Impetuous Watercolor - 10 Day Challenge

1. Introduction: Impetus. In watercolors, impetuous refers to spontaneous, unpredictable approach where the artist surrenders much of their control over the flagrant result. It's a free flowing process driven mostly by water and pigment, interacting naturally. The artist simply goes ahead, guides the process, partners with the medium, and embraces all the uncertainty that comes with it, only leading to direction of the water and pigments. Hi, guys. I am Ruth kanath an artist, instructor, mother, Skillshare teacher, and founder of vibrant parcels where we create handmade sketchbook, artistry, pinks and more. If you are joining me for the first time, welcome. I go by the name watercolor dot Illustration dot LETE on Instagram, as well as on YouTube, where I share my passion for watercolors, creativity, and everything about art. Get ready for the fun, relaxed ten day journey into World of water colors. This class is designed to be easy, enjoyable, and stress free, perfect for bigners or anyone looking to reconnect with the pure joy of painting. We will focus on flow of colors, not strict subjects or complicated compositions. Most of the exercises are simple and can be completed in under 20 minutes, real time. We will start with the basics, exploring materials, and gradually move into foundational techniques like blending, creating diffuse edges, mixing colors directly on paper, this class is all about free expression and plea food exploration. If you have ever felt intimidated by watercolors, this is your chance to let go of those fears. By the end, you will walk away with beautiful expressive pieces and a deeper confidence in your watercolor journey. Let's dive in and enjoy the flow. 2. Materials Required: I will guide you through the list of all the materials that I am going to use in the process of creating this ten day watercolor scenes. Hello, guys. These are all the materials which I'm going to use. First, let me tell you the size of the paper. The size of the paper is around 14.5 centimeter into 20 1 centimeter. I would be using both the phase, that is the portrait style as well as the landscape style. I have kept these small papers for testing my colors. I usually test these colors in a way so that there are no muddy mixes which I get on it. Though it's easier to not get any muddy mixes on a wet paper, but still always trying out your colors in advance is easy. This is 100% cotton, fabriano artistico, 300 GSM paper. For sticking this paper, we will need an acrylic board like this. I have this acrylic board. You can have any other board that is available with you. Now this is my palette. The ceramic palette comes in very handy and you can also see the colors when it is white, the base color is white. Two jars of water, one for fresh supply and another for washing your brushes. This is a drawing gum, which basically means a masking fluid. You can have this or else you can also keep a masking tape handy. We will be masking out areas very small like this. You can just cut out a small piece from this masking tape and this stick to it. Once that is done, then you can start with the painting. Brushes. My brushes are Devins, size six brush, Devens, size four brush. This is all Kolinski, and then I have my Casino Davins brush. This is Raphael size four liner brush, and this is basically my wash brush. You can have a bigger wash brush, you can have a smaller wash brush. I just kept it around 1 " or a bit lesser, it's good to go ahead with it. Is PH martin, bleed proof white that I keep for myself. This is majorly white gouache. It acts like a white gouache. If you don't have it, you can also use white gouache. Now, the colors are from many brands as you see me using colors from various brands that is white knives and midge yellow. This is RM brand, something is your sennelier. Variety of brands that I would be using and I would be naming them each one of them before we start with our class. This is all. Now let's move on to our property section. 3. 8 Properties of Impetuous Watercolor: Today, I'm going to discuss eight important properties of watercolors before we go ahead with our first painting. Soft edges, when paint is applied to wet paper, it spreads out and merges with the surrounding moisture on the paper, resulting in gentle diffused edges and a smooth blurred appearance. Color blending blending colors directly on paper is a key part of watercolor painting. We begin by picking up colors with the brush and applying them to the paper. As they mix on the surface, they often create beautiful natural blends and harmonious color combinations independently. Avoiding muddy, mixing color on a dry surface can create dull, muddy results. To keep colors vibrant, it's better to work on wet surface where the paint can flow and blend naturally. Since watercolor is a transparent medium, this helps maintain brightness and clarity in the mixes. Spontaneous and unpredictable nature. Wet on wet painting allows watercolor to flow free. Creating unexpected and beautiful effects. With less control and more spontaneity, the paints often form soft accidental blooms and patterns that are visually pleasing, dreamy and magical atmospheric outcome, the interplay of diffused edges and seamless color gradation inherent in the wet on wet technique imparts an ethereal atmospheric quality that defines the expressive and evocative nature of watercolor painting. Lifting technique, this technique is especially useful during the wet on wet process. A clean damp brush is gently used to lift or remove the paint from the areas where color is not desired. Allowing for highlights, correction and added textures. Diffused edges, if you want to maintain soft edges in your second ar, the wet on wet technique is ideal. When the paper is slightly damp, you can paint elements like mountains or distant shapes. Like over here, we are painting the floral fields, allowing the edges to blur naturally and create a softer, more atmospheric effect. Back runs, also known as cauliflower effect, B runs occur when excess water flows from the edges, such as from an inclined acrylic boat into a partially dried area of the paper. The sudden influx of moisture pushes the pigment outward, creating irregular blooms like patterns. Therefore, always clean your edges to avoid back runs. 4. Project 1 - Snowy Day: Let's have a look at all the colors. We are starting out with naples yellow, then Indian yellow, opera, Kobal blue deep, purple, burn Siena, and burn timber. This is how I'm going to use all these colors for my painting. I love the spontaneity that comes with watercolors, and the whole idea of this particular class is all about being spontaneous, not thinking much about the composition, just going with the flow, enjoying the process of creating something that you enjoy, and watercolor is a medium that most of us have it very handy available in our houses. Just for this particular purpose, I wanted to keep it really simple and starting with a very simple line that is about a bit above one third of the paper, and then drawing a hill area or else you can also see a mountain that is there in the background compared to the foregrounds, where we are going to keep it as snow and simply just add the colors which are in the sky that gets reflected on the snow. Another background mountain which we are also going to add. The colors are very simple. I have already told you in the beginning of the class all the colors and we have experimented with small circular blocks because of which it is very easy for us to understand how the colors blend with each other without creating any dirty mixes. Most of these colors are from the palette where they are next to each other, and hence it is very harmonious. You don't need to worry much. I would apply water on both sides of the paper since it is a wet on wet and spontaneity in watercolors is something that I really I think it is just not to think much when you are working with watercolors. The more you think, the more it would be