Explore 15 days of December in Watercolors

1. Introduction: December is such a magical month, isn't it? The crisp air, the cose vibes, and all those little moments of beauty is what makes the season special. In this class, we are going to capture the winter magic one painting at a time. Hi there. I'm Shaika and I welcome you to 31 days of December in watercolors. Over the next 31 days, I'll guide you through creating a series of quick and simple watercolor paintings, each inspired by a unique element of December, whether it's frosted window, a steaming cup of cocoa, a snowman, snow capped mountains, many more. This class is designed for everyone, whether you are a beginner picking up your brush for the first time or an experienced artist looking out for fun, low pressure class to stay creative during these holiday season. We will focus on wet on wet techniques to create a magical background and highlight a single crisp element in each of the work. By the end of the month, you will have beautiful 31 little masterpieces, each one telling its own winter story. So grab your brushes, get cozy, and let's make this December a creative celebration. I can't wait to see you in the class. Bye bye. 2. Materials Required : Let's look at the materials that we will require for this class. For the paper, I have used archis hundred percent cotton, 300 JSM paper. This is a paper pad that I had, and what I've done is I've cut all of these papers into these small size 31 pages. You can go ahead with any paper that you have, but I would suggest using 100% cotton and 300 GSM paper. Now let's have a look at the brushes. I will be using the silver Hake brush to apply even coater water. And for painting would be majorly leveraging the silver velvet size ten and size six brush to paint the backgrounds and Princeton round two or long round four brush for the details. You can use any brush that you have. I would suggest going ahead with one large size brush, one medium size brush, and a detailing brush. Next other colors. I would be using different brands of colors, BT PWC or Cinela Windsor and Newton Mgilomission. You can use any brand of colors that you have. Colors for each of the class will be shared at the start. As it is a December class at December is a Christmas and winter month. We will be leveraging a lot of white gouache, so I would suggest keeping this handy. Next to mix the colors, I'll use ceramic plates, either this or this, so you can go ahead and use any ceramic plate that you have or any other palettes that you might have. We'll also use tissue to clean up the brush or wipe out any excess water, anything that we would need help on. Next, that we would need is a pencil and an eraser. For a few of the classes, I would suggest also having a ruler because it would help us out in sketching out the window panes, et cetera. We will need jar of water. You can have one or two. I would ideally suggest going ahead with two jars of water, one for clean water and one where you can clean up your brushes and the masking tape. So this will help us tape down our paper onto a board or the table surface. You might also want to keep a masking flute handy in case needed. I will be using similar masking flu that I have. In case you don't have it, don't worry. I'll also share out an option of painting without the masking flutes. That's all for the materials, gather whatever you have, and let's hop on to this 31 day journey of painting December in watercolors. 3. Day 1 Misty Mountains: Hi, everyone, and welcome to Day one. This is the first class project that we would paint today. These are the colors that we will require for this class. Here I have my paper and using the masking tape, we tape down to the surface. Run down your fingers through all the corners to make sure that there are no gaps between your masking tape and the paper. As we will be painting wet on wet, this will ensure that there is no water that seeps into between these gaps and which data gives us the cauliflower effect. As well as this will also make sure that we do get a crisp edge at the end of the painting. The sketch for this class is very simple. We will have some mountain ranges, so here it is. The other one goes like this. Then we will have a trees here, and this would be your surface. So the trees and all will come over there. Now using my kneelding eraser, I will just tap off and lighten the graphite marks. Okay, so done. Now using my large size brush, which is the size ten, I will apply an even coat of water to the sky area. You can use any brush that you have. Take time and make sure that you run your brush across the sky area multiple times. The reason for doing this is first, not to miss out any area without getting wet. And the second is, as we will be building on the sky, the more the layer of water, the longer the paper stays, I will give you a lot more time to paint onto your sky. Okay, I think we are done. I'll just tap up the excess water from these corners with my tissue. Okay, done. Now let's start painting. So here, I'll start with yellow. And that's layer of yellow that we will have. It is mostly towards the bottom of the sky and also between the mountains. So just be very careful while painting near the mountain area. Taking this up towards the top. I think that should be okay. I'll just blend out this yellow. Next color is orange or yellow orange. So that will start somewhere in the middle. So this will start somewhere from the yellow that we already have and would go towards the top of the sky somewhere on the three fourths. And now with the quin rose, we will paint the top layer of the sky. You can use crimson as an alternate color for this. So the quin rose or the crimson red and orange blends well. So the first layer would be a very simple sky which starts from yellow and orange in the bottom, go still being a slight pinkish at the top. Okay, I'm happy with this. Now we will build on to the sky with violet, which is basically at the top and the color of the clouds. So the top would be violet and somewhere below between as well, the clouds would be violet shade. It would be something like this. So move from left to right for your clouds and similarly left sorry, from right to left to have your clouds. Now, purple and quin rose or crimson works well, but purple and orange or yellow gives muddy color. So be very careful when we move towards the middle section of the sky to paint the clouds. Somewhere here, they would be very light and would be very thin as well. As you can see, they are very, very light. What I will do is at the top, we'll build onto the quin shade and we will get a little to the middle bottom section as well with some pinkish clouds and that would give us an effect of a pink sky. As you can see, just blending out the pink with the yellow and orange and now going back again with the violet, we will build on to the sky only at the top section. Dabbing of excess water so that we get a very fine layer of sky and the strokes of cloud. Starting from your right and build onto your clouds. Again, starting from your left and building onto it. As you can see, these are all cloud strokes that I'm trying to build from left to right or from right to left. As we come down, those become very thin and very light. At this time, I have taken very dense shade, just building onto that layer of painting the clouds from left. And now from the right. Okay, now with the clean rush and dabbing of excess water, I just blend this out to avoid these hair like structures that we get. Okay, now, that's all for the sky. Let's wait for this to dry before we paint on our mountains. Now for the mountains, I'm going to just take indigo and just drop the shade to the first mountain. And what we are going to do is we are going to just blend this out. So it's going to be a misty mountain sort of fields. We'll apply the stroke again showing it out here. Okay. So these are the strokes. Let me just take a little water. As you can see, we just fill the mountain with the colors and then try to blend it out and get those towards the bottom. This gives a misty cloud effect. I'll just drop some darker shades here just to get that unevenness in the mountain. Now, cleaning off my brush, dabbing off excess water, we'll just try to break it down. And Now, let's wait for this to dry before we add in the second range of mountains. Now, again, I'm using indigo and adding a slight tinge of black to get it a little more darker, or you can use pains gray as well. Again, with the same concept, we start with the layer at the top. You can see my strokes, it's slightly zig zag to give it a feel of a mountain range. Paint it till the middle section, and then cleaning up the brush, dabbing of excess water, we blend it out. And you can see I'm just blending it right out just to give it that smooth misty effect. Again, dropping off some dense color here and there to give it a more natural look. So now using my detail brush and with a mix of black and indigo, we'll add strokes like this, depicting a group of trees which is on a mountain range. The trees are not distinctively visible from a distance, but you can make out that they are making that mountain. I'm just trying to get that effect with these thin strokes so they can vary in size. Some of them can be tall and others can be shorter. Yeah, I think this should really be enough. Now, let's wait for this to dry, and then we will add in our detailed trees somewhere here at this side of the paper and some foreground elements. I like how this is turning out. So this has almost dried now using black or pains gray, we will paint in the pine trees. I've taken in a very concentrated mix of pains gray and black, and starting with the pine tree, we'll just make a vertical line. So the top, there are very less leaves. And as you come towards the bottom, the number of leaves increases, and so does the thickness of the strokes that we will paint. Okay. So this was the first one. Now, similarly, we will paint a lot of them. So suppose this is the one which has half on the other side of the paper, which is, you know, outside of our paper, and it's not visible to us, and it's a tall one. So we start from here and we build on going towards the ground. Okay, so now what I'm just trying to do is fill in the gaps between the leaves of these two trees so the trees behind are not visible. Just building on a little bit over here as well. They could be a small one behind, and I'm just adding few strokes with the leaf structures like this. Okay. Let's say there's another tree between these two that's very, very far. So just adding few strokes. You can see I've just almost not painted the leaves. Okay. Now here, let me add this, which is towards the front and you'll be able to see its leaves also very predominantly. So just painting out those leaves. So these are zigzag kind of strokes. Also a different way of painting them. Add a thinner, very small tree here at the back, and somewhere here is a tall tree which is thin there. There you go. So basically the bottom of your trees would ideally have something at the back. So what I'll do is I'll make this leaf heavy tree so that it covers the other smaller trees which are at the back. Moving ahead with this one again, let's paint this a very bushy tree. So there are some trees which has a lot of leaves and branches, and there are some which is almost barren. Again, painting a smaller one here. What I'll do is I'll just keep on adding some of them as well just to maintain that continuity. That's it. I think we should be good. So now, basically, we are going to add in strokes which make it seem like there is a higher level of ground versus what we have at the back. And then, again, this gets blended out. So let me just blend this out with the background. And once this we'll add some small layer of stones and bit of branches of the tree that comes in. So let me just do one thing. What we'll do is we'll add some trees to this side as well just to get some uniformity across. So these are very, very far. You would idly not see the scribbles, but you would know that there are trees, something that we painted similar at the back. So let's just paint something in a similar way and I just try to blend them out. To So now the paper has also dried using black. We will add some leaves or some plants like this on the snowy ground. So rocks that might be seen, some small stones, not much, a little bit of them, okay? Add shadow dico. We will blend this out with the background. So I'll just clean up my brush, dab off excess water, and just try to blend this out. That's it with the background now. What we'll do is using white quash, we'll add in the snow. So the snowfall has already happened, so your trees and leaves would have some amount of snow on them, right? So on the branches, there would be some snow which just left after the fall or on the trees on the rocks. So just adding them, not a lot, just on some of the bigger trees. So it's like the snow that has got trapped between these trees and has not fallen down yet. So we'll just add these strokes on top of the leaves, similar to the strokes like we had while painting them. You can also add some snow on the rocks, some on the ground plants. I think that's fine. We are done with the painting for the day one, and we can now remove masking tape. This is the final painting for this class. I hope you enjoyed it. We'll see you tomorrow with another class project. 4. Day 2 Snow Flakes: These are the colors that we will require for this class. I've got my paper here using this basket tape, we will tape down the paper to the surface. Okay, so just taking some time to run my fingers to the masking tape. This is just to make sure that there are no gaps between the tape and the paper. Now, there is no pencil sketch for this class. We will directly apply even coat of water. Here I have my hake brush, and I'm just running my brush multiple times back and forth to the whole of the paper. You can use any large brush tat you have and take your time to wet your paper thoroughly. Make sure there is no pool of water anywhere on the paper, and your paper is wet in all the corners. So the more time you spend on this step, the longer your paper will stay wet, and the longer you will have the time to paint on this painting that we are going to do. So while painting wet on wet, always spend time on this step to make sure your paper is thoroughly wet. I think this is enough. What I'll just do is using a tissue paper will dab off the excess water from all the corners of the tape. So the colors that we need for this class is serene blue or Prussian blue or cobalt blue, and then it's indigo and a tinge of paints gray as well or neutrotint. Starting with serlin blue and just applying it across the paper. This is a fun painting. You can just play with the colors and the water. There is no fixed pattern of how we would want to paint, and you can just play around with the colors in the wet background. So basically what we're trying to achieve here is have a slight lightish background, somewhere in the middle or somewhere here. And have a darker background from the corners. So that's why I'm adding indigo towards the corner and have added Serden blue towards the middle section of the paper, taking indigo, adding the darker tones, blending them in with the lighter blues. You can see there is no definite pattern or the strokes, the way we want the strokes to be there. We're just playing around with the colors and different tones of blue. Geraldos will add tinge of neutral tint as well towards the corners. This will give a more darker shade to the background. Lay around with indigo, serlene blue, and the paints gray. There is no definite pattern to this painting, just playing around and just building on the tone bit by bit so that I don't lose out the lighter shade that we have in the middle. Have said that we could have directly gone with a darker shade when we knew that this is what we are planning. But then you would not get this natural blend that we are aiming for. So we'll go bit by bit, build on to the color. You can see with each stroke, I'm trying to get a darker paint gray across the borders, across the corners using indigo, we'll try to get that blended out with the erle blue and make it feel like it's a uniform. It's been growing the tone of the blue is growing gradually from the middle of the paper to the corner. Okay, I think I am happy with the way this has turned out right now. So I'm just ifting up some color. But that I mean is using the same brush that I've just cleaned. I'm just picking up some color, dabbing it off back to the tissue, cleaning up my brush, dabbing of excess water, picking up some colors, again, cleaning the brush, tabbing of excess water, and picking up some colors. Okay. I think this is enough, and this is good. Now, using my medium size brush and white, you will create some splatters. That would be like the snow in the sky. That's what we're trying to depict here. So I've taken white quash onto this brush, and using the other brush, I will just sprinkle those out. Not too many, just a few of them, and I think this is enough. As it's wet on wet as the drops that we have put on a wet background, those will spread it would give a blurred effect when dried. So now taking my detailed brush and with white quarch we'll just paint on the flakes. And again, as we are painting them on a wet on wet background, those will be blurred. So let me just try one here. You see, those are getting blurred. We'll just add on to the flakes these leaf like strokes. You see, these look as snowflakes but have been blurred in the background. Let me paint one here. Let me paint one over here. Be very careful as you paint this because your background is still wet, you do not want to touch the background and get colors on you. It's okay if it gets blurred out. It's okay if it's not very clear. That's exactly what we want, and we're trying to depict. Let me just make one over here as well at the corner. Now, we'll wait for this to dry. We'll add more snow and snow flakes once the paper has dried. Before we do that, what I'll also do is I'll add some bigger snow balls as well, because the droplets that we see with the splatters, they are very small. Now, let's wait for this to dry and then we'll again continue with this painting. Okay, so the painting has now dried. Using my detail brush and white gauche, we will paint in the flakes. The very similar way how we painted the flakes when the background was wet on wet, we will paint now wet on dry. Very slowly and take your time on this step to not hurry. What you can also do is if you have a white gelpin, you can use a white gelpin and paint these flakes. In fact, let me show you how do we do that with a gelpin? Let me say paint one here. This is two thart so it will come out really nice. You just have a little more control when you create these flakes via gelpin versus when you do it with a brush, detail brush and colour. It all depends on practice. So the more you practice, the better it will become for you. Let me paint one here. I'm purposefully trying not to paint any where we already have these blurred backgrounds, right? So, otherwise, they won't be visible then. Okay. Now, let me go back to painting it with a detail brush. You can add as many snowflakes as you want. It's all a personal choice. I'm going to add a couple of them more. You can also paint this particular artwork while taping the paper on the board. So, it makes it easier to move your paper around and work on these strokes. Just a suggestion, you can try that out. You can add the flakes with or without the center filling, right? So it all depends. These are flakes, snowflakes and snowflakes can be in different ways, right? So you can vary them in sizes. And I think you can add one here, which is not exactly seen, but just somewhere here, it's visible. So this flake would be somewhere right in the corner and would not be visible completely, but it's there. That gives a different look to it. Okay. So now, using my medium size brush, like we did the platters while the background was wet with white, we would do the same now when the background is dry. And now, what I'll just do is we'll add like we added bignwblls while the background was wet. We will just add some of them as well while the background is dry. Okay, I think this much should be enough. I think I would paint one more just right here between these two and a blurred one. I just feel it's a little empty. You can stop if you don't want to. I was feeling that I can paint more. So that's why I just started again with this. Okay, then I think we are done. As this was wet and dry, the paint has also dried off, so we can remove the masking tape now. There you go. I like how this one turned out. A simple and a frosty sky. Thank you for joining for today. We'll see you tomorrow with the new class project. Thank you. Bye bye. Hi, everyone. Today we are going to paint this for the day two. 5. Day 3 Pine wood with Snow: Hi, everyone. Today, we will be painting this as the class project. Okay, let's tape down the paper. Using my mask not tape to tape down the paper onto the surface. You can either tape it down onto a board or you can tape it down to the table like I am doing. Okay. Always run your fingers on the masking tape, is to make sure that there is no gap between the paper and the tape. Okay, so it. Let me just remove sap green onto my palette, as well as hooker's green. I already have indigo and pinks gray or neutro trint. So now, using my hake brush, we'll just add even qua of water to the whole of the paper. Spend time on this step and make sure your paper is thoroughly wet and there is no area of the paper where the water has not been applied, as well as make sure that there are no puddles or pools of water at any corner of the paper. So always move your brush back and forth to make sure your paper is wet thoroughly. For this painting, specifically, we will be working on a wet background, and we need to work for a longer duration of time. So if you spend more time in trapping your paper, you will get more time to paint wet on wet. Okay, I think this should be enough. I'll just dab off excess water from the corners. Now using my large size brush and indigo will drop on the color from the background. Okay. Now with hookers green, we'll just try to add ins. This is very dark shade. So I've just cleaned up my brush and using this screen, I'll just try to, you know, create a tree like structure. You can see I've used the green that we had, and I'm just adding a tree like structure to the background. So what I'll do is I'll add paint screen to this screen and we'll add a little darker tone to this. Okay? What would also do is we'll add some greens here and there as well. This will give a feel that there is a tree, but it's somewhere at the background and it's not very, very clearly visible. You can see whenever I'm picking the colors, I'm dabbing off the excess water onto my tissue paper to make sure I don't get a very darker shade, as well as a lot of water onto the paper. While painting wet on wet, what we should make sure is always the quantity of water on your brush should be less than what you have on the paper. If it is more, then you're applying more water to your paper, which will cause the blooms to be created. Okay. And now, what I'll do is with my medium size brush and brown. So here I am leveraging Indian gold and mixing that with pain scrape to get a dark brown shade, I'll just try to add in some places the trunk of this tree that we see. Okay. So again, taking in some brown indigo and adding this very dark brown shade. What I'll also do is have a little bit of so they would be branches as well, although we would have the leaves, but they could be branches as well. So taking in burn Siena, because with Indian gold, we didn't get the shade that I wanted, and adding indigo to it or paints gray to it, we'll get a darker brownish shade. This is what we wanted, and we'll add in some strokes here and there just to depict the trees. Now, with the burnt sienna and paints gray mix, basically the dark brown shade, we will add some branches for the other tree as well. Then with the green, very dark shade, we'll just add in to this tree just to give it a different greenish shade. It was all very bright green, right? But it's nature, right? So you will not always have the same shade of green. So that's why just adding in another layer of a different shade of green. You can see the strokes are similar to what we make it for a tree because it's towards the end, you will have longer branches, adding more of those here. Now, over this section, I would just want to add a little more of green just taking in the brush and running through it. Paper has started to dry from here, and I think we are good with the first layer. Always tab of excess water and your paper has started to dry, right? So just always dab off excess water. So they could be very far away so you don't know where it ends. Okay, we're good with this. What now I'll do is before the paper dries off, I'll just use white because it's a snowy atmosphere, add in some snow effect. Okay, so we're done with the first layer. Let's wait for this to dry. And then you will add in a detailed tree at the front and some more snow. Okay, so the painting has now dried. Now, using a medium sized illow lt brush and burn sienna, we will paint a closed up view of some of the branches. So I've just added some paint gray or intigo to the burn sienna to get a darker brown shade. And what we do is starting from here, we can just add in a straight branch. Okay. So this is one branch. And then similarly, there's this another branch that's coming in There's another that's coming in from here. There could be a smaller branch coming in from here. Now, using your detailed brush, I'm using my detailed brush and green. So now here we will use sap green, hookers green or we'll keep on adding paint green to get different shades of greens. We will paint the pine trees. So the trees, they just have leaves coming out like these. Okay? So basically the Christmas trees that we have, the leaves of this Christmas tree, you just have that poking straight thin leaves, right? So that's exactly what we are trying to get here. So right now, I've just used Lucas green. So it's a darker shade of green. What you can do is you can add pains gray or indigo to your sap lean to get a darker shade. So I've just added that And now to the same green, we'll just add more of indigo or paints gray and get another shade darker than what we already have on the paper. This is another shade of green, just adding in the leaves, these pine like leaves, some to this side as well. You don't want to cover the whole of the branch, so we should be able to see the branches as well, because if you've seen those trees, the brown thin branch, those are also very evidently visible. So now starting with the second one. But the leaves can overlap with each other, right? There are two branches which are very closely lined together. So you would have the leaves overlapping between them, so it can obviously have that effect as well. So keep on adding these leaves like strokes. Just play around with the greens that you have. If you have other shades, you want to add another shade as well. You can go ahead and do that. You want to darken the greens. You can again add more of pains gray and darken your greens that you already have. So you can play around the way you want. Similarly from the other side as well, we would have some branches. It's basically a forest view, you have close up of some of the branches coming in in different directions. So I'm going to just repeat this process once again. If you don't want to do that, you can let your painting be the way it is. I just feel that the leaves could be a little more bigger. So just trying to see how that turned out. So now this looks okay. What we'll do now is we would have snow covered onto our trees as well. So just with gouache, we'll just add these as if the snow has got collected onto the branch. So we'll just add some drops and blobs of snow onto each of these. So it could be between your leaves as well. It could be on your branches. So let's just using white gouache, try to paint that out. Could be that were against the gravity, it could be that the snow has got collected onto the leaves as well. Just adding those somewhere big blobs, somewhere just small. Okay, so we are done with adding the snow. Now as we did splatter white on wet background, we will do the same right now as well. As the background is light, the white splatters are not visible evidently. So with the brush, I'll add some bigger dots to show the snow and you can, as usual, add them as many as you want. I will just add some more splatters this side because the background is a little darker so the splatters will be visible. Okay. So the painting has now dried. Let me just remove the masking. So here is the final painting. I hope you enjoyed painting this. You'll see it tomorrow with another class project. 