Fall in love with Watercolors | a beginners friendly practice class | Panchami Shetty | Skillshare
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Fall in love with Watercolors | a beginners friendly practice class

teacher avatar Panchami Shetty, Watercolor Artist and Instructor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Hello!!

      1:21

    • 2.

      Colors n tips

      8:20

    • 3.

      just the Basics

      6:23

    • 4.

      Project 1

      10:47

    • 5.

      Project 1 detailing

      5:16

    • 6.

      Project 2

      5:16

    • 7.

      Project 2 detailing

      2:49

    • 8.

      Project 3

      7:05

    • 9.

      Project 3 detailing

      3:09

    • 10.

      Project 4

      4:15

    • 11.

      Project 4 detailing

      8:46

    • 12.

      Project 5

      7:51

    • 13.

      Project 5 detailing

      6:59

    • 14.

      Project 6

      5:17

    • 15.

      P6 2 resized

      10:57

    • 16.

      See you soon

      0:47

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16

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About This Class

This class is all about playing with watercolors, working with their most basic nature - the movement of pigments and blooms on paper. This is the best way for you to get comfortable and friendly with watercolor .you can just relax and play around with color.

I will talk about the materials used in the class, and alternative colors that you can use from your available palette if you do not have the same shade as mine. some hacks, tips an simple practice.

then we will jump on to 6 beautiful and super simple class projects which take about 15 mins each. you can choose to paint the projects you want or paint them all.

Meet Your Teacher

Teacher Profile Image

Panchami Shetty

Watercolor Artist and Instructor

Teacher

I'm Panchami.

Friends call me Panchi, I am a watercolour artist. I love to paint everything beautiful I see. I love colours as they bring such positivity and cheer to life. I am always etching to try out different subjects. I paint landscapes, recreate pictures from my travel, my thoughts and imagination, illustrations, flowers. Nature is my inspiration. 

I'm constantly exploring and learning new things. Every time I try something new and get better at it with practice, it brings me so much joy. Which is why I find joy in teaching as well. I love to teach watercolor and concepts and help people rekindle their artistic side.

Come join me, let's make art together...

