the yellow is going to be in a very light consistency, it will hardly give you any green tones. That is the reason I did not leave white caps while painting in the sea space. Now using in a smaller size brush and a little one tone darker consistency than the base layer of the sea, I'm just going to add a little ripple effect into the sea. This, I'm doing wet on wet. My first layer of the paint of the sea is still wet. On top of that, I'm going ahead with the strokes, which is again wet. This is called wet on wet. While adding in the details for the first layer of the sea, we had gone ahead again with the wet on dry detail. So this is how you can add in little highlights and wave effect. I'm just using a little hint of the indico as well to add little effect into the sea. Some darker strokes, but very little, not much of it. I will blend it quickly and I'm still adding this while my sea is wet, so you will automatically see it all has a soft edge together. That is it for the C as well. Now we'll have to wait for both of these paths to dry and then move ahead with the rest of the details. The next detail that we'll be adding will be this mountain range. Once all of this dries out for that, we'll be using the indigo in its thickest consistency as we discussed at the bottom. We'll be using paints gray or you can use in any tone of black if you wish to. I'll be using in the pains gray color. Let's wait to dry now. Both these details are dried. As you can see. We'll go ahead with the second layer of the mountain range. For that. I'm going to use in the indigo color, in its thickest consistency and a bold effect. Because I want this layer of mountain to be visible distinctively. Now beginning in here, giving in a very rough outline. Again, you can see it's not a straight line. It's having in those curvy twists and turns randomly at spots. Now I will quickly fill in the rest of the space till the horizon line very carefully. With this indigo color giving in a straight line towards the horizon line. Make sure you do not add in much below the sea line. Otherwise, the entire sea may get hidden as well. Now that I've added this layer of color, what I will quickly do is using a damp brush, I will randomly lift off some spots from this mountain range to given little tonal variations just using a damp brush. And using in the tip of the brush, you can see I'm lightly lifting up little random strokes in diagonal manner so as to create little textures and effects onto the mountain range. The edges, as you can see, is of a da color and in the center, just given in a very light effect. This is how you can lift up colors to create little textures. While this is wet, you need to do this lifting while the paint is still wet. Otherwise you may get in patches of water instead of getting in these tonal variation texture effect. Now next I'm going to go ahead with the paints gray color and fill in the bottom space for the, the paints gray color. Also, I'm going to be using it in a very thick consistency and closer to the C space. You can see I'm going to go with a outline and not a simple straight line on top of that, we'll be adding little bush details towards the space. But first, let's fill in this entire space with the pains gray color at the bottom now shifting into a smaller size brush which has a pointed tip. I'm going to pick up the paints gray color again and begin adding in little bush detail at the top here. My bottom bush space that be added is still wet and on top of it here, I'm creating in little bush effect. As you can see, I'm just tapping in the tip of my brush. Adding in simple grass like structures and simple strokes in random directions to create in that bush effect into this space. Make sure you do not cover up the entire sea space. You let the little of the sea be visible in between these bushes, in between the mountain range. In the same way throughout till the right edge. I'm just going to quickly go ahead and add in this. Remember on the right side we are still going to be adding one big pine tree as well that will also be using in the paints gray color. After that, we'll be left to add in little dry brush details on the mountain range and the birth silotes into the sky. So I'm just giving in the darker edges here as well. Wherever I feel that the pains gray color at the bottom is light. Now using in the same pains gray color and the small pointed tip brush, I'm going to go ahead add in the pine tree on the right here. I'm using the pains gray color in a very thick consistency and beginning in with a very thin stem first. Now make sure you can go ahead add in a further bigger tree than this as well. But I'm going ahead with a medium sized one, reaching till the meeting point of the yellows and the blues. Now we already discussed about adding in the pine tree in the technique section, how it has to form a triangular shape while reaching towards the bottom. Towards the top pinning end with very small length of the foliage and moving downwards. I will swiftly keep on increasing the length of the foliage as we reach towards the bottomost end closer to the bush. I'm going to just keep on dabbing the brush and create the foliage effect. You can see how I'm just going ahead adding in very simple foliage effect here. Now I'm going to quickly go ahead add in like this foliage and pull out these leaf strokes completely till the bottom space to create in the pine tree. After this, we'll be adding in the birth silotes into the sky and we'll be ready with our first project into this four project. You can see towards the bottom how I have swiftly increased the length with every branch. And towards the bottom, I'm simply pulling out just strokes. Instead of giving in that branch, kind of a detail. Now we are left to add in the dry brush as well onto the mountain range. Add that only when your mountain ranges are also completely dry. I'm just blending in the bush and the pine tree together with some dabbing and black spots so that it looks perfectly coming out from this bush space. Now, randomly where I feel I need to give in little modifications to this pine tree, I'm just going ahead adding in little more foliage effect and little more details. I gave the tree a beautiful pointed edge and we are ready with the pine tree as well. Now let's move on to the rest of the details and then remove in the masking tape. First, let's go ahead with the dry brush technique on the mountain range here. That's the first mountain range. We already discussed the dry brush technique as well in the technique section. Make sure you're picking up the color in a very medium consistency. Dab it onto a tissue or a rough cloth so that you do not have any excess paint onto your brush. Make sure your brush does not have excess water. Now, keeping your hand movement diagonal, begin adding in little dry brush strokes. If your will have excess water or pigment, you will get in patches of the color. So make sure you pick up the color in a thick consistency and keep tapping it onto the rough cloth or a tissue if you're using one. So that all of the excess paint and water is absorbed by the cloth or the tissue. And automatically you will just get in dry brush strokes onto your paper. You can see I've been moving diagonally for these tribus strokes so as to create movements as well onto the mountain range. Now in between, you can see I've given a bold line so as to give little breaks as well into the mountain and create sections into the mountain as well. On top of the lighter earth strokes of tri brush that we've given, just giving in little darker strokes as well of the Trh. Now onto the next part of the mountain range, Again giving in little strokes. You can see how I've divided the background mountain also into two parts with the help of one fine line in between the mountain ranges using the dry brush technique. Now make sure that the dry brush is not too dark or bold. Otherwise, it will cover up all the lighter spaces that you've created in this background mountain range. Also, it's very important to make sure that you get in these dry brush details. Otherwise, patches of the colors may make the mountain effect go bad. Now just making this transition line a little bold, which is dividing both the mountains in the background. Actually, since my paper has a little rough green, it makes it much more easier for me to add in these dry brush detail. And that is why always test onto a rough patch of the paper that you're using. That whether you're able to achieve in these drybrus strokes easily. Now using in a smaller size round brush, which has a pointed tip, I'm going to quickly go ahead add in some very simple birth silo again, while adding in the births as well. Make sure you're using a very fine tip rush. You do not have excess paint. Make sure the paint is in a medium to dark consistency and not too dark. And as you add those birds which are far away from the mountain ranges, make sure you add them in a little lighter consistency so that you get in that effect of far look of the birds as well. At the top you can see the birds are very tiny as they are far away from our perspective and from our horizon line and closer to the mountain and the horizon line, you can see these birds are quite bigger and much better visible towards the top end. I'm just going to dab in little dots as well to create little birds in far off motion. That is it. We are ready with our first class project into this four project class. So let's remove in the masking tape and see a final painting with those clean edges. Now make sure before you begin removing in the masking tape, your edges are completely dried. Always pull off the masking tape against the paper so that it does not lift up the paint or tear off your edges. It's very important to go ahead very slowly. Make sure you've tested your paper before, that it supports masking tape. And if you feel that the masking tape is not coming out easily, you can use a hair dryer over the masking tape to loosen up the gum off the masking tape and then peel it off. So here's a closer look at our first painting from this class. You can see the dry brush technique, the bird details, the spots that I've added with the paints, gray color for some distant birds, and the complete look of the painting. I hope you guys enjoyed painting this first painting with me. I will see you guys into the next class project where we paint another beautiful seascape. 6. Day 2 - Calming Seascape - Techniques: Hello everyone. Welcome back to day two of the sunrise and sunset class. Today, we are going to be painting this beautiful blue and yellow sky for day two with a beautiful seascape and a reflection of the sky falling into the sea. Before we dive into the class project, let's have a look at the colors that you would be needing for this class. I will begin swatching down the colors and also share the alternatives with you. The first color is going to be the cereline blue color, or you can use in the cobalt blue color. The next color is going to be a little of the ultramarine blue color. You will notice the cobalt blue and the ultramarine blue are almost similar tones, just a very little difference. And this third shade is the bright blue color from the white nights brand closer to the mountain range. Here you can see I've used a little of this bright blue color in case, if you do not have the bright blue, you can use the cereline blue along with cobalt and the ultramarine blue color. For the yellow, I'm going to use this beautiful pastel, naples yellow color. You can mix in white along with your medium yellow to get a naples yellow or a pastel yellow tint. And for the orange hue, I'm going to use this golden color from the brand white nights itself. Next, I'm going to use in a little bit of white along with this golden to further dilute it to a little lighter tone if needed. So you can see with white, how the color can be lightened to a purifull yellowish orange tint with a pastel hue in it, which will not create any muddy tones when blended with blue. For the mountain range, I'm going to use in the indico color. You can even use in the paints gray color if you wish to. If you do not have the Indico color for the, we are going to use the same basic colors to create the reflection. Apart from that, you can see the dry bra strokes that we'll be adding to given little wave effect that's going to be using in the pain scree and the white quash. You can even use the indigo color again if you do not wish to use the pain scree color. Now