6. Day 4 Winter Trees: Hi, everyone. Today, we will be painting this as the class project. Okay. Let's start with today's class project. Using the masking tape, we'll tape down the paper on the table. Okay. So again, I'll just run my fingers on top of the masking tape to make sure that there is no gap between the tape and the people. There is no sketch as such for this class. But what I'll do is we'll just add a horizon line and just a placeholder for a tree somewhere here in the middle. Okay, so this is one of the branches. This is the tree splits into two, again splits more. Here is another branch. And then there is another branch like this going somewhere here. So a simple placeholder for the tree right now. We'll add in the details directly when we paint it on top of it, okay? Now, using my hake brush, or you can use any large size brush that you have, we will apply an even coat of Wala, Okay? So we'll apply the coat of water for the sky part. So you can just apply the even coat of water till the horizon line that we have just made sketched out. And again, take your time on the step so that your paper stays wet for a longer duration of time and just moving my brush back and forth to make sure that the paper is wet from all the corners, as well as there is no puddle or pool of water being formed. So what I'll do right now is I'll just tissue. I'll just soak in the water from the corners and will again just run my brush through the paper. Okay. The paper is wet now. I'm taking my large size brush and yellow dabbing of excess water, we will start with the sky. So I'm just applying yellow from the middle to the bottom section. It's a simple wash, as you can see, just leaving out some white spaces. Now, using orange, we'll apply the strokes towards the bottom of the sky. And now using indigo will paint the top. So now indigo and yellow, when mixed is giving you a greenish tinge. That's okay. That is what I wanted to have that in the sky. So you can still go ahead and paint your sky. Now there's a lot of water on my paper. So I will just using yellow paint the top a little more but and somewhere here in the bottom as well. Just adding in some tinge of yellow. Using the blue, I'll start again from the top. Let me just, you know, soak the water that we have here. Otherwise, this will see back in and will cause blooms. And we don't want that to happen. It's okay. We will just build on the layer bit by bit, as you can see, just adding some blue strokes to the sky. The topmost corner of our sky would be the darkest blue, and it will become light, slightly greenish shade when we move towards the yellow. Which is what we want. Now, again. This is the place where the blending will happen between the yellow and the blue. Working on those strokes, pulling in blue towards the yellow, and pulling in yellow towards the blue. See this. This looks still much blended. Again, taking in yellow and adding those strokes. See? This is me pulling in blue towards the yellow. I'll just take a little more of dark blue, dab of excess water, and add it here towards the top because I want that to be a little more darkish blue. Pulling in the blue towards the yellow. We just take a little more of yellow, taking in yellow typing of excess water, bending it. This is the yellow that we have adding those hail to greater plant with the orange that we have towards the bottom of the sky. I use in this yellow, I can just try to blend it with the blue and have a little more of clear yellow towards this guy, okay? Lifting of some color from here. It's a beautiful blend of blue, dark blue coming in from the left, and the yellow coming in from the right and blending it out somewhere in between to create this green gradient and then the sunset effect of the orange shade towards the bottom. Let's wait for this to dry, and I will again just seep off the excess water that we have here, this and some more hair. Okay, I think we should be good. Let's wait for this to dry before we paint in the foreground and the trees. Okay, so the paper has not drip. Using neutral tint for paints gray, we will paint out the background trees. And as it's far away, the tone of the color would be lighter, and also tree leaves will be not very, very clear and prominent. To I'm going to just shift to my medium size brush and paint out more of these trees. So you can try to make it in the similar fashion that you paint out the other trees. It's just that you can fill in the body of the tree with a flat wash. I'll add some at the back. So they are very far away so you don't exactly see the tree leaves. Sn, let me just add very small ones as if they are very, very far. So, let me just add a big one. Tone of the color is very low because the trees are very far away, so you might be very faintly visible. This side I'll not add much because we'll be painting two trees on the fetund of this. Okay. So now taking your indigo and let me just take my large size brush because it's easier to paint, taking indigo. I'll just add these strokes here. So you know this is all snow. So this land is covered with snow. At places you have these snowy bumps and all right. So just try to depict those say one is here. One is over here. You can then just fill the pillow one with water and have a quick wash done with water. See? Okay. Here, also, I'll just add some strokes of indigo. Now, here we had painted a tree, right? So I'll just add a hilly stroke over here for the tree base for the tree. Okay. And here we'll have another one. That's it. I think there should be enough. And here, I'll just add a little more of denser color, just like shadow of all the trees and something coming in, right? So this. I think this should be enough. Now, let's just wait for this to dry and then we can paint on the trees foreground here, this middle tree that we had painted, and some of the trees over here. Okay, so the paper has not dried. Now using medium size brush and a dark tone of paints gray or neutral trent or even black, we will paint out the trees. So starting from here, suppose the tree is towards, you know, the left of this page and we just see towards just the glimpse of it. So we won't see the trunk, but we would see just some leaves coming out from the left. So something like this. I think this is enough. Now for the middle tree, let's say we have a branch coming out somewhere like this. Be very careful while painting this and branch out as many branches as you want. I'm just adding the main tree trunk of the tree for now. Say it comes still here. You can leave this like it's the snow that has got, you know, stuck on the trunk bottom, and you can have another ranch coming in. It's getting split somewhere like this. Then you have small branches coming from there as well. And then from this corner, S from here, there's another branch that's getting split have to be a thicker one and then you'll have smaller branches branching out from these. So then this would be your main branch. Make this little thicker. Okay, so now I'll use my diesel brush. I want to be very, very careful while I paint these because this is the main element of a painting, right? So we are showing this barren and this tree, the winter tree that we are trying to depict here, right? So let me start from here. So there would be a branch coming out like this, and then you will have these branches, shorter branches. Similarly from here, say there's another branch that's coming out. You trees are never in a straight branch, right? So we will just make some zigzag lines, zig zag strokes to get that natural effect. And as you try to end your tree, your branches will become thinner and thinner. It's okay to take your time. This one, I'll just extend a little more. There is another branch that has got curved out from here. Now you can add little little bit more branches between these each of these branches will branch out. So the thicker you start for your branch, you can extend it. I mean, you can make a longer branch out of it because it goes from thick to thin, right? So if you start more thick, then you can branch it out for a longer time going thin bit by bit. Add in as many as you want, and you can add in any direction that you want. So this is all natural. There is no hard and fast rule. You can make it the way you want. You can make it more. You can have it more branches if you want. See, I playing around and adding more and more branches. We just first made trunk and then try to add in the branches as we go. You can add these broker lights. These broken lines give an effect of a very thin branch, which is not seen very clearly with naked eyes and, you know, from a distance. Okay, I think this looks good. I'll stop here and not try to add any more strokes. Now, again, using a medium size brush, we'll add some trees towards this side of the paper. What I'll do is we'll start from a small Christmas tree sort of thing. So I'll just add lines and then it goes something like this. As you come down, you see my strokes are becoming thicker and I'm painting in denser leaves. Now for the corner tree, similar to the way we had painted this one, we will paint this. It's just that say, it would be a bigger one. Okay? So say it starts from here and we have a little bit of branches also visible. It starts from here. What I'll also do is I'll use my detailed brush and just from the corner, we'll add those thin branch like strokes that will give it another dimension to the tree. Building it bit by bit. So here it might little overlap with the tree that we have already painted. That's okay. I'll say this is where it ends. Okay. Now again, using my detailing brush, we'll just add some thinner strokes. What I'll also do is I'll extend this little bit to the top. Say from here, it starts with very thin brush strokes and very less of leaves and then it builds on bit by bit. This looks better, right? What I'll do is here, here, we'll add one more tree because it looks little fern at the bottom, and we'll add in the strokes. I can see I'm working on it very slowly with my detailing brush. The rest is in the snow, so you can't see much of it. Okay. What we will do is now using indigo again, I will just add that again, a little bit of hair and then try to blend it out. Okay? And similarly here, I just add that and using my medium size brush, using my large size brush, I'll just blend it out. See? There it is. Now, again, this one, just adding a little bit of dig over here, using my light size brush, blending it out so that it doesn't look very, very prominent. Okay. See. Just blending it out. I'm just picking up color in the water and tapping off the excess water that we have. See this. Again, very similar way, we'll have one over here. Basically again blending it out. What we'll do is with indigo, we just add on a little bit of darkness towards the left side, just as if you have the shadow of the trees coming in. Just towards this side. We just blend this out. So you see there are some harsh edges which is coming in. So using my clean brush and dabbing of excess water, I'm just trying to blend them out. These are the shadows that we have. Now the last part of this is adding some snowflakes, dipping my medium size brush into white and using my other brush, we'll just add the white splatters. And what I can I'll do is using my white, we'll just add in some places big dots like snowfall. It can be on top of your tree. Somewhere here, somewhere here. Can be here as well. Not very prominent. The snowfall has just started, imagine that. So, just building here, and then also just adding some smaller dots where the spatus could not come in. That's it, I think. So that's all. I think we are done with the painting. Let us just let it dry, especially this area because we have just reapplied the colors. So let this dry and then we'll peel off then we'll just peel off the masking tape and we'll be done for the day. We can remove the masking tape now. There you go. This looks beautiful, right? Thank you for joining for today. We'll see you tomorrow with the new class project. 7. Day 5 Majestic Snow Mountains: Hello, everyone. This is what we are going to paint in today's class. Okay. Let's start with today's class project. I have my paper here and using the masking tape, we'll tape down the paper on this table. Run down your fingers over the masking tape multiple times to make sure that there is no gap between the tape and the paper. For today's class, let's make the sketch. So we have a snowy mountain over here. And this here, we have a slope. So you have your skiing and all, so you have a mountain slope, right? So this is something on that lines. Here, we will have our trees which are at the distance, and then here we will paint our big trees like we have done in the previous class projects. Okay. So now for the sky, I will just take in my large size brush and apply water to there, just making it a little wet so that the colors blend out easily. And Okay. I think this much should be enough and ceilin blue as the color for the sky, we're going to use it a very, very light tone, then painting the top of the sky. You can paint anyway you want the sky. There is no fixed way of painting this because sky is not the main element for us, right? So just taking in more color and having a clean washed ton for the sky. As we come down more towards the mountain, This is a gradient wash. You apply the color to the top layer and as you come down, the color density decreases, and that gives a gradient effect to the sky. Okay. This won't take much time to dry. So meanwhile, I'll just dab off the excess water from here. Make sure there is no water towards the corners of the paper. Else, once the paper dries, it will move towards the paper and create a cauliflower effect which we don't want to have. Next, we will use an indigo, very, very diluted version of indigo, and we'll paint the mountains. So it's a snowy mountain, right? So it would have the reflection of the sky and would be a little bluish in color. I mean, the background. And then we will add stone or say, rocks on top of it. So this side of the mountain, I've just added a simple wash of indigo. And on the other side, you just add in some random strokes. For now, this is enough. Once this dries off, then we will add in more the black color and give more depth to the mountain. Now, meanwhile, this dries this section, which is your slope, right? Also will be of indigo color. So just taking in a dald version of indigo and starting from this corner and then blending it out. Okay. Moving my brush to and fro, adding in more indigo, and just adding in the strokes in this direction. Okay. Just adding in some tinges of indigo over here and towards the bottom as well. This is our slope. Okay. Tap of all the excess water from this corner. Let me just add slight darker tones of indigo as well. So just have added a little more of indigo onto my palette, just adding some dark strokes as well. Okay, and towards the bottom, making it a little more darker. Okay. Now for the mountains, I'll take in the black color onto my palette, or you can also leverage the painra neutral trend. Whatever is available, you can use that color to build in the mounting. So I've taken plaque, and dabbing off excess water from the brush, making sure that this has dried, your sky has dried. Starting from the tip, we add in dry strokes. Let me use my medium size brush for this. Taking in black, dabbing of excess water and building on top of the mountain. See if this is a dry brush. This is called dry brush stroke. What I'll do first is build on this wavy thing that we had sketched, right? So this wavy thing would have your rocky structure. And starting from the waves thing, you will have direction to the rock structure. So it would be in this direction, that would be in the opposite direction. So this is how you can build on top of it. Taking a little water, more of color, tapping of excess water, and building on top of it. Now here as well, building on to the sketch area and it can be a little way say there is another peak coming in here, something on those lines, and you can then just try to build onto the mountain. Can come into this side now similarly again to the other side, but in the opposite direction. This is what you have here. This is what we are building here. Taking in mold color, tapping of excess water, building onto the corders of the mouth. Now what I'll do is using indigo, a very diluted version of indigo, tapping of excess water, you can add in a little more of your indigo strokes. So this blending with the black that you have just applied, gives a very beautiful and natural effect. Okay. See, this place, it gives that natural effect of indigo, I mean, the snow being on the mountain. And it's okay if it comes out a little dark, you can always dilute a tab of excess water and just try to blend this in. Similarly, something on this side as well and can just do it at some places. Don't need to add it everywhere. Again, cleaning up my brush, dabbing off excess water, and just trying to lend this in. So I'm pretty happy with the mountain. I'll just add in some strokes over here to give it a better definition. Okay. Now, what we're going to do is we're going to apply water to this area to paint in your trees. Now using my detailing brush and black or pains gray or neutral tint. I'll just add in the trees. We have already worked on these strokes in our previous class project. Building on to the same strokes, we will add on the trees. You can play around and add on these trees with different shades of brown, black. You can use sepia and you can use Pains gray or neutral tint to get these trees painted. Be random in size and color. These are far away from us, and it's a group of all these trees. So it's not visible very clearly. No adding a lot towards the right because we will be painting two trees over there. Basically, this background would get covered using my large size brush, I just try to lend this out. Now, using a medium size brush, we'll add in the trees on the left side for now, starting from here. Say the tree is to left of the paper. So just some part of the trees is visible. So just adding in the tree strokes. As you come down, the tree becomes bigger. So you'll have to paint a tree. So let's do one thing. Let's paint a tree somewhere here. So this is how you can cover up, in case something doesn't go right and you have any spots or anything that has come up because this is a painting with all dark shades, right? We have worked with indigo. We have worked with paints gray, and there's as such no bright color. It's a winter landscape, so everything is dark and gloomy. I say, by chance, something spots on your paper. This is one of the ways how you can manage to work around it. Okay. So this is where we are. Now, what I'll do is I add one, smaller one here. I think by the end of this class because we'll be painting so many trees, we would definitely get better on this. It's a slope, right? So there's behind another slope of mountains where you have the trees, but you see only the tip of those trees. So just laying around with that. Just play around and paint the trees you want. You can place them anywhere you want. It doesn't have to be exactly where I am painting them. So again, there's a tree towards this side. So just part of it is visible to us, building onto that part. Similar to the way we had this side, where the tree was mainly towards your left out of the paper, similarly towards the right. You might have a tree which is out of the paper. So we just add in and play around with the visible parts. Book. And now I'll just paint one or two over here. There's one which is coming here. As you start from the top, the trees are very thin, and as you move towards the bottom, thickness or the density of the leaves increases. Okay, and just two, three more here to cover this area. And Okay. Now, what I just feel is this is a little empty. So using your black or pain scrap, we'll just add a stone or something, just, you know, rock or something, and we will cover it with snow. And And now using gouache, white gouache or white watercolor, we just add in snow effect to the trees and to the foreground. And the bigger leaves would have more snow on them compared to the smaller ones. You can just continue adding the snow effect. So the snowfall we won't paint snowfall on this one because the snowfall has already happened, and it's after snowfall when we are painting this landscape. So you have snow on your surface, you have snow on your trees, but we don't have a snowfall as such hen. This is still a little wet lit. This gets dry. Meanwhile, we can paint a little snow effect onto this ground. In oral Dow, dabbing of excess water will add some snow streaks. Just dry stroke. Snow some places. I think we are done. Let's just wait for this to dry before we remove the masking tape. Okay, so the painting has now dried. We can remove the masking tape to reveal the final look. This is the final look, doesn't it look gorgeous? We'll see you tomorrow with the next class project. Till then. Bye bye. 8. Day 6 Snowy Berry Branches: Hi, everyone. This is what we are going to paint in today's class. I have my paper here on the table, and again, using my masking tape, we're tape down the paper to the table. Okay. Again, I'll run down my fingers along the masking tape and make sure that there is no gap between the tape and the paper. Okay. Moving on to the sketch for this one, it is going to be a simple sketch. So this background tree, I'm just sketching it very lightly because we will be painting this wet on wet. Okay? Say here would be some branches, another one coming from this side, and then here we'll have our And the main branch here would come somewhere along this line, which would have prominent branches, the fruit, Again, some branches. So it doesn't have to be very prominent sketch. We will directly paint it out once we start working on it. Okay? And then here again, this side waits a branch coming down from here, which has fruits here and then here, and then three branch, three, small, very thin branches coming from here, and this. And then here at the back, we have a lot of fruits. Okay. This is your background. This is your front where you will have a lot of branches here as well with some fruits. Okay. So this is a very, very rough sketch. And what I'll also do is using my kneelding eraser, just tap it out to remove these dark graphite marks. Very, very light graphite marks would stay, just for me to know, okay, this is where the branches or the fruits would come in. But I've removed and tightened the graphite marks. Now for the colors, so now using my hake brush, or you can use any large size brush, we will apply even coat of water throughout the paper. Make sure you spend some time on this step because we will be working on wet on wet for a very long time and also make sure that the paper is wet across all the corners, and there is no pool of water anywhere. I've been repeating this again in almost all the classes. The more time you spend on this step, the more time you will get to paint on your paper. Okay. Now using my tissue, a dab of excess water from the corners. Okay, using my large size brush and Indigo will start with the background. So you can just play around with this color for now. There is no specific way how we want the background to be. And then using paint scray we'll add it in some places. See? We need a very light background so that our fruits and the branches, they come out more than the sky or the background that we are painting. Okay. I think there should be enough on the indigo for the paints, I'll just add slight more strokes, and then we are done on the background. Now, using