See full profile

Level: Beginner

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Transcripts

1. Hello!!: Hi everyone. Thanks for tuning in. My name has been to me and I'm a watercolor artist and instructor. Sometimes watercolors can be very tricky and intimidating, especially as a beginner, because I believe it has a mind of its own. But some of the effects can only be update with watercolor and no other medium, which is why I love it. I bring to this class which everyone can enjoy. Working with the most basic nature movement of pigments and looms on paper. This is the best way for you to get comfortable and friendly with watercolors. I will talk about the materials used in the class, alternative colors that you can use from your available palette if you don't have the same shapes as mine. And some hacks, tips and simple practice. Then we will jump onto the sixth beautiful and simple class projects, which takes about 15 min each. You can choose to paint the projects you want off paint them all, even if you have never touched watercolors, do not fear. You don't need to worry about brushstrokes are making mistakes in this class. This can be your first step towards a creative practice to work something simple when you have an art blog, or just to let your mind free, enjoy the watercolor magic and relax. 2. Colors n tips: I have used a variety of colors. Now I understand that it's not possible for everybody to have all the exact shapes when you're painting. So I'm just going to recommend some colors that I think that commonly is available in most of the palettes. If you guys don't have it, you can always use the colors that looks close to what I have used. Here. I have used royal blue. Instead of royal blue. You can also use indigo, or you can use Prussian blue or any kind of dark blue. I would recommend not to use light blue, cerulean blue. But if that is something that you like, then you can go ahead. It will pull up perfectly. Here for the height, I have used, permanent reds. Complementary color to blue is also yellow and orange. So instead of red, you can also use yellow or orange. So even if you use those colors, it will, the house will pop out in this scene. And if we look beautiful, then here I have used royal blue and quinacridone magenta. Instead of quinacridone magenta, you can use opera pink or quinacridone rose. So any kind of pink shade that you have you can use for this project. On the contrary, if you do not have this particular pink, you can fall back to green color. So here I have used leaf green. So this is basically yellow color but with danger of green, right? So you can just try and mix these colors, lemon yellow and any kind of a light green that you have and see whichever gives you a very bright and catchy result. You can use that. Use lemon yellow and permanent yellow deep for orange. And this has been occurred on magenta. And instead of permanent yellow deep, which is orange shade, you can use vermilion and mix a little bit of yellow to vermilion. Phone down that orange genus so that you get a very warm orange. It's pretty simple. I've used different shades of green. So to make the green dark, you can add blue to it. And to make the green lighter, you can add some yellow to it and prevent different shades of green for this project. Let's talk about consistency of paint here. One thing that you have to keep in mind is when the paint dries on paper, the saturation of the color will reduce. So you'll have to keep in mind that the brightness of the color that you see when the paper is wet is going to reduce. So based on that, are keeping that in mind, you have to apply your paint. Here. This is a batch of paint which is already dried. Now I'm going to take the same paint, same consistency of paint and apply next to it so that we can compare the saturation. And you can understand what I'm trying to say here. You'll see how dark it is when the paint is wet. So when this dries off, it becomes this saturation which is a bit lighter than the wet version of it. Now let's talk about the consistency of paint. When I take my paint directly from the palette, when I move around, you cannot see the white background. So this is a very thick consistency of paint. You'll see how bright it is here. Now, I'm going to add some water to this and move it around. So you can see this, see that this has become a bit more watery. You can see the bottom by palette apply this saturation has reduced. When you paint with it, you can feel that this is much more fluid. Now, I'm going to add some more water to it. Now here in the palette itself, you can see that this is extremely flowy and the saturation also has reduced. So this is our light consistency. So as in when you go on adding water to this, it will just get lighter and lighter. This is my medium consistency and it is going light as in when you add water. And this is my thick consistency, which is extremely dark. What I want you guys to do is I want you guys to mix the paint on the palette and try to get different consistency so that you can understand and have a better muscle memory of how much water you need to add to your pigments to make these different mixture of paint. Most of the projects here in this class, we are going to work with medium consistency because this is, this has ample amount of pigment in it at the same time, there is good amount of water for it to allow it to move freely on paper. So I want you guys to be mindful about how much water to mix to get this mid-range of saturation in your paint, try to choose colors that do not form brown color upon mixing on paper. E.g. if I'm going to use this red and I'm going to use a blue along with this red. I will mix them on paper and see that when I mix them, they give me a good color transition or good color and it doesn't form brown shape. So when I mix this red with this blue, it gave me a nice purple. Now, for the same blue, I'll do another experiment. Let's say I want to work with orange. Along with this. I'll take some orange and try to mix them. I'm getting a very not so pleasant color of green. So if I'm going to paint a background of sky or something, this is not a color that is desirable. So I work with this. I said this, this process for you guys to do when you decide on the colors, just mix them on a little sheet of paper and figure it out. This is a good color choice for your painting. Another important thing that you need to understand is when you apply paint on wet portion of paper, pigments will always move from high concentration to low concentration. So this is my wet area here. I'm taking some pigments and I am going to drop it here at the bottom. You can see that the motion is always towards the lower concentration here there is no pigment, but here there is lot of pigment. So it is moving towards the low pigment area. To some extent. After that, it will need our help for motion. So you have to move your paper. For