difficult for you as you want to control the watercolors, which is really not a possibility when you're working with this medium. Watercolors is all about keeping it as just letting it flow, enjoying the water, enjoying the colors, and that's how we go about it. Started by adding one wash on the back side of the paper. It is a clear wash of water and the second wash on the top part of the paper. I have taken an acrylic board. You can go ahead with any boards that's available with you. Even a flat plastic sheet is also good to go ahead with. If you can really stick it to some board or if you don't have any board available, I think a plastic sheet, if you can stick it to any board, I think that can also help you to manage a kind of outcome which you see over here. I'm going ahead with a mix of your beautiful naples yellow and some amount of any yellow that's available on your palette for me, it's indian yellow, but naples yellow is good to go ahead with. And then we will go around with the colors that are harmonious with each other, which means orange, or you can also go ahead with opera. Then some amount of purple or blue, they gel very well with each other. You can also apply some orange as I'm doing it right now. You can mix some orange with the naples yellow, get a color that looks similar to the one, which I'm applying. This opera is available on my palette. If you don't have opera, you can go ahead with carmine or any of the other pink colors that's available on your palette. But opera is one of the sheds that has been on my palette for many years now. I have been painting with the shade for, long now. Okay, going ahead with my blue, this is basically a big blob of blue that did appear on my paper. It's absolutely fine. These kind of accidents do happen. That's one of the reasons this is a complete scenario where you cannot judge how the painting is going to turn out. If something like this also happens, go with a lot of water and just pick up the colors. This is basically a beautiful blue from the kobarblue deep. Point of view. I have been using this blue for many days now, and it was really not there initially in my palette, but now I have added it, and all I can say is that it's really fantastic when you look at it and have a final outcome, which makes it really, really interesting. You can still see that blue plop, but that will go away. Do not worry. There is lots of water that can cover up for all these smaller mistakes that you create in watercolors. You know why I selected the papers rather than going ahead with a sketchbook kind of exercise. Because for paper, if you don't like something, you can again go ahead with another paper and start painting on it, whereas in sketchbooks, sometimes if you are owning a very expensive one and you start painting on it and something goes wrong, you might f but, okay, I lost a sheet of paper where then there are positives of even using a sketchbook, the backside of the paper of the sketchbook can again be used to paint another one. So always go ahead with 100% cotton paper sketchbooks. You can see that the opera and the blue will mix and give me a way of opulish kind of a shade. And this particular blue is granulating, and hence you will see some granulating colors. Do not worry. If you don't like granulating colors, go ahead with the colors that's available on your palette. If it granulates, accept it wholeheartedly because the granuating colors also look fantastic on the paper, finally. I will go ahead with the tissue and clean up the area, which is basically in the yellow. That is your mountain area, and that mountain area you can clean up with the tissue and then again start painting on it when you want to go ahead with the mountain piece. Some orange, you can see that I continuously change or I even continuous to remove the colors from the space where I don't want it at all. Blend it with some clear water and then again pick it up. While I blend the colors, I make sure that there is even wash. Now, even wash means that the blending is even. There are no lines that you usually see. You can also move this acrylic board in and around to get a final outcome which looks absolutely blended. Gravity does a lot of work. You will see in one of our paintings, we will be doing that, too. There are a lot of learnings that we have in each of these paintings, so do not worry. Go ahead with the flow, enjoy the work. And just enjoy painting simple landscape or maybe just a flower. There are different compositions which we would be trying, ralins some good skyscape. So there is nothing in particular that has gone into my mind while I was literally trying to make this class. It was all enjoying the flow of watercolors and just, um, enjoying this medium more together, just loving the medium, just wanting me to work more and more with this medium. In between, I took some break for my own as I was pretty unwell and hence, even getting back to the painting was really tough for me. So going through these simple landscapes helped me a lot. It's a 15 to 20 minute exercise. Believe me or not, the sky takes some more time. Wherever you think you are happy with the sky, just leave it at this stage. You do not need to always go ahead and keep coloring or adding colors. I will go to the bottom part. Go ahead with a very light sheet of the purplish sheet which we did have on the top area, some pink into it or opera that you did apply. As you see, these are very, very diluted or you can say there's hardly any color in it, there's hardly any pigment in it. Mostly it's water. And then I would go ahead with the purple that you have on the palette on the right side and just start adding it on the paper from the left to the right. Now, this is basically to show that the color of the sky is getting reflected into my snow. Snow has no color of its own. They reflect the colors. So always, always keep that in mind. If you are observing snow on a bright sunny day, you will just find it white. If you are observing under the light, you might find some amount of light getting reflected on the snow. And if you're absorbing somewhere like this on a colorful sky, there will be at least the deeper values getting reflected on the bottom side or the bottom part of the snow. I'm just adding some more of my purple. As you see over here, most of this piece only lies in this particular part because our colors that we had to spread are almost done. We might have to just take off any extra water from the sides or else it would be a back run. Now, what do I usually mean by a back run is the water from the sides will move into the painting, and there will be a cauliflower effect, which we really don't want in this painting. Hence, always keeping in mind that yes, there is no cauliflower effect which we get. Let your paper dry off to a great extent before you go ahead with the next set of your background mountains. Now, this is very important. As I always say, you can use the same colors. You can blend some amount of opera also into it or some amount of darker blues also into it. It's good to always change your colors or add the color on top of the paper. There you can really get good number of shades coming up that way. You know, and when you mix the colour on the paper, the variety of shades that you get on the paper is really not equivalent to the shades that you can make on the palette. And hence, that's how I go about it. Even adding simple water, you know, you can alter the values, and altering the values also adds a lot more depth into your painting. I'm adding some more opera now, as you can see. I did tell you initially, I love to blend my colors. I love to add different sheets into the background mountains, too. Once this is done, we will work on the foreground mountains. I would go ahead with some of my burn Siena and then blend it with my burnt umber or any darker value that's available with you. So go ahead with that shade or make some amount of your paints gray into the brown or burn Siena that's available and get a darker value. You can