my medium size brush and burn sienna, starting with burn Sienna for now, I'll add the tree that we want to paint in the background. That will come say till here. Okay. So now what I've done is I've started mixing my burnt umber slowly, slowly to the burnt sienna. You can just paint out the branches the way you want. Taking a bit of ndikebown and burnt umber. I'll also add very light tone of paints gray or neutral tint just to get that darkish tone, and we'll sketch out the branches. Okay, I think this should be enough. Similarly, we have some branches coming here. The tree is not visible, but we just have some branches. There is some branches coming out here, too. Okay, and then here as well. Now, with paints gray, just adding some darker strokes to the background, just on top of what we already have. And just adding some dark strokes to the main branch as well. I think this should be enough. Now, what we'll do is using the vermilion, we'll paint the fruits. These are the fruits that we have. I would just do is tap off all the water from my brush and try to minimize these threads that's coming in because the color is spreading out, right? So just minimize these. And here also, you have a bunch of fruits that's coming in. What I'll do is I add a tinge of burnt sienna to this to make it a little darker and we'll drop that shade as well. Just in some places to give it a better shade. Now, again, cleaning up my brush, dabbing off the water, and we'll clean off these here like strokes, okay? Now, what also happens is you have a very dark black like towards the end, you have these, right, like in the berries. So just adding these I can cleaning my brush, tapping of excess, water, and just try to blend this out. These are say far away, so they will not be very prominent. So it's okay if they spread like this because that's what exactly gives them the blowefect. Okay, I'm just cleaning up the edges and making it more round like. Okay. Now the next thing that we'll do is snowfall has already happened, right? So these branches, a dabbing of excess water, we also have a little bit of snow. Okay. So just adding these snowfall effect on all of our branches. Also on some of our fruits. Okay? You can just add this dot like stroke, which basically gives effect of snow being collected. Adding some more on this. There's a bunch, right? So the snowfall would have just collected over there. What I'll also do is I'll also add some so the snow snowfall, let's just say it's happening right now. So we'll also just add some white splatters. More of white color to give it more of snowfall effect. Okay. Okay. I think this is all with the background here, and I'm pretty happy with how this has turned out. Now, let's wait for this to dry completely before we start on painting the focus branches and the fruits. Okay, so the paper has not dried. Now we will paint the in focus berries and the branch. So for that, I'll use my medium size brush. And using burnt sienna, because that's the lightest shade of brown that we have, we will add in the trunk from here till here. Let's say it starts from here, Now, again, taking more of bone sienna and just making it a little thicker. So we're starting it with a little thicker, but as we go towards the left. So from the right, it will be thick. But as you go towards the left, it will become a little thinner. Now, adding in burnt umber and just adding in the strop. See, I'm just trying to build in the stroke using paint scray or neutral trint and burnt umber. So this will give us a darker shade. I'll just add that across our branch. Adding a little more darker tone in some places. And what will also happen is say we have another branch branching out from here and coming till here and somewhere around from the back, coming till here. We'll just make this little more prominent adding a darker shade see building on two the one that we have already applied. Here we'll add in the fruits. Similarly, there could be a branch protruding from here. So something like this. It goes here, splits here, and then you have fruits over here. Okay. Then the last split of branches, I'll just add somewhere here. This is just a split and we don't have as such, any fruits on this branch. I see somewhere here as well, there's a branch going. So with the branch, I'm pretty much happy with it. Just think we can make it slightly thicker over here. So just trying to make that without it losing the natural curve that it has with the dark tone, just highlighting some of the area. Okay. Now again, using your vermilion or you can also use scarlet and just adding a little bit of neutral tint. So starting with this, just paint the berry. Similarly, say here's another one. Then say we have three over here, one here and say one somewhere in between, it's hiding behind this. Okay, here as well. Then we have here. Okay, now using burn Sienna and mix of born sienna and vermillion, add another dimension to the berries that we have already painted. Okay. And although I said that we'll not have one here, but let me just paint one berry over here. Alone berry. And now with pinsray or neutrtint we'll just add seed of the berry. Cleaning up my brush, dabbing my fixes water, and just clean up this, okay? Don't worry if it has even come over there. It's okay. We can always pick up more color and with very less water, cleaning up the brush every time, we can fix this. Okay? Now, what I'll also do is add another branch somewhere, coming from here, a very thin branch, not a thicker one. It is just the final parts of the branches coming here, and we see the fruits. Okay, the fruits are hanging from me. Adding in pink scrap to this, just trying to build on the color variants of brown, similar to what we did to the main branch in front. Okay. Now, this time, I'll use my detailed brush and then apply the vermilion. So this is where we have a By. Let the other word come from here. And Okay. Now when you have a bunch of these, what I'll also do say this shadow comes in here. Using burn sienna we'll add the shadows. Okay. Slight dark shade. So take Bern sienna, very slight version of Bern sienna and build that. Similarly, we'll do that something here. It's basically a shadow that's coming in from the other berry that you have. And then you can blend it out with your red. And this one is below these two berries, so it will have a shadow here as well. Let it just dry a little bit. Meanwhile, I just realized berry does not have this blackish portion. So just adding that these have also dried, so I can small version of these. Now using Bon sienna, dabbing of excess water, we just add the shadow effect over here. You see? This is the shadow effect that we are trying to create. It's like a shadow that is coming from these two berries and using red, we will just lend it out. Okay. This is enough. Now, we will be applying snow effect. So activating my white quarh will apply snow to our branch. Snowfall has happened, so half of our branch would be covered with snow. So say here you have your snow this side also, the snow would have accumulated, right? That is the snow again. This side, you will have a lot of snow because it's a slanting branch. So the snowfall happens and lot of snow gets accumulated on the branches. So this is what that is getting depicted. Okay. So in some places, it will be a bigger pile in some places, it will be a slightly shorter pile. Now, here, because this is a curving branch, so even if the snow would have come in, it would have accumulated a little bit of hair, but rest, it would have got fallen down. Okay. But here is where it might have got collected. So your berries will have some of the snow. So you can add some snow at the top of your berries. Similarly, here, it's a slanting branch, so you will have more of the snow coming in here because rest wall would have fallen down here again. On the top of the berries, you might have some snow. Okay, so just adding that. Okay. This also is like ranch is going in this direction and the snowfall is happening. So these fruits and berries will also have snowfall on them. So just adding some of that. They would have it say somewhere here and here, somewhere here. I think this is enough. And now, we'll just add in some snow because the snowfall is happening. Just add some snow over here. As our background is very light, so the snowfall that we're trying to splattering with white over this side, background would not be very visible, but that's okay. For now, we can just splash it right now, and then we can make big splatters or with the color and brush, make big snowballs. Just adding in more splatters to get on the snow effect. So at the top, we still have some. I'll just add some more at the bottom to get this effect. Okay. And now with just this, we'll add some snowballs like bigger snowfalls. So, I think we are done with the painting. Let's just wait for this to dry. There's just a slight drind that we need. It won't take much time, and then we'll just peel off the masking tape. Okay. So the painting has not dried. Let me just peel off the masking tape. Here is the final painting. Hope you enjoyed today's class. Puts you to water with the new class project. Bye bye. 9. Day 7 Frosty Windows : Hi, everyone. So this is the class project that you will paint today. Welcome to the new class project. Again, I have my paper here, and using a maskin tape, we'll tape down the paper for the table. Okay, as usual, running down my fingers on the masking tape to make sure there is no gap between the tape and the paper. Okay. Now for this class project, we need to sketch. Using a pencil and ruler, we will work on the sketch for this class. It's going to be a window, which is what we are going to sketch. This is where this is and then we have two thick vertical sections. Okay. The seem? This is one of the thick section and see the other thick one starts from here. I just feel this one is slightly getting tilted. So try to sketch this one once again. Yeah, seems better. And then we'll also have two thin vertical panes as well. And so here is another thinner one. This one, I'll just make a little more thicker. It's become too thin. You can see I'm just working with a very light hand on these ones, and then we will also have horizontal panes. Okay. So this looks better using a Nelding eraser. I'll just tap off the graphite marks. You'll just make them light. I'll just not let go of them completely because we need them while we paint, we need them, but I just lighten them up with a knelding eraser. Okay, let's start with the painting using my hake brush, apply an even at of water across the whole of the paper. Actually, I'll just keep it till here because this is the background is what we will be painting first so you can apply your water till the window pane at the bottom. Okay. Take your time on this step. The more spend time on this step, the more time you will get to paint wet on wet. So you can take any large brush of yours and just apply even coat of water. Make sure there are no puddles or water pools being created. Okay, so I'll just dab off the excess water. Now, using my medium sized crush and yellow, we'll just paint the sky the sunset effect, okay? Now, using Indian gold, dabbing of excess water, just repeat this. Okay? So that's the shade that we want the glow from the sunset. That goes in all the direction. It goes in all directions. Okay. Then we'll apply a little bit of burn Cena tab excess water, depicting the trees. Okay. Stating the burns because the trees that are here, right, they would get the sun's reflection and they would be somewhat brighter in color. So for now, I'm just going ahead with the first layer of background. And here you go with a darker shade towards the bottom. You can use in fact sepia or neutral tint. I've used neutral tint here to give it just some dimension. Okay. And this area around here, say would be the ice. So these are the trees, and then you have your ice. Applying very light layer, as you can see, you have applied very, very light layer. Just lifting of the paint from here, Taning of my brush, lifting of the paint. Now, again taking Indian gold, just applying it like this. Say for example, there are trees, so they are near the sun. They might be brighter. Again, here as well, they are in the line of the sun rays, so they are ten enough. You can also use burn Sienna. That's a lot. Again dabbing off excess water. Again using burn Sienna, adding the leaf like stroke, S there are trees. I'm just dabbing off my brush You can just see it just dabbing off and you can also dab it off somewhere over here as well on the top of Indian gold to just give dimension to your trees. And now using burn sienna and neutral trans basically shade darker shade of burn sienna or CPA dabbing of excess water. You just add those towards here, somewhere again, picking up more colour, dabbing of excess water. Do this at every step, the dabbing of excess water. As you pick the color, add that step every single time. Some of them here as well. It's not towards the right. I would ideally with more of pain scrap to give it effect that, you know, there's no sunlight coming over here, so it's more of shadow that's coming from the top. So the trees that have got the sunlight. So somewhere here, and then you can just give it a straight tree effect as well when you move towards the bottom, right? See, building on top of it. So say this tree is still here, you have a tree. And then when you go towards the top, you have your burn CNA. So this is your burned CNA Okay. And then say you have your Indian gold. So I'm just building onto this tree that we had painted. I mean, the leaves like strokes that we had painted, adding a little more layer to it, and another layer of color will basically brighten up the artwork. The white spot that we had is I mean, the colour is basically moving towards that spot. So just cleaning up my brush, dabbing my excess water, and lifting up this. Okay. Again, with a little bit more of burn sienna, just adding some strokes. Every time I pick up colour, a dab of excess water, and then I apply that onto my paper. If you apply more water to your paper versus what you already have, you will get cauliflower effect, the water will spread and we don't want that to happen. Making more of sepia, dabbing of excess water. Similarity here as well. This is supposed to be a tree, big tree. So just going ahead with more of dark brown dabbing of excess water and just applying that shadow here. So what I'll do is right now using indigo, I'll just add a little more of, say, a snowy hill sort of thing. So dabbing of excess water and just blending it out. I'm just trying to blend this out and not have the hair like strokes. Okay. Again, lifting off a little more of color. The background will be blurred because the focus is the window pane that we have. So that is the reason we are painting all these trees wet on wet and with not very specific details. I think this is enough. The tissue that I have just dab it off hair to give that nice glow. What I'll do is with this brush, just even it out. So there's snow? Let us just add in the snow. Let just add a little bit of snow. Now, let's wait for this to dry, and then we'll paint in the window pane and the snowflakes. Actually, before we paint the window pane, let's just paint this bottom area with a very dark shade of indigo. I've just added paints gray at the very bottom area. I think that's enough. And now let's wait for all of this to dry, and then we will paint the window panes. Okay, so the paper is not dry. Using my medium size brush and detail brush, we'll paint in the window panes. I'll start with burn Sienna first. So this side, we have these light coming in, right? The sunlight is there. So near the sunlight, this would be in a very light shade because there would be an effect of sunlight on the wooden pane. If you see this is the line that we have, being very careful and painting it out, we can always paint a darker shade on top of it. For now, just going a painting this. Now, cleaning off my brush, and we'll just blend this out. Using the darker brown or sepia, a lighter shade here because of the sun rays. But as you go down as the sun rays are not directly coming over there, it would be dark, right? So just adding that on top of this So this side, going in with a more darker shade and you can use paints gray for the same. As you come up because of the sun, you have this lighter shade. Now again, using your bone Sino this is the second pain vertical pain. We'll just just add the preso stroke. Again, I'm going with a darker shade. So you can actually paint completely. But what I'll do is I'll just add I'll add a darker shade of brown or say, almost black color. So paints gray is what you can use here and we'll continue to paint that till the very top and again near this, we'll just give out some very slight. You can see. So this is very dark, but this here is slightly less. Now we have one more paint here and another, right? These are thick ones. Again, starting with burn sienna on this side. So let me first paint this side with a mixture of burn sienna and paints gray. I'll just take my brush and just make a very straight light. So this is a thicker window pane. So if you feel it's not very straight, you can obviously make it thick. Okay. Again, I am using very dark mix because this side, you have almost zero sunlight coming in. So just done that. Now towards this right side, again, where we have a thicker with pane of window. Been very careful because I still have the other paints wet. So here, again, what I'll do is I'll just dab of excess water and I'll just try to lift off some color from this side. Okay? And again, using the darker brown or sabia, I just add strokes this your bottom is going to be dark. Now, again, below, it's more dark, so we can have a sepia or more of pains gray and less of burn sienna. So these are the vertical strokes that we have. Now similarly, we will add in horizontal strokes. For that, again, using burn Sienna. Who? Now again, you see a darker shade of brown at the shades. Now here, because you have your son again coming here, so it could be bright. But as you move towards the righter side, it become more darker and darker. There's one that we had here, so just going in with a light hand just trying to build straight light, okay? So this is basically sepia. I have the paints gray or neutral trim mixed with my bone Siena. So this is going to be a thin one. Now, we will build on top of it. So you can again use your darker brown, add in your paints gray to it, and add it to this window pane. Now, moving to the third one which starts from here. I think we should keep the pencil marks. If you guys are not attempting it with me and just looking at this process video first, please keep the pencil marks. We make it very light, but it should be, I think, visible for us to paint this in a better way. Anyways, as I realized, we are applying a very dark shade, right? So it's a very dark blackish brown that we're applying. So even if your pencil marks stay, it's not going to be visible because it's a dark color that we are applying on top of it. So it doesn't matter if you have your pencil marks on. But I think if you are just seeing the video right now and we're going to attempt to paint it later, I would suggest keep your pencil marks with you. Okay. So now just taking it in the darker shade of brown and just lending it out. Okay. I think I can take a little more brown on this pillar. Oops, don't worry if this has happened with you as well in any of the process, use your tissue and just dab it. Do not wipe it off, just dab it. Anyways, we will be painting snow on top of it because it's a window, so you will have snow being collected on your window panes, right? So you can always and always cover any of your say if the line is not straight or something like this has happened, right? You can always always go and clean that up with your snow. That's the beauty of actually working with snow. Anything gets wrong, you can just clean it up with snow. Okay. Now, towards the very bottom, we have a window pane over here. Sketched a window pane over here, and that's a very dark one that is actually not fully visible as well because you have your snow over here. This one seems a little lighter, so I'll just add a darker layer on top of it. Be very careful as to not lose the straightness that I have on that one. Now using your medium size brush and white quash, let's paint in the snow effect. So all of these pins, let me just tab up all the excess water, we'll have some snow accumulated between these window panes. So just with the tip of your brush touching the paper, let's just add some of the snow effects. So, it could be a lot at one place like this and it could be very little at some places. So you can play around with this, and this will also help you clean up any accidents that you might have had. Let's say, for example, there is a lot of snow that has got accumulated here. Okay? So this gets cleaned up and you can have the snow done multiple places so that it doesn't look out to super hot. Okay. And then here also see you have some of the snow that has got accumulated and that's what you see. With slight indigo mixed snow as well to blend it out with the below indigo dat you have, right? Using a clean brush, I just add auch on the safe vertical panes we see a little bit of snow has got collected here as well. You can see my brush stroke. I'm holding my brush from a very long distance and just dabbing it off to give some natural effect. Just a few dots here. Okay? That's the snowy effect that you can give to the window panes, okay? I think this needs a little more of very dry brush strokes. So if you see there's almost no water onto my brush. So when I'm just dabbing off, I'm getting these broken strokes. These are called dry brush strokes. You can just them tap off all the excess water, apply those for a snowing effect. Okay. Okay. I think we are done with this one. Can paint up the musk tape. So here we are. Hope you enjoyed painting this one. We'll see you again tomorrow with a new class project. So then go bye. 10. Day 8 Snowman: Hi, everyone. This is the class project that you will paint today. Let's start with the new painting. I have my paper here, again, using the masking tape, we'll tape down the paper on all the four sides. Okay. Now just running my fingers across all the four sides of the masking tape. This is to make sure there is no gap between the tape and the paper. Just run your fingers through the tape and just press it out. Okay. Now, this one requires a pencil sketch. I just have my eraser and pencil with me over here and starting with the sketch. So say somewhere here is our ground, and then we are going to sketch a snowman. Suggest building in here a very big base of the snowman. With a smaller one over here. And then you have the head over here. This section I'll just sketch it out closely. This is the sketch that we have. Let me just sketch it out once again and I'll make it with a very light mark. So say here is your the biggest of the three. So this would be your base. Then you have a middle one coming from here somewhere like this. This is on top of the bigger one. And then you have the head somewhere over here. Et me just sketch up the head a little better. You see, it might not come in a first instance, so don't worry, take your time to sketch out your snowman. Okay? Now over here, I'll just add in a scar that goes like this. I just me a little bit on this side. I think it's a little slanting, right? So this also, I'll just make it a little bit over here. I'm not erasing it completely because I've got the dimensions now. So say this is your head of this nonn. I'm just trying to get it right now. This is your scarf. This side of your snowball, ideally, we won't see because we will have the scarf coming in. Here at the top, again, we won't see anything because we have our hat coming in. Somewhere like this. Again, it is in this bit to get this one streamlined. Okay. It's slightly tilted on purpose. This room here goes your carrot, which is basically the nose of the snowman. Again, you won't see this side of your face, the snowman face, it will discover like this. You have the eyes over here. Okay. And then smile coming in like this. Okay? Now, your scarf comes here. The button of the shirts, I mean, the button that we tried to depict, sorry, will be somewhere here. This side actually, you would even see it. This hole will be covered in your frinstill here. That will paint and make it proper. Here, somewhere comes the stick. Somewhere starting from here as well, you have another stick. Okay, so this is said, cleaning up the bottom section. So the final sketch is this. You will have the snow. So now the snowman is here, so it will be something on the pile of snow to give it a support. So this is that snow. Now using my kneelding eraser, I'll just roll it across to lighten the marks. We want the marks to be visible, but it's just not very dark. Okay. I think this is good. We'll just start to paint the background first. It will be a mix of indigo and paints gray. Okay. Now using a large size brush. This time we are not going to work on wet on wet. I'll just directly take the colors onto my brush and start applying the colors. We will leverage the wetness of the color and just apply water to blend it out and create that background. Just be very careful while painting around your snowman. Okay. So just being super careful over here. Take your sweet time on this step. But this I know because we're going to paint it with brown. It's okay even if I get some color on top of it. So that's okay. So that's the judgment call that we will take and try to paint the background. Your snowman would be in the shade of indigo itself. So we'll just try not to get any color over there. Okay. So using my large size brush, I've just wet the paper, blending in the color that we have already applied. Similarly towards the left. Again, be careful near the snowman, but as this is the stick, and we will be painting it with darker brown or sepia, we can go ahead and apply water or very slight tinge of indigo over it. So you can see I'm being very careful. We just want some dark shades towards the top. And while we come down, we want lighter shades itself because your snowman will also be in the shade of indigo, right. So just add some