it to move. It is very unpredictable. No matter how much you try, even I cannot replicate the same result. The second time. When you are going to repeat the actionable items that I have done are shown in this class. You might not end up getting the exact same results. So don't be disheartened. This is expected and you're definitely going to end up with a different result, but a different result which is beautiful in its own way. So glass, the painting background, or having fun with this flowing nature of watercolor is what is most important. And most of the paintings here have the subject of silhouette. Are there a lot of silhouettes, objects that are available on Pinterest and Google them. You can also use the same silhouettes I'm using because I've kept it very minimal. You can see that I've kept it very minimal and it's only at the bottom of the paintings. I have used 300 GSM hundred percent cotton paper. I would recommend the same for you for the best results. Another important recommendation I would like to give you guys is work with a smaller sheet of paper. If you're using a smaller sheet of paper, the area in which you have to control your paint and watercolor is very less. It's a smaller area here. So your stress will also reduce and it is easier and you can add quicker or react quickly when something goes wrong. So it is easier when you start with a smaller sheet of paper. As you grow confident increase the size of paper. 3. just the Basics: Let's do a quick practice session. I recommend you guys to do this practice so that you understand your paper better when you actually paint will not be worried about your paper drying too fast. And if you have the understanding of what's the right amount of water your paper needs. Your whole painting process will be a very pleasant experience. Working on the top section here. And as you can see, I have wet the paper totally. You can see I'm making horizontal and vertical brushstrokes and making sure that the paper is nicely wet. I will tilt the paper so that excess of water will come to that side and the tissue or red clot, you can remove it, the paper and hold that. All the water gets accumulated at the bottom. Now while removing also kick off the water, don't have the tissue on the paper because we want every part of the paper wet. And if you dab it on the paper, that particular area will become dry. So carefully remove the water which comes to the side of the paper on top of the masking tape. For this demo, I'll be using just two colors. I will add one layer of blue on the top and one layer of blue at the bottom. And I'll add pink in-between. As discussed in the color consistency section, I'm using medium consistency here. Now. I'll start tilting the paper vertically, moving it up and down. I'm doing these movements based on the movement of the pigments. So I'm watching here the pink paint move as it reaches the border. I'm changing the direction. This way. The pigments will interact with each other and at some point they give you a very unique pattern and different blooms. I'm pretty sure that your outcome will be completely different from mine. Even I cannot create the same result the second time. So you have to keep in mind that each of your pieces will be unique in itself and it may not look like mine. Even I cannot create the exact same background even if I try for the second time. So let yourself free follow your instincts and enjoy the painting process. So this is our basic approach. Now, if you want to see some more movement of pigments, then what you can do is just add some more pink here and till the paper so that pink and move to the edge of the paper. So you can see I have dropped some pigments where which has increased its fluidity and movement on the paper. This is why we need to wet the paper well, so that it stays wet longer and we get enough time to play with the color. Just tilting the paper or pen down and letting the colors move and create patterns. Now I'm going to try the same by adding some blues. I want you guys to try all these practice sessions so that you can Get to know all the different things that you can try and also feel confident with your paint and paper to understand your materials better. So just have a closer look how I'm playing with the pigments, just making them move up and down, just with simple up and down motion. Now let's practice in the second section. But this time, let's move the paper differently. Again, writing the paper thoroughly yard and making sure that the excess water is removed by tilting the paper. Will work with same set of paint here as well so that it's easy to compare. And I'll do the same layering that is being sandwiched between blue. This time, I'm not going to move the paper just up and down, but also in a circular motion, in a vertical motion and in a sideway motion. So that's what I want you guys to do in the second bit of practice section, just try all possible movements that you can do so that you can see for yourself how the pigments will move, or how they will react, or how the pigments just beautifully move as you direct them. Now you can see some vertical motion. Let me take a drop of pink here and just add it on the paper and then just move it around. I want this dropped to meet this pink line. So I will tilt it till that happens. I'm hoping by now you get the idea. So you see I had actually applied the paint in the same fashion appeared and also down here. But just because the way I have moved the paper was different, the end results are also different. Small sheet of paper just spare some 10 min and do this exercise will advance in one scrap of paper, you just try one particular direction. And in others type of paper you try a different direction and try to see and observe how the paints are moving and more fluid, the fluidity that it has. Now let's begin with the class projects. 4. Project 1: Well, the first project, Let's begin with the sketch. I'm going to draw a very simple house, something similar to this. Note here that I'm not stressing too much on the sketch and I'm just going to draw something rough because I do want to stress too much on the accuracy of the sketch here. So that what we really want to do here is just have a simple sketch, as simple as possible. I have some good fun while painting with watercolors. Now I'm going to draw a horizon over here, just so that it's almost close to the top of the roof. Something like that so that we can have the most of easy, ease while painting this. That's why I'm just drawing the horizon just close to the rooftop. Or you can even have a horizon complete where the house is completely inside, under the horizon inside. Or you can also have a horizon where the roof or the house is completely inside it. You can just place this has a little bit in the bottom. Now, let's begin to paint and wait to take some royal blue for the sky. I like this color a lot. So you can take