also mix the purple that you have created that could also get a darker value with the browns that you add over here. I will clean up the space with my tissue and then just add darker values on lighter values wherever I feel it's necessary. Keep a tissue handy. It's always good to have it, then you can pick up your colors very easily. All the steps explained over here is very big no friendly. If you are someone who is looking for good blending, good composition, simple and easy paintings to just hang on your wall. I think this is perfect place for each one of you. Go ahead with this painting, and I think you will be in a position to nail it completely and just tap your back once you are done with it. I'm just blending my colors, some darker and lighter values. You know, all of us create mistakes, and in fact, sometimes I go overboard. I add some more darker colors because of which I have to pick them up maybe a bit later on with the help of my brush or with the help of my tissue. I continue to work through these simple aspects of watercolor, and I think it's important for each one of us not to consider ourselves that we just know everything. Watercolor is a medium that teaches you every day something or other new. If you keep experimenting with this medium, if you keep experimenting with various compositions, I can tell you that you are going to nail each of your watercolor compositions as you keep painting and go along with it. I'm adding some more darker values for the foreground of these fountains. I kept them really dark. You can see that the colors are moving into each other as the paper that is basically the mountain area. Above the darker value of brown is still wet, so I'm picking up with the help of my damp brush. I have been doing this process for many years now, and I know how to pick up the colors with the help of the damp brush. If you are someone who is new, just take your brush, add it, add some water on it, take the extra water on the tissue, and then just remove the extra paints from your paper. Again, do the same process, and you would be in a position to get some clean or some darker lines in the foreground and some lighter colors or whatever colors you've added for the background. Adding some more darker value of brown and then blending it with the help of my blending brush, I have kept basically a size four, size six, then this round or you can say the squll brush. Those are the brushes which I have been using for a few years now. But the new Dawnci that I've opened up, you can see that it is very, very beautiful. I'm experiencing amazing outcome with these Devins brushes, and finally, I can say that this is one of the brushes that I feel everyone should own after Escoda optimal brush, which I have really told that I've been using it for at least five, six years now, and it's been an amazing experience with that brush. So many years I've been using it still it's the same. I still use it pretty rough, but the tip, et cetera, remains as is. So if you are investing in a higher value branded brush, I think that it can sustain you for longer years and hence you can have a great outcome with it. Always try to invest slowly. Do not go very fast with your investments on brushes, paints, et cetera. But as and when you do it, you would be very happy to see how interesting it is to have outcomes that you might find very difficult to achieve with maybe some cheaper materials. See, expensive materials are always good but difficult to acquire. Hence, over time, if you acquire and continue creating with your watercolor as a hobby or as a side hustle or whatever you have considered, I think it would be great outcome for you, and it would be a great addition for anyone. Uh, the paper is becoming a bit dry and adding a few lines now would make it look really nice. It's not flowing a lot. But yes, wherever I have to blend, I think that has to continue in a similar way. The blending of the bottom area is also important. I will use my flat brush to do that blending. This is something that I have done previously also in many of my paintings, and you will observe very strongly as we go ahead with our other paintings, too. I'm still picking up some of the colors from where I think it is necessary and just using some clean water to pick up those colors. This is very important exercise that I've been doing always, and I mentioned even earlier about it. I guess this is it. Maybe some dots here and there to just make the ridges and all or the rocky terrain that you usually absorb in any kind of mountain area that you come across. Don't try to overwork at any point in time. If you try to overwork, what happens is that the final outcome might not be to your liking. You may continue to overwork in all the areas, but, yeah, the final outcome might not be exactly how you would have loved it. Okay, great. I guess we can just take a break, stop, look back. Do we need to add anything further, and then just start out with the bottom piece? Bottom piece, you can only do once your paper is completely dry or else the lines will not be sharp enough. This is the only thing which we are doing wet on dry, to be frank. Mostly everything that we have done till now is wet on wet. You will find more paintings coming up as we progress only in wet on wet there will be nothing that we would be adding in wet on dry. The whole idea is spontaneity, and that's what I'm looking forward to in this whole of the series. It's a very small series. Ten days, 15 to 20 minutes, that is all you need for this entire series on a regular basis. It is spread across two weeks, five days and five days. It's easier for you to follow, continue, and do let me know how you are enjoying the class. This is basically the wooden fence, and I'm just adding some strings to it, or you can say some kind of lines just to add the add perspective into this whole of the painting. It's very important whenever you are working through watercolors. Adding a bit of perspective helps in the watercolor painting. Just dropping a few dots here and there, and that is it. These are basically the dry grasses, et cetera, which is usually there in any kind of snowscape. I'm adding the shadow of the wooden fence and this string. Once it is done, I will allow this paper to dry off and then have a fun look at it. Nothing more needs to be done. Hope you have enjoyed it. 5. Project 2 - Evening Light into the Mountains: Let's have a look at all the colors which we are going to use for this painting. The first is John Brilliant number two, Indian yellow with naples yellow, then is burned Sienna and Pains gray along with it aniliaOange and Pains grey. These are the combinations which I have already tried on my paper. Hence, I know that I don't get any muddy mixes when I use these kind of combinations. Go ahead with any coin size of your choice and start by adding a circle. This is a bit below the half portion of your paper. I have aligned the paper in a portrait way, not in a landscape manner. Hence we all need to work in the similar way. So there are landscape and portrait way, both we would be using for all these paintings. I have not thought much through all the compositions that we have done. It's kind of random. Sometimes you are actually painting mountains, sometimes you are painting skies, sometimes you are painting sunsets. So go with the flow, enjoy the spontaneity, enjoy the process of creating that's what was there in my mind when I went ahead and actually started working on this class. I have added three different parts of my mountain if you see over here. One is a background and two are foregrounds. You will see how the sun rays actually cut through the mountains. It would be a very easy process. So do not worry. Let's go ahead and first work on our sketching. Once you are done with the sketching, add water on the back side of the paper as well as on the front side of the paper. Adding water on the backside of the paper really keeps your paper wet for a longer period of time. This is Fabriano Artistico, 300 GSM, 