if you see yellow and blue are two colors which mixed together create in green tones, as we discussed in the last lesson, we need to go ahead with the blending carefully so that we do not form in the greens. Even in the C space, you can see when the blue and the yellow blending in together we've tried and avoided in any green color forming in. So it's very important for you to blend in in such a way that you do not get in the green tones. That is why we'll be leaving in little white caps around the yellows and let the blue and the yellow blend in naturally. Now this time for painting the sky, you can see we've created so much depth into the sky. You can see the cloud details. The last one, we had a simple transition sky from the blue to the yellow. And for this class project, we have a cloudy sky with a lot of layers on layers. For this, we'll be working wet on wet and we need to have wet on wet water control so as to get in these details right and have the right textures coming in for the clouds as well. To understand the wet on wet technique, I will first begin with a layer of water, which is the wet layer. Onto this wet layer, we are already going to begin adding in the first layer of pains After that, when we still work wet on wet, we need to have control over the pains that we add in so that we can get in those effects into the clouds. In the first class project, it was a very simple variegated wash that we had used of two colors, leaving in the white cap. Now, fosphus sky, we'll drop in the yellows randomly and the orange use, that's the golden color naturally. And you will see that the colors will spread accordingly. Now, when you begin adding in the blues, you have to leave little white spaces closer to the yellow and the orange, so that you do not form any green tones. This is just the first layer here. The wet on wet control will not play much of a role from the next layer onwards, when we'll begin adding in the details into the sky creating in the cloud effect. That's the time when you'll have to have in the wet on wet control so that the colors do not just spread and retain the shape and the angle in which you're trying to add them closer to the yellow and the orange. For now you can see I have kept in little white spaces that we do not get in the green tones. Now, my paper is still wet. I'm going to begin with the cloud details. Now, when I begin adding wet on wet details, I need to have water control. I am not going to pick up excess water and I'm also going to make sure that my brush does not have excess pigment. It's retaining the shape in which I'm adding them, despite the paper is wet. So it's retaining the softness edges. Now if I do not have the water control, you can see the color will spread completely like this and it will not retain the shape in which I try to add in. It will just create a simple patch of the same color throughout rather than giving us the detailed Shape of the clouds that we're trying to add in. The strokes that we're trying to achieve in when you begin adding in the cloud details and the strokes for the clouds, you need to make sure your brush does not have excess water or excess pigment. You need to go in very light handedly using in majorly the tip of the brush to create in the strokes. And given those cloud shape, you can see when I have the water control the shapes and the strokes that I'm adding are retaining their shape and staying at the place that I want to add them. This is where wet on wet water control plays a very important role while creating in details into the sky or the sea so as to get those wet on wet structures right now. Next you can see the tr brush effect that we have into the sea. We're going to use the same wet on wet technique in the sea as well to maintain those yellow highlights. Apart from that, we are going to use in little tri brush to create some motions and movements of the waves. Now if you notice closely, the waves are falling diagonally towards the downward side. And one way diagonally from up in a little upward curve. I'm going to show you both of these tri brush strokes that we're going to use in. We already discussed the basic tribrush technique of having in very limited paint on our brush without any water. And then we need to drag in, the first stroke is going to be the inverted kind of a stroke. So we're just going to begin from the top and we are going to have this inverted kind of a structure forming in with our brush strokes, giving in the dry brush, trying to show the waterfall effect onto the waves. This is one stroke that we're going to use in for our waves. And the second one is going to be like a normal, regular stroke. But you know, you can see a little flat stroke that we're going to use in, let's check out that as well. So here it's going to be like half C, just a little less curve. So you can see how both look variations. That's the inverted A stroke that we'll be using and the normal stroke that we'll be using to show in motion into the waves and the waterfall stroke as well. So these are the two dry brush and apart from that, we're going to use in some basic dry brush as well at the other places to create a little flow and texture into the water. The basic dry brush is going to be, as we discussed in the previous lesson already, just dragging a brush, you can see my brush does not have excess pigment or excess water, so I'm getting in those dry brush effect. Lastly, we'll be adding in the birth silhouettes as well in simple, different angles. That is about the colors and the basic technique for this class project, most important being the dry bra stroke and the wet on wet water control. Make sure to practice this on a rough sheet if you are an absolute pigner. So that you have a hang of these details, I'll seeks into the next lesson painting in this class project. 7. Day 2 - Calming Seascape: Now let's begin with our class project for day two. We've already discussed all the basic techniques and colors for this class project. Now picking in with a very simple pencil sketch. First I'm marking out the horizon line on top of which we are going to have that little mountain range. Just marking out that mountain range as well. That is the only pencil sketch that we need. The top area is going to be the sky, then the mountain, and the bottom will be the sea. Towards the left, I've taken the mountain range to a very lower height. As you can see, I'm just getting rid of the extra pencil lines that we have in. We'll begin with the sky first, then the mountains, and then the sea. For the sky as we discussed already, I'm going to be going in with ultramarine blue, cobalt blue. A little bit of the bright blue as well to given little highlights and the naples yellow and golden color. So these are the colors that we're going to use in the sky and for the sea as well as it's going to be a reflection of the same colors. Then using indigo color for the mountain ranges, or you can even use endithrine blue or any darker blue for the mountain range, or even the paint spray color as you wish to. We'll first begin with a fresh layer of water onto the entire sky. I will not be adding in the layer of water into the mountain range. I'll try and mark that outline for the mountain range as well. Carefully. It seems my brush had a little bit of the blue from the previous project because of which you can see the blue in the water coming in. So I've just cleaned my brush again and now taken a fresh water. Since the sky is going to be blue, it won't make much of a difference. But be a little careful about this in case if you're working with other colors I'm done with a layer of photo. Now, as we discussed in the technique section, I will first be pinning with the yellow and the golden color. Then after adding in these colors, we'll shift on to the blue tones. Now make sure that you are using a clean brush. And very carefully go ahead with little yellow and golden color strokes towards the right side, at the bottom area of the sky. Now you can normal yellow mixed them with a little tint of white to get a naples yellow color. For the golden color you can use in a yellow orange color, We've already discussed all of the color alternatives and color options in the previous lesson. That's the techniques to this. In case, if you've skipped that, you can visit that for a detailed insight of all the color palette for this class project, as well as the basic techniques. Now to the golden as well. Again, I'm adding in a little bit of the white as you can see. And I will just add in closer to the yellow and create little orange highlights as well. Now the orange you can see, I've added very carefully just using in the tip of my brush, making sure that the yellow and orange, both are visible. Now ping in with the cobalt blue color. You can bright blue, cobalt blue mixed together as well. But I'll first begin with a little bit of the cobalt blue and then add in the bright blue highlights. Later on I'm going with a very light layer of the blue. As you can see. Closer to the yellow, you will notice I'm leaving a little white gap between the blue and the yellow, so that we do not get in any green or muddy tones because of the orange color. I've added a base blue. Now we'll begin by adding depth with the bright blue color. I'm just picking up a little bit of the bright blue color. I'm going to begin adding in depth into the sky. At the bottom space, it's going to be more of the bright blue. And towards the top I'll be adding more of the ultramarine blue later on. Now when you're working with the wet on wet layers, you have to go in very carefully, such that you're all yellow. And the blue mixed together do not give you green tones. Now I'm lifting up a little of the aultramarine blue separately and I will begin adding in the ultramarine blue strokes. Now you can see I'm going to take the strokes a little diagonal from the top to the bottom side and create in crowd textures. The previous project, we had gone with a very simple variegated wash sky. This time we are creating textures into the sky to create the cloud defect. You can see I'm using my and dabbing in colors in different shapes and giving in those very different tones of the blues to create in the cloud defect. Now using in the tip of the brush, I'm just adding in simple half a strokes to create the cloud defect. Now towards the bottom space here, I'm going to use more of the bright blue color. Towards the top is more of the ultramline blue color. Now closer to the yellow, you can see how I'm maintaining my strokes in such a way that the yellow is also still visible clearly. Now just using in the tip of my brush and with very little paint I'm just pinning to add in strokes towards the bottom side. You can see after every paint that I pick up, I am dabbing my brush so that I do not have excess water. This was the wet on wet water control that we discussed in the technique section. It's very important to make sure that your brush does not have either excess water or excess pigment. Otherwise, it will spread completely in the entire space and give you one flat color look. Instead of giving you these strokes into the sky and creating in those beautiful cloud movement effect, I'm going to go ahead with further tints of the ultramarine blue and create a little more drama into the clouds of the sky. You can see I'm just creating in simple shapes. We are still working wet on wet. So it's very important that you make sure that your paper supports the wet on wet technique and stays wet for enough time for you to work layers on layers to create depth into your sky. Now even at the bottom space here, you can see I'm trying to create in little textures, giving in the depth and creating cloud effect over the yellow and orange spaces as well. I'll even be adding in little more darker depths of the yellow and orange highlights if needed. Because remember, watercolors dry or tone lighter, you need to keep the layers accordingly that after drying they give you that bold, beautiful effect to the yellow as well. You can see I'm just using the tip of my brush tapping in those blue clouds. But you can see they're retaining the space in which I'm adding them. They are not covering up the entire yellow space nor forming in any green tones. This is very important to have the wet on wet water control while working layers on layers, adding in the depth. Otherwise, you will get in simple flat colored look. I'm just adding in little more textures and strokes into the sky as you can see. Now using