any other blue that pleases you, which is a bit dark in hue, like indigo or cobalt blue tried to avoid blooms that are very light. I'm going to wet the paper thoroughly now. I'm going to break this area. I'm going to leave this white. I'm just going to Skype bot. So I'm just going to tilt my paper so that excess of water can move towards one end of the paper. I can remove it. We can see the excess of water is flowing down here. I lose my rack lot to clean it. And you're cleaning this excess water, makes sure that you are not cleaning it on the paper. Do you mind just leave a batch of dryness on the paper? My first layer, I want it to be really extremely light, so I have my paper evenly wet. You can see that it's shining towards when I hold it towards the light. So this is the same thing you can do. This hold it towards the light and see if it has if it is evenly wet or not. So the first thing I'm going to do is work with a very light mixture of paint. It's going to be super light. I'm just going to add a super light section here in the bottom. Now I'm willing to take some nice pigments and start painting from the top. And I'm going to work in slight slant stroke. There you go. So what I want to do here is I want to get little light area here and dark area on the top. I'm going to take some more pigment and just add it here. Now. Take my papers without my pigments can move towards the bottom. Now you can see that I'm holding it in a horizontal or in, out in this direction so that it can move from this corner to this corner. You can see some nice movements happening here. I'm going to take a different brush, a clean brush, dilute it with water. I'm going to dab some water here in the bottom. So when I dab the water here, it will start moving towards the direction of higher concentration of paint. And what it'll do is whatever little pigment it has here, it tries to move along with it and as it moves, it'll give me some nice blooming effect and also some nice light hues. Make sure that you do not dab these white paint on top of the dark color. I just want to put it here in the area which is like and also I'm going to dab some here because. Paint has come all the way down and this area has become dark. So I'm just going to add some drops off white so that it moves the pigment from this point towards the darker pigment section. I'm going to add another layer of dark color that is healed from the second layer of paint. I'm also going to dab something just filled in the center. Now, let's try to move it a little again. So you can see that the excess of pain that comes over here, I don't want that effect, so I'm just going to take my paper to the right. Quick pay for few seconds, and just going to remove that excess paint and liquid here. And now again, moving in this direction so that the water can move from here to here, right? You can see the motion. You can already see that it has formed a very nice blend over here. Again, I'm going to move it or hold it tilted. What is Andre direction again? So this way, I'm getting a range of motion of pigments, which is in this direction. I'm willing to drop some more. Dark pigments. Just appeared in the corner. Because I want it to look a little bit more dark, appear. As it moves on the top. I'm just dropping some more pigments here. And again, allowing it to move. I'm not holding it in this direction for too long because I don't want it all the way to come down till here. I just want this these pigment to stay just in this portion. So I'm just moving it quick so that it blends itself. I think we're having a nice, good-looking blend here. So while this dries off, I'm going to take extremely light mix of blue here. You can see this is a very watery mix. I'm just going to take some of that and just add some blue sections are little sections of brushstrokes of blue here. This kind of adds shadow snowpack when to take a bit of pink shade and makes it easier to get a little bit of purple. It's going to take that at the tip of the brush and just add some highlights. Emotion, some you can just do this to kind of add depth to your snow here. But then that's it. I'm not going to overdo it. While this dries, let's paint the house. Red, mixed with a little bit of orange. Different complementary colors to this blue. So I would suggest if you don't have this kind of red, you can either use orange or you can use yellow as well. That is a nice compliment in color to this blue. So when you're using complementing colors, How's we look? Popped up? And even though it is a very minimalistic painting, it will still look very catchy. I'm using a bit of brown to paint the side portion of the house. Now let's wait for this section to dry and then we can add more details to it. 5. Project 1 detailing: Now that my paper and the paint has completely dried, you can see this nice blend and the movement and these nice blooms here that you've got. Also you have to note that because of the movement of water or there was excess of water, you can get some darker edges here like this in the gardeners that is sometimes unavoidable. But if you get something like this, what we can do is you can paint some trees here in the corner and try to cover it up. But I think I will leave it as it is. I don't mind having them because it is not that prominent in my case. I'm taking this mixture of pines gray and royal blue here. And I'm going to paint some trees yield in the distance. I'm going to take some ivory black. Or you can also again work with the same dark color. Taking some black, you can take some Payne's gray and indigo. And I'm just going to paint this boundary for the door, just adding some highlights here. The same dark mix. I want you to just paint some shadow here for the house, just near the roof. Lines here, which adds a woody extra to the paint. And then I want you to take this dark color and again darkens a little bit here at the top with the same paint that I used for shadow. I'm just going to extend it here just so that the roof is visible. This shadow has come a little light, so I'm just going to use a bit more darker and paint the scene. Now that this is done, I want you to take some blue again, some very light mix of blue. Seats. This light, very light mix of blue. And add some shadow here. Next, take some, this is Chinese white. I'm using watercolor itself. You can preferably use pasta colors or acrylics or wash, or even posca pen, Jelly Roll pen for this exercise, adding stars are painting some highlighted smooth. I'm just going to dab some white here on the roof to show that there is some snow collected here on the top. I'm going to add some white drops. Alternatively, if you have Jelly Roll pen, also, you can just choose the spots where you want to add the stars. Then what I like to do is I like to show some snow here on these lines I've drawn in order to give the impression that the snow has dissipated here on top of these wooden