100% cotton paper, which we are using. You can go ahead with any other paper of your choice, but I would request you to use 300 GSM only. If you're using 300 GSM, 100% cotton, then only you will have an outcome which would look similar to the one. That I am getting over here, and it would provide you with a lot of time to work around with your skies or mountains or any of the parts that we are going to paint over here. Therefore, having a good paper is very, very important. As I always say, basics is something that I always always go back to, whether it be paintings, whether it be having a good paper, whether it be having some good artistray paints and artist gray brushes. So all of these make a lot of difference to your painting. Though I don't say you have to get all of this at one go, you may get it as and when you have the money because all the supplies are pretty expensive and hence you cannot get everything as you want. Okay, now I'm picking up some of the water from wherever I think that I have large puddles and all. So you have to see it from the sides. If you have any large butles, pick it up and just add it on another tissue or you can also take it out from the sides by tilting your board. So that I would leave it up to you. I'm taking out some burnt sienna and some amount of John Brilliant number two. Both of these paints are from the brand holding. So Holbein is another brand that I have been using for many years now along with Michello, Koa, Snelia and many more other like Winsor and Newton professional grade, Daniel Smith, and whatnot. I think I have used every brand that's available, including Fram Brand and all. Nowadays, although paints are available even in India, though they are imported, and it might be available at a bit higher cost. But you know, the outcome of these paints are amazing. So we are starting out with some of our yellow and brown, and then we would add some John Brilliant number two as we go towards the top. This is a beautiful skin color, kind of color like shade. You can also have this kind of naples, yellow and him and ke. I'm really not sure exactly the shade name, but, yes, something similar is available. You can blend it with the brown and then get, outcome that looks similar to the one which you see over here. I'm going ahead with my broader brush. Now, Broader brush is important at this moment, as I'm working through a larger piece of the sky compared to the smaller parts, which I would be using or working on next, you can say, Let's go ahead and just pick up some more of our John Brilliant and go around the sun and add colors over here, the paper is really wet and hence the color will flow. You do not need to worry. You might have to go ahead and pick up the colors from the spaces where it is necessary. That is, if the colors go into the sun area, we might have to go ahead and remove that part. Those are the important aspects. I'm mixing some amount of red into the brown, yellow mixture that we had and apply towards the bottom area on the left side. I would be doing the same process even on the right side of the painting. Blending is a very important process. In wet on wet watercolors, I will mix some amount of orange into the brown red mixture that we had, and now I will start applying the color towards the middle part. Though I will not cover the entire yellow that I initially had. If I see that I'm covering up the yellow, I might have to go ahead and again drop in some amount of indian yellow to keep that yellow intact. I don't want to cover up the entire space of the yellow. I'm very clear about that, nor I will occupy the entire white space of the sun. Take some amount of endonthrine blue or pains gray, whatever is available on your palette and then mix some amount of orange into it. This is the sennelia orange which I'm using. You will get a color that looks really deep exactly the way which I'm using in my painting right now. As I go towards the bottom, the colors will become lighter and lighter, and I will get more of the yellow and the brown tonal values along with the orange tonal values, which I have added already into my painting. I'm mixing some of my paints gray and orange mix into the brown and orange mix, which is there on the top. Believe me, these mixes just happen on its own. I just keep them *** and continue to work with my colors, whatever appear on my palette. I don't go with any mindset. That's one of the reasons I always say that landscape, skyscape, et cetera, whatever you are going to do in this particular series is everything spontaneous. Whatever comes into my mind, I start painting it that way. There is no set rule which I have followed, only a simple rule that usually every watercolor artist follows is going from a lighter value to the darker value. Why it is important to go from lighter value to darker value in watercolors, as it is a transparent medium. You cannot get back to lighter values once you have applied the darker values or a lot of lifting processes involved, which might leave some stains on your paper. And that is really not needed in our painting one of the reasons that I always move from lighter to the darker values. I continue to use the same mix in some of the other spaces, and I'm not going to dip my brush into the palette. I'm going to use the same mix which I have in my brush and apply it in some of the areas as we go towards the bottom. I think the top area needs to be a bit more darker. I can see some white spaces, so it's important to go ahead with somewhat darker values. It's the same paints gray and your annelar orange mix. You can also have this antrine and your orange mix. I would leave that decision up to you. You should get a color that looks similar to the one which I am using over here. And then again, start applying in few of the spaces. I'm going ahead with my size four round brush, you can also go ahead with your size two round brrush. I think size two round brush will help you to actually control your colors in a better way. Picking up the colors from the sun area is very important. As you see over here, we need to add some amount of brown on the left, as well as just blend it with the background. The paper is still wet, and hence you can work on it. If your paper is not wet anymore, you really can't work on these aspects. So just judge your paper before you come back to this part, at least, so make sure that you are not having a dry paper or else the final outcome will not as you would like to have it because there will be no soft edges. What we are looking forward to at least in this painting is soft edges, and soft edges is only possible only when you blend the colors easily and they move into each other as the paper is wet. I'm using my flat brush to pick up the colors as my sun rays are passing. Through this part of the hill, that's very important to show it. You can also say it's a mountain, so I would leave that decision up to you. Whatever you want to call, the paper is still wet, and again, I'm painting on it. I'm really not sure why I'm retouching all the spaces, but just I think this is it. I'm not going to retouch anymore and start with my mountain area. The paper, of course, for the mountain area is also wet. I'm going ahead and using some more brown near the area of the sun. As this part will be lighter in value, the sun rays passes through it, and hence it needs to be lighter, whereas as you go further away, it will become darker and darker. We will use the same paints gray and orange mix that we have used do for this spot. I will keep blending my colors. The paper is also wet. Hence, they will move into each other. Just clear out the spaces wherever I think it is necessary with the help of a flat brush that you see over here. If you try using your tissue, what will happen is that it might leave some marks which we don't want at this stage. I will blend my brown color with a pains gray mix. Of course, you know this mix. We have been using it from the palette, and then again, mixing with some brown. This is very important at