the white, I'm just creating little lighter effects between the blues and the yellow as well. Just dropping in very little white paints randomly here and they're creating in more depth as well into the clouds. It's been almost seven to 8 minutes that my paper is still wet and I can still work a lot wet on wet, creating in more texture into the sky. My paper is 270 GSM, 100% cotton. I have wet it the right way with the right amount of water, making sure that it stays wet for enough time. And you can see I'm still able to add in the fourth layer of details into the clouds wet on wet. And I'm still maintaining the water control and the pigment control wet on wet. So that you can see the shapes in which I'm adding. They are there, but they are having all the soft edges because of the wetness of the paper. So make sure that you test your paper beforehand, whether it supports the wet on wet technique, whether it crumbles up or, you know, it makes it difficult for you to work for a longer time, wet on wet. Now just adding in the final layer of strokes in the center space and we are ready with our sky. Now we'll wait for the sky to dry completely. First I'll just add in little orange highlights randomly, here and there in between the yellows. Because you can see the orange is completely got hidden. Just using the tip of a smaller size brush, I'm just dropping in little yellow highlights. That's the golden color that I'm using. So the yellow orange highlights, you can see I'm making sure it's not blending in with the blues. Otherwise, it may give in muddy tones. Now that is for the sky. We'll wait for it to dry and then move on to the rest of the details. So now my sky is completely tried. And I'll begin with the, as we discuss, the sea is going to be a reflection of the sky colors only. I'll first begin with a layer of water onto the entire sea, just as in the sky. We begin with the yellow and the orange tones, similarly for the sea as well. We'll begin with the reflections of the yellow and the orange tones and then begin adding in the blue layers. You can see on the left side a little of the blue color from the sky that has seeped into the sea area. That will all get covered up when we begin adding in the details in the sea, I'm not blending the sky and the sea. I'm leaving a small thin gap. My mountain range is almost covered up with the blue in the sky. I will be going with the color directly there later on. First weakening with the reflection of the yellow and orange tones towards the right side. I'm pinging in with the yellow color towards the right side. I'm adding the yellow tones completely till the bottom right. They will get covered up with the strokes of blue and indigo when we'll go ahead with the details on the waves. Similarly, using the golden color, I'm beginning to create little highlights, making sure that the yellow is still visible. You will notice as we begin adding in the details in the waves, most of these yellow, orange parts will get covered up with the blues. We'll just have little highlight just as in the sky reflecting into the sea as well. We are done adding in the layers of the yellow and orange towards the right side. Now we will begin with the blues in the sea space. For that, I'm first going to begin with the bright blue color. Now make sure we're going to work wet on wet, so your paper stays wet for enough time to work with all the details in the sea as well. Beginning in with the bright blue on the right side. Going in carefully so that the colors do not seep into the sky area. Now moving further with the ultramarine blue color, I will begin wet on wet, having in water control, making sure that now we have different tone variations of the blues coming in. Now closer to the yellow, I'm going in very carefully, just using in the tip of the brush to overlay the blue tones onto the yellow space. You can see because of the light hand motion that I'm using, there are no green tones being formed very carefully. I'm just laying out simple strokes over the yellow color. And we are going to hide most of the yellow orange parts with these strokes of the waves. And you will later on just have the highlights of the yellow orange color visible. You can see I'm majorly using in the tip of the brush, not having excess water or excess pigment. Hence, I'm able to get in these waves effect. They have a soft edge and a blended look, but still having in a distinctive shape. Now shifting to a smaller size brush and using the color in a further bold consistency. I'm adding in a little tinge of the indico to my altumbine blue so that I get a little darker blue color. And I will begin adding in very thin waves so as to show some movement and flow in the water. When you're adding this, all of this is still wet, but you need to make sure you do not have excess water or excess pigment on your brush, otherwise you will not get in these waves effect at the bottom. You know, we are going to go ahead with a little waterfall, an effect, just as we discussed the dry brush technique. Same way even the waves, I'm giving the same inverted sea movement at the top. Giving in simple straight waves movement, making sure that the yellow orange little highlights is still visible. You need to add these effects in such a way that not all of the yellow orange highlights get covered up completely. Up till now you can see the effect and movement of the water waves having in those thin waves effect. They are not blended into the base layer completely. They're having in a little distinctive look. Now picking up the indigo color, I will begin adding in little more darker depths at the bottom space where we are going to have in the dry brush effect coming in later on, remember we're going to add in the dry brush at the bottom in two movements, one being the inverted and one being the half stroke. In the same manner, I'm adding in these darker strokes so as to get in the flow into the movement of the water. Now, giving in very little darker highlights at the top as well. Make sure all of these will dry. A tone lighter. You add the depth of these colors accordingly how much ever you want it to look as per after drying, Always watch your colors and wait for it to dry on the same paper that you're going to be painting, So that you have an idea as to how your colors will be reflecting onto the paper once they dry out. Now I'm just going to go ahead with darker depth at the bottom space. Then we'll wait for the sea to dry completely after this, we'll be left to add in the details of the the birds and the dry brush technique. Let's wait for the sea to dry now and then move further. Now my C is completely dried and I'm going to go ahead with the details of the mountain. First, for that, I'm going to use the indigo color, or you can use the paints gray color as well. I'll go with an indigo color so as to have that flow with the blue tones into the painting. I'm going to go ahead with a medium consistency of the indigo color. I'm first marking a very rough outline, just using in the tip of the brush towards the left side, you will notice it's too much at a lower length. And as we move towards the right, we'll increase the height of the mountain on the horizon line marking out a straight line. Now, since my paper is into a sketch book, it's quite easy for me to just rotate my sketchbook and add in the details simply without having to worry about the hand angle. It's easy to adjust the book or the paper as per your hand if it is taped down on a movable surface. Now you can see I'm trying to vary the height of this completely. I'm not keeping it off the same length or a simple straight line. I'm trying to give it a very rough and abstract shape so that it looks natural. I'm not keeping it into a straight line or a diagonal line because that make it look natural. Now on top of it, I'm just going to give in little bush detail as well at certain spaces. I'm just using in the tip of my brush, adding in these little bush detail. Now, just as in the previous class project, we lifted up a little of the indigo tones so as to create a little texture on the mountain. Same way, just as we did here. I'm going to go ahead here and lift up little colors while this is still bare, that we have little lighter tones creating in textures on the mountain range, just using the tip of the brush, lifting up the color, dabbing my brush onto a rough cloth, and then again, going ahead with the same movement. Now it's very important that when you lift up the colors, you have a flow. Or the stroke should be in such a way that after it dries out, it does not look shabby. That is it. We're done with the mountain and the bush detail as well. Now let's move on to the try brush technique. For the try brush, I'm shifting into my smaller size four brush. I'm going to pick up the indigo color in a very thick and bold consistency. And I'm going to dab off the excess pigment or water onto the cloth so that I have only little pigment which will give me the try brush effect at the top as we discussed, I'm going to go with simple try brush and that to very little. Just on the darker strokes that we added. That's where I'm giving in the try brush majorly. Now fly here. I'm going ahead with the normal strokes. As you can see, it's the half strokes that we discussed in the techniques section towards the bottom. We are going to go with the inverted C strokes. You will see the movement of the brush is in an inverted C. It's very important to have the movement as well according to the flow that you want to show. Otherwise, it will not give in that realistic look. Now at other spots, I'm going with simple dry strokes, but you need to make sure that these drybrastrokes should not cover up the entire sea area. You need to just add them as highlights here and there so that you have that little flow of water coming in. You can see over the yellow as well. I added in little dry brush but in such a way that the yellow is still visible completely. It's not hidden. With the dry brush, we have that highlight of the sky reflecting into the sea as well. Now I'm just going to go ahead with a little more strokes towards the bottom space here. And then we'll almost be ready with this class project. The last thing to add in would be the birds into the sky here. I'm just adding in a little darker strokes so as to show little reflection of the top bush area or the mountain range that we've added. So I'm just blending this darker reflection, using a dam brush into the sea and creating that little darker highlight spot majorly on the right side. Now, same way, I'm just going to use in a little tint of the white quash and adding little white highlights. It's going to be minimum, hardly 1% of what we added. In the same way as we went ahead with the indigo color. Same way, going to pick up the white paint, dab off the excess, and going to give in the same kind of stroke highlights at the top. It was the normal at the bottom. Inverted C highlight in the rest of the space is simple strokes highlight. Now at this part, the white course seems a little extra. So I'm quickly going to pick up a little of the indigo color and overlap it onto the white so that we have very limited white highlight there as well. So this is how you can cover up the excess, again using in the indigo color, but try not to add much. Otherwise it will create patchy spaces on the painting. Now lastly using in the pinscrey color, let's begin adding in the birds and then peel off the masking tape. You can use the indigo color or the pinscrey color as you wish to. Now, the same way as we went ahead with the birds in the first class project, I'm going to be adding in a flock of birds here as well. You will notice the movement and the shape of the birds are very simple strokes towards the mountain range or the bush area. The birds are more clear, visible with clear details. As we'll move more towards the top of the sky, we'll begin increasing the length of these birds and just create very minute strokes so as to depict as the birds far off. I'm then adding in the birds. You can see how beautiful they are looking, just with simple details and simple strokes. Now let's remove in the masking tape and see a final painting for day two. Be very careful while peeling off the masking tape. Always peel off the masking tape against your paper so that you do not lift up the colors or you do not tear off the edges. A closer look at our painting for day two. You can see the strokes of the clouds, the water control that we did, the birds, the shape of the birds, the dry brush details, the flow of water. Everything looks so pretty with the highlights of black and white. I hope you guys enjoyed painting this beautiful seascape with me for day two of this four day series class. I will see you guys soon into the day three class project. Till then, make sure to applaud your class project and drop me a review if you like this class. I will see you guys soon into the next lesson tomorrow. 