darker shades towards the corner. And as you come inside or just very near to the snowman, it will be a lighter shade. Okay. So let me say take indigo and paint gray to apply it at the corners. To give you that blending, just apply it at the corners. And now using indigo, we will just blend it out. Now when the water is supplied, you just have to drop some color over there and the water will take care of it. This side has dried a little bit, so that's why I just running over my brush again, taking in a darker tone of indigo and applying it towards the corner. Because when your paper dries, the color loses its vibrancy slightly. So be careful about that when you are building on your background. Okay? Now again, just holding this out, blending this in with just the water to give it a smooth blend. Okay. Be very careful around your snowman, but you can on and off drop some color indigo to give your background a smooth blend. It's going to be, I think, a painting full of a lot of indigos because your snowman will also be in the similar lines. So the most vibrant thing on your painting would be the scarf of the snowman. Dropping in some darker paint gray or indigo. Okay. For the bottom as well, I'll just take a light tinge of indigo, and we can actually paint it off right away. This is your snowman and your snowman is built on top of this pile of, say, a pile of snow that we have put to give support to your snowman. So that's what this is. And then say you might have another pile of snow over here, and this could be just a little diluted color of indigo to give little difference between the surface and the sky. Building here, just trying to build a the snow is what we have collected over here to give the snowman a support. So this is all snow that we have collected for the snowman. Oh Say this over here is the darkest layer, which should come somewhere like this because this is the support, your snowman will also have a shadow. Say this is how it goes, okay? Somewhere here, you can tap off excess water and remove some color. That would give slight whiteness to the paper as well. Now let's wait for this to dry and then we will work on the snowman and we'll also add some trees and snow to give it a better effect. Okay. Now continuing with a very lighter tone of indigo, we will paint the snowman. Say here it is, and just purposefully leaving a slight line of white just to differentiate it out. And here as well, you will have the shadow from the cup of snowball right? So that's it. And a slight tone here as well. Okay. Now just cleaning up my brush and blending it out. So we won't apply very dark colors to the snowman. Our background is already very dark. So we will bring in the contrast and just have a very light shade of indigo applied towards snowman. We'll try to maintain the white that we have of the paper for the snowman. So that's why in the center, not apply lot of color. Okay. Similarly, a very similar fashion, we will have the snowball painted here as well. I'm here because of the scarf, we will have some shadow. Cleaning, taking clean brush, water, and blending it out. Just taking a little more of indigo. To the shadow hair as well, and again tining the brush and just blending it out. Just taking a little bit of indigo and trying to cover up the white space that we had left before. And now for the face as well, we will have some darker tone hair below the hat because of the shadow again. Then we can blend out the colour. Taking a little more of too and blending it out. So the first layer of the snowman is done. Let's wait for this to dry. Meanwhile, using neutral tint, we will add tree here on this side. So being careful that this is wet, we will add a very thin tree with its branches and all towards this site, okay? It could be it's not very, very visible, but it's okay. Just carve out the branches first and then we will work on clatter. I'll just take very dark tone of neutral tint and try to add to this tree. Working on the same strokes just with a darker tinge, okay? This will basically give another dimension to our paint. This will cover it with snow later, that's okay. Meanwhile, our snowman has dried, leveraging again the neutral tint, dabbing of excess water, we'll just paint out the buttons. If you want, you can switch to your detail brush and make these. To similarly, we have buttons here as well. Next, using the same neutral tint, we will paint on the fat. And again, start with a darker shade at the corners and to give it a dimension, we will just blend it out. So instead of being a very flat wash, we'll give it more dimensions. Cleaning up my brush, dabbing of excess water, and just splending it out. And this middle portion here would be the darkest So we start with a darker shade at the corners and then towards the middle portion, actually, we blend it out. This looks okay. Now, mixing this neutral tint to burn sienna. Let's paint out the sticks. Similarly on this side, I'm using my medium size brush because it has a good pointed tip. If you think this is something which you might not be able to get with a medium size brush, please go ahead and use your detailing brush. Okay, this is good. Now using yellow, we will start painting onto our scuff. The inner layer of the scarf, make it yellow. Similarly, the side. Now, I'm taking in yellow orange. You can use any orange that you have and I'll just try to get that blended with the yellow. You see, I've just cleaned up my brush, taken up little water and blended it out. What you can do is in your brush, take in more yellow and try to blend it out. Get in again more yellow and try to blend it out. Again, with orange in a similar fashion, we'll blend in this scarf, this side as well. Cleaning up my brush, taking in yellow, we'll just blend this in. Cleaning my brush, taking in yellow, we'll get this blending down. Now, for the strips that we have here, what we're going to do is we're going to take yellow and orange and tour by to add these thin strokes. This is the rule that we have, which is hanging like this, right? So just add it like this. Can take more of orange and add it on top of it. Now for this, what I can also do is I have the cadmium red orange, which we leverage to add a little more details to our calf. So I've just taken this in a diluted form and similar to how tabbing of excess water, we blend it in the yellow and the orange, we'll also blend this out. I'll use my medium size brush to blend it out. Again, with the detailing brush, dabbing of excess water, adding these strokes. With the clean brush, dabbing of excess water, we will just lend it out. Again, using this, we'll just add in some strokes over here. Again, with a clean brush, dabbing of excess water, we will just lend it out. Now, using this, we will add in more streaks over here. Now, what I'll do is I'll take a little bit of burn sienna and add that somewhere in between to give a shadow sort of effect. When a lot of oranges merge, you have that shadow effect, right? But this side, I'll just add a little more of Cerner. Now, for the carrot that we have, again, leavaging the orange, we'll start from this side, and you can see the strokes that I'm adding in. I'm not painting it completely. I'm just adding strokes like this because this will then give the carrot strokes that we have, right? So here, let me just fill it in. But then I'll again add the carrot like strokes. So this gives it a natural look of the carats. So just making the boundary a little bit better. And then again with the same red cadd orange and the orange mixture, we'll add some of the line streaks to give it another dimension. Okay. Okay. So here you have those lines on the carats, trying to add those. Let it dry a little bit, and then we'll add those. Meanwhile, using your neutral tint, a very dark tool of neutral tint will paint out the eyes. The cleaning up the sprash, tapping of excess water, taking a mix of orange and bon sienna. We add these lines somewhere to give it the carrot effect. Okay, so now as such, we are done with our snowman. I'm still not very happy with the cap that we have, so I'll just again taking neutro tint, adding in some darker tones. Okay, this side also, let's paint a tree, again, taking in neutral tint and that tree can start somewhere from here. Okay? And I say it has some branches protruding here around here as well. This is the tree. And just trying to get a tree on the side of the landscape. Now, using gouache will add lots and lots of snow. Okay? So they say the snowfall is happening right now. So you would have some snow here and say this is the ground, right? So you will have some snow here. And what we have done is we have accumulated the snow over here for the snowman to stay, right? So we have just collected some snow over here so that snowman is not rolling out with your dry brush stroke, you can give it this sort of texture. What we're trying to show here is we have collected the snow over here for the snowman to be able to stand and not roll off, right? So I'm just adding these brush strokes, just pulling in this color that we have already applied to make it stand out as if there's a hilly area, right? Again, say here as well, you have snow that has got collected, right? So just playing around with the dry brush strokes. So here also, because near the trees, the snows usually get collected, right? So that's this area. And what we'll also add is another truting area over here, which means there is, again, snow collected over here, right? Just say a small hilly area with the snow and you can always use your dry brush strokes. Okay. Now again, here as well, I'll just add in more snow to give it a healy effect. Now we will add lots of snow again on the trees. So starting here, say there is snow here accumulated You can see how I'm applying the strokes. My brush is slanting and I'm just very lightly trying to touch my colours, my brush, the paper, just giving it a little natural effect. And then here we have very thin branches, so it could be covered with snow. Mm Now, similarly to the other side. The trees, although it doesn't have much branches, but the trees always have rough structures. They have rough surface. So the snow can also get accumulated on that surface. See, I'm just pulling this up a little further just to depict there could be a very thin branch. It's not visible, but you have your snow on top of it, right? Now, there would also be snow on top of your hat, some were hair, some were here, then definitely on top of this. You carrot will also have some snow adding that. You scarf might have some snow, just very little, not much towards the corner. Strips might have snow and might also have some highlights. Using white, adding those. Then again, these arms will have snow So now, I'll just take in some color and we'll add in white splatters to depict snowfall. I've not added a lot of water because I do not want to dilute the white. But what I'll do is to show big snowballs. I'll just add some of those directly on the paper using a brush. Of course, your background is darker on the top, so you will have more snow effects being shown on the top. But I think now it looks better, right? When you started, you would have thought it's all indigo and all indigo. But now you can see it has come out well. It looks beautiful. So let's just wait for this to dry, and then we can peel off our masking tame and we will be done with our painting. So the painting has now dried. Let's peel off the masking tape. There you go. This is the final look of the painting. That's all for today. We'll see you tomorrow again with the new class project. 11. Day 9 Christmas Bells: Hi, everyone. This is the artwork that we are going to create in today's class. Okay, I have my paper here, using the masking tape, we will tap down the paper onto the table. Okay, I'm just running my fingers onto the paper right along the masking tape to make sure that there are no gaps between the tip and the paper. Okay, so the paper is ready. Let's start with the sketch for today's class. So for today, the main element is the Christmas bell, just trying to sketch it out. Okay, and then this is the oval of the bell. This would have double layer, so just making that. Take time on the sketch. It might not come out perfectly in the first attempt, but don't lose your patience and just slowly build onto the element. Now the second one would be somewhere here, coming out somewhere here like this. And this is the bell for the second one. Let me just clean this up a little bit. I still needs some work. So let me just try again. See, the sketch might not come out perfect in one attempt, so just slowly, we'll build onto the sketch. Now there's a ribbon that's coming in from the top, so the bow of the ribbon goes somewhere like this and goes like this. The end of the ribbon is something on the lines. Similarly this side. Now here, the space that you see is where you will have your green pines. Similar to the one that we created in other glass projects, we will create out some of the green leaves, the pine leaves. And Okay. I think this might not be in a center, so let me just make this little thicker. Okay, this looks better. And there's a ring attached here. So basically, your bell is hanging on, say, from your Christmas tree. This is where you will have your greens. Somewhere here as well, you will have your greens. Let me just clean up this area. Okay, I think we're done with the sketch. Using my kneelding eraser. Let me just lighten out some of the graphite marks. Now, what we'll do is we'll apply even coat of water. You have to be very careful while applying the even coat of water. I'm just going ahead with my large size brush and applying an even coat of water to the area, which is not part of the bill. See, I'm being very careful while I'm applying water near the ribbon area. Okay. And it's not necessary. You have to apply water till the very border of the catches. You can leave little space and then while we are painting, then that time we can take care of the colour application. My brush has a slight tinge of blue. So that's why you can see that the water that I'm applying is a little bluish, that's okay. Okay. Now, starting with serlean blue, just drop off some color. Okay. So as there is water that has been applied. So when you apply the color, it automatically spreads. So that's okay. That will help us to blend out the shades. Now, near the bell, we have these leaves as well, right? So I would ideally want to keep that area a little free. I mean, I want to keep that area without much of darker shades so that green and the dark green can be applied easily. Be very careful near the edges of the bells. I think that's all the blue that we need to apply. Now going ahead with indigo, I'll just drop off the sheets at some places and then try to blend it out. Again, I'll try to make the corners a little darker. So I'm trying to, that's why I apply indigo mostly towards the corners of the paper. It's a very light shade of blue that we have applied near the ose. As I said that we want to have the trees effect coming in. So this much of blue okay because that will help us get the blend smooth blend, and the trees will also be visible. Just building onto this section of the paper. Okay, now towards the other side, I'm going to take in the Indian gold and apply that shade. It's okay that Indian gold with blue gives you a slight greenish tinge. That's absolutely okay. Applying a little bit of Indian gold hair to bring that smooth blend across. And similarly, just applying a little bit of blue this side to not have very strike difference between these two colors, but just to know that, okay, they are there in the background. The left side is blue dominant and the right side is yellow burn sierra dominant, but they are not very clearly separated or segregated. Again, continuing with the Indian gold, again, being very careful near the bells and the bows. Now using burned Sienna and building onto the background. Like we had towards the left, the darker shade of indigo. Similarly, the darker shade towards the corner in the right side would be that of burn sienna. And burn sienna, mixed with blue gives a tinge of sepia. So below, these two regions are mixing out, so you might have a slight darker shade of burn sienna. You can see I'm just simply just playing around with the colors and trying to create some blends. Okay. I think we are done. What I'll just do is here in the middle. It's very evidently super blue. So let me just a mixture of blue and the burnt sienna and also taping of extra water from here. I just feel this could have been a little more of dark. So let me just try and see if we can manage to build it. Of course, the paper has started to dry, so we might have to work very carefully. So what I'll do is tap of excess water and try to blend in. And now when I blend in, I also get more water on the paper, which makes it easier for me to work on data as well. Just blending it out over here and creating more darker shade of indigo at the corner. Again, cleaning up my brush, dabbing off excess water, and just trying to create a clean blend. This side also, the paper has started to dry, taking in burn sienna and trying to apply an even at of water again with the burn sienna itself. Now here near the bells going back with the greenish shade. I just trying to make a smooth blend. We are also going to paint snow, okay? So in case you feel the blending or something is not coming out to be okay, you have an option of covering it up with the snow later on. So don't you worry and just enjoy this process, and then later once this dries and once we are done with all our elements, then if something doesn't look nice, doesn't look right, we can play around with it always, okay? No similarly taking in the Indian gold, I'll just try to build on and reapply the water along with the color along with the Indian gold to this side of the paper as well. I'll use burn Sala and just get the corners because that was the whole purpose of rewetting the paper, we'll just get these corners a little more darker. And now we'll wait for this to dry. Post, we will paint our bells and ribbons. Okay, so now the paper has dried. We'll first start with painting the right side bell. And for that, we'll use Indian gold, burn Sienna and sepia. So starting with Indian gold, we'll just apply the color on the bell, work on it very slowly, and be very careful while painting on the edges. Now adding burnt sienna on top of the Indian gold and blending it out. The colors towards the exterior of the bell would be a little darker and we will try to have a glow in the middle of this bell. Be very careful near the corners and the edges. Okay, so now just blending it out more evenly. You see, we have a glow somewhere here in the center. Taking in a mixture of Indian gold and Bron sienna and just making the corners darker again, which will basically enhance the globe that we have in the middle. Okay. Now, what I'll do is with a clean damp brush, you'll remove these threads and blend it out. And using neutral tint or paint gray and mix of burn sienna, or you can also use sepia, we will make this area a little bit more darker. Okay. Similarly, this area as well. Now, using burn Sienna, we will blend this out. And then using the Indian gold, we will blend this out in the center. So this is the first layer that we have. Just making this a little more darker as it looks a little uneven, again, cleaning off my brush and blending it out. I'm working on it very slowly so as to not lose the charm of the bells. We are almost there just trying to make it a little more glowy. Again, using burnt sienna and neutral tint or sepia, for just this section, we will make it a little bit more darker. Now, let's wait for this to dry. Meanwhile, using sepia, we will just add it to the ring that we have here, adding Indian gold on top of it to get some contrast. I think this looks okay. Now, this ball is something that we can paint, but being very careful about it, taking in burnt sienna, especially this side of the bell, would be darker as it is under the curb, so we will have the shadow. Okay? And then using Indian gold, we will just blend it out and create a smooth blend. Being very careful work very slowly when you paint this. This painting is all about getting smooth blends and playing around with shadows and lights. Okay, again with the Indian gold, just blending it out. Really happy with the way the ball has turned out. So now let's wait for all of this to dry for us to paint the next steps. Okay, so the paper has now dried. Let's first paint this section, and then we'll continue on the second taking in Indian gold. We'll add the color on the inner side of the bell. Being very careful so as not to disturb the existing layer, the one that we have painted and also maintain a slight gap this line that we had sketched out, right? So just trying not to get color onto that one. If you are not comfortable painting the edges with your medium size brush, you can always go ahead and use your detail brush to have better control this side as well, going ahead with the Indian gold. This is good as the first layer. And now using burn sienna, we will darken the area towards the edge. So either middle section or the area near this bell would be lighter versus what you have towards your edge. So just the way we painted the bell, we would slowly bit by bit, darken this area as well with applying burn sienna and then later with paints gray or sepia. Dabbing of excess water. I'm just adding sepia or a mixture of burn sienna and paints gray or neutral tint to this area. If you do not have sepia, don't worry. You can always create your own and you can do that by mixing tinge of paints gray to your burn sienna. Okay. Now, just to blend it out, I'm using Indian gold, dabbing of all the excess water, and just applying that this side to let go of the hair like strokes that we have and also just to blend out all the colors. Okay. I think this looks good. Now, similar to how we painted this bell, we will continue with this one. So starting with Indian gold, and we'll not paint till the very top till say somewhere here is what we will have the bell. Okay. Just being very careful and mindful that we have just painted this. So if you want, you can wait for that to dry and then continue with this, or else if you feel that you can paint this together, please go ahead. Can see I'm being very careful near the area where we are touching the second bell or say, I would say the first bell. I'll just blend this out here. So we'll be painting in the green over here. The pine tree green leaves would be here. But I'm just trying to be very mindful and just blending it out. Now here again, painting with Indian gold. It's all Indian gold that we are working on right now for the first layer, and then we will add in the burn sienna and sepia to blend it out. Now using burned sienna. Again, the middle section would be your Indian gold and we will have burned sienna or the darker shades coming in from the edges. Just building that out. Now going ahead with a darker tone, which is your mix of burn sienna and pains gray and adding out to the edges. Similarly this side as well. Now, we will be building on it bit by bit and slowly. Again, I'm taking Indian gold and trying to blend this out over here. Going ahead with burned sienna, adding the darker shade. Now using Indian gold, dabbing of excess water, blending this all out. Okay. What I'll do is I'll just add a little bit more of sepia towards this corner. It has a lot of burned sienna, but less of sepia just to bring that uniformity and building onto this side as well. Adding in bun sienna and now using Indian gold, blending it out. Let's wait for this to dry before we can work on the other areas. Meanwhile, what I'll do is for this bill, we have the ring over here. Let me just paint it out. I've started with the Indian gold and created a very nice and clean ring and then using Bn Siena, we'll just add the color. Okay. And with sepia, just some places to print that darkness around. So let's wait for this to dry before we paint on the bow and the green leaves. Okay. Okay, so this is not dried. I'll just paint this section more. So again, using my medium size brush and Indian gold, dibum of excess water, we will just paint it out. This is a little tilted because the bells are ringing and they are swinging, right? So that's where this has got a little bit of tilt to the bell that you see over here. Go ahead with burnt sienna and then with sepia. Okay. No cleaning off my brush, dabbing of excess water, picking up Indian gold, again, dabbing of excess water and just cleaning this out. Again, I'm cleaning my brush, dabbing of excess water, and I'll just remove a little bit of color from here as to not have the hail like strokes. Okay, this is good. Now I've got my green here, sap green. So using sap green and darker shade of green where we will mix pains gray, and using the detailed brush, we will add in the pine leaves. So starting with sap green for now, so say there are leaves that's coming out from here. Okay. The strokes are similar to what we had painted when we were working on the class project of pine trees. So you can play around mix and match at sap green, add more of Pains grey, Okay. Now I'm taking the darker shade, mixing it with green, and adding that over here. Now again going with sap cream. On this side, I'll just add in some more of green, some flat wash, and then we will build on to the strokes. They could lot of grass over here. So just added that. And now with dark green, we will add in the leaves. Using more of dark green and adding into the leaves. Now, going ahead with Saki and adding some of them with the side as well. We Now using darker shade of cream, add some of the leaves. Again, going ahead with sap cream and adding some over this side. Taking a little more of darker shade and adding those hydrides. I'll just add one more somewhere over here. Okay. That's it. Okay. Now for the ribbon, I'll be using vermilion and men red. Now using my medium size brush, permanent red, we'll start painting the ribbon. Okay. Now, what I'll do is mixing a little bit of burnt sienna with the permanent red or vermilion to get a darker shade and we'll just drop that in some places. Now, again, using permanent red, we'll paint out the ribbon. So I'm starting with the middle section and