this stage to let your paper dry off after this, and then only you can add your background mountain. Everything is really soft. You can see we are working mostly wet on wet. Hardly there is wet or dry, which we are working through. You have to let your paper dry off before you go ahead with your background mountain and your foreground mountain. So both of them, it's very important to work around only once your paper is dried up. I will keep picking up my colors at various stages wherever I think it is necessary. This is, again, an important process. As you see, I need some sharp edges for my mountains, and that's really not possible if everything is wet. They will move into each other and it would become more abstract in nature. That's not the idea wholly. We want to have a good outcome, which doesn't look absolutely an abstract thing. It should look more like natural, and hence that's the reason I want to keep it this way. Now adding some endanthrine blue towards the bottom. I have mixed some of the endanthne blue into the mixture of the paints gray and orange and whatever we had on the palette. I'm going to continue to use everything that I have on my palette to my advantage. Though there is some amount of blending that is needed with brown that we have added and you can see that the darker values are coming up from the left. They are blending it well with the browns that we have added on now. I will pick up my colors from wherever it is necessary and then allow this part to dry off before I move on to the next part of the painting. You have to allow some drying time, even when you are doing wet on wet completely wet on wet, yes, means more quicker approach. You need to work more quickly compared to wet on dry because we are not working in layers, we're usually working in one or two layers and pretty quickly that we are going through it completely. I have added some amount of my darker value of the blue, even on the right side, but that is to really less extent with the help of my size board brush. As you can see, now my paper has dried off and the colors have become way more lighter than what it was. I'm going ahead with my lighter value of the brown. And starting out with my background mountain, it's a very simple process. Go with the size six brush, load your brush and start adding your colors. As you go towards the bottom, just blend your colors with some clear water, and that is it. You do not need to do anything more. The blending will work on its own. You have to just sit back, relax and enjoy the process of creating. We have to again let this paper dry off completely and then start out with the bottom area. Now, bottom area is going to be really simple. But before that, I would just add a bit of my darker value towards the lower side of the background mountain just to blend it as if it looks very naturally coming to it. Right now, it was just like it became white, which is not the sky too. And hence we had to blend it well. And to start out with our bottom part of the sky, we will go with the darkest value in this. It would be a mix of our brown and the paint's gray that we have. And then blend blended, blended. We get the best of the color towards the bottom part. Once you have the blue blending with the uh this particular dark brown on the sides, as you go, we will be adding more and more of the darker value of blue or pains gray. If you have blue in your pains gray, that's the best kind of the paints which you can have if you have a bluish stone. Though in my particular paint, I don't have a lot of blue in it. So part of blue. So maybe when I'm purchasing the next one, I will see that, yes, I have a bit more blue. I would go ahead and remove the sketch as the paper is dry and make it a bit more organic, as you see over here. Let the paper dry off completely, remove any that is any colors if you have on the sides or any extra water that you have on the side so that there are no backgrounds, blend it well, and then have a fine look at it. I'm pretty sure that you would be surely proud of yourself. With how the whole painting has turned out. I see on the right side, there were some white spaces which were visible, and hence, I had to go ahead again with my bluish shade of brown to make it look It is not white. Of course, it cannot be white, and hence, we have to even paint on the edges near the part of the sun. It would be more brown. As you go below, it would be more in the darker values. That's all you need to keep in mind, and I hope you have enjoyed this paint the next painting is going to be about Relins and the down. I have tried to keep every composition different, and it is easy to fall in love with each and every painting separately. You can pick up from any point and draw anything. 6. Project 3 - Dawn by the Grassland: Let's have a look at all the colors. This is my centers blue. This is my bar blue deep. Then I have naples yellow. This is my orange. You can mix it with a bit of your opera to get a shade that looks similar to the one over here. The next is your s green or yellow green, whatever is available with you, you can also keep some ink in yellow with you to get the shade that appears over here. Along with it, you can have forestry. These are all the colors which we would be using for this particular painting. Let's sketch the grassland. I am going to mark a bit above the one third of the paper. As you see. This is portrait rather than it being landscape as we need to allocate a lot of space to the sky. Hence, um, I think just changing the way we place our paper is most important. When we have more of a sky area, then we will allocate a lot of space to the sky. Okay, let's just make three to four slanting lines. And this is basically to show that there is perspective. These are major League grasslands, and I would go ahead. After making those lines, just mark a bit of pushes. One done, go ahead and take the backside of the paper, apply a lot of water, and then stick it to the acrylic board or any other board that you have with yourself. I will add water on both sides of the paper. That is on the top side, as well as on the bottom side. Swatch both ways. That is your straight, as well as your cross. Once you are done with the straight and cross swatches, you already know that all of the paper is being covered and there is no place that you have left empty. 90 to 95% of the painting that we are doing is mostly wet on wet, except maybe one or two smaller details, which is wet on dry. I would just pick up my size four brush and then start adding my naples yellow. This is naples yellow deep from the brand Sennelier. You can go ahead with any of the other naples yellow that's available with you. I'm in love with this color for quite a few years now, and I have been using it in many of my paintings. If you are someone who has not come across this color, it's a very interesting shade. It doesn't react with blue to give you greens, but always do try your colors on a separate sheet of paper. As I say, it's good to try your colors rather than coming back and getting some muddy mixes which you do not expect in your painting. I will make some opera with my orange and some yellow to get a shade that looks more orangish and start applying it in few of the areas. Just mark the way I am going ahead and applying my colors. You will see some of them are mostly horizontal strokes and some of them are even side strokes. You will see that the clouds are directional. Now, directional cloud is something that I must tell you because directional clouds really, really help you to understand how to go about your cloud areas or particularly clouds are placed in a way that it looks like a direction, so it comes from the right and moves slowly downwards. While you come more towards the bottom area, you will have smaller or you can say very, very small kind of clouds, whereas as you are going away towards the top area, going away from the horizontal line, you will have broader clouds. That's how the perspective of cloud works. If you are someone