8. Day 3 - Bright Yellow Sunset - Techniques: Hello everyone. Welcome to day three. Let's have a look at the colors and the techniques for day three. The sky is going to be a pretty yellow with little warm tones at the top as you can see from behind the bush. And this bark of the tree, you can see the darker tones of the night setting in. That's going to be a sunset for day three. Just very simple details in the field space as you can see. First, let's swatch out the colors and then move on to the techniques. And then in the next lesson, move on to the painting for the yellow, the lighter tone that you can see, it's going to be Naples yellow in a very light tone. Next I'm going to be using the golden color, which is a yellowish orange tone. You can see the Naples yellow, it's a pastel yellow. If you do not have a pastel yellow, you can simply mix in white along with yellow. And this golden color, you can see it's a yellowish orange color. You can mix orange and naples yellow to get a golden color. Or you can mix in any other yellow to your orange color to get orangish yellow color. Next, I'm going to use the indigo color for the top of the sky. Just to, given that perfect sunset effect, I'm going to go ahead with these tones of indigo at the top of the sky, which will mostly get covered up with the bush space. It's going to be a very light tone, not such a bold tone as you can see if you want. You can even use in paints gray as well, mixing with indigo to get these highlights for the sunset effect. Now for the park of the tree, it's going to be the brown tones, so I'm going to use CP color and the burnt umber color if you want to, or the burnt sienna color. I'm going to go for the base layer of the bars of the branches that we are going to be adding in for that. I'm going to go ahead with the CPA color. Now, on top of that, you can see some lighter highlights that I have created to given that wooden texture to all of the stems and branches. For that I'm going to mix in white quash along with brown to get in that color so as to get those highlighted spaces and they have that pole effect. Now next for the field space, we are going to go with the greens. First is going to be the green color, which is by the name green color in this palette. Next is going to be a little bit of the sap green color. And last I'm going to use in the olive green color. So the first one was sap green, second was green, and the third is the olive green color. So these are the three greens along with a little bit of the Naples yellow. Here you can see the lighter effect to create that depth into the field as well. You can even use the may green color or any other lighter green if you wish to. I'm going to use the sap green green and the olive green if you want. You can even add in little brown tones in your field. Lastly, we will be needing the paints gray color for adding in the details of the birds and other highlights. These are about the colors even for the grass details or the branch leaf details. We are going to go with the same greens. We'll first be picking in with the sky wet on wet, and then we'll move on to the field. Just as we did the sky in the last class project, we learned the wet on wet water control. Same way we are going to have the water control while adding in the strokes for the field. Let's look a small snap of the field, how we are going to paint it quickly. I've just read this little space to which I've already added the yellow in the center. Now I'm going to pick up green, and very carefully from the edges, I will begin adding in the green strokes in such a way that the yellow is still visible in between. Now I'll keep on moving to different tones of greens, and with every green tone, the strokes will be different and so that the previous green is still visible. You can see I'm giving a criss cross effect such that those lines are crisscrossed to each other. And just going halfway to the yellow spaces. This way we are going to create the base layer for the field. Then once this dries out, we'll be adding in the details with some wet on dry technique. This is just the base layer for the field that we'll be creating in, in a simple manner. We'll be using in the Naples yellow, the olive green sap green, and the green color. Now you can go ahead with the placements of the greens as per your choice, but just make sure you add them in such a way that you have different tonal variations of the greens and yellows visible, creating in the depth into the field. Now next for the branch detail, we are going to go in with the CPA color. As I told you, we are going to go in with a very rough shape. As you can see, you can see the rough edges that I'm trying to mark out. They are not completely in a single straight line or of the same width or length. Now from this bigger branch, I'm going to pull out smaller branches or stems to add in the green leaves detail. For that, I'm just using the pointed tip of my brush and adding in these fine details. This way we're first going to create in the entire branch layout. And then on top of this we're going to go in with simple method to add in the leaves quickly. Once this tries out completely, we'll shift on to a, a smaller size brush and add in the other details still. Then you can see the dry brush detail that I've added here on the grass field. We'll be adding in these details with the green color and some green grass strokes wet on dry as we discussed. This will be once your field space dries out, only then we'll be adding these highlights and little bush detail at the horizon line. So that will be once your field dries out for the green dry brush detail also it's going to be the same. I've picked up the green color dabbing off the excess. And then you're just going to simply drag your brush from the edges towards little center space and create the tri brush effect in the field, giving in more texture to your field as well. You will be adding in these tribrush detail once your field area is completely dry. Just as we added the tribrush in the previous, less in with the paints gray color, it's the same technique, but just the color difference. Now, next to add in the details of the leaves, we are going to go ahead with this spoil round brush. I've not dipped the brush into water, I'm directly picking up very thick consistency of the paint. I'm just going to blend it here on the palette so that I do not have any excess water or pigment on my brush. Now you can see the bristles of this brush. They're all separated, having in those pointed edges. Now, holding it perpendicular, I'm just going to create in the base layer for these leaves, which will be quick and easier to fill up the entire space quickly. Now where I'm going to add these, I'm going to make sure to give in some shape layout as well to these bush spaces that I want to add in for this, you can use in different tones of greens. Make sure to dab off the excess pigment and excess water from your brush before you begin this. Otherwise, you may get in simple patch of the color instead of getting in this dry brush effect. Now on the lighter green, you can see I'm going ahead with some darker green detail as well for this same technique. In this, say you can use the lighter green in the base layer, then move on to darker green and then further darker green. And then lastly, on top, when we'll be adding in the leaf highlights in detail, we'll be using more different tones to create more depth into the sky. Now on top of this space, we are going to quickly go ahead and add in little leaf details. So for adding in the leaf details, you will see I'm just using a very simple technique. Just using in the tip of the brush, I'm creating simple leaf like strokes together, creating a bunch of leaves together onto this dry brush pattern that we've added, using the spoiled brush. On top of this, you'll go ahead with different tones of greens and yellow to create detailed leaf detail on top of it. You do not have to cover up the entire dry brush space, just a little high leaf details so as to create more depth and realistic effect. If you have a closer look here, you can see I have added in a little bit of these leaf details and then some very light yellow highlight leaves on top of the green leaves to create the depth. That is how you're going to paint that. Now lastly, I'm going to mix in white quash along with my green or yellow to get some lighter effects as I told you to create in those bold color effect. Since if I use light water color on top of dark shades, it will not give in that opaque look here along with my CPA. And paints gray color. I'm mixing in a little bit of the white quash. Now you will see that this color will look opaque even on this darker brown that we have on this CPA color. I'm just going to use the tip of the brush and create a little wooden like texture for this. It's very important to mix in white quash or acrylic, only then you will get in this opaque look. Otherwise, once you add in the paint and it dries out, it will have a very dull effect and will not be visible completely. To have this light color being perfectly visible on this darker tone, it's important to mix in white quash to create in these highlight wooden texture detail on the branches of this wooden lock that we're trying to create. I'll quickly show you a little of the dry brush onto these grass space that we're going to add in. So you can see using the greens, just from the edges. I'm dragging my brush so as to create little texture into the grass field. That is in detail about the colors and the technique for class project for day three, we've discussed the colors, the naples yellow, golden, indigo, green, green, olive green, and the paints gray. We've discussed the basic sky technique from the previous class project, wet on wet control that we're going to follow then for the branches and the field space we've already discussed. And lastly, we'll be adding in the bird silo. So now I'll see you guys into the next lesson, creating this beautiful sunset. 9. Day 3 - Bright Yellow Sunset: Now let's begin with our class project for day three. We've already discussed the basic colors and techniques. Let's begin with a very basic pencil sketch to mark the horizon line. The bottom will be the field, the top will be the sky. In the sky, as we discussed, we'll be adding in a lot of branches and the foliage of the leaves. I'm giving a very rough outline just for an idea. It's going to be a very natural looking shape for the main branch that we'll be adding. Then from this we'll be having in smaller branches coming out. All of these details we'll majorly be adding in with the panes directly. Try having very minimal pencil sketch so that the charcoal marks be nowhere visible. So first we'll begin with the sky. Now, just a quick recap. We are going to use the Naples yellow color along with the golden color. And then you can either use Pinscray or Rico or mix both of them and use in. So I'm going to be using in pinscray along with a little tint of CPA later on if needed and naples yellow and the golden color. So I'll go ahead with a layer of water onto the entire sky space including the branch space, because those are going to be of a darker tint. So we can easily you work with darker tints on the lighter sky shades. Make sure that you have an even layer of water spread throughout so that you can work wet on, wet enough to create in all the details into the sky. You can see I'm running my brush multiple times so that my paper stays bed for enough time. I'm using both sides of my paper, 270 GSM, 100% cotton paper, and ideal to use on both sides. I'm going to squeeze out a little bit of the white quash and keep it ready because closer to the horizon line along with the Naples yellow, I'm going to use in little white to create much lighter tint and creating in that beautiful sunset effect, picking up the Naples yellow, leaving a little space empty to the horizon line. I've added the yellow. Now using the white, I will lighten up the Naples yellow till the horizon line so that we