I'm purposefully leaving out the sides. We'll add cold to it later. And painting out the side. This is where the ribbon goes. I'll first make all the flat washes of permanent red and then we'll add in those darker shade. Be very careful and very patiently work on this step because all our other background elements are already done. This is the final element of our painting, being very careful to not spoil this one. And now, taking a mix of burnt sienna and permanent red, you just add in some stroke to gther new dimension. Similar Now, just take in in permanent red tabbing of excess water. This way, I'll just dent it up to make sure there is no hard lines. Now, taking in something like sepia, a very, very dark shade, paint out this section. Similarly on this side. You can mix a little bit of red to get that reddish tinge so that it doesn't look out very odd because at the end of the day the red ribbon itself, just because it's ribbon it's inside, it's become little darker. Okay, I'll just add more of the darker shade darker tone to give a little more of the effect. Not taking green brush, just dabbing off excess water just blending it out. Okay. Now let's wait for this to dry. Meanwhile, for this one, I'll use my white gel pen, and on these leaves, right, we'll just add some places some highlights of wine. Adding in some broken lines to give that highlight effect. If you don't have the white elfin, you can go ahead and use your white gauche. Now for the bells, I'm using this golden acrylic marker, and I'm just going to add that to the bells. I don't have any metallic colors. If you have the metallic watercolors, you can definitely definitely use those. Similar liquor as well. So the corner of your ribbon has this golden color. Okay, this this as well. Okay? Okay. What I want to do is I just add some design to the ben. Okay. And I think few dots on top of this. And similarly here and lower, you can add these see strokes, and then on the top, can just add these dots. And just highlight it onto the bell as well. This, what I also do is I add some highlights with the white jelpen as well. Okay. Using the white elpen just at some places adding these highlights too. And Now, the last thing for us to do is to make it a little winter effect, we'll just add some splatters. But what I'll do is we'll try to avoid having splatters onto the bell somewhere around here, somewhere around here, and it could come on to the bell as well, but the splatters would be at the background. Okay? So just using my white quash taking in my medium size brush. I'll just try to add some splatters to the background. One, two might come on the bells, that's okay. But it's majorly for the background. Okay? This makes the painting come live, right? Now I'll just make a few of them as usual, little big. Okay. The painting is now ready. Let us try to peel off the masking? This is how the final piece looks like. Doesn't this look beautiful and give you a Christmas peak? Let's talk for today. We meet again tomorrow with a new glass 12. Day 10 Winter Gloves: Hi, everyone. This is the class project that we are going to paint today. I have my paper here. Now using my masking tape, we'll tape down the paper onto the table. A running my fingers across the tape to make sure that there is no gap between the tape and the paper. For this one, we would need to sketch using my pencil and eraser, we'll just sketch it out. This would be the horizon, here we have snowy hill. Here we have another one. Say this is the side where we have some of the trees being seen is some here, some here. This is the place where we have another and then in the background also we have some trees. Now the main element of this painting this class are the gloves. So it's a fun painting where say your gloves are hanging outside and there's snowfall happening, so your gloves are covered with snow. This is the wire on which the gloves are hanging, not just sketching out the first glove. See, this is the glove. Okay, I'm just working out with just rough sketch to understand how it would come out. This is the first sketch, and this is attached with a clip. Just to make it out feel better, this is what you have and you have this. This is just a design that we have on the gloves and then this is the main gloves. The second one I'll make somewhere here. It's hanging a little low and this is how it looks. This is hanging a little low and you have a big clip holding this out. We'll have some designs. I'll sketch it out a little later and see the third one is hanging very low. It is somewhere here. This is hanging low, so it has a very long clip. Okay. Now for the design, this one has a simple design here. This one has the main line coming here and then it has some vertical lines as well. Sections are different color that we paint out. And the third one, also, it has just some frills will paint it out. Okay. So this is the sketch. Now, what I'll do is using my kneelding eraser, I'll just lighten up the graphite marks, okay? That's all. A little bit here. Now, what we'll do is we'll apply water to the sky area of the paper. And for that, I'll just use my Hake brush. It's okay you apply water on the gloves area. We will be painting a very light sky, so that's okay because your gloves would be more vibrant and would have more tone to your colors. Using my large size brush and serine blue, I'll just apply the color, so it will be darker towards the top, but it would be lighter when we come down. Adding a darker shade on the top and making it lighter as we come towards the bottom. It's okay if you have color coming over here because we will anyways be having the snow cap on the same. Now, what we can also do so the background trees are very behind, so they are not very clearly visible. What I can do is using the neutral tint and my medium size brush, dapping of all the excess water, this side of the painting right, left side, we can just chart out the trees. Now, for this color, even though we are painting wet and wet, let's try avoiding the color going into your gloves. And using my detail brush, I'll just chart out some of the darker strokes as well just to give that little dimension to the trees. Even if you're painting wet on wet, the way you apply your brushes, right, the brush strokes that gets captured into your paper. So that's why I'm just applying it again. So that comes out that trees that we have painted here. Okay, this is done. Now let us wait for this to dry. What we can do is we can paint the bottom part. And for that, again, I'll use my large size brush and going ahead with indigo, a very light version. So say this is here mounted, right? So we have to be very careful as to not get a darker tone onto our gloves, so I'll just print it out. Similarly, this side as well. Okay. You can see I'm just playing around the gloves. Okay. And then we'll plant it up. Okay. Similarly, adding another one over here. Now, this is towards us, so there is no gloves hanging out, so we can make it a little darker. Okay. And I'm just branding this up with the one that we already had at the start at the front. That's it. I'll not add anymore. I'll just try to let this out and clean it up. I would ideally want to have a little bit of whiteness of the paper as well. That's why not going ahead with any more of color, trying to blend this out that we already have. This is good. The paper has not dried. Now for the rope, we'll use yellow, and I have it onto my palette here, the cellular yellow that I have, activate the color. Dabbing of excess water, I'll just paint it out. Okay. Now, using burnt sienna, dabbing of excess water, we'll just add it towards the bottom side. Just very lightly. We will not cover the whole of the yellow, but just to give it shadow effect because we'll have snow on top of it. We'll just add the burn sienna. Okay. Now, starting with the gloves, we'll start with orange one for this. Tabbing of excess water and just fade this out. Adding the same this side as well. Now, using burn sienna and orange mix instead of burn sienna, we'll just add the shadow. Taking a little more of burnt sienna, tabbing of excess water, and just building in top of it. Okay. Now what I'll do is I'll use orange, a very diluted version, tab of excess water, and we'll just try to blend this out. Okay, cleaning my brush. Every time I pick up more of orange, I clean up my brush because while I blend out, my brush could pick up some of the burn sienna from the paper itself. So I don't want that to happen. See, this is blended. And here as well, blending it out. Taking more sienna and just tell me this a little more evident. This that we have here would also have your shadow. This looks good, using my medium size brush and vermilion and orange mix and adding slight of burns Siena, as well will paint this section of the gloves. So it has to be a little darker than the orange that we have. It has a little bit of this unevenness, so I've just added that. Now, using burnt sienna, although this has dried and tabbing of excess water, we'll just add this little prominent. Now you just using clean water, tabbing of excess water, we'll just blend it out. Okay. Using orange, blending it up, okay? Now, using my detailing brush and burn sienna, along with a little bit of paint scrap. So basically, sepia is what we are looking for. We will add in these highlights, the design part, right? So this is what will come in sepia. Okay. Also, remember, we sketched some lines over here, just uneven ones. Those will also be with sepia. Now let's wait for the above one to dry, and then we will add in details with the sepia on that as well. Now using your Indian gold, we'll add the first layer to these clips that we have. Now, let all of this dry and then we will add more details. Meanwhile, I just realized that this has to be a little more over here. So again, taking a little bit of orange and just adding this. Okay. Now for the second one, we'll use red and using my medium size brush, we will paint this out. Okay? I'm just making this little big while I'm painting it out. Just having a flat wash right now, and then we will add in the highlights and the shadows. Using the same color, we will also paint this section, adding that Okay. Now, using your burn Siena, we'll add in the shade here. The middle section between the two lines that's made up of burn sienna. Just being very careful. Now, a mix of burn sienna and red. Basically, it will give you something like a red, brownish shade. Using that, we will add the shadow. So there will be a darker tone coming in here. Let me just take a little more of color and less of water and here. And we will have some over here as making this a little more prominent in this one and then this side as well. This we will have a little more of details like these, similar to what we painted for the other glove. Now, cleaning off my brush, taking in red, and just blending this out. And this side as well. Just taking in red tabbing of excess water and blending this out. We'll make this little more prominent once this dries. But for now, this looks good. Okay? For the burned sienna as well, just taking a little darker tone and adding that. That seem very light and dull. So just adding another coater burn sienna and being very careful because your reds are still wet. Okay, this looks good. Now, let's wait for this to dry. Meanwhile, for the gloves, we can start the first layer, and we will paint it with peacock blue, cleaning up my brush, taking in peacock blue. This is from the brand modular machine that I'm using dabbing of excess water, and we will just paint it out. So this side, I'm just adding a little darker tone. Then just blending it out with a clean water, clean brush to get a lighter shade. Again, picking a little more colour, just dropping that out over here, and then somewhere here at the top as well. Picking up some color here to get that slight light tone and highlight over this side. Now again, picking up peacock blue will paint out this area of our gloves. You can use den green or any other blue as an alternative. Just playing around with the darker and the lighter tone of this color for these gloves. Again, dropping in some darks, being very careful. And just dropping in some darker shades to get that natural effect, okay? So you can see this color itself is such a beautiful color. How you can achieve this color is you can mix your variant green and indigo to get this shade. This section as well, we paint with the same color. If you do not feel comfortable using your medium size brush, please go ahead with a small size brush and paint it out, but be very careful as to we do not want the colors to come on this area and other places because that's going to be a lighter shade, and it will be difficult to remove your darker shade tones from that section. Okay. Okay, now let's wait for T to dry. Okay. Continuing with it. I'll use green with a tinge of pinscrem, so a darker green you'll paint this section of the second glove, dabbing of excess water, and just painting it out. Now, for these two lines that we have, we'll use yellow, mixing it with slight orange. I just add that out. This is the same shed that we will have for this as well. Just adding that. And we'll also add some of these here as well. Okay. Now, for this one, right, I'll just take a little bit more of born sienna and red combination. And we'll just try to add some highlights over here. This we just added while it was wet. So it did not come through a lot. Just trying to add them now when it has dried. That will give it another dimension altogether. Similarly here as well. Just building onto the highlights that we already have. But this how quickly it got uplifted. Similarly, using the burn Sienna will add some darker tones to this one as well. Somewhere it could be thick, somewhere it could be very thin. Okay. Now, while all of this dries, the script that we had created, right? Now let's just add another dimension to it using Vol Sienna. So I'm just trying to bring it another layer of another color, and then we will also add in Pain's gray as well. That's it for now. Not this one, right? The peacock blue that we had added will also add in between these as well. So just between these yellow lines, we would also have the peacock blue lines. Taking a little move of yellow, tabling of excess water, and adding some. I think once this dries, then we'll add it out, okay? Once the mole that we have applied has dried, then we will add another layer. Now, this yellow that we had, it will also have a shadow. It's just adding orangish yellow hair to get that shadow effect. Let me just make that orange little more prominent. Okay? I see. Just trying to fill in the white stat we have. Rest, I think we are good. Now, let's paint out this. For that, using a lighter tone of neutral tint, dabbing of excess water. We will just paint it out. Right now we're just adding a very lighter tone because we'll add more layers on top of it. No taking paints gray, we'll just drop it at some places. And you will also paint out this clip holder. So basically, there could be a screw or something which is holding onto this clip, right? So just add it. Now for this one, we will go ahead with the Indian gold, similar to what we had the first one and we'll add burnt sienna and other shades to it. Okay. Now, using this peacock blue and paints gray, I'll just add some shadows over here. Very lightly, you do not want it to be too prominent, but just trying to add it here to give it a dimension. Similarly, something here as well. It's not too prominent, but it gives out a clear bifurcation that there's some shadow. Okay. And using neutro tint, similar to what we painted for others, we'll just add in these lines here as well. And something as well just like a shadow. Now using burn sienna, we'll just add some details onto this one. Now, taking a neutral tint and bone sienna. So basically sepia. For the first one, we'll just add some more details. Okay. Now for this one, let me try adding a tinge of orange to the yellow shade that we have. I'm just bending it out. Okay. Similarly here as well. Let this just dry. I'll just add a little more of the peacock Buchte on this one. No, I wanted to paint a tree over this side, but I feel it looks complete with this aspect itself. So what I'll do is meanwhile just this portion dries using white, we will start to add the snow. Snowfall is happening right now. So we will have snow being collected on top of this wire or even on top of the gloves on top of the clips that we have. So just with white, just adding in the snow effect. Continuing adding the snow but here on top of these clips would be some snow. And also, I'll just make it a little more whites. These clips would also have some snow on top of it, and then you will have snow here as well as on this layer as well. Okay? So say here, it might be a little bit less. And then as you come here, they might little bit more of snow. Similarly, the lines as well. But this he is covered with snow. That's why we had this white area, and this as well as snow on top of it. There could be a little bit more of snow in some places. There could be heaps of it, because it has the clip over here, so it could be that there could be more snow around these clip areas. And now the favorite part, we will add in the splatters. Let me just take up a little more of color. So I'll take a little bit more water as well to get little thicker drops too. Adding a little more of water to get these bigger splashes. They would turn a little lighter after it has dried, but this gives the effect of a snowy storm because it would be a little blurred and would have a lot of snow, right? Okay, I think this is enough. Our gloves are totally covered in snow. Just in some places, I'll add in big spots. Okay. Now, let's wait for this to dry a little bit, and then we can peel off the masking tape. Okay, let's peel off the masking tape. So this is the final painting. Hope you all enjoyed painting this for today. We'll meet you again tomorrow with a new class project. Bye bye. 13. Day 11 Christmas Tree: Hi, everyone. This is the class project that we are going to paint today. I have my paper here using the massing tape, we'll tape down the paper onto the table. Okay, I'm just running my fingers onto the masking tape to make sure that there is no gap between the tape and the paper. Now for the pencil sketch, it's a Christmas tree, right? So we'll have a Christmas tree somewhere here, and then it would be a background. So say this is where the pie is, and we will have our Christmas tree somewhere like this. I'm actually not going to sketch out the complete Christmas tree, just the outline for us where the tree is and where is the background. Okay? So say this is where the Christmas tree would come in. And here would be a star. Let me just sketch that out. Okay. This is going to be a star, and it's going to have some thing like this for our keepsake. And then because it's a Christmas tree, it will also have your ornaments, right? I'll just add these balls multiple places. Okay. Okay. And then we will also have ribbon across our Christmas tree. So say it goes from here. Then it comes here for something like this. Goes stretch from here to this. Okay. So we have some thing hanging from here as well. Apart from the ribbons, there would be some strings and all right. So those are also hanging in. And then a big one comes here. Then say we have some frills coming in here, some decorations coming in. Some more of ornaments coming in from here. I think there should be enough for the background because it's Christmas, so there are some ornaments also lying on the snow. Okay. And then you have gifts here. Okay. Let's say there's another gift here. Okay. It has a bow, and then it has the ribbons. Okay, we're not going to paint them very detail. The main element for us is still the Christmas tree. So that's what we will be painting in detail. Rest are all the elements complementing the Christmas tree. Okay, specifically for this one, I would want to apply the masking flue. We'll apply to the star, to the frills, to the ornaments, so that when we paint the background and the Christmas tree, these ornaments do not get the color on top of it. Okay? Now, so for the masking flue, I'll be using this cellar masking flue that I have, and I will be using this old brush that I have, okay? Taking the masking fluid, add it over here. Okay. And then add a little bit water to it to just dilute it out. And then we'll just add the masking fluid to the areas where we do not want the background color or the green of the trees to cover up. If you do not have a masking flute, it's okay. You just have to be very careful, like we have been painting other paintings. You just have to be very careful to not get colors to your ornaments or to your ribbons, right? That's all. The masking fluide is just an alternate, and I also wanted to show how do you use masking flutes? So that's why just sharing that out. We are basically using the masking flute because the color of it will be green, different shades of green, what, dark, green, we, light green, but it will be a color of a darker tone, whereas these ornaments would be gold in colour or yellowish in color, or red or blue, right? So these colors will not be visible if you apply it on top of the colors that we are going to apply on your tree, right? So that is why it's important to mask them out. Okay, I think that should be enough. Rest all of these, we can manage. Now let's wait for this to dry completely, and then we will start on our painting. So the masking fluid has now dried. Now, what I'll do is we'll first paint the background for that we use erle blue and using my large size brush, I'll just apply some water over this side to get that blend. We don't need to apply the water to the heat page, so that's why not using my hake brush, large size brush data have. Okay. And now using serlein blue with these vertical strokes, we'll just apply the colour, okay? Just being careful where we do not have masking fluid. This side, it's okay because it's a very lighter tone of blue. The green that we will apply will take care of it. That's it. I'll just try to add a slight darker tone here. Oh. And then using clean brush, we'll just drag it below. Okay, so we are done, and now just using my tissue, I'll just tap off the excess water that we have somewhere here. Now, let's wait for this to dry, and then we will paint on our Christmas tree. Okay, so now this is not dried using sap cream, so I already have some colors onto my older palette so I'll use that for now. And using my medium size brush, we will start painting the Christmas tree. Dabbing off excess water. So I'll just be building on these tree like streaks. And it's okay if you have some white spaces for now or say blue at the top, because we will also be adding darker tones. Okay? But this would be the streaks or our brush strokes that we would be painting the whole tree with. So you can go ahead and start building the same using sap green to the whole of the tree. And then after this is done, we will move to our darker tones bit by bit. Okay. So right now, just going ahead with our sap green. And as you come down, it'll grow like this. So as you come down, you can take your leaves towards more of the farther corners. Say like this. Being careful near these gifts, and I think this is done. We're done with the first layer. Now what I'll do is I'll mix tinge of pain scray to my green to get a darker tone of green. To your sap green, you can just add a tinge of your pain scrayO neutral tint, okay? So that will give you a darker tone of green, and we will add that again to a tree, same way that we did our sap cream, okay? You have painted this over here, so just be very careful. Just trying to cover up any whites that we might have. And even if it's there, right, it's okay. Same strokes, but just darker tinge of green. Especially the grass, the ornaments or the ribbons would be a little bit more darker because of the shadow effect. So you can keep that also in mind while adding these darker tones. The adding this as well. So a Christmas tree is supposed to come till here actually, now is what I realized because see, you have a ribbon coming here. Let me just take a little more of sap green. Let me just lowly bit by bit try to build the Christmas tree on this side. It should not be misaligned, but I think we can increase the width of the Christmas tree can come till here. Similarly, increasing it a little bit this side as well, bit by bit, going ahead with the dark tone. Adding the darker tones as well. Okay, so this looks good. Just adding a few more of the darker tone. We're good with the Christmas tree. Now, meanwhile, this dries using indigo and my large size brush will paint out the base. It's going to be a lighter shade. Building here. So I just applying a little water with the shade here. We will just blend out the Christmas tree like this and just taking in clean water near the tree. Okay. This looks good. Just pulling in the green towards the blue that we have, okay? Okay. And now, using a little darker shade, we'll just add that near the objects and towards the corner. And here at the bottom of the Christmas tree as well. So blending it out. Similarly, you'll have something here. You'll have it here. Now what we can do is because this all is dried, we can remove the masking fluid from these and start building onto the ribbon and the ornaments that we have in the background. So you can use your eraser or I just use my finger and when you rub it on top of your masking flute, it will come out automatically, and now we can paint these areas. Okay? So for the ribbon, I'll use permanent red. And now using my medium size brush, We add debt over here. Now, cleaning up my brush just from this area, I lift off some color to give a shadow effect. Again, cleaning off my brush, dabbing of excess water, just lifting off some color. See? Now, using burnt sienna, which I already have onto my other palette, dabbing of excess water will add some shadows. This area is a little darker, it comes here, it becomes lighter and then here again, it becomes darker. This whitish that we have right, instead of having it white, just using my sennelar yellow that I again have onto my other palette, using the cellular yellow, I'll add just a little bit of overheir to it gives a different glow to