who is like who really wants to learn only about clouds. I have many classes that I've already given. On the Skillshare platform, you can make use of them, and for sure, it would help you and benefit you even in your future journey of watercolors. Go ahead and just establish your yellows a bit more as I see that we have actually covered it with a lot of orange. Hence I did go ahead and apply some more yellow, again, mixing some of my opera with orange and yellow to get a mix of a bit of a darker value compared to what we had earlier. When you work with a smaller brush, you can have smaller strokes. As we have used a lot of our time. You can see about three to 4 minutes painting the clouds. I need to go ahead and check that my paper is still wet towards the top area, though this is 100% cotton paper, and it stays wet for a longer period of time. But if you are using some 25% cotton or 50% cotton or even cellulose paper, you might have to go back and check the paper very well before you apply any of the colors. I am going ahead with my cobalt yellow deep and serneus blue. Now, these are two colors. You can go ahead with any other shade that's available with you. One can be a light blue, one can be a dark blue. You can also go ahead with ultramarine. I don't have any problems with any colors that you are using, that this is more of a contrasting shade. If you see this is a co shade. So the blue and the yellow are opposite on the color viel, as we always see, hence, giving a contrast in your sky really adds a lot of depth and understanding of how your clouds are being placed. I will not mix up the colors to a great extent because I know that I might get some muddy mixes, so a bit of mixing is okay, but not much. Make sure that your colors don't flow a lot. It will not, in fact, because I know that we have already spent about four to 5 minutes audio. And hence the flow of water is not that much anymore. Ultramarine is one of my favorite colors, and even if I'm using cobalt blue, deep, I would love to add some ultramarine into it and start off with the top part. We will have some smaller strokes as we reach the bottom area. You can see that I'm using size four brush only. It helps me to really control my colors to a greater extent. You can also switch to size six brush. It all depends the size of the paper which you are using. This almost the size of an A five size paper, you can say, or a bit smaller than that, but you can also go ahead with an A five size paper if you are comfortable using A five size. Mmm. Um I always use a clean damp flat brush to lift off the colors from the spaces where I think it is necessary. Now it's time to add some smaller lines as you see over here, one or two small lines here and there, and this is the same blue and the Kobal blue combination that is ultramarine and Kobal blue combination that I'm adding. Though I will make sure that it doesn't turn green and I really don't want the colors to turn green or muddy. That's something which I keep in my mind when I'm painting. I add very, very small lines because I don't want to change anything at this stage. I would go ahead and start adding my green. This is either an olive green you can take or a yellow green or a sap green, whatever green is available with you. Then mix it with some amount of forest green and start adding the lines as you absorb over here. Now, these lines are basically the ones which help you to define perspective. The grasses which are closer to us will appear bigger in size and shape, whereas the ones which are far away from us will appear just as lines. That is what I always always say to everyone. I have also kept an area on the left side, which is more yellowish. This is the area where I will be adding more of my grasses. You will observe, like how we continue to work around with it. Already, this painting looks pretty much organic and it looks almost done. But the sky was not the only aspect which I was looking into. Go ahead with my darker value of green. I mixed it with the blue that I've used for my sky. This is what I always say use the colors that are available on the palette. You can make darker value of green using the blue that's available. So go ahead, do that, make use of whatever colors is available. In your painting, so that none of the colors is wasted. Most of the colors are very expensive, and hence, you have to make sure that it should be used very efficiently throughout your painting. Okay, now it's time to use our rigor brush or liner brush, whatever is available with you, pick up some darker value of green and then start adding these lines. These are majorly vertical lines. Liner brush will surely help you to add these lines. This is yellow inch shade, and hence whenever you are adding some green or yellow, it will show off. This is a pretty repetitive and iterative process, as you see over here, but I will also add a few dots is all I'm thinking because otherwise, this looks very dull at this moment, so we might have to go ahead and make some dots in clusters. Hence, it would look more like grasslands. Otherwise, it looks more like floral fields. And this is not exactly floral fields which we want to paint. There will be floral fields that is also coming up in one of our projects, but not this one that we are going to add in. Let's continue to make some more darker values and try to add lines as you see me doing it over here. I'm using still the liner brush. It takes a while. It is an iterative process, not that it just comes very easy or handy, but continue with it, and I'm pretty sure about it, you are going to nail your paintings. I'm going to pick up some of my orlein and this is the inan yellow colour and start dropping a few drops. As you see the paper is still wet and I can continue to work on this is at least 12 to 13 minutes that I have kept my paper wet and I continue to work on it with my brushes. That's the beauty of using a mold made paper. This is a fabriano artistico, 300 GSM, 100% cotton. And if you have one for TRV, I'm pretty sure about it 15 minutes to 17 minutes, you can easily work on this paper, and you can easily nail all your paintings. I used a clean damp brush to go over my horizon area so that I can again add some more lines starting from the right into the left part. As you observe over here, I am mixing some more. This is more of dry paints, as you see, my paper is wet. Hence, using my dry paints really helps me actually give a direction to my field or show the perspective in a better way. I can't continue to have or keep adding water into my color palette. Then overall, when I have a final outcome, you will see that the colors have moved into each other and there is hardly anything that we can do at that stage. We are trying to put a direction to our medium. We are not trying to control the medium. Having said that, I understand that many of you might have struggled even in the past, keeping your paper wet for a longer period of time or your colors getting mixed. The only thing that I can say is it will take some time for you to understand the moisture that is left on the paper. The paper needs to be moist. It doesn't need to have puddles of water on top of it. That's something I always always say in most of my audio classes too, that moisture on the paper is more important rather than you having puddles of water floating around, then the movement and the colors will be so much moving into it that it would be difficult for you to control at all. Some small orange wildflowers that we add into our painting, small, small ones, as you see over here, one, two, three, four, like that. Continue to add it on your painting, and you will see, that's it. We're not going to touch most of the areas, and now I have to move on to the top part where I have to add a few trees so that the horizon line can be shown in a better way. I will continue to do that, but before that, I see that the colors have moved into each other and we might have to go ahead and clean up the space a bit more with the help of a round