get a little lighter tint out there as well. You can see with the help of white quash, how you can create a simple lighter effect, giving in a gradient and transition happening. Now picking up the golden color, I will just begin adding in from the top here over the yellow space. Now the 34 top of the sky is going to be off the paints gray color later on. Right now just going to add in little white along with the golden as well to give little lighter highlights at the top space. Now just to get the blends right, I'm running with a little bit of yellow again, so that we have that soft transition happening in using the yellow and the white tones. Again, getting a perfect transition from the lighter tones to the darker, yellow, orange tones. Now I've picked up a little bit of the paints gray color, which I will begin adding at the top. To which I'm just mixing in a very little tint of the CPR color so that we get that perfect sunset effect. Now using this color mix here at the top, you can even use in a little tint of the Indico to eight if you want a little bluish effect as well. I'm just adding in a little tint of the Indico color. You can see that little bluish effect that comes in. Now, I'm going to blend it well with the yellowish orange tint that we've added, using the golden color, Using a damp brush, I will get the blends between these two colors happening in smoothly. Now, whenever for blending, if you need, you can relift the colors and go ahead and use in the same layer of colors again so as to get the blend and the transition happening in smoothly. Now, make sure and be careful about one thing, that your paper does not dry out. We still have to work a lot wet on wet, giving in little details of clouds into the sky. Your paper has to stay wet for enough time so that you can work wet on wet. Or else you will have to go ahead wait for it to dry completely and very carefully use the re wetting technique to get in the details right. Now just very carefully, I've gone ahead with one more layer of the blue mixed in with the paint scray. Because you remember watercolors dry or tone lighter. So make sure that you add in the tint accordingly, such that after drying it has that perfect effect. Now, adding little highlights with this color onto the yellow orange layers very carefully from the edges so as to create that transition and the blends happening in smoothly. Now using a smaller size brush and the golden color, I'm going to begin adding in some cloud strokes at the bottom space of the sky. For this, make sure that you do not have excess pigment or water onto your brush or else you will not get in these details right. The colors will begin to spread completely and they will not retain the shape in which you add them. Whenever working wet on wet with some limited strokes, you need to be careful so as to maintain the shape of the strokes. You need to make sure that you do not have excess water or pigment on your brush. Only then you'll be able to get these details right. You can see I've added the strokes at the lower part of the sky very carefully, making sure that the colors stain the strokes that I add them still having in that soft edge because of the water control that we are having in now at the top, going ahead with a little bit of the indigo and the pains gray mix, You can even use different tones of blue if you wish to to mix in with the pains gray color. Now these strokes as well, you can see I'm going very lightly and very light strokes. I'm making sure I do not have either excess water or excess pigment onto my brush. Now, going ahead with the mix of the golden and the white as going to add in little strokes at the top so as to get the transition happening in smoothly. Now, in between the lighter strokes, I'm going ahead with little darker strokes of the golden color directly with very little white. I'm just going to go ahead blend these in quickly so as to get little transition and a soft blending happening in between the colors. My paper is still wet. I'm still working wet on wet. You can see all the soft edges that I'm having in at the top of the sky as well, just dropping in little lighter highlights to be visible from between the leaves and the foliage that we'll be adding in. Most of these will get covered up with the branches and the leaves that we'll be adding. Just a little space that is there, creating in little cloud effect there as well. So that from behind the leaves also we have beautiful views coming in. Now lastly, to create the plans, adding in a little more of the blue and the paints gray at the top and we're almost through the sky. Just a little more touch up before we let this to dry completely. That is it. We're almost through our sky. I'm just going to pick up a little bold orange color and add in little bold orange highlights as well. After this, we'll wait for the sky to dry out completely and then paint in the bottom space, the field. Also, we've already discussed how we are going to be painting it now. My sky is almost dried and I'm going to go ahead begin painting in the field area. For that, I'm going to go ahead with a layer of water first into the entire field space. We are going to be using in a little bit of the yellow and the different tones of greens that we discussed to begin painting in the field space. A quick recap of the colors. It's going to be naples yellow, or you can use cadmium, lemon yellow, or medium yellow sap, green, green. And a little tint of the olive green first in the center. I'm dropping in a little bit of the lemon yellow color to have that bold yellow effect coming in. You can even use naples yellow or your normal cadmium yellow color, or any light yellow tone that's available in your palette. Now I'm going to shift into the sap green color and begin adding in from the edges. You will notice that in the center we'll have the yellow highlight. And from the edges and the bottom space we'll be having in the green tones coming in. Now after the Sabrine, I'm beginning in with the green tones and I'll begin adding in from the edges. You can see I'm just using, in the tip of my brush to begin adding in the taker tins. I'm adding them in such a way that the lighter tones of yellow and sabrine are still visible. I'm working wet on wet so as to get in the soft blend. And in the center you can see I'm maintaining in the yellow highlight. Now I'll shift into my smaller size and I'll begin with the darker green tones. Further, I'm mixing in a little bit of the green along with the paints gray color so as to get a darker tint. And I'll begin adding them at the bottom spaces in the similar stroke that we were adding in, in such a way that the lighter strokes are still visible at places. So you can see very carefully, I'm just pulling out these lighter strokes from the edges at the horizon line. I've given a bold enough line at the rest of the spaces. Just pulling out the lines from the edges so as to maintain soft blends but still having that beautiful field effect. Now I'll just mix in little more darker tint and add in further little darker highlights. You can even use darker tint colors. You can in the Vandc green color or any darker green that's available in your palette. Now, wet on wet, I'm dropping in little grass details just using in this darker tint. You can see I'm using just the pointed tip edge of my brush so that I get in these fine details. I still have to water control so that these shapes are retained in which I'm trying to add them. Still having in the soft blend at the same time because of the wetness of the paper. So water control and the pigment control on your brush while working wet on wet plays a very major role while creating in the blends and getting in the details. Right, I'm almost done with the base layer of the field as well. Just last dark highlights at the bottom right side. Now we'll wait for the field to dry as well. Until then, once the sky is completely dried at the top as well, I'll begin adding in the branches there. Let's wait for the field to dry. Now, my field is completely dried and using in the darker green, I'm going to work wet on dry and add in little grass details into the field space. It's going to be very fine highlights. I'm using in a very fine pointed tip brush so that I can get in these fine details and just adding in little highlights here and there to create in the depth into the field. It's not going to be filling in the entire field space, it's just going to be very minute highlights here and there into the field to create little depth and highlighted space in the field as well. I'm using very simple strokes, just in the tip of the brush, creating in some grass strokes randomly At the top here, I'm just tabbing in the tip of my brush, creating in a little grass like structure. You can see I'm running diagonally left to right, right to left. And just very simple strokes, we'll even be giving in little dry brush effect that we discussed in the techniques section to create little texture on the field as well. At the bottom here, you can see I'm going ahead with very light dry brush with this darker green tint in such a way that we have little texture on the field as well, creating in more depth and realistic effect to the field. We're almost ready with the field as well. Now the details left are to add in the branches and the foliage in the top of the sky. Now for the branches I'm using in this very dark mix of the green brown and the paints gray color. And I'll begin adding in the first main branch. I had already shown you a very rough outline of the same while doing in the pencil sketch. So now you can see I'm going very randomly, just creating in a very rough outline of the branch that we're going to add in mainly. Now from this main branch, I'll keep on pulling out the smaller branches And even creating in those little tiny turnouts from the branch from the bigger branch. Now you can see I'm pulling out the smaller branches and again, from those branches, I'm trying to connect it in further, more branches. You can see the shapes of the branches are going very random, very crooked, so as to maintain the natural look of these branches. I'm using in fine strokes, thicker strokes. So it's a mix of all different kind of strokes and further from these branches as well, you can still pull out some more thinner branches. Now at the right end here, I'm giving in one more big branch from which I'm pulling out for the smaller branches. Now after adding in all of these branches, you know adding in the foliage is going to be quite easy. As we've discussed a quick technique in the technique section alday to create in the filling space for the foliage. And then just simply using in the brush to create in some highlighted stroke so as to create in that highlighted effect. Now I'm pulling out these branches, almost still the little center below of the sky. But I'm making sure that when I add the foliage a little off, the gray part of the sky is still visible to have that beautiful sunset effect. I'm first going to pull out all the branches and then we'll quickly go ahead with the foliage so you can see to given the natural effect, how I've given in little intertwined branches as well and created in some thicker and thinner strokes so as to get in those details right now, let's quickly begin adding in the first layer for the foliage. For that, I have picked up the green color using in this foil round brush. I already discussed this technique. In case, if you've skipped the technique section, I would recommend you to just go and see this part so that it will be better and easier for you to create in the foliage quickly. And then just simply adding in the highlighting details. I'm even keeping a little of the yellow color ready for creating in little lighter highlights. Now, I've just cleaned my brush so that my brush does not have neither excess water or pigment so that I can get in the dry strokes. Now make sure that your branches are first almost tried. Otherwise these colors may not overlay well onto each other. For the yellow highlights, I'm just creating in very little yellow highlights. And then we'll move on to the green ones. Just for the first layer, we've added in little yellow highlights. Now let's wait for this to dry completely and then move further. Now my branches and the little yellow highlights are completely dried. I'll again begin with the same spoil brush and now moving ahead with the green tones. I will quickly begin adding in the foliage. Now I'm just picking up