it. Okay. Now again, using my permanent red, dabbing off all the excess water, we will just blend all of this out. Cleaning up my brush, dabbing off all excess water, using yellow, blending this out. So we always try to blend it out with the lighter shade of the color that we have, okay? So now, when we're blending the burnt sienna and the red, we used red to blend it out. So this one for now is okay. Once this is dry, we will add a golden shade to it. For the ornaments, I'm using yellow. So going back to my other palette, I have similar yellow over here and just we'll start with this one first. So at this side, we'll add the yellow. I'll clean off my brush, dab of excess water, and blend this out. This section, we will try to keep it highlighted so we don't want to add more of color over here. So just blending it out. And this side could be your little bit of orange to just give that shadow. Again, using yellow, we will just blend this out. And I will also just clean up the edges that we have. Let me take a little bit more of orange, dab of excess water, and just clean up this edge. Cleaning up my brush, dabbing off all the excess water, and we remove the color. Let me just take my detailed brush and orange to just get this round, okay? This looks okay. Now for the other ball over here, let us use Oprah or pink. You can go ahead and paint these ornaments in whatever color you like because these are all ornaments, right? There's no specific color for it. So using this light pink dabbing of excess water. Now, again, for this as well, we will try to keep a natural white dish of the paper. This swing has given some harsh edges, so I'm just blending it out. Okay, this, let's just blend it out. For this, the complimentary color would be purple. What we'll do is we'll add the darker tone of purple towards the corner. I'll use bright violet from the brand mag Mission gold and similar to what we did here, we will just add that to this side. Now using your pink dapping of all the excess water, we will just blend it out. Now, this one that we have we paint them in green, taking sap green, a very light version of it, a tone down version of it, and we will paint this wall. Again, taking in sap green, dripping off excess water, and just dropping dead shade. Now with sap cream, I'll ideally not add any other tone. We'll just live with sap because we want that light glowy green wall, with the sap green also, we'll try to get there. Now, all of this has dried, so let's remove the masking fluid. Now, with a yellow and orange mix, we will paint onto our star. Just with this yellow dabbing off the excess water, we will paint the star. The orange highlights we will add once this is dried. So for now, just a flat wash of your yellow, the brightest yellow dart you might have. With the same yellow, we will also paint out some of the ribbons. There are two ribbons that's going through your Christmas tree. One is yellow, and one is red. So red will come towards this last one, but the other ones are in a shade of yellow and orange, so we can start with the yellow shade, and then we will add a highlight of orange to this yellow ribbon. So we'll stop here because the red one is what is coming on top of it, and then we'll continue from here. Okay. Now, using orange, we will just drop it in some places to get this dual tone effect, okay? Okay, so yellow and orange blend well with each other. So once we apply this orange, using yellow, we'll try to blend it again. Now using yellow, we'll just work on top of it to blend these harsh lines that we might have. See, your yellow dt was just a single color has got uplifted after we added a tinge of orange to it. And now with just this blending, it becomes more natural. Now we'll paint these ornaments. These are very small, might not have a lot of place to paint them in detail as we did the others. Just say, this one is yellow in color, adding that. This could also be yellow in colour. Let them dry, then we will add the other shades. Now in red, we'll add some of the bright red ornaments. Okay, so the other one could be here. You can go ahead and add the colors that you want on your Christmas tree. There is no compulsion to just use the colours that I am using. Now, I'll take blue as well and we'll add some of the blue ornament wal as well. Adding one here too. Now using this bright pink as well, we will add some of those bold as well. Okay. The other is green. So using sap green, a very light tone. Otherwise, it would not be visible with the Christmas tree that we have, right? Okay. For the remaining balls, I would actually go ahead and use a very fun blue which is this horizon blue from Shin hen watercolors. It's a very bright and opaque sort of blue. Okay. There are a few Christmas balls left, again, using some very diluted tone of sap cream. There are two balls left right. Let's just add those. Okay. Now what I'll do is to the ones that we already had right, say for yellow, using your orange, we'll just add another dimension to it. And now using clean brush, let me just add a little bit of yellow. We will just blend it out, okay? The pinks, I'll add the purple tone. Now using the pink dabbing of excess water, we will just blend it out. Okay, so this has given us some glow. For the reds, I will use the burn Siena, a very lighter tone of it, and add that. And again, using permanent red, we will just blend it out. Now, using the red, we will paint out this ribbon as well. Okay. So starting from here. Let me use my medium size brush for this tab of excess water. Okay. And here we will use yellow, dab of excess water and blend this out. Again, picking up more of yellow and just blending this out towards the red. Picking up more red. Okay. And now with burned CN and a red mixture, which is basically a darker tone to red, we will have this side a little bit more darker. And then we will blend it out with a red. Now for the star at the top, using a detailed brush and orange tabbing of excess water, you will just add some highlights. Now using my yellow, you will just blend it out so that we don't have these harsh edges. Again picking up a little bit of orange. I think we are good for now. Okay. Now for the ornaments and the gifts that we have here, using my medium size brush, for the ornaments, we will paint them in yellow. So here it goes and say this one as well. We add orange this one somewhere here. Okay. And similarly here as well. Cleaning of my brush, dabbing off excess water. We will just blend it out. Just taking a bit of yellow and trying to create a clean blend. Okay. There you go. Okay. For the other two, we'll use blue and add. Okay. So one of them is this blue, the sedenblue that we have. And it's okay. It is just half seen because it is covered with snow and the other one, we will paint it in the horizon blue. This one that we have here. Now for the gifts, using detailed or the small size brush and red color, we'll paint on these gifts. Say, this is the gift that we have here, and I'm purposefully leaving some space between these. We will add the burnt sienna shade to gift that proper shape. And these ribbons, we will color them in the golden shade, so I'll leverage my golden marker for it. Now using burnt sienna, we'll just add some shadows to it. Repeating the same for the other one, taking in red, dabbing of excess mortar, and just painting on the gift box. Okay. Okay. No taking in bun Siena and adding in shadows. Okay. Now, what we are going to do is using the white chirpin and the golden one, we'll add some shadows. First of all, for these ornaments that we have, they have something like this on which it hangs, right? So we'll just add those. And then something on the lines, it would have a golden shimmer. The ribbon would have a golden band towards its corners. Okay? So we will just add those as well. Similarly here as well, you have some goldenish tinge to your ribbon, as well as to your ornaments. So for now, I'm just adding it on the ornaments, because the ornaments would be hanging on from a thread, right? So for now, I'm just painting the upper portion of the ornaments. And then using the thin gelpin, we will add some of the strings because some of the strings would be visible to us. So it's hanging from the tree with these strings. Similarly on like we have in this ribbon, you would also have something for these ribbons as well. So just adding those out, not completely covering it. You can see I'm just adding it in some places as broken lines to give it just that feel that it is slightly visible from the tree. And this red one is where we will add it completely. So very slowly just building onto the border. For this as well, you will have something like this coming in. And using this il pen is what you will have some of these strings, okay? So there could also be some of the ribbons just coming in like this, just adding those out in some places. And then your star that would also have some shine of the golden Now, these gifts I think this looks okay. What I will just do is below here with indigo, tabbing of excess water, and just add some more shadow here. Some more shadow here as well. Using my cleaned brush, tabbing of excess water, we just try to blend it out. I feel we can just add a little bit of white splatters to give it a white Christmasy feel. And just few droplets, we can add it onto a Christmas tree. Okay. Just giving it a feel, not too many, giving it a feel of a white Christmas. That's all for this painting. Let's just wait for a few of the elements to dry. Then we'll peel off the masking tape, and we'll look at the final look of the painting. Okay, let's peel off the masking tape. This is the final look of the painting. It's a simple and a beautiful Christmas tree. Hope you enjoyed the glass project. 14. Day 12 Holiday Beverage: Hi, everyone. This is the class project that we are going to work today. I have my paper here ready. Using the masking tape, we will tape down the paper. Starting with a very light tone of the sketch because it's going to take some time to get this. Work on this very patiently because it is a little difficult sketch. We are trying to paint a hot beverage, which is your cinnamon and lemon tea. Okay. This looks okay. There is a piece of lemon that will be shown. A cinnamon stick would come this side and another one this side. Okay? Now the shape of the cup would be something like this. It will have the holder coming in here. Okay. Your cup would have design coming in like this. And then this would be the cup holder. And your cup would be on a saucer, which would somewhere come out like this. Now we will just clean up the cup and sketch it out properly. I'll just make this little bit thinner. You have your drink coming in from here, so you have a piece of lemon here floating around it. Now, we will have a long cinnamon stick over here. And if you know how it looks, it is something like this. It is rolled out something like you would also have another stick which is tipped in over here, and this is how it will look like. Now your plate is okay. I think this looks okay. The cup shape is also good and the cup stand is also good. Now, you will have, say, there is a lemon cut lemon kept over here, so you will have that. I'm not sketching it out completely because we'll be painting it out. Say there's another lemon that's kept here. So what we'll do is we'll also add some cinnamon sticks as well. Okay? So there is a cinnamon stick which is here, and then it is again rolled up here. And we will also add this star shaped ingredient as well. I just want to add here one orange. It's orange lemon tea. So you have this here, and then you have your shades, that's it. So I will just try to this from here because this is not visible, then late lines are not visible. Using my yielding eraser, I'll just try to lighten up some of the graphite marks. We do not want to lose everything completely because it has taken us some time to get the correct dimensions, but just the harsh lines, we can let go of it. Okay. So a sketch is ready. Now using my hake brush, we'll apply even coat of water. You can use any large size brush that you have. Okay, we're going to paint a very simple background, a flat wash of Indian gold. Now using my large size brush and Indian gold will drop that color. A very light version is what we will get towards the bottom. You see my strokes, I'm keeping it purposefully vertical to depict a wall which might have this color of wall or a wallpaper. Now, we will have to wait for this to dry before we paint in the other components. Now, just using my tissue, I'll just dab off all the excess water from the corners to avoid water seeping back to the paper. Okay. So the paper has not dried, starting with the T over here, using my medium size brush and Indian gold. So we will have a lighter shade over here, and while we go towards the corner, we will have darker shade. For the lighter shade, I'm just using the Indian gold over here. And then cleaning off my brush, dabbing of excess water, we will just blend it out. That's the color that we want. Either you take a very, very diluted version of Indian gold, We will just keep a slight cap. Now, taking yellow orange, we will add that shade towards the sides. We'll later blend it out together. Can see we are working on with a very valid diluted tone of the colors for now. Once we build onto the second layer, that's when we will add more tones if needed. Okay. Now again, taking in Indian gold, dabbing of excess water, and just blending the orange and the Indian gold out. Now towards the very corner, we will have very dark tones. So I'm going ahead with burnt sienna and dropping that over here. Okay. Similarly, this side as well. Now, using yellow orange, we will just pll this out. Now you can see I've also picked up a little darker tone of yellow orange. In case you don't have yellow orange, you can always mix your yellow, either the gambo yellow or the cellular yellow with your orange to get this shade. Okay. And now again with your Indian gold, just blend out the middle section. Just pulling in the burns bit by bit to the side. Adding born a little bit till the side. Two And then with the Indian gold, we will just blend it out. What I'll do is I will just lift off some color from this side because we wanted that lightest tone to be seen, right? That's it. Okay? It all looks also natural. Similarly, we will paint the top side as well. Again, going ahead with the Indian gold, we have a very light sketch of the lemon and the cinnamon stick, so being careful of that We'll start with the Indian gold, and then whenever we have the shadows and the corners, we will add the darker tone of burnt sienna. I'm just taking in the yellow orange and applying that over this side. Again, taking Indian gold and continuing to apply the same. And Now, using burn Siena, just dropping off some darker tones this side, as it will have the shadow of your lemon and the cinnamon stick. This side will have the shadow of your cup and then some dots over here. Cleaning up my brush, taking in more of Indian gold, dabbing of excess water, we will just lend this out. I will just drop in a little bit of burn sienna on this side. And what we can also do it by mixing burn sienna and paints gray, basically using sepia, we can add a little bit more of darker tones. Dropping off some color here. Now, cleaning off my brush, dabbing off excess water, let's just blend this out. Meanwhile, this dries, we will paint off the lemons and the oranges that we have. So taking in my detail brush yellow and dabbing off excess water, we will try to add in the lemon strokes, the strokes depicting the fibers of the lemon or the orange. Now, using a diluted of yellow, dabbing of excess water, we will paint the outer section. I will add a bit of orange as well just towards the corner to get that orange feel. Cleaning up my brush, dabbing of excess water, we'll just blend this out. And now with the yellow orange again, we'll try to build in the orange strokes. We will have some whites in between, which is fine. Same thing we would build in for this orange as well, starting with the lemon, trying to build on the fiber strokes. There are sections in the citrus fruits, right, so we're just trying to build that. You're starting with yellow, but we will add in other colors as well on top of it. Going ahead with yellow orange, dabbing of excess water, and adding in the strokes. Now using orange as well, we will add the same strokes to both of these orange slices. Using toned down version of yellow orange, we will add the border. Okay? Now, taking in clean brush, dabbing of excess water, we'll just blend this out. We do not want to blend this out completely because we want to maintain slight whiteness of the paper. I will also take a little bit of burn sienna and add them to the skin, too. I'm just adding a little bit of orange at some places. Now, this has dried. We will paint in the glass now, and for that, we will use pain scrap, a very diluted version of pain screen. So just adding lots of water to it, I will start with the below one because the top one we have just painted a few minutes back, so it might be wet. Starting off with this section where we might add some broken lines. It will be more of a diluted version. Similarly, this side as well. Now going ahead with more diluted version, we will paint out the Handan. I'm just dropping in some colors, and then we will blend it out. With my clean brush, we'll just pick up some of the colour that we have here. Okay. Now also dropping a little bit of Indian gold because we would have the reflection of the drink on the handle. Now for the bottom one as well, where we see the cup stand, we will add a little bit of Indian gold and then we'll blend it out. Now, this side also will drop a little of urint tint and we'll just blend it out. This area would be dark because of the shadow of the Cinnamon Stick. Now for the cup stand, we will wait for it to dry. Meanwhile, I will just wet this section and we'll add in the highlights there with the tone down paint screen. Now, here we have the oranges, right, so this will have some shadow. And just building on top of it. With clean water, we will blend all of this out. Now, this side also will have a lot of shadow. With the clean brush, we'll just try to blend this out. This area, I just add some more of the darker tones of Payne's gray. This is a tricky class project, as we have to work with shadows and water control. But once you get a hang of it, you will be able to apply the same tricks for any of your artwork. There are so many elements we can keep on painting something or the other. On this side, I will just a little bit more orange and then bunsena. Okay. And now I'll just add in the birds here as well. Okay. Cleaning of my brush, dabbing off all the excess water, we will just lend this out. Okay. Now we can paint this ring in paints gray with a lighter, very lighter tone of it. So I'm just taking in a detailed brush and just adding it around the rim. We will keep some space blank and add some white highlights to it. Simili seed as well. Now for the cinnamon stick over here, using burn, Sienna will start adding that. Now, using a mix of neutral tint and burnt sienna, basically sepia, we will add in the highlights, starting with the inside, so this would be totally darker. This will also have some shadow. And similarly, these sections as well. We can add more details once this dries in with a darker tone of neutral tint, for now, just blending it out. Similarly, meanwhile, for the star that we have, using the burned CNA is what we will start adding the first layer. And then once this dries, we will add in the darker tones of sepia. Now, using your yellow, we can paint the lemon that we have on our drink, just adding the lemon brush strokes that we had leverage for the other slices, adding that. Taking in yellow orange and trying to build on top of it. And again, with the yellow orange itself, we will just add in the skin of the lemon slice. Now, once this dries, we will add an orange to it as well. Using my medium size brush, we will paint the orange that we have here. Now, this one, we can start with the lemon orange. The brush strokes would be somewhat similar to what we have here. You can see. I'm just trying to capture the layers of the orange. So my brush strokes are also similar to what we have. Now using orange, we will add in some of the darker tones. And for these darker tones, we will add a little bit of burn sienna as well towards the bottom. Again, trying to keep the brush stroke the way it is of an orange peel. This looks okay. Just taking a little bit more of orange, dabbing of excess water, and just trying to blend this out. The billow part could be a little bit more darker, so I'm just adding in the burned sienna as well. Cleaning up my brush, dabbing off all the excess water, and just blending all of this out. Okay. You see, as in when I pick some colour, I dab it off onto my shoe paper and then start again to pick the colour. Okay. Now, this cinnamon stick has dried. Now taking in sepia or a mix of neutral tint and bone sienna. I'll just add in some details. Similarly to this side as well. Now again, using the Sepia itself, we will add another layer to these star shaped spices that we have. I'm being very careful while painting this. Now, using your burn here and Sapia bricks again. It's a Sapia one that we are working on right now. We will just add the D of this. I'm just using a dotted approach to build this one. We would just need to add a little bit of orange here to close on this gap. Now, using burn sienna, we will paint the two cinnamon sticks that we have here. Medium size brush. So what we'll do is we'll use burn sienna and create the first layer, and then we will add the sepia mix or even the darker burn sienna mix to give it more dimensions. For nuts are just a flat wash. And similarly here as well, we'll add in all the details once this dries off. Now, using paints gray, we will add some of the darker shadows to our ground. I'll start with lighter tone for now, so your orange will have shadow, right? Just trying to create that right? Your cinnamon stick will have shadow. So just blending that out. Your plate will have shadow. So it's all this side, okay? Your shadows all would be this side. So this would be the direction of the streaks as well. This would have the darkest shadow here. This would have the darkest shadow here. We'll add a little bit more of darker tones later. This would have shadow. It would be the darkest over here. This will have some shadow, but it would be in a lighter too. This would be very dark because this would have shadow. This would have shadows. Again, just lending it out. All of this would have a shadow. This would have a darker shadow. Now we are just lending. This is now giving a shadow effect, no similarly. This will have a shadow. Taking in my clean brush, dabbing of excess water, just blending this out. Now here, being very careful because you have another element, it should not go to that element. Similarly, this would have a shadow and it will go something like this. It would not be much because you will have your plate here. So ideally, your plate will have the shadow for your orange, which we will build in using the pains gray. So very diluted tone of pains gray will have a shadow here. And it would be in the shape of this orange, so that's the shadow that's coming, okay? This is your plate water, okay? Don't worry if it doesn't come out will be super good. I mean, the plate, we will anyways have a highlight done on the plate, okay? But this shadow should be very evident that it is a shadow of your orange. I will just try to get some paint scray here as well because the shadow would still be there. Now, using my detail brush and paint scray we'll just add some darker tones to the glass rim in some sort of broken lines. It will not be very evidently a complete line. I'm just trying to give that highlights to the glass. Similarly to the inner rim as well. If you want, you can use a black fine liner gelpin as well to create these marks. Similarly, this area as well. Some of these intersections. There will also be highlight of white coming on top of it, so this will then work out in a better way. So highlights over here as well. Now, the orange peel that we have at the top, just using orange and dropping off it at some places to give that closed look of the orange. And the skin will also have a tinge of orange to it. Okay, we'll add more highlights with the white for the cinnamon stick. Using again, burn see enough, we will start to build on it. So this section would be the darkest. And similarly, this one, inside would be the darkest. Let me take my medium size brush. It'll be easy to blend out the colors using Vin Siena, just dropping that off at some places. Similarly here as well. For the other one, too. So I feel, we can add a little bit of sepia towards the corners of this. So I will just use burn Sienna and just try to reapply the colors for this. And just using utrtint and burn Sienna mix, we'll just drop off that color somewhere here. Now again, using yellow orange, we will just blend this out. Tapping off all the excess water and just blending this up. Adding in a little bit of sepia towards the corners. Now it burns sienna, just having that tone as well. And then we blend it out. Now, this looks a little bit better. Similarly this section, also, I'll just add a little bit of bun sienna. And then tapping of all the excess water, we will just blend it out. And Okay. Now using my detailing brush and burn Siena, I just want to highlight some of the areas of this orange with burned Sienna as well. It's not coming out to be very prominent. Now using sepia. So basically the neutral tint and my burn Siena, we will add the details to the cinnamon stick. Okay? First of all, I'll just add the darker tone here. And this is what is the darkest because here you have two cinnamon sticks combining, right? So this is the most dark point of the cinnamon stick, which is where I'm adding the sapien. And then there are some time cracks also in the cinnamon stick. So say this is that crack and we have some darker tones here as well. Now using your burnt sienna, we will just blend the sun. With a little bit more of sepia, dropping that in some places. And specifically over here. Now, similarly, this is your darker tone and