blocks. And just darken the roof here a little bit with my pencil itself. If you've got too much of whitespace here at this area, then also you can just paint a tree here so that it doesn't look too bad or too empty around this area. Darken the corners here. Just some dry strokes, dry brush strokes. We are done. 6. Project 2: For our next project, let's scale up and you're going to use two colors in this project. Olive green from PWC and the same royal blue that I had used earlier. Me write the paper first. I'm going to paint the entire sheet of paper for this one so that we don't have too much of a restriction when we are moving with the paint and playing with the colors, so that we are free of any other inhibitions and just have lots of fun. I can see my paper is completely wet and I'm just deleting it so that excess of water can just come all the way to one corner. I'm just going to clean that. Now it's important to clean this because when we add paint, we are going to add some more water to it so it will just become way too watery on the paper. So it's better to just remove these excess water. As in when VR going ahead with the painting. My paper is nicely wet. I'm just going to make a nice consistency of sap green, sorry, this leaf green. I want a nice thick consistency loaded with pigment itself, a medium consistency of paint. It's going to start with leaf green first. And then a smaller line here. Royal blue. Take a nice lot of pigment and paint in this white area. But I'm making sure that I'm not painting on top of the leaf green color here. And I'm just going to leave some space there so that they have enough space to interact with each other. I'm just filling this AGL with this area. I'm just going to add some water so that I can help them tilted vertically so that these can interact with each other, that whitespace that I have left. Now you can see that it's not moving much. Let's get them moving. Some more. Blue here. And I'm going to keep it tilted and just add this blue here so that it moves some more light blue. And then move it down and then add some appear some green. I'm just I'm just helping it to move this up and down motion again so that you again reset the movement of the pigments in this direction. Okay, Now, let's wait for it to dry. 7. Project 2 detailing: My background is completely dry. I will be adding pine trees here because I really love painting there. But you can also make Cascade Mountains. Instead. I'm using a mixture of indigo and pines gray to get a very dark color and add the tree silhouette. I will be adding a link to my YouTube tutorial that I have explained in detail how to paint easy pine trees. So you can check it out. If you're having trouble painting the pine trees. You see I'm adding a wonky tree here, which is a little bit bend. I like adding such small imperfections that we see in nature. It makes the scene more interesting. Adding some stars with Posca pen, you can also use Jelly Roll pen or just splatter some white paint with white gouache or white acrylic color. And that's it. We're done. 8. Project 3: For this project, I'm just going to have a very small horizon here, just in a very kind of shape. Team my paper. So this portion is actually the most important portion that is wetting the paper because you really need to wet it well so that the paper doesn't dry off soon and stays wet for longer. The papers so that excess of water can just come to one point and I can clean it off. Now that the excess of water is removed, Let's begin to paint quinacridone rose for the pink shade. So if you don't have exact quinacridone rose, you can just find an alternative pink that you have. Maybe you can use opera pink, ordre, madder lake or any other pleasing pink that you have. Or you can just work with the light green color, which commonly is used for northern light painting. So that might now that my paper this completely and nicely wet, wanted to start with pink because once I mix blue to it, it's going to become purple. And I do want to have any purple right from my palette because anyway, it's going to mix on paper and become purple. So I'll start from the top and move. Add some strokes here. I just add three of ink. I'm gonna take this royal blue again for this painting as well. And just add that the remaining section. I'm keeping some of whitespaces here because I just want to get that blend going on. The excess of paint that you can see in the corners. I'm just going to remove it right away. Now. Let's just still the paper so that it moves. I'm going to only move them up. It is excess of water here. I'm going to remove that first. Take some more pink and tilt my paper up here like this. My paper. And then adding some pigments. Some more here. Now I'm going to take some more royal blue adding from the top and allowing it to move. Pending some here. Now, here, I'm not going to restrict myself with any particular movement or the direction of motion. And there is lot of X's pigments and water. I'm just going to remove that first. Now that I can see that that is good blend and mix of colors, I'm just going to take some more blue. This time I'm going to take a thick consistency because I want some areas of dark blue here. I'm going to take a very thick mixture and just drop some. So you can see how dark this is in comparison with my previous mixture. Since it is already a lot of water on the paper, I'm not adding too much water into this blue mix because when I tried to move them, it will start reacting with the paint that is already there and it will move accordingly. So now the second layer of paint that I have applied, I just wanted to move up and down direction. So I'm just moving it in that direction. I'm not going to darken the bottom part because we'll add some trees. And if we add too much of dark pigments there, maybe the trees might not look bright enough. I would like to point it to you. Again. That end result need not be the same as mine looks like. Because the way in which you're going to move your paper and move your pigments are applied, pigments or even drop-off. Pigments that you apply on the paper will be in different amounts and you are going to have movements in different direction. So the end result will definitely not be the same. But also don't forget that the main purpose of this class is to have fun. Just have fun with the movement of pigments. And now I can see that the paint is not really moving. My motion of paper, so the pigments have settled and all the movement that has to happen has already happened. So I'm just going to let this settle and B, so that this can drive a very light mix of purple and just add some restaurants. Now let's wait for this to dry. 9. Project 3 detailing: My paint has completely dried here. So you can see I have got a nice dancing colors over here. So I like it the way it is. And I'm just going to start or begin with adding some stars. So I'm going to