brush. Again, I will go to my horizon line, use my damp clean brush to remove all the extra greens that have moved till the top of the sky. This is an important process, and we might have to work around with it three to four times or five times till you are satisfied. We start adding some darker dots of green as you see towards the top area that is near the horizon line and then extend it towards the right with one or two dots. There is cluster of trees that are put in one space. Other spaces, it would be one or two dots here and there. Simple easy process. We just have ten to 12 dots that we are going to add. That's it to showcase the horizon in a better way. I do not like to overcrowd any place. Keeping it simple is the whole idea. We are not only working with landscapes. We would be working with skyscape. Winterscape, the next painting has a beautiful sky which has snow along with it, and then some misty pines. After that, we are going to paint a flower. Variety of paintings are coming up, so you do not need to worry. We are not thinking about compositions only. Just going ahead with one kind of a subject. There are multiple subjects that we would be painting, including some water, et cetera, and everything would be wet on wet. If you're someone who has been struggling with watercolors and wet on wet has been an area where you have been concerned or you are curious to know how to nail it, I think this particular class has it all. Once you take the whole of the class, you will get to realize that it has so much to offer after you complete all the ten paintings, I think you will be in a position to nail any kind of landscapes or any kind of flowers, et cetera that you think you want to paint. I will add some more small grasses, as you see over here with the help of my size four brush. This is my darker value of green that I'm using and then adding some curved lines on the paper. I'm really happy with how it has turned out. I would let the paper dry off and then have a final look at the painting. 7. Project 4 - The Pastel Sky: Have a look at all the colors. I'm starting with brilliant pink Opera, compose Opera. The blue is your ultramary. Next is my sap green and Bnciena burnt umber or any of the darker value of brown. I would be using a mix of my blue and the greens to create various shades for the faraway misty pines that you see over here. This is going to be a very beautiful, colorful painting, so just hang along and let's paint it. I'm going ahead and just marking a horizon line. Once I have marked this horizon line, I would be drawing one more line where the fence will be coming up. But before that, let's just add a small outline where we would be adding our trees or the far away misty pins that you see over here. It's a very simple and easy process. None of the paintings is more than 20 minutes. This is real time, and you are going to nil it within the next 20 minutes. Add a few fences, and that's it. As we go from the top left hand corner towards the right hand corner, it would become smaller in size. I have kept the perspective that way. This is more closer to my eyes, and as I go a bit towards the right, it's a bit further away from my eyes. I always erase if I'm not happy with my drawing and then again, go ahead with another part of this drawing. If you are someone who is not so well versed with watercolors, this is a class where you have very less drawing and just go with the flow is the idea. You don't need to do much, see whatever you observe, let water do its job, go with the flow, enjoy the painting. Do not think about the final outcome. You may get it exactly the same the way I have got or maybe it be a bit different from the one that I have got over here. Let it be. We are not here to make a perfect painting. We are just here to enjoy the process. The whole idea of this class is to enjoy the process. Let creative side of your take over, and we are here just to enjoy that part. Go ahead and applying some water on the backside of the paper. Once we are done applying water, I would stick it to the board that I have. This is my acrylic boat. I am going to stick to it and then go ahead with the other side of it, where I will again apply a lot of water. Before I apply the water, I would go ahead and just add a moon or a sun. Both of them is good to go as per my understanding because here, nothing much needs to be done. You have to just see that the final outcome is having a small white.in it. You can also use your white gosh to add this dot. I have used my masking fluid over here and let your masking fluid dry off before you add any water to your paper. That's how we always go about it. Why masking told should get dried off or else the brushes might get affected, which we don't want in the whole of the journey of watercolors that we are picking up in this particular class. I always do crosswatch. Crosswatch helps me to have an even layer of water on top of the paper rather than having very skewed kind of water or puddles of water here or there. I'm mixing my brilliant pink with some of the opera and start applying on the top part of the sky. Brilliant pink Opera, compose, opera, blue, in terms of ultrame, et cetera. These are the colors which I'm going to use for my sky, and there will be some places where I would be leaving it in white. I love to keep a few white spaces for my sky. You will observe it in most of my paintings, even in the painting that we did last, which was all about grasslands. We did the same process. Okay, going ahead and just marking my darker values, adding it, I'm using my size four brush. You can also use a size six brush if you are using a five size paper. It's a very important process to start with the lightest value and then go ahead with the darker value like your blue, but also in the lighter tonal values, that is basically having more of water and less of pigments. Now, this way, what you can do in watercolors is you can keep it transparent. Watercolor has its own way of showing up or it has its own way of having that vibrancy if you keep it light with the tonal values. And as you go, of course, into the painting more and more, we will apply the darker values. I sometimes do pick up the colors from wherever it is necessary with the help of my damp brush. This is an important process for a wet on wet painting. I have none other way to pick it up or else you can also use your tissue. Tissue sometimes leaves some marks because of which I like to do it with my paint brush that is damp in nature. Going ahead and adding some more of my darker values towards the top area. I see that the water is becoming lesser and lesser of the paper because of which we might have to move fast after this while we add our blues. Let's go ahead with the top part. Now, I'm starting out with some of my purplish color, that is the blue and the color of compose opera, I am mixing it and then applying in the top part. You can also go ahead with Kobarblue or ultramarine. Both are good for this painting. I have not considered much about what exact blue you need and all. Believe me, that's not the idea. As I always say, this particular class is only about flow enjoyment, and having an outcome that you are super proud of and not thinking about all the difficulties in the process. Watercolors is all about enjoyment. The more you enjoy, the better would um, I would say the theming that you have while you complete a painting is something that's more important rather than only thinking about the final outcome or how this is going to turn up. I apply a lot of water if you see, I let it flow. I don't think much about, Okay, it's going down or it's going up. I have always a damp clean brush to take off the extra colors wherever it is necessary. Go ahead with some of my brilliant pink again. Mixing it with some opera and then applying it if even need be. I don't like it the way I don't like it right now, I don't think that I really like how it has turned out. I would go ahead and blend a bit or some parts of it. That's absolutely okay to do when