then this middle section where these two joins would be the most darkest one. Not using your bone Sena, just blending all of this out. I'll just add a little bit of darker tones here, the sepia, basically, because this will have darker shadows, okay. So just adding that towards this section, Ital I can actually make it a little bit till here because your lemon would be in your drink, right? So we'll just extend my drink till there. And now you can add a new yellow orange or burn sienna. I'll use my medium sized brush for this to just quickly blend it out the Indian gold, all the colors that we added to just blend this out with the over on drink. Okay. This works, right. See? The lemon slice is floating on your drink. Using my small size brush and orange, dabbing if all the excess water, I'll just add some highlights onto the orange, the whole of orange that we have here. Just very thin and very light lines. Now, meanwhile, the other things tries using my white, we will just add some shadows to a drink. You can also go ahead and use your white quash. I actually feel more comfortable using this white elpin. And if you remember, we had created some designs onto workup, right? So just adding those highlights as well. There would be some highlights here as well. Like you have your black highlights, you will also have your white highlights, too. The major is your oranges. This will also have your white highlights, adding that. Just adding some white tot. Here also, you will have your whites. The top of the glass ring will also have a white, I told you, we will add some white lines on top of it, so that is how it goes. Silimon stick would have some highlights, adding those as well. And then this orange as well we have some highlights. The last thing is using sepia. I'll just add some elements here as well. One thing that I want to do is add a little bit more of shadow. So going ahead with a very diluted tint of sepia, and I'll just add some shadows over here as well. Just some sort of a very rough shadow. Now, this feels good. We'll just wait for some of the elements to dry off because it's a little wet and then we'll peel off the masking tape. You can peel off the masking tape now. This is the fun piece. Thank you for joining in today's class. We'll see you again with the new glass project till then. Bye bye. 15. Day 13 Christmas Wreath: Hi, everyone. This is the class project that we're going to paint today. I have my paper here using my masking tape, we will tape down the paper to the surface. Okay. So my paper is ready. Today we're going to paint the Christmas wreath. Before that, we will just add in the background. I will be using this cobalt violet light, or you can use any purple tone that you have or a violet tone that you have. I just wanted to try out this color, so that's why I've just used this for the background. So say that could be the color of the door that we have where your wreath has been placed on. So first, we will just paint the background, and then we will start with the wreath. Okay. I think this much water should be enough because we just want to have a flat wash of colors over here. Okay. Now using my large size brush and taking in the cobalt toilet, we'll just add the color to the paper. Okay. It's a very light shade. So just painting this out vertically to give it a door effect, doesn't have to be directly from top to bottom. You can paint it from middle as well, but just that you will try to have vertical strokes done. So this would give you a feel of a door. Remember I said in other class projects as well, the way you apply colored, the brush strokes that you have, those get captured onto your paper. Like when you colour dries, it will look like we have painted it vertically this way, can go top to bottom or you can go from bottom to top, whichever way you want, you can just have that done. While working on this, I realize we can also add a little bit of let to it. So I'm just using my let. We don't want very dark shade. We want a lighter shade only, but the cobalt violet was very light. So I'm just adding tone of violet on top of it. If your color already has darker tones, so then you don't need to go ahead with this step. You can use any of the color that you want as a background, okay, but let's keep it a little light so that the green statue paint on top of it should be visible. Using my tissue, I'll just dab off all the excess water. Okay. Now we'll wait for this to dry, and then we will paint on Areth. Okay, so the paper has not dried. Look how beautiful this looks. Now what I'll do is using my pencil and my masking tape, I'll just add a circle So I'm not sure if you can see it, but I've sketched out here a circle. Okay, now what I'll do is I have this round box over here, and using burn Siena, I just add that color over here. Okay? It might not be there throughout. That's okay because it is plastic, so Okay. And then now using the burn Siena itself, I'll just join this out. So it's okay if it has not come out perfect because you will anyways be adding in the greens, right. So this was just to give us a guidance of how this circle would come in, and we don't want it to be perfect circle as well. So say this is the first one. Now, what I'll do is taking in more of burn Sienna, dabbing of excess water. I'll just add a criss cross as if there's a second circle as well, which is cutting this one in some places, say like this. Okay? This is just to give you a direction. Now, what I'll do is using your sap green, this is what we will start. So I have my sap creen onto my palette, you will start building onto the leaves. Okay? And it could be simple leaves that you have. For now, I'm just dropping in the leaves. Okay. Save from here as well. You will add different shades of greens on top of all of these, so that's okay. You can just start anywhere you want. There could also be different shapes of leaves, different tone of leaves. You would have different directions as well. See, I'm just taking the tip, pressing it, and leaving. Take the tip, press it, and just join it okay. You can play around with this the way you want. This is a very fun painting where there is no compulsion of just painting out the way I have done, but this just gives you a direction of how you can start building onto your wreath, but it doesn't need to be in the same way. So I'm done with just one type of leaves for now. Let's wait for this to dry. What we can do is while this dries, I'll take a little bit more of sap green and we will add a little neutral tint to it and we'll paint out another type of leaf. I have paint gray from my older palate. This should be good. And now we'll just add more leaves. It could be somewhere like the maple leaves that we have. You can have a mix of that, you can have a mix of the simple leaves that we have made. You can keep on adding more leaves. Now what I'll do is using the red that we have, we will also paint out some berries. So there would be some berries as well, part of your red. Okay. Let's start from here because here, the colors have dried. I've just added as a class project because even if you don't know the different ways of painting a leaf with just the same technique and different colors and different elements, you can paint a red for yourself, and it will come out beautiful. Okay, now, I'll just add a little bit more of neutral tint to my green and make it a little bit more darker dabbing of excess water. You can also add is the pine leaves. And for that, let me use my detailing brush. Okay? So dabbing of excess water and just trying to paint out the pine leaves. Say somewhere between here, there is a stem that has come out and you can add the pine leaves. We add them here as well, at some places just to give dad a different feel of your leaves. It's okay if it comes on top of your berries as well because that's how you will get the natural effect of painting the wreath because it's all clubbed together, right? Just trying to paint them as thin as possible. Another one coming this side. So you can paint them the way you want. As I said, there's no standard way of painting a red. I'm just giving you the ideas of what all you can add as components, and then you can build on top of them. Okay. We will also add some white lines and all those things type of a leaf or stem that we might have on top of the one that we already have just adding that very thin and there's no specific shape or pattern to it, adding them. Okay. I can see I'm just adding in these white streaks like as if I'm painting out three branches. Pine trees, eavestack we had? Let me just make them a little bit more darker in some places. I've just taken almost paints gray mixed with green, but a very, very dark tone, and I'm just adding that in some places. This will just help us out in giving another dimension to our red I'm not adding anything new. The pine leaves that we already have in some places, I'm adding these dark color. So now we are almost done with this. What I'll just do is using the two golden pens that I have, we'll just add some blink to it. So say there could be something like this, okay? Not much, just a few places. This is very optional, okay? As I said, this is just directional. You can bring your own customizations and add things that you would want to have on your wreath. Okay. That's all. We're done with the painting. So now I'll just peel off the masking day. A very simple and easy Christmas wreath. This is all for today's class. We'll meet you again tomorrow with the new class project. 16. Day 14 Holiday Candles: Hi, everyone. This is the class project that we're going to paint today. Okay, so I have my paper here using the masking tape, we'll tape down the paper on all the four sides. Okay, I'm just running my fingers through all the four sides to make sure that there is no gap between the tape and the paper. Okay, now for the sketch using a pencil and eraser. So say here, we will have a tray, which would be something like this, and we will have our candles on this tray. Okay. This looks okay and see, I have a candle here. It is curved from the side, and then you have your candle flick over here. And then just attached to this would be another candle. Say something like this, a tall one. Okay, you will have the flick over here. Say then we have some gap, and then we have a shorter candle over here. Okay. And another medium sized rather candle over here. Okay, so this would be the sketch. And now using my knitting eraser, I will just lighten up the graphite marks. Okay. Now for the background, using my large size brush and clean water, I'll just apply an even coat of water over there. Seems like my brush has some yellowish tinge, which is okay because the background would be in the shades of Indian gold, burn Sienna, sepia, et cetera. Just being careful to not get any water onto the candle. I'm leaving out some area, some space between the candles and the water application surface. This should be okay. Now using Indian gold, dabbing of all the excess water, just apply the first layer of the color. Okay? And near the candle flax, we'll just try to not add any color because that would bright, right. So it would be a little whitish in color. The area just near the candle flak Being very careful near the candle areas. If your large size brush does not have a pointed tip, please use a medium size or a detail brush to paint the area between the candles, okay? Now, using burnt sienna, tabbing of excess water will add some darker tones to some area. This section would have some darker tones. Okay. Now cleaning up my brush, taking in Indian gold, tabbing of excess water, we'll just try to blend all of this out. Okay. Now, the area where we have the flicks using a clean brush, I'll just lift off the color and blend these out so that we do not have a very clear bifurcation between the two colors. So I've just cleaned off my brush, tabbing off all the excess water, blending all of this out. Okay. And we can also lift off some color from the candle flack area. Similarly, this side as well, blending all of this out. Cleaning off my brush, tabling excess water, then blending, all of this. Again, using Indian gold and trying to apply the sheets. Now, using burn sienna once again and going on top of some of the area. This side has to be a little bit more darker. This area as well. Here we will have brightness because of two candle flicks. But again, this area would be a little darker, applying the dark burnt sienna sheets. Okay. Now what I'm going to do is using burnt umber, this darker shade. Burnt umber is a darker shade. So we'll just apply that towards the darker areas. Something like this, this would be the most dark. So we will have ideally sepia or paint screw over there. But for the other regions, we can add in the burnt umber to gradually increase the darker shades. Okay. Now again, I'm just cleaning up my brush, dabbing of excess water, using Indian gold, tabbing of excess water, just trying to blend all of this out. Okay. Cleaning up my brush, tapping of excess water, just blending all of this out. This area, we would have some whiteness, so just trying to maintain that. And now using a mix of burn Siena and pain scrave which is basically sepia, just dropping out that darker tone towards the darkest areas, right? So just trying to drop it at some places. So here it would be in the corner towards this side, somewhere towards here as well, because it is between these two candles, right it will have some shade towards this side and towards this side. Okay. Now again, cleaning up my brush, taking in Indian gold, just blending all of this out, okay? Just trying to blend this out as well. Cleaning up my brush, dappling of excess water, and just blending this area. Not just using the paints gray, which is the most darkest shade, just dropping it somewhere in this side. Similarly, this side as well. And this side, okay? No, I been cleaning up my brush. Now, this time, I'll take just a little bit of born sienna and try to add that shape to blend all of this out. Okay. And then taking an Indian gold, diluted version of it, tabbing of excess water, and then blending all of this out. Cleaning up the shape of the candle. And taking a clean brush, tapping of excess water, just trying to lift off some color. Okay. This side, I'll just try to blend this out a little bit to get a uniform blend. But other than that, I think we are good. Let's just wait for this to dry now, and then we will add in more details. Okay, so this has not dried. Now, what I'll do is we'll paint this bench. For that, again, I'm taking my large size brush and just applying some water. Okay. And now using Indian gold, just apply some color. Being careful near the stray borders. Okay. So this is the base layer. Now, what I'll do is using burn Siena, we'll drop off some highlights, darker shades and then specifically here because it will have a shadow, we'll add in the darker tone. Adding in umber as well. Dabbing off the excess water and building onto the bench. I'll take sepia, basically the mix of paints gray and bone sienna and add that over here. This would be the darkest. So just adding that and also at some places just adding these highlights. Okay. Because it's a wooden table, right? So it will have some darker textures as well. I'll move to my detailed brush and using that and burnt umber, dabbing of excess water, just adding onto the darker tones. You can see as and when I pick up more color, I dab off the excess water onto my tissue paper and then apply the colour onto the paper. Okay. And what we'll also have is there would be some candle reflections coming in, so taking in a denser tone of Indian gold and just trying to apply that. We'll use white later and try to get those shadow reflections. Now, starting with the first candle, using my medium size brush and permanent red, we will apply that shade. Being careful around the corners. Okay. And now, using clean water, I'll just blend this out. Taking in more red, dropping in more color towards the quarters, similarly towards this side as well. So basically the sides will have a darker tone versus the middle portion with the middle section. So just building that. And now, cleaning up my brush, dabbing of excess water, just blending all of this out. Again, taking in more denser color and dropping off that shade. What I'll do is I'll take a little bit of paints gray and add that to our red to get a darker tone and using that just towards the corner, we can add that darker shade. Now just cleaning up my brush and blending all of this out. I think this looks good. I will just clean up the corners over from here. Taking in more red and just blending this out. We now cleaning up my brush, dabbing of excess water, and making a clean blend. This looks okay. Similarly, we will paint this candle as well. So we'll wait for this to dry before we paint the one adjacent to it, but we can start with the third one. Working on it in a similar manner, so making the corners darker, starting with the permanent red for now, cleaning up my brush and just blending this out. Oh Okay. Now taking in the darker shade and dropping that towards the corner. Okay, taking a little bit more red, tabbing of excess water, and just blending this out. Okay, now cleaning up my brush, tabbing of excess water, and just blending all of this out. To make this lighter, I'm just lifting off the color and cleaning up my brush. Okay, let's wait for this to dry a few minutes more. This one is almost right, and then we will start painting the second candle. Okay, so this is not right. For the other two candles, we'll use orange, so I'm using my yellow orange for the same. And using my medium size brush in a very similar fashion, we'll apply the colors. It is mainly a very light tone of orange. So using my clean water, I'm just blending all of this out, okay? Here you go. So this just has a little darker tone because it has your shadow coming in from the red candid that we have, right? So that's why it has a darker tone over there. But other than that, throughout the candle would be a very light tone, and that's what we have got over here. Similarly, the other one as well, taking in orange. And then cleaning off my brush, dabbing of excess water, just blending all of this out. Again, taking a little orange, just dropping that off over here, and rest all just blending all of this out. This looks good. Now, meanwhile, this dries. Let's try to paint candlesick for the first one. Now for that, I'll use white gouache. Okay. And using my detail brush, I'll just taken a little bit of white. We'll start with white, and then we'll build on it. We'll just carve out the candle flick. Okay. That's the candle flick that we have. Now, using cadmium yellow, or if you don't have cadmium yellow, you can use any yellow and white gouache makes. We will add this yellow to the white. Okay. Taking in orange, tabbing of excess water, and adding a darker tone towards the bottom. Again, cleaning up my brush, taking in cadmium yellow, tabbing of excess water, and just pulling up that orange. Okay. Then taking in yellow, tabbing of excess water, and just blending this out. Now, using my pain scray or neutral tint, we will add the flick over here. And then using my burned Siena dabbing of excess water just towards the flick area, we add the burned Sienna shade. Continuing with your yellow and white gouache, building onto the flick. Okay. Similarly, working on this one. Just try to make this a bigger one. Taking in cadmium yellow. Taking in paints gray or neutral tint. Using burn CNA, dabbing of excess water. Okay. Then again, taking in yellow. Stabbing of excess water, and just blend this out. We'll take a little bit orange. Let me just add a little bit of white tine to this one. The background is very light white, so not able to make this one out. And let me just also add in the yellow as well. Okay. Now again, taking in the white and adding a flake now using in cadmium yellow, dabbing of excess water. Taking an orange, tapping of all the excess water, and building it out. Okay. Now, I'll use in the paint gray. A in the flick over here. Ad in the bun Se now. And then using cadmium yellow and white, building onto that, flick. And then this one. Taking in yellow taking in orange, dabbing off again all the excess water and building onto the bottom. Now, using painscroneutrl tint, adding the candle flick. Adding that round shape that we get, adding that with the burn Siena then using yellow which is to blend this out. Oh. Now we paint the tray. I'll start with the burn sienna burn umber shade. Okay. Adding a darker tone with the paints gray. Okay, so this looks fine. What I'll just try to do is on these candles, right, using a very light tone of orange and bun sienna, just try to add a small glow that we see, right? And taking a clean brush to just blend this out. This is just given a slight glow where we have a candle flick. Similarly doing this to this one as well. Now using my clean brush, dabbing off all the excess water, blending this out. It's a very light tone, but it gives some effect of the candle. Okay. This side as well. I already has the darker tone and the candle is visible, but I'll just try to bring in that little bit of glow that we get right. So I've added the color, dabbing of excess water, cleaning up my brush, blend this out. Okay. Similarly the side as well. I'm cleaning up my brush, dapping off all the excess water, and we'll just lm this out. Okay. This looks a little better. Now, using burns sienna and paint scrap, so basically sepia, dabbing off all the excess water. I just add some lines to the wood. Just some wooden texture. Here as well. So you lead this side as well. Okay. What I'll also do is on this tray right with burnt sienna and then with pain square later on, we'll just add some lines and texture because that's also made of wood. Okay, so it will also have some texture to it. Alright. And again, now using your pink gray and burn Sienna mix. Basically, again, your sepia will make some of these strokes. Ait darker. And I think on the candles, I will just use the golden pen and get some designs on it. It could be a very simple just something Christmasy? And Christmas is all about bling and shine, adding some shimmer to it. Okay. Okay, so we are done. Now, let me just remove the masmote. This is the final look of the painting. 17. Day 15 Ginger Breads: Hi, everyone. This is the class project that we're going to paint today. Okay, I have my paper here using the masking tape, we will tape down the paper on all the four corners. Just running my fingers through all the four sides to make sure that there are no gaps between the tape and the people. Now for the pencil sketch, we'll start with a plate. And we have our gingerbread over here. So say one of the gingerbread is in a shape of a Christmas tree, so just adding that. And then you have a gingerbread in the shape of the gingerbread, okay. And say another gingerman cookie is somewhere over here. Okay? Let me just make this here and say you have a candy over here. You plate has some design, so we have that over the corners. Okay. So for the Christmas tree, say we have some design over here, and we would have some ornaments. Okay. And for the gingerbread, we will have some buttons. Is the buttons. And all the eyes and everything, we'll make it with the white marker. Now for this one, let's say there's a bow here. And then you have the tress button. Okay. And one of them will be on top of the other one, we will not have that cross. Say here also, you have a ginger cookie, Christmas tree shaped, so you just have some num line. You have a cup or a bowl, something which has your dough. Say you have some candies over here as well. Okay. There might be a gingerbread cookie here as well. Okay. Again, some buttons over here and say a bow. Okay, and then we'll add some elements again. This looks okay. When using my knitting eraser, we just lighten up the graphite marks. Okay, now, starting with the background first, using painsray on neutral tint and I'm using my large size brush, we'll just add some colours, okay? Actually, I think, let's use indigo. Okay. I'll just apply some water towards this section so easier to get your colors. This would be the darkest section, so it's okay if we just pick up your indigo and add the colors over here. We will blend this out and make the other area a little lighter. See, using indigo and applying the shades. Again, this area would have some shadow of this utensil that we have, taking in more of indigo and just adding that shadow. Similarly, this one, we can make it a little bit more darker. And now, you can just blend this out. You can just play around with this as the curve of the plate is not proper circle, so it's okay if it becomes irregular because anyways, it's not going to be a proper c you can easily play around with your colors and try to blend in the darker shades of indigue some places with the lighter tounes. Be careful here as well as we have the cookie. Taking in more of indigo, just adding some takatos towards this side. No just blending all of this out. It Just being careful around these sketch areas. Market on a indigo, taping of xs water and just dropping it off here. Cleaning up my brush, tabbing of excess water, and blending all of this out. This India is a very lighter tone, so I'm just painting it out on the gingerbread as well because we will not be applying the darker tone over here. Just going at the darker tone here on this side, thinning up my brush, tabbing of excess water, and just blending this out. Again, taking a little bit more of indigo and trying to add darker tone towards these sites because this plate is the main focus, right? So we're just adding the shadows all perfectly over here. Aside, I'll just use my detail brush, take a lot of indigo, dab of excess water and try to get a shadow, a very focused area of the shadow. That's why we use the detail brush so that I have more control and dabbing of all the excess water, I'll just remove all the hair like strokes and blend out the indigo data Similarly, the side on the gingiman as well, we would have some shadow. This side as well, adding those. And with my medium size brush, cleaned water, just blending all of this out, okay? We'll add more of the shadows towards the later side because we had applied what the gingerbread, remember, because of which, these