take some white paint. Next. I'll add few pine trees, which is a logical and probably the common G that you would see around the snow area. Some brush flux in the V direction but outwards. And as you move down, the tree will start kind of blooming in a conical shape. So here I have the outer structure of the tree. Usually do filled up inside. Just add one more tree here. I also have a YouTube tutorial on painting different kinds of pine trees in an easy step. So I will add the link to it. You can visit that as well. Thank you. 10. Project 4: For the sun, I'm drawing a circle on a masking tape and I'm going to cut it out and stick it on the paper. Alternatively, you can also use masking fluid, sticking the DPO or wet the paper first. And then I've taken my yellow, lemon yellow. And I am adding the first layer of lemon yellow here at the center. Now I'm going to take some orange and apply at the next layer. I have taken nice medium consistency of paint. Next I'll take my magenta and apply it on the top. And here in the bottom. Now, I'll try to get some nice range of movements of the paint. So at first, you can see that these are moving down. Now what I noticed is that my yellow is not having motion. It's not really moving up or down. So I'm just going to take some more yellow and apply here just to get it moving. So I can see that there is a nice blend of orange and quinacridone here. So this is why I said that you should make sure that the color mixes do not give you brown because these paints will mix on the paper. I also have these deposits of few paints here in the corner. I'm going to tilt it in the vertical direction as well. So I'm going to remove this excess water here at this point. Just remove the excess pigments here on the top is from the sides. I think I'll just let this be and I'm not going to touch it further. I want to make a point very clear to you guys is once the papers begins to dry or some areas, it has already started to dry off, e.g. you can see here that it is getting lighter, that means it is getting dried. So at this point when the paper has already started the process of drying, don't add more water because that is going to give you unnecessary blooms. And I think just with a little bit of allowing it to move a little, we've got a nice range of blend of orange and pink. And you can see the kind of unexpected patterns that I've got here. Same goes with your painting as well. Don't stress too much on, you know, how to move it or just to move it to get it in a particular kind of pattern on your painting. As long as we're getting nice blends and nice movement, it will definitely end up very pretty and nice. Let's just wait for this to dry. Now. I have tried to create a similar effect, but here I have used for colors that does have also used purple here in the bottom and in the top, and some way, some points here in-between. Now you can also spice up a little and add more colors, but more colors you add the more conscious you have to get in the movement of the paint. What I'm trying to show you guys here is that no matter how much you try to control it the same way or try to get a particular style. It's just going to end up unpredictable and have motion and movement in its own way. So just relax and enjoy the process. 11. Project 4 detailing: Paint is completely dry now. Now what I can see here is this portion is has come out dark and this portion has come out a little light. So I'd like to invert this and keep this darker portion on top so that it acts as a nice, beautiful sky. And also it has got these nice blooms around here. Carefully remove the tape. Take a clean brush. And I'm just going to blend just this area at the edge. Because I just, I want a smooth edge here for the sun. I'm just going to try to smooth and it here a little bit. So let's draw and Electric Boat. I'm not sketching beforehand because the outcome is really unpredictable. And I do not want to just worry about how it has turning out to be. I'm going to take some black and mix it with little bit of brown to get a dark brown color. And I'll just fill in the paint starting from the bottom. This is going to be really simple one. Nothing complicated here. I'm just going to take some orange. And just to stop portion, I'm going to paint with this light color to depict the reflection of the light of the sun. With rigger brush, I'm going to paint the electric wires. If you're not confident to paint these thin wires with the brush, you can always use a black pen or a micron pen to draw the wires. With black, I'll paint silhouette of a house and some tree foliage. But in the sky with orange, I'll paint a small bud. As I go close to the sun, I'm going to paint with extremely light orange. You can just check out my previous class to understand these concepts of changing colors when you're dealing with sunrise or sunset better. And I think we have done with this. Here's another example of a different silhouette idea. A silhouette of some trees and mountain kind of structure. And I've added some books. And these colors, some light brown colors here near the sun. If you want to find out how to effectively paying sunshine are depicted sunset or sunshine kind of effect. You can check out my previous Skillshare class. I have explained in detail there. So this is one way how you can add silhouette. 12. Project 5: Let's begin with wetting the paper first. Let me remove that excess of what? When you are reading the paper, it's really important to remove that excess of water because when you're adding more pigments and more paint on the paper, it's going to add more water on it. The water will tend to move to the side and from this thin line, which is why it's important that you remove the excess water. And you keep on removing that, as in when the water content becomes more on the paper that you can figure out when you look at it. Using our philosophy classic palette here, I'm taking the purple color first. I'm applying on the top a good load of purple pigment. Purple first, cleaning my brush and I'm going to take some opera pink. And when to take some dark blue color. I wanted to apply a bit more dark shade on the top so that there is some kind of transition of colors. And I'm going to apply little purple just here in the bottom. And some water here in-between, just very thin layer. Some more pink. So I have all my pigment on the paper. I'm leaving this white space here. And now let's just move our pigments. I'm leaving this way deal because I want to get some nice bloom effect here. So let's see how that works out. I'm going to add some more blue pigments. Dog. But before that I'll see, I'll remove this excess of water here. I've got this nice blooming effect here. I'm just taking some more dark blue. I'm going to tilt my paper and then just add it up here so that I can help it to move. And then I'll take some more purple tape my paper down so that it can move and join with