the green color in a bowl. Consistency, make sure you do not have excess water or pigment or dab your brush. You can see I'm getting little patches. So I've quickly realized there is little excess water. I quickly tapped it onto the cloth so that I get in these dry strokes. Now, when you're adding in these, make sure you try to retain the shapes that you want the foliage to be visible in. You need to make sure you've given that random look to it so that it has that natural effect. Now, after this green color as well, we'll be going in with further darker green tones as well on top of it. And we'll be adding in some detailed strokes for the leaves that also we've discussed in the technique section, so that it's easier for you to understand the process after each step, you can see how quickly you can fill in the foliage, given the details, and still having that realistic effect for your trees or branches in any kind of painting. Also, you can see at the top, I'm making sure that little gray highlights from behind these branches is still visible. Now I'm going ahead with a darker green layer onto these. You can see I'm adding in the darker green strokes, but in such a way that the lighter greens are still visible. You can see I'm trying to give out shapes to these foliage. I'm not adding them in a simple straight line or a simple diagonal line. I'm trying to give them very random outcomes at spaces somewhere taller, somewhere shorter, so as to have that natural effect. Now till the layer of foliage dries on the horizon line. We are going to quickly go ahead with a little bush detail for that. Again, you're going to use in different tones of the greens and I'm using a size two pointed tip brush. And just using in this I'm going to give in little detail at the top and fill in with the greens at the bottom till the horizon line. So I'm just dabbing the tip of my brush creating in random bush spaces and going to keep on filling these. Now for the greens as well, you can see I'm going ahead with different tones of the green so as to have that natural effect in front. I'm adding in some lighter green, some darker greens. You can even go ahead with some overlay. That is, add in a layer of the lighter green bushes, then wait for it to dry. Then add in lit, overlapping darker green tones as well, onto the entire space. I'm adding in these darker, the lighter green strokes with the olive green color only on the left edge. You can see I've taken the foliage a little taller. That's the bush area again, going ahead with different green, filling it till the horizon line. Now as I told you, I'm overlaying the lighter green strokes with some darker green highlights. You can see I'm just using darker green on top of the lighter green to create different total variations of the greens to show the effect of the light falling onto this bush area as well creating in the lighter and darker shade difference into the bush spaces. Now using in the tones of greens that we've been using so far, I'm going to go ahead add in little detail leaves into the foliage at the top. Again, I'm using the size two round brush and just using in the tip of the brush, I'm going to add in little leaf strokes randomly onto the foliage that we've added. This will make your painting look more realistic, more detail. Now a major space is already covered up with the simple brush technique that we use for filling in the foliage using in the dry brush stroke. Now just adding in little details will elevate your painting, as well as give it a little more dimension. And give it a little more in depth look. Just using the tip. You can see I'm adding in simple strokes to create in little leaf structures closer to each of the foliage that I've added. I'm going ahead with little detail leaves, especially on the edges. You can skip adding these detail leaves in each of the space. You can just add them a little into random spaces just at the bottom space to create the realistic effect there. Or just like me, you can choose to add them to each of the foliage little by little to have that detailed look. Now into this as well, you can see I'm going with different tones of the greens, making sure that we have different variations of the greens visible, trying to show the effect of the sunlight falling onto these as well. After this, we'll be lastly adding in little righter yellow or lighter green highlights on top of these leaves so as to have some very different leaf effect. And then we'll lastly be adding in the birds into the sky. And we'll be ready with our painting for day three as well. On the left edge, you can see I've taken the branches so close to the horizon line in the center, I've kept it towards the center line, almost towards the right. Again, only at the rightmost edge. I've taken it till the bottom side. In that way, our sky is still visible and we still have the foliage effect as well coming in. We'll even be adding in little wooden details onto the branches that also we've discussed in the techniques section already. Now mixing in a little of the yellow and the white quash, I'll quickly add in little yellow highlighted leaves so as to have little lighter leaf effect. It's going to be very, very limited here and there. You just need to add them as the highlighted leaf part so as to show some lighter leaf effect. Now lastly, let's quickly add in the highlights to the branches and then move on to the birds. So I've picked up a little of the brown, adding in the white quash to eight, creating in the lighter brown tone. You can even add in a little tint of the paints you need. And just going to go ahead adding little wooden textures onto the branches. This also we've already discussed in the technique section, creating in these highlighted spots. It's very important to use in white quash for this so that these lighter color highlights are visible onto the darker stroke of the branches that we've added using in the paints gray color. If you will use white water color, they may not remain opaque after drying out. So it's very important that you use in white quash so that these colors remain opaque. And given that highlighted effect to each of the branches, you can see I'm adding a very thin stroke onto the bottom side edge so as to create that highlighted effect and show in the light and shadow effect falling in onto the main branch. I'm going to go ahead and add in little strokes. You can even pull out some fine strokes in between using this color to show just some branches without the foliage onto the main branch. Just adding in some smaller strokes as well to create little wooden texture. We are almost through this painting now. Just the last part to add in a few birds and then peel off the masking tape together. Here's a closer view of the branches, the details, the highlights that we've added onto the branch and the foliages. I'm just having it quickly with my fingertips so that it has a beautiful blended effect. These are simple tricks that you can use to create in those beautiful depths into your painting. Now lastly using in the paints gray color, let's quickly add in a few birds into the bottom space of the sky. It's going to be the same siloatee of the birds that we've been adding so far into our previous two painting. Some very tiny dot dot to create some of bird effects and some closer bird look closer to the horizon line. Very simple silohetes. That is it. We are ready with our painting. Let's peel off the masking tape. Make sure that your edges are completely dried before you begin peeling off the masking tape. And always peel off the masking tape against your papers so that you do not lift up the colors or tear off your paper. Here's our final painting. Let's give you a closer look first and then show you the overall view. Here's the closer look at the field with all the wet on dry brush and dry details, the birds, the sky. Lastly, the foliage effect at the top here and the branch details that we've added. I hope you guys enjoyed painting this beautiful painting with me for day three. I will see you guys soon into the day four class project. Thank you so much for joining me into this class and painting along with me. Make sure to drop me a review if you like this class for whatsoever reason. 10. Day 4 - Warm Sunset - Techniques: Hello everyone. Welcome back to the class project for day four. Today we are going to paint this beautiful lighthouse sunset painting. Let's have a look at the colors that we'll be needing for this class project. Firstly, in the sky, you can see we are going to maintain a glowing space along with the tones of yellow, orange browns and a little tint of the paints gray color. First, we'll begin with the lighter tones that we'll be using. It's going to be the Naples yellow color. Again, you can again create the Naples yellow by creating a pastel yellow with any light yellow tone that you have and mixing in white. Next, you will need a yellowish orange color. I'm using the golden color from this set. Next, you would be needing in the CPA color. The CPA color is a dark brown tint. I'm even going to use in a little of the lighter brown. The CPA brown is going to be majorly on the edges. I'm going to use the burn sienna for giving in some lighter brown details while blending in and creating in the different shades into the sky. Here you can see when the orange and the burned sienna will mix in together, you'll get a medium tone shade of the brown automatically while blending in. Next I'm going to be kneading in a little bit of the pain scray color. I'll be using the pain scray in a very light consistency to add in these little cloud highlights into the sky. For the water area of this painting, I'm going to mix in the indigo along with the pain scray color. And then later on we'll be giving in the dry brush effect using in the white quash, you can see the dry brush stroke to create the crashing wave effect that we're going to show across the rock area. Now for the rock, you can see the base layer is again going to be tones of brown. And then we're going to add in dry brush using in a very tark consistency of the Spa and the paints gray color. We're going to use the CPR color in a bold consistency for this bottom rock space. We're going to add in little green highlights as well. For that you would need any medium yellow or yellow occur color along with some lighter tones of the greens and some brown tones. After everything dries out even onto that rock, we'll be adding in little dry brush strokes to create texture of the rock. I'm going to use the may green and the saprine color. And for the yellow you can use yellow occur or light yellow. And then we'll be adding some dry leaves detail using in the white quash to get in that opaque layer. And lastly, again, using the pole consistency of the paints gray color. You can see the tri bra strokes that we'll be adding onto the mountains as well as onto the rock space here. And onto the rock space at the bottom as well. You'll be using the CPA and the paints gray color. Now, for the small house that we'll be having in front of the light house, the roof is going to be of a bold red color. You can use carmine red or any bowl shade of red that's available in your palette for the lighthouse. You can see it's going to be the yellow and the paints gray color to show the effect of the sky colors falling onto the white lighthouse. Then the fence detail I'll be using in the white hell pen so that we can get in these fine details easily. Lastly, for the birds, we'll be adding in using the pains, gray color and white quash for adding in the crashing wave effect. That's about the colors. Now coming to the techniques, we've already discussed this glowing technique in the previous class projects as well. And even in the previous class for the field where we had maintained the glowing yellow space, same way. Here we're going to maintain a very lightish yellow space. And we'll be working wet on wet with a lot of water control creating in the depth into the sky. The center is going to be a glowing sky and moving towards the edges, we are going to keep darkening up the color. So most important thing would be the water control while working wet on wet. Next, I'm going to just quickly show you the dry brush motion. This time we're going to add the dry brush technique majorly onto the mountains. For that, we are going to go with some simple strokes. This time a simple vertical strokes that we are going to be using in. So we're just going to drag our brush from top to bottom, creating in the texture onto the mountains. That is it for all the basic techniques for this class. We've maturely discussed the rest of the techniques in the previous class projects. Just the colors and the Dr Bra strokes. Now I'll see you guys into the next lesson, painting this beautiful painting together. 