colours are spreading and we're not able to get a perfect lint, but that's okay because it's a little far, so a very soft shadow is what we are aiming for. We'll add on later some bread crumbs and all those things, white snow effect and all snow, I mean because we'll have white icing in all right? So some icing effect as well we'll add. All of these das which does not look good, we can cover that up later as well. Now let's wait for this to dry, then we'll start without gingerbread. In fact, we can start with the gingerbread over here, just taking in the born sienna and my medium size brush dabbing of all the excess water, just starting on with the gingerbread. Taking in a lighter tone and just trying to add the first layer, and then we will add in the shadows, et cetera. Whenever I'm picking the color, I'm dabbing of all the excess water and just trying to paint out the ginger flare. Using my medium size brush, continuing painting the gingerbread, trying to add in another layer, okay? And Okay. This is done. Now, the second gingerbread. Okay. Being very careful near the buttons and the areas that we want to paint with another color, rest of the body, we'll just paint it out with the bunsian. It's a cookie, right, so we will have some places it could be a little bit more baked in, so it will have a little bit more darker tones, and in some places it would be a little lighter. I Okay, so here you go. That's the second gingerbread. And then we have the Christmas tree shaped one, so just adding burn sienna to that one as well. Painting the other Christmas tree this side. Now using sepia, I'll just add some darker tones at some places just to bring in some contrast and shadow effect to the cookie. Adding some siders, well, this cup that we see here. So it has, say, some of your baking stuff, just adding that as well, okay? We had another gingerman painted over here, so just taking in again the burn Siena and just dropping the colour. Now, what I'll do is using my detail brush and permanent red, we'll add in the reds of the candy cane. Say this is going to be the red. Then another one over here. That's where it ends. Then the other cane Then this is hiding below the gingerbread, right, so it will not have that one complete. And there you go. The other one that we have here, being careful about the gingerbread that we have painted right now. What I'll do is using burn Siena and this red mix, just getting a little darker tone, and we'll add it one direction. So just to give it a shadow and the darker to a lighter tone effect. Okay? No taking in your permanent red, dabbing off all the excess water, you will just blend this. Okay. Now let's wait for this to dry, then we'll paint in the other details. While this dries, I'll just make this cook a little bit more better. I'm just taking in the burn Siena, dabbing of excess water, and just blending all of this out, okay? Okay, this should be good. Okay, so now everything has dried. Now, using my detailed brush and neutral tint, we'll paint out the white spaces with neutral tint and basically depicting the shadows on the calcine. Okay. So using my detailed brush, using neutral tint, very, very diluted version of it. Okay. And so let me start from here. Okay. Now, what I'll do is using my medium size brush, taking in water, dabbing of excess water, we will just blend this out. Okay. So this gives in a shadow effect. Now again, using my detailed brush, tabbing of all the excess water, I will just add in the color over here. Similarly again here and now again. I'm switching between the two brushes, applying the color using my detailed brush and then using my medium size brush, just dending it up. You can continue doing it in a similar way on all the candy canes. Now, this one, because it has another candy cane on top, will have a little bit more of shadow, so I will just paint it out with a detailed brush itself, on this side as well, continuing and going ahead with a detailed brush. So this one, I will just apply a little bit of more colour over here just to give that effect and then with the in brush, just tnding it out. Similar to this one as well. Okay. I done a little bit more over here just to give this clean look. Seminary, we'll do it to the side as well. Starting from here. Here I'll just use my detailed brush only because it's a very small area. Using my detailed brush, dabbing off all the excess water, and just pulling the colouring. No taking the medium sized brush. Okay. Take your time on this step and work on this very slowly. It's okay if a little bit of red colour comes into your paints gray area, the neutrted area. Okay. This looks good. Now, using my medium size brush and very diluted tone of paint gray, dabbing off all the excess water, at some places we'll just add the shadow to the plate. Say this one I've applied, and then I will just blend all of this out. I think I can use my large size brush as well for this. Again, picking a little bit of paint screytabbing of excess water, and just dropping that in. Using my clean brush, just blending this out. Similarly, this side as well. And then using my large size brush, tabbing of excess water, and just blending this out. We will add in the shadows later right now just adding in the first layer of the plate. Similarly, this side as well. But this area is a very thin area, right? We have very little space for blending, so I'll just use my medium size brush itself and we'll try to blend it out. Okay. That's the first layer. Towards this side as well, right, this plate as well. I will just take in the paint scray for the neutral tint, ad in the first layer, and then with the clean brush, we'll just blend this out. Now, what we'll do is we will paint in the bright colors of the bow and the buttons that we have to keep. Now for that, one of the colours that I'll use is the cadmium yellow that I already have it over here. So just taking that and say, I'll just paint out the bow in this yellow color. Okay. Similarly, I'll paint out a ball over here and save one of the buttons over here and save one of the balls again over here. One of the other colours that I'll use is this cadmium green pale. So this is, again, opaque color, and this would come out very beautifully on the ornaments or on the bows. So just adding this. So for this bow, I'm adding in this color. So there's this button with this color, and again, here as well. Okay, I'll add one more This over here and say this button as well. The other color that is permanent red, red is our favorite color for the Christmas. So this is one of the Christmas bowl. This one also has a button of red color. This as well has a button over here. Red color. I did not sketch it out, but obviously, you can add it randomly wherever you want. I mean, we had painted the brown over it over the button, so that's okay. And this red, I will also apply over here as well. And the last colour that I'll go with is we already have yellow, we have red. Let's go with orange. So I've taken this cadmium red orange onto my palette. You can use any orange dat you have. I had this right now next to me. Now taking in the orange. I'll apply here two or three balls here as well, I'll apply another button for this another one, then this Christmas tree and for this Christmas tree, let me also add the colors again. So say yellow is coming over here again, this one has a yellow over here. Okay. And then let me take up this green that we had, right? So I'll just add another ball of green. For this, I think we are good. Now, what we'll do using this red that I have? Remember, we sketched out some zigzag lines. So very randomly and in a free hand manner, I'll just add that line. It can be broken. It can be wavy. There's no specific pattern of painting this. Okay? So just adding this red line. I'd also take in the green add another one. Okay? We're done with the plate. Now, what I'll do is the same pattern, right. At least the red. I'll also apply to this plate as well. Say that was a bigger one and this is a small plate of the same set. So done with the red and similarly with the green as well. Now, we'll have to wait for this to dry. Meanwhile, I just think we can add little shadows to our ginger breads that we have. I'll just take an indigo, tab off all the excess water, and say this side, try to build in a shadow. And now with just a clean brush, we'll try to blend this out. Just making these shadows a little bit more prominent. Again, this side as well. We have the shadow. Again, cleaning up my brush, dabbing of excess water, blending this out. Similarly for this one, too. Now, we would also have these shadows onto our plates. So just taking a very light tone of indigo and just adding that shadow. I similarly decides well, Similarly, slightly this side as well, we will have the shadow. Again, cleaning up my brush, dabbing off all the excess water, and just leading this out. Now for this one as well. This side as well. So you can always get shadows effectll with watercolors by just playing around the blending technique. But this also would have some shadow. Very light tone I'll add over here as well. And this side as well. Now for this one, we will have some shadow over here. That It was all flat, but now after adding shadows doesn't give a three D effect and makes it a little bit more lively. I think I can add a little bit of shadow over this side as well. Okay. Now with this rice, work on shadow for this side. Okay. I think this looks better now. This one, I feel is super flat. What I'll do is I'll just take a little bit more of burn sienna and again, just try to add it's darker towards the corners. Okay. And now in the center, I just blend this out. Okay. Looks now better. And now, using my detail brush and whiteqh, I'll just add in the details to our gingerbreads. So starting with this one, say it has your eyes over here. It has a smile, and then your ginger breads across will have a border. Okay. So let me first add that butter. You can go ahead and use your gelpin as well, but I feel for gingerbread because we do not this is all created at home, right? So what we're depicting is a gingerbread that we have made at home. So the piping and all would also be done at home. So it would not be super perfect, and that's what we're trying to achieve here that it is somewhere thin, somewhere crooked. So painting with brush would be the best way to achieve that. Depends also we have something like this. A gentleman again, adding the e here. What I also do is using my gelpin just adding the details to the s because they would also have some highlights, right? And the snowman would also have some highlights. Adding those at some places. Now what I'm going to do is I will add in a little bit of white splatters because it is all made of your sugar and all right? So say there's sugar that's splattered while you were working on baking your gingerbreads. And it also gives also Christmas effect. You splattered a little bit of sugar on top of it to give it a Christmas feel. I think that way this looks okay now. And what I'll do is, I'll also add some big spot. Say you also have your these colors, right? So say those have also got splattered at some places. So just adding those as well. Because while you are baking, you spilled some things here and there that could also be there on your plate, on your workbench. Not taking any yellow. We'll add that as well. I'm not adding it as a splatters purposefully because I don't want a lot of them. So it's better I just add them in some places here and there. And I think this looks good now. Let's wait for this to completely dry, and then we will peel off our masking tape. Okay, so the painting has now dried. Let us just peel off the masking tape. This is the final look of the painting. Something different and interesting, isn't it? Thank you for joining me in today's class project. We'll see you over the next c. Till then. Bye bye. 18. Bonus Lesson: Japan Version Of Snow: Hi, everyone. Welcome to today's class. This is the painting that we're going to paint today. I have a paper here ready, and I will be using boards for the class projects to tape down the paper. Using, again, the mask tape, I will tape down this paper onto this board. Okay, I'm just running my finger across the paper and the tape to make sure that there is no gap between the tape and the paper. Now, using my pencil, you start with the sketch for this class project. S, this is the mountain. I'm just adding in some lines to help us understand where the shadows and lights would be. Okay. And this is the rocky patch that we have. And this is where we have the fencing of the road. This is where the root is. And this side again, you have a mountain, a rock, and this side is where you have some rocks. You will have the cherry blossom trees coming in a lot of places. It is filled with cherry blossom trees. This is here. We will have some greenish trees coming in, so we will have those here. And all of this area that you see right, this will all be covered with cherry blossoms. This all is chriblossoms. You will have huge cherry blossom trees. This is all cherry blossom trees, covering the whole space. Now here, also the road, this is the road. It will have sobils Now here again, we will have some snow pile as well, and let me do one thing. Let me actually Let me just make this till here. This is your barricades that you have, and this is the snow. This is. This is basically your road and it has that yellow lime partition. This is how it would look like. That's all with the sketch. I will just use my eraser and just try to lighten up the marks. You can use the yielding eraser as well. Okay. Now, starting with the painting for the sky, I'll just do a wash of blue and just take the large size brush and apply an even coat of water on the sky area. You will do a gradient wash of any of the blue that you have. I have bright blue already onto my palette, but you can use any blue that you have and please be very careful near the mounted area. You don't want any color to come over there. Now my wash is ready and now using bright blue, I'll just apply the color to the sky. Okay, so this is the sky, a very simple one. I will just dab off the extra water in case there is from the corners. This is just to make sure that the water does not see back into the paper once the paper starts to dry. Okay. So this is done. Now for the tree, we will use indigo. What we will do is, I'll just take my medium size brush, take in a very diluted tone of indigo. And I'll just add that onto the mountain. So specifically the curves that we created, right, those are the ones which would have the shadow, those would be a little darker in color. Okay. Dropping in some color here and there towards the bottom, we will pick the drier strokes. Let first let this dride. When tabbing of all the excess water. Just try to make the dry brush streaks. You see these streaks. So you have to take in color, dab off all the excess water, and just add these streaks. Now there because the paper is wet, you will not get the streaks. But here when the paper is dry, you will get the dry brush streaks. Okay. We will add in snow later on top of it to give it a better view. Right now just try to the depths. There would be some area which would have a darker shadow, and there would be some which would have lighter shadow. Let this area dry a little bit more, and then you will add in. You can see my brush has just absolutely no water. That's why it is swinging like this. I'm just trying to add in the dry brush Strick Okay. Now for the trees here, I'll just take in sap creen for now, add in pain screen to it, and we'll create a darker tone. Because these are very far, you will have them in darker tones so you can see on the tissue and we'll just have these vertical streaks dm. This depicts that there are multiple trees of different heights over this. You can add more dark tones, make little lighter tones to show the difference in the tree colors that would be there throughout. Okay. Now just taking scream, a little bit of gains grey and trying to add another layer to it. That's it. What I will do is I will take in my detailed brush and with very little water and more of color, we'll just try to add in these thin trees like streaks. I'm not using any new color, just using the color that we had already leveraged here, which is a mix of sap green and paige gray, just trying to build that. These are the trees which are near foot of the Mount Fuji. Now, we'll do the first layer for these rocks that we have here. For that, I'll take my medium size brush and dabbing off all the excess water. I'll try to paint in these round big rocks. I'm just randomly painting them out for now. Remember, this is just the first layer, so it's okay if things don't work out the way we want, anyways, it's a winter landscape. You always have snow to cover up your mistakes. What now I'll do is I'll take a little bit of paints gray, add that to bunsena to get the sepia tone, and I'll just try to drop that as well in some places. You can also drop in pure paints gray tones as well, just to give different depths and layers to these rocks. See, isn't it looking better now? You can keep on some of the white spaces because you will anyways have snow. Those could all depict your natural snow as well. Similarly, the other side as well. So this is a big rock. So I'll just add in some details here and there. And again, adding in some layer with the CPRT the pain scrato. This is fun landscape where you do not have to worry about how things look because it's mostly covered with snow, right, so you can just play around the way you want and just add in some of the details. Now for the road, I'll take in a diluted tone of pain scray and this is where it starts right. So this is the root that we have. See my streaks are the way a road is so that even if once this dries, the brush strokes will give it the feel of a road. Again, this is the first layer, and then we will see how do we build on top of it? Now for the barricade that we have here, again, using a very diluted tone of paints gray, I'll just add that over here. Okay. And in the middle, I'll just take a little bit of yellow and add it's basically yellow in color. But with the shadows, et cetera, we would also have tinges of paints gray coming in here and there. Now, for the cherry blossom, we will be using two shades. So I'll be using in the permanent rose, and we will mix in a lot of guash to it to get that cherry blossom pinkish light pink toe, okay? So just taking in white quash and pink. I'm almost running out of the white quash. But I have another one? It feels good. Now I've just taken in some white. We will paint in this Cherry blossom tree. See. This is how the leaves are getting captured. Okay? Taking in my detailed brush and a darker tone of this pink, which basically means having more of pink and less of white. There's a very slight difference if you can make it out. This tone has a little darker pink and using that we'll add another layer of it. Just going ahead, tapping of this color onto the paper. Similarly, this at the background, you would just have lot of trees. You might not know which leaf is part of which tree because these are all very far away and all grouped together. So we can just add in the trees. Again, if you see, I'm trying to get a mix of both a darker pink and a lighter pink. And in fact, let me just keep a little bit of pink at the side as well. And as we have opaque color, which is your white gouache in the mix of this pink, right? So you can also add in some. So you see even if I'm painting it on the top of the green that we have, which is a darker tone, because we have the white gouache, it makes the color opaque and you can add it on the top of the green as well. This is the first layer. Now, what I'll do is I'll take in a very light tone of indigo, very, very light tone of indigo, we will try to paint on the ice. So this This is all ice. So using a very diluted tone of indigo, just trying to add in some tone to this ice. I will have some reflections at some places. Now, as such, snowfall is white, does not have a color, but because of the reflections of different elements that we have, we do get some colors on the snow, right? So I'm just trying to add that. Just trying to capture that, okay? Now, this would say have a reflection of the tree branches and all, right. So it would have a little bit bluish tinge. So I'm just trying to capture that similarly over here, all trying to capture that. You can also add some of these lighter tones, touch it to some of the white areas of the snow of the rocks that we have. You can add in a little bit over there as well because the reflection between the snows would also be part of this. Again, continuing with the cherry blossom. I just try to add some of the cherry blossom leaves over here. So we'll continue to have it over this side as well. And once we are done with these leaves, that's when we will add in the branches. Okay? So you can take your time, play around with the way you want to capture the leaves. Okay. So slanting streaks, some dot streaks. You can just play around with the way you want to capture it. Different tones of pinks can also be leveraged. The trees are all in line side by side, you don't know where one tree ends and then where the other one starts. Add in as many tree like streaks as you want. Okay. So the first cut looks okay. Now, what I'll do is using the detailed brush, both the detailed brush that we have, I'll paint out the tree branches, and for that, I'll use the paints gray color tabbing off the excess water, starting with this section. See this is where the tree is there and it branches out somewhere here. This goes somewhere here. You have another branch these are all your main branches. Now with a very detailed brush, again, taking in pains gray, I'll add in the thinner branches that we have of the cherry blossom tree. In any directions, you can just keep on adding these thin branches between the leaves. Now, these trees which are there at the very back, you would just using with the detailed brush. I'm just trying to add in some of the tree branches because you won't be able to see them in much detail, trying to add say this is another tree branch here. There's another one, say this is another one. This is just to depict that there are multiple cherry blossom trees all stacked with near each other. Now this side is where you will have your trees being visible in a better way. Say, this is your main branch, and then you have these thin branches branching out here and there and say this is another one that you have here, which is getting. And as you see right, the nearer to the to me or to the person viewing this, the thickness of the branches starts to increase. Okay? That's what you just have to take care in mind to capture the distance essence of the distance, okay? Now, taking this say there is another one which ranches like these main branches. The sub brranches again, you can paint in as many as you want. They're all broken lines visible between the tree leaves. And for this tree, you do not see the trunk, but you see the branches. This is all part of another branch which is merging and mixing between this tree. Now, cleaning up my brush and taking with the detailed brush, taking in yellow paint out this yellow line. And along with this, I will also add another layer of the paints gray to this road just to make it a little bit more proper. Taking a little bit of brown tinge as well. Let me just clean this up and let me just in this up. Now the best part which is to apply snow. So what I'll do is I will take out a little bit fresh white quash and using my medium size brush, it's mostly the color and less of water. I try to add in the nonw effect on the rocks. So I'm just tilting my wood little diving off all the excess water and trying to lend in the snow effect. So you would have some places the bricks would be the rocks would be visible, but it would mostly be snowy covered in snow. Okay. And we'll need to add another layer of this because you see right now the snow is not pure white. It has brown tones of it, right. Let this be right now this way and then taking in more gouache. Just try to also apply it to this part as well. So all the snow is cleaned up and plowed over here and it's just collected towards the side, right. So just trying to depict that. Actually let me do one thing because this is almost getting over. Let me open a new white gouache. So have this new gouache. Let me just take it out. This is smooth right. The other one has it's all over. It is starting to dry. So taking in this smooth quash, and then I'm just trying to apply this to the snow area. This also is all snow covered. You can just add in the dry brush strokes to capture the snow on the rocks. This also, if you add now see now you're getting more of the white snow effect, right? So you can use this. There is snow strapped between the rocks. What I'll also do is we have to capture the essence of snow here as well. Using the same brush and the color, I've just added snow at the top of the mountain and just using the dry brush technique, try to add the snow effect. I'm just trying to make this snow effects and a little better. So what I'll do is using this detailed brush, again, indigo, try to add in some details on the coast we have applied. This will just bring out the snow effect. Here you will have a shadow of the grill that you have, that would be a little bluish tone. At the below, you will have the shadow of your rocks. So that would also be a little bluish tone similarly this side as well. So in some places, just adding this light indigo tone to get those details. And now using a little bit of pink, I'll just add a little bit more color to the cherry blossom trees just to give another layer of the different color tone to bring out some other dimension. I'm taking again here a little bit more of pink and less of white. I'm just trying to fill in those white gaps that we have. Say, I will just take a little bit of indigo when you dilute it ton of indigo and saberd Sienna and this would have some reflection over here. I'm just trying to capture that reflections this side. That's why you have some reflection coming in on this. Let this dry and then we will peel off the masking. The paper has now dried. Let me peel off the masking tape. This is the final look of the painting.