this dark shade. I'm just going to tilt and add that. I'm applying a second coat because I feel that my first code is to light. Again, I'm taking some more pigments of ink. I love added near the white section, but I'll add it right up here on the top so that there is enough room for the pigments to move. You can see that I've got that straight line, a little bit of pigment cells. I'm just going to dab it out. Around this point. It is really white and there is no match of pigment. I can remove it from the paper itself because anyway does white down here, if at all there are more pigments and more colors just don't dab directly on the paper because it is going to leave white patches. So I just don't want you to do that. I think this is it and let's wait for it to dry. My paper has dried and I can see that there are some unexpected white patches here that I have got after reapplying the pain for the second time. I am not particularly happy with this result. So I'm going to take this opportunity to explain to you how you can leave it the paper and run the whole process, that you can eliminate these kind of unexpected anomalies. I have a clean jar of water. For this, I would recommend you to use a flat brush because it does it will have a wider span and it is easier to wet the paper. I don't want you to press and read the paper and I do not want you to run over us particular segment over and over again, which is why I recommend flag. So if you have a thicker flat brush, it is even better because this will eliminate the amount of brushstrokes that we'll do on the paper. Dip your brush, take some water. I'm tilting the paper just so that I can show you guys. You don't have to tilt it. So I'm just going to take the water and very lightly read the paper. I'm not going to press much, but I'm just going to lightly wet the paper. Very conscious that my brush doesn't pick up pigments from the paper that has already been loaded. And I'm not going to do this over and over. I'm just going to apply just one layer. And quickly before that dries, I'm just going to repeat the same process of applying the colors that I had applied before. So here is my purpose. My new Carlo, Mike, opera pink. I'm just going to take some plain water and just going to apply it here in the bottom to help it move further. Now again, let us try to mix it. I'm taking some pink and just applying it here in between so that I can get some different pattern so that it doesn't look a bit monotonous. So you can see I'm moving here and also the patches that I had earlier underneath. They have been covered. There is some little bit of water here at the bottom. I'm just cleaning it off. I've got a nice result here. The patches are covered. I've got nice blooms here. Nice blooms here at the bottom as well. Would flow a mix of colors urine there. So I'll just I'll leave this to dry now. See you in the next section where we'll paint the foreground. 13. Project 5 detailing: And looking at the outcome, I just feel like this looks something like post sunset scene where there is a dark sky on top. At the same time there is some redness and that purple color that is still there in the sky from the sunset. So I have this picture that I took from my balcony few months ago. So even though this is not the same color, I would like to leverage this scene where there is a building and a small tower in the background and there are some lights. So what I'm going to do is I'm going to paint this bottom section here with the building and probably some foreground buildings here at the back and add a moon or some stars. So let's do that. Using black for the foreground. Seeing a bit of purple to this black, which is going to be my first layer of background. I want to keep this little transition of pink and white that we have here. So I'm just going to paint some background section. Looks like a mountain. Actually. It might reference picture. It's not really. I live next to the beach. It's close to beach. So the light foreground that I see in my reference picture is actually the ocean. But that's a little bit difficult to predict here. So instead, I'm just going to make this kind of failure first. Let's wait for this to dry. Now let's wait for this layer to dry. Meanwhile, this dries to add one or two stars. So the thing I've noticed is that this kind of technique works ready to paint a nice guy or paint some really interesting patterns. Now, let's wait for this black portion to dry and then we can add some lights. I will be using yellow gouache to add some light into the scene. If you don't have gouache, you can make some yellow color to white watercolor and make a very thick paste out of it. Or you can also use poster or acrylic white and yellow mix or just post or colored or acrylic yellow directly. So I'm going to make these tiny dots of light in the bottom. This probably, this could depict something like street lights or maybe that a small houses here and underneath. These lights are basically of those houses. Yeah. It comes for the buildings. No, it's not possible that in a building, all the houses and all the windows will have light slit. So they're going to faint. Only few lights. Do it ended. Add some white dots for light, but this is it. So to the sky if you want, you can add some more stars, or if you want, you can add a moon, half-moon or crescent moon. So it's really left to you, to your imagination and how you want to fill it. It's all this. I just remembered my balcony scene because of which I painted this buildings and some foreground. Alternatively, you can also paint a cascaded mountain and then some lights in the bottom. Or you can again paint some more pine trees. Once you've got a very nice and playful background, whatever inspires you, you can always paint that on top of it. 14. Project 6: Wet the paper well, as we have done in the previous projects. Let me just remove these excess water, starting with dark shade of green, using Prussian Green from my palette here. I'm taking medium consistency and adding the dark shades first. You can pause at this moment and watch me paint the background first so that you have an idea as to where which color goes so that it's easy for you to follow. Next, I will take leaf green. This is a very light and bright light, green, almost close to yellow. I leave some pockets of whitespace in the background. Next, I will mix the greens that I have already used to get a medium tone green that is a light green and dark green that I have used already. And mix those two to get a medium tone green so that the color transition looks natural. Adding water to this mix and making a real light consistency of paint. Now, I will add this around the paper so that I can start moving the pigment on people and it helps the pigments to move around. Do know that I maintaining these pockets of whitespace on the background. Let's start moving the pigment on paper. I can see that the initial