11. Day 4 - Warm Sunset: Now let's begin with the pencil sketch. First, I'm going to mark the horizon line, which you can see is much below the center space, towards the right side. I'm going to begin marking out the mountain range. This is going to be the first bottom one, which is going to be of the green and brown tones. And then in the background of it, we're going to have in one more huge rock which is going to be of the brown and the bra strokes that we've already seen in the technique section. On top of this we are going to place the lighthouse, the small house, and the fence detail. I'll quickly just correct the horizon line as well and the entire area is going to be the sky. Now, with the help of a scale, I'm quickly going to mark the lighthouse. This time we are going to use the masking tape to cover up this lighthouse so that we do not p in the colors here. The rest of the details at the top of the lighthouse will directly be adding in with the black pen later on. Now quickly adding in a small house detail in front of the lighthouse. Erase off all the extra lines that's coming in because of the lighthouse that we've already marked out. You can go ahead with any silo het of your choice. You can even go ahead with two to three of these if you wish to. The fence detail we'll be adding in with the white pen. As we discussed in the technique section, I'm almost through the pencil sketch. I've just erased off all the excess lines. Now in front again, I've just added a small mini house, a detail. And that is it for a pencil sketch. Now, we'll first begin using in the masking tape and mask the lighthouse space. I'm using this half inch or a 1 centimeter masking tape. I'm going to lay it down here. And a very small cutter, I'm going to cut the extra outline part. But when you begin cutting in, you have to go in very carefully. Because if you will add in, a lot of it may tear off the underneath paper as well. So you need to go very light handedly to cut it out in shape, or you can first tape this down on another surface, cut it into shape, and then paste it here. Now at the bottom, I'm just going to paste the extra that I've cut out so that I can cover up that little part of the lighthouse again. Now for the house, we do not need any masking tape there. The colors will be white later on, so we'll keep that white. Now. Let's begin with the sky. I'm going to go ahead with a layer of water onto the entire sky. Make sure that you have an even layer of water throughout now. If the water runs onto the masking tape as well, it's perfectly okay. But make sure that your masking tape near the lighthouse is perfectly taped down so that there is no way of water seeking through the masking tape edges. Now make sure you have an even layer of water and do not have excess water collected on the edges. Rania brush multiple times so that the layer of water is even throughout A quick recap of the colors, I'm going to use white, yellow browns into the sky. And then we'll use in a little bit of the paints, cray mixed in with indigo or indthrine blue as per the need. First, we'll begin with the naples yellow. I'm just squeezing out a little bit of the Naples yellow along with white quash for this if you want, you can even use white water color as you just need to dilute the color to a light consistency. So I'm beginning in with that glowing space that we're going to maintain first. So just dropping in the yellow first into the entire space, and you can see for the glowing area, I've left in enough space into the entire rest of the space. You can see I've added a light layer of the Naples yellow color now, beginning with a white quash in that center space. I'm just going to blend in a little of the yellow there. And make sure that now, while adding in the layer of colors, bet on bet, I maintain that glowing space by not adding in any colors there. And whatever colors I add closer to that space, I will try and maintain in the consistency of the panes. Now, I've just added in a little bit of the golden to the Naples yellow and beginning to add in little darker strokes from the edges. So we've already discussed from the center towards the edges. We are going to go one color at a time. Now picking up a little bit of the rociena color. Now in case if you do not have a rociena, you can directly move on to the burn sienna color or you can even use the yellow occur color. I guess I may have missed to share the yellow occur or this shade into the. Techniques section. So if you wish to, you can directly move on to the burnt sienna color. Now with every color layer that I'm adding, you will notice one, I have the water control. The colors are staying in the space in which I'm adding them. The strokes in which I'm adding them, they are not moving in as well as I'm trying to make sure that as we're moving from the center, we have all the colors visible in the center that we've added earlier in the house space. You can see I've not added the Rosana color because I just wanted to be in that light yellow tone. And the roof, we'll be adding in with the red color later on. Now next, moving on to the burn Sienna color. Now, same way. Burn Sienna will be much lesser than the raw sienna that we've added in to the burn Sienna. I've just added a little hint of the CPA color to get the taker tint. Now you will notice that with every taker shape that we move onto, the color will be a lesser space as compared to the previous color that we've added. So now you can see when we are adding in the browns, we still have the lighter yellow, the golden orange, the raw sienna, all colors visible underneath. Because we are not adding the browns into all of the spaces, we are adding it in such a way that each color is still visible with every color layer. You can see the water control that is there. Only then it retains the shape and the space in which you add them. If you do not have the water control, the colors will spread completely and cover up the entire space, leaving you with one flat color. Instead of getting in all the colors visible into your sky. Now at the bottom space, you can see I've left in a lot of spaces for the paints gray color that we'll be adding in now for this glowing space, so as to have that blend happening smoothly. I've just added little yellow and white effect again, so that it blends with all the colors across. That's the browns that we've added. Now, lightly, I'm just pulling out some brown strokes overlaying onto the spaces. Now on the edges, going ahead with the CPR tone, giving in the darker highlights majorly onto the edges. Then we'll shift on to the pinscrey color to add in little highlights with the Pinscrey at the bottom space. When you add this highlight over the glowing space, be careful that you do not have excess water or pigment and just use the tip of the brush. Now this darker layer, you can see it's much less than the burn siena layer that we added. Now you also have the burn sienna color visible along with this. In order to get in these different color tones visible into your entire sky, it's important to have water control. Darker shade would be less as compared to the previous tone. Now mixing in the B and the blue to get in a little bluish gray color. You can alternatively mix in paints gray along with your blue to get in the similar tone. Since I already had a little brown on my palette, I just mixed it with a little tint of the blue tone. Now very carefully, just trying in little highlights of these masually. At the bottom area of the sky, you can see how beautiful the shades of warmth, yellow and browns are coming in, creating in the perfect sunset be giving in these darker tones of blue in the perfect night view setting. In that is the reason we've mixed in the brown and the blue to get a little pain screen effect. Now I'm just going to give in little darker highlights with the browns at the bottom space because you can see after the blue, the darker browns are hardly visible. Just going to add in a little highlight again. We are done with our sky. Now until our sky dries out, I'm going to go ahead and paint in this bottom most rock here because that is not connected to the sky and the colors will not bleed into the sky. I'm beginning in with the may green color. It's a very light green. As you can see, you can go with any shades of green, yellow and browns for these rock spaces. There's no specific color or pattern to follow in here. I'm going ahead with a layer of the lighter green first onto the entire space. Now on top of it, while this is still wet, I'm going to go ahead with the darker tone details as well. This we are going wet on dry because it's quite a small space and we just need to add in quick base layer for now. Now going ahead with a little of the darker green tint and just adding it at the bottom spaces, majorly at the top line, we are going to maintain the lighter green and we'll add in little yellow effect. Now you can see I'm adding these greens in a very rough pattern so as to have that natural effect coming in. We are working wet on wet. Again, it's very important to have in that water control. Now pinning in with the brown tones. Now again, I'll add the browns in such a way that the greens are still visible. Again, you can see here also, I'm just going ahead dropping in the panes by just dabbing my brush. There's no specific blending or spacing that you need. Everything will look natural here, because as you know, rocks and mountains do not have a specific pattern to be followed. Just make sure that the greens are visible and especially the light green at the top is visible. We'll still be adding little wet on dry details later on now using little naples yellow to reflect the light of the sky falling onto the rock. Here, just a little bit of the Naples yellow and I will quickly blend it with the help of a dam brush with the greens and the browns. We'll be adding in a lot of wet on dry textures onto this dry brush and some dabbing leaf or bush details on top of it once these dry out completely. Now I'm just going to go ahead add in a little more detail at the bottom of this rock here. And then we'll wait for all of these to dry, and only then we can move on to the rest of the details. Otherwise, the colors from one area will begin to bleed into the other area. Now my sky is completely dried and we are going to go ahead and paint in the C space. First, I'm mixing in the endithrine blue along with a little tint of the paints gray color. And along with the browns that's on my palette, that I get a grayish blue tint. Again, if you do not have the endithrine blue, you can simply use indigo along with a little tint of paints gray. Or the indigo simply in a medium tone consistency. To get a similar looking tone, you need not have the exact same shade as mine. You can just create a bluish black or grayish tone. A bluish gray tone And adding as the base layer for the sea, we'll be adding in the crashing wave effect with the white quash later on along the rock side for the sea area. I'm just dropping in some darker tines. Wet on, wet into the sea as well. Because remember, these tones will dry a tone lighter and I want to have a bold effect into the sea. Now, using a small size brush, I'm just adding in little wave details. Wet on wet only so that we have that soft wave look very much because you can see the C area is. Just try keeping in minimum details here because as soon as you'll be adding in the dry strokes, you'll get a lot of detail and look into the C area automatically. So I've just added some wet on wet, dry waves. And now I'm just going to lift up little tints so that we have that little lighter tone effect on the left edges. Now next let's begin to peel off this area of lighthouse so that we can give in the details here. Be very careful, make sure your sky is completely dried. Here you can see we've maintained the lighthouse completely in the white look. Now if you want, you can let the White House be completely white. But what I'm going to do is I'm going to give it the effect of the sky colors reflecting onto the lighthouse. I'm just going to add in little yellow highlight along with a little tint of the brown so as to show that the color effect of the