dark green part has already started to dry, which is why the pigments are not moving around here. But the rest of my paper is still wet. So I'm just going to add some more light consistency of dark green over here again so that the area is wet and the pigments can move. Dropping some more light green on the paper to help the pigments move again. Now I'm going to move the paper in a circular motion slowly. Now I'm just going to help the pigments move whichever way they are flowing. There is no right or wrong here. So just trust your instinct and whichever way you feel the pigments need to move, just turn your paper around. No pressure at all. Go with the flow. You have already dropped the initial pigments. Now just play with them. Now before the paper dries completely, let's add some background stem. I'm taking a dark brown here. I will recommend you to use a thin brush to make these branches because since the paper is wet, if you use a bigger brush, it might drop in a lot of pigment on the paper ending up the branches to be very thick. We want thin branches just like this. Adding light strokes off branches one appear, probably another one. I'll draw at the bottom. You see, I'm holding the brush at the far end here. This is so that I can get a very free and flowy movement and the brushstrokes are not too rigid. Now I let the paper dry. Let's add some detail ones, the background layer dries off. 15. P6 2 resized: Now let's add some quick bouquet. One way to do this is take a clean brush and evidently mortar. Move to brush in a circular manner and remove the paint from the paper. The circular motion with the damp brush activates the pigment on the paper. With dry towel, I will lift the pigment from the paper. This can be easily done by the pigments are duck, which is why I'm using this technique, whether it's good concentration of pigments to be activated and lifted. Also, please make sure that you are using a fresh batch of clean water so that it does not have any pigments in it or a new color does not get introduced in this activity. Now, I will take some light consistency of a light green or rather a very watery mix of light green. And add some bouquets are on the background wherever there is light green on it. I will add some light green book is a girl's coinciding with the previous white ones. Now I'm adding a little bit of this dark green that is making this saturation at a tad bit dark. And I'll add some more circuits. Makes sure that the circuits vary slightly in size. Also paint some of the circles separately and some overlapping bouquet. Just let your cell-free and have fun with it. You don't really have to follow my moves, but paint as it pleases you. Another way of making this bouquet, instead of lifting paint off the paper is by using some white paint, make a light concentration of white because I want a semi-opaque effect. So if I'm going to use a very thick paint off white, it will just be opaque and look very white and patchy. I'm mixing a bit of water to it so that I can get a bit of opaque effect. Now this approach is rather easier and quicker than lifting the paint off actually. Alternatively, you can also use Bosch if that's your comfort. I'm speeding up the video here a little because all I'm just doing here is adding the circles of bouquet and make sure that you add them in different sizes. You can vary the saturation of the pain from white to light green and dark green. So just have fun with it. Now let's wait for these circles to dry and then go for the foreground. Now, when you're going to paint the foreground, try to avoid the area where you've already added nice bouquet. Maybe you can just add some later on as well. I like the bouquet here and other parties, there is already dark portion here, so just try to avoid that. So I'm just going to paint a stem, something in this direction and almost close to the center. So for that, I'm going to take the same dark green mix that I had taken earlier. But for this, I'm going to add some integrals so that it becomes a really dark green mix. Darker then initiate that is already there on the paper. If you want, you can just have a light sketch if that helps. So I'm just going to draw a stem, something like this. A stem and some branches. Alright, so with the brown, I'm going to paint the stem. The dark brown. It's important to paint the stem and the foreground object with the dark colors so that the light background is at the same time. You'll foreground is also made attractive. I'm using the tennis brush that I have here for this exercise because that would be the best approach. Next up with the dark green color that I have, I'm just going to make long, needle-like brushstrokes, something like this. I'm going to add these kind of leaves. So starting from the tip, I'm going to turn over for ease. I'm adding some pine leaf. Being the same differs so that it gives you a nice clarity on the direction. Off your knees. I'm just adding some random leaves at the tip of these branches. So you'll see the ones that are actually there. Any other lighter area kind of pops out rather than the ones that are near the dark section. So try to add more leaves where the background is much light. Now with some white and add some more bulky in this area. The bottom here. So basically, I foreground is not something that is important here. The important part is playing with the watercolor and understanding that just to have some kind of relaxing exercise with the paint. That is our main intention here. I just add one leaf here. Okay, somebody stopped me from painting more leaves because I'm kind of enjoying adding these leaves here. They're pretty fun. So this is it. If you like, you can add some more branches, like maybe one extra on the top or something like that. So you can just experiment and play with it as it suits you. You don't have to just do the exact same thing because right now I'm just dropping your ideas, how to paint them. But more than anything, how to just let go and relax with the colors. Adding some highlights right now with white posca pen. You can also try light green colored pencil or white colored pencil. That also should work fine. With this. We're done with this project. 16. See you soon: I hope you guys have enjoyed the class and have had a stress-free experience of playing with this flowing nature of watercolor. And I'm extremely excited and looking forward to see all your projects and all the fun paintings that you have done with watercolors. And I really feel that this is the best practice to know your colors better, letter cell-free, and work with the fluid nature of watercolor to understand it better. Please do leave a review I would love to hear from you as to how you enjoyed this class or what sort of improvements and topics that you would like me to cover in the next Skillshare classes. Thank you for all your love and support. See you again with the next class. Bye bye.