sky is reflecting onto the lighthouse as well giving in these stones falling onto the lighthouse for the house area, we'll leave the bottom space into that yellowish tint and for the roof, we'll be adding in the red tone later on once the lighthouse is completely dried. So I've given a light layer of the yellow color. Now I'm just going to pick up little hints of the blue along with the mix of brown and add it a little onto the lighthouse so as to reflect. Because you can see closer to the lighthouse, the sky has these blue tints. That is the reason just adding in a little. Now, again, adding in little yellow highlights onto the edges so that we have both the yellow and the bluish gray tones visible reflecting onto the lighthouse. Once this dries out, we'll give a border to the lighthouse so that it has that bold outline effect. You can even given little brown highlights right now onto the outer side so that it will have a little soft blended look on the edges. Very fine detail. You need to make sure that you do not have excess water or pigment or else it will spread completely. I'm giving a very fine outline so that it stands out distinctively into the sky. I'm quickly lifting up the extra browns that's spreading into the inside space now just adding in more yellow highlights Again, onto the blue. I've mixed in a little tint of white, gosh, along with the yellow so that it lays over perfectly over the bluish gray tone that we've added in. Now, just going ahead and we'll wait for this to dry and then add in the rest of the details on the lighthouse and into the house spaces that we've left empty for now. Until then, let's go ahead paint in the second rock space. My C is completely dry, my first rock space is completely dry. That is the reason I can go ahead onto the second rock space. Here, I'm using a mix of the burnt sienna along with the CPA color. You can see a beautiful bold brown tone here. I'm adding it as the base layer onto the edge. You can see I'm giving a very rough shape even at the top and at the bottom as well, so as to get in that natural effect of the rock having in that rough edges. If your lighthouse is still wet, be a little careful to add in the paint there, otherwise you can see it may spread a bit. You need to have control by adding in this or wait for your lighthouse to dry completely and then add in the detail. I'm quickly lifting up the color that's spreading into the lighthouse using the dam brush. So be a little careful now until this is trying. What we'll quickly do is go ahead with the tribrush detail onto the first row. For that I'm going to use in the brown color. We've already discussed the tri brush technique. And this time the strokes that we are going to follow, they are going to be from top to bottom, creating in the texture onto the rock closer to the light green and the yellow space. I'm not going to add in these brown texture. You can see that space I've left empty without the dry brush in the rest of the space is just going to add in little dry brush. And then later on with the greens, we'll add in little effect as well, giving in some bush details. Be very careful while going ahead with the dry brush technique. You need to make sure your brush does not have excess pigment, excess water. You need to make sure your brush drags through easily through the paper so that you get in these dry brush pattern creating in that texture effect onto the rocks, leaving the yellow and the light green space. You can see I've added this brown texture almost onto the entire space, but you can still see the greens visible on the bottom side. Because of the dry brush technique that we've used now using in a little of the naples yellow, I'm just going to dap the tip of my brush to create grass like texture of yellow color. Similarly, we'll be creating some with different tones of greens as well. To create that little bush or dried grass grass effect onto these or rock spaces that we've created. You can even consider them as the algae formed onto these rocks. Same way going ahead with the lighter green. Also just using the tip of my brush, tapping in some onto the lighter spaces. In the same way using this lighter green, I'm dabbing some bush effect at the bottom spaces as well. You can use different tones of greens here as well. You need not stick to the similar green or just one shade of green. You can give it as much natural effect as possible. But make sure that you have enough water control. You're using the colors in a bold consistency so that they give you an opaque effect after drying, because the underneath layer is a brown tone, which is a darker tint already. Now for the house area, I'm going ahead with a bold red tone. This is the ruby color. It is a bold red color. From this palette, I'm just going to paint the roof of the house with this red tone. And the roof of the smaller house also that we've added that also, I'm going to paint it with a red color. Now that smaller roof pencil sketch may not be visible to you now, but it's visible to me because it's very light tone visible here. Now into the house. I'm just giving in a small layer of white quash wherever I feel that the darker brown tones have covered the house space so that we get that bold, yellowish, white effect into the rest of the house. What you could do is before red, if you wish to, you can just give in that layer of white now until the layer of the roof dries out. I'll quickly go ahead add in the dry brush detail, crashing wave effect onto the water space here. From the left towards the right side, we're just going to pull out some dry brush stroke across the mountain into the water space, creating in the dry brush texture. You can even add in some fine thin lines in between to give in little more detail. You can see, again, I'm just dragging my from the edge of the rock towards the left side that's into the water space, creating in that crashing wave effect into the sea. Again, here you need to make sure that your white quash does not have excess water or excess pigment or else you will not be able to achieve in these details and you may just get in patches of the white color instead of getting in this crashing wave effect. Now using the tip of the brush, just adding little white wave effect into the rest of the sea space as well. Now similarly using a dark tint of the blue or the paints gray color, I'm going to add in dry brush effect into the rest of the sea, towards the left edge. Again, for the dry brush, make sure after lifting up the color, you dab off the excess pigment and water so that you just get in the simple brush strokes creating in the texture. Now make sure you do not cover up the entire sea with this dry brush off the darker tint. Otherwise, the white strokes will get covered up completely. Now I will just go ahead with a little more strokes of these onto the left edge here so that we have that bold white effect. After this, we'll be left to add in the dry brush onto the brown rock space that we've added and some details into the lighthouse and the sky, and then finally, the birds into the sky. And we'll be ready with our class project, which is the final class project for this four day series using a bold black tone. I'm adding in some rock effect as well into the water space. Very simple rock details here and there. Now lastly using this bold brown and pain scray mix, I'm going to add in the try brush onto this rock as well. Again, it's from top to bottom as you can see creating in the flow onto the rock space. You can see the shapes of the rock is very rough and random and it is not a typical straight or a diagonal outline. After this, I'm going to use in bold pain scray color as well so as to give in one more layer of the tri brush detail to create more color variations onto this rock space. You're at this spot in the pain scray color. I'm just giving in a little bush detail onto the rock as well, trying to show in some algae onto that as well. Now at the top, again going to use the same pain scray color and giving a little more dry brush onto the darker brown dry brush that we've already added. You can see some random strokes that I'm adding in now. You can see just with such simple techniques, you can create such realistic textures onto rocks and mountains, giving it a realistic effect. Now let's add the details into the house here. So I'm just going ahead adding in little details you can go and create in your own details. It's no specific pattern or specific details that you need to follow in after this. We are just left to add in some details into the lighthouse. I'm going to give a fine outline to the lighthouse so that it has that bold and distinguished effect. And then we'll be adding in the birds into the sky. Using the fine tip pen. I'm just adding in some more details. And this is a 0.1 nip pen. It has a very fine tip and it will help me adding in very fine details into the lighthouse as well. Again, for the lighthouse as well, you can either follow along with the details at the top or you can create in your own details in your own siluhate or your own imagination details that you want to add in at the top space. Be careful about laying your hands onto the wet panes of the rocks, otherwise it may be difficult to correct those details there. Very fine details that I've added here, you can see we are almost through it. Just two more windows that we'll be adding onto the lighthouse. Using this fine nip pen only I have given in a very fine outline as well to the lighthouse. You can use in a very fine liner brush along with a pinscrey color to give in such a fine outline. But using a pen makes it much more easier. We are still left to add in the fence detail as well using in the white shell pen, which we'll add in quickly once the brown rock is completely dried. So to this small house here as well, I've just given in a white layer at the bottom so that it's visible distinguishedly. Earlier it was a very yellowish brown tone because of which it was not visible that clearly. Now using in the white shell pen, I'm going to quickly add in that little detail here which is going to be a small fence detail you can again use in your fine liner brush and your white quash. But again, using this pen makes it much more easier to give in fine details. I'm just laying the fence again. There's no specific pattern, or a layout, or a silhouette that you need to follow. You can have your own layout for these as well. It's more about understanding the technique and the pattern to follow rather than just going ahead and copying the same thing. It's about understanding the techniques and then understanding how to work with water colors. Now lastly ing in the paints gray color, I'm adding in some bird siloetes into the sky to complete the painting. Go ahead very carefully so that you do not lay too much thicker patches because you need very fine details. For the birds, it's again the simple siloetes that we are adding which we've been following since the class project of day one, towards the top of the sky. It's just mini details trying to show in far off bird details closer to the horizon line. We have in the bigger and bold bird effect trying to show in closer to our view. That is it. We are ready with our class project for day four. Another puriful sunset with that glowing sky at the top with rot of details and the lighthouse. Now let's remove in the masking tape and then see our final painting. Be very careful by peeling off the masking tape so that you do not tear off the edges. And especially if you've painted on the other side as well, then you do not tear off the other painting already. Be careful and remove it against the paper. I hope you guys enjoy painting this beautiful painting with me today for day four of this class. Thank you so much to each one of you for joining me into this class and painting along with me. 12. Thank you for Joining Me: Thank you so much to each one of you for joining me into this class and painting along with me for the four days. Two beautiful sunrise along with the yellow and blue tones. And two beautiful sunset in warm tones of yellow and browns. If you like this class for whatsoever reason, make sure to drop me a review so that it can help me reach maximum students. If you've painted along with me, I would love to see your class projects into the projects section. It would be great to share your work with others as well as me, and learn from each other. I would see you guys soon into my next skillshare class. Till then, happy painting.