you are not happy with something, maybe the top area, so it's all experimenting. It's not about having the exact outcome that even if you are copying from a photo or you are going ahead and painting from a particular scene that's in front of you. Never try to copy. It's always from the eyes of the artist, so how you intercept it, how you like to portray it, or how you like to bring it to life in front of your in front of various people who are observing it, that's most important. And hence, whatever you paint really doesn't matter till the time you are satisfied and you know this is what I wanted to bring out in this painting. And hence that becomes the most important aspect in watercolors. I've gone ahead and added some darker values of my compose opera, and now adding some more blue towards the top area, you can see that now the blue has become really dark. I'm going ahead with some more of this darker sheet of blue. This is the darkest value of blue that we are adding and then blending it with the pink that is there towards the bottom pot. Right now, this is my size six brush rather than it being the size four brush. Blending is great. Wet on wet is a lot about blending. Believe me, blending is the key. You want to tilt the paper, you can go ahead and tilt the paper. I would leave the decision up to you. I did not tilt this particular painting for sure. I just left it as on my, um, table. Now it's again time to pick up some of the colors from a few of the areas where I think it should be left in white. I am using my damp brush to do it and again, wipe it off on this clean tissue that I have on the left side. I always keep a tissue very handy now adding some of my pinks and some of my bluish purple. On the bottom area, as you see over here. Once this is done, we will go ahead with our misty pines kind of the outcome that we want. Believe me, that's one of the best things that we have added in this painting. It is a highlight of the whole of the painting. I never thought initially, that you can mix so many colors and paint this one. I also pick up my paints with p of my fingers. I do everything possible, paints, water, et cetera, then use your tissue, use your hands, whatever is available with you don't think much, but your hands needs to be clean if you are doing anything like this. I'm going ahead and mixing some of my greens with the blue that's already available on the palette and adding a few small spar dot. And then these look more like lines. I will just keep adding and mixing some of the other colors. You can also mix some olive green or brown into it and get a darker value like the that you absorb over here, and then again, start from the right side. Mixing your colors is very important on the paper, and this is, believe me, one of the best things that you can do in wet on wet technique, mixing the colors on the paper rather than mixing it on the palette. I love this idea when we are doing wet on wet rather than doing wet on dry because mostly in wet on dry, you have to mix your colors on the palette and then pick it up and use it on the paper. So this particular part really remains a highlight. Mix your colors, use some more blue, use some more greens, create your own colors, mix a bit of brown, mix a bit of olive green, if you want. So that's all mixing the colors and then just adding a few lines like structures, small lines, which will look like misty pines in the faraway land. Once I've added these smaller lines, I will go from the bottom part and just move from the left towards the right, and then just add the colors in a way, pick it up with my flat brush, as you see over here, and then again, pick up on the right side, make a few long lines, as you see, and I just extend it a bit to make it look like they are pines in the background. I am not giving it any shape. It is getting blended with the background because the background is still wet, not exactly having puddles of water, but it is damp in nature. Damp and moist is all we need at this stage of painting. I just even out the bottom part or the edge of these pines with the help of my flat brush. So browns, again, in few of the areas where there are greens, they will automatically blend with each other. You don't need to do much. This is just to add the depth and some different blend of colors, as you see me doing in most of my paintings. I'm to work on a foreground a bit more. The colors have turned really light, so I would like to add some more colors into my background, going ahead with some more of my bicker brush and then blending it with the background area, picking up some blue and adding it on the bottom left hand corner. And then, again, blending it with our pink shade, blending it, blending it, and blending it. That's how it is. I will be using my brown for my um fence area. This is basically some burn Siena, and then I would be mixing some yellow also into it. You can also go ahead with only some burn siena. I would leave that decision up to you. Once this burn siena is done, we have to again go over it with a darker value of brown, either at bond umber or any of the other CPR kind of color that you have available with you. Every brand actually manufactures different kind of colors, and every color is not Um, I would say that every pigment is not in line with each other, so you might have to see the color that looks exactly similar to the one that I am using over here and then go ahead with it. Adding some more burnt sienna from the top to the bottom, as you see over here, making the lines shorter as you go towards the right, adding some dots here and there, the paper is still wet, they will move. I mean, the lines will not remain as lines. They will become a bit more blur. That's absolutely okay. Add some more of the dots here and there. Once you have added the dot, we might have to go ahead with one more darker color. But before that, I think some more lines is very important for the misty pines because these pines look lot like they have become really, really blur, which I don't want. Some of them should be defined, one or two of them or three for maxim. That's all we are looking forward to in this painting. Add some more line like structure. That's all. This is with my You can use a rigor brush or else you can also use a liner brush. Whatever is available with you, do not think much about what brush I should use, how it should work. You can also go ahead with a zero size brush if you don't have the brush available with you. I'm picking up the colors and then just taking it a bit towards the top. That's what I'm doing. I am not having much of colors on my brush anymore. It's just picking up the colors from the bottom and just pulling it towards the top. This approach is very common. I have removed the masking fluid now and it looks so nice. The paper has almost dried off going ahead with some of my darkest value of brown and adding it over here. I hope you have enjoyed this painting because this is one of my favorite paintings. Again, the colors of the sky has my heart completely. So yes, keeping the other parts very minimal. The next composition is going to be of flower. I am not thinking much about composition, skis or anything. We're just going with the flow. The class is all about enjoying the flow, enjoying the spontaneity of watercolors, enjoying the um, I would say the happiness that watercolor brings to you, the joy of painting is something that I'm looking forward to always. Do leave me a comment in the discussion section. If you have any questions for me, I would be more than happy to go ahead and respond to it. If you are someone who is also leaving a feedback, I would be so grateful to you and I would love to read through it entirely. Just adding a few more lines here and there to show the dry I would say plants, which usually happen in areas where there's a lot of snow. That's all, and then have a final look at it. Let the paper dry off completely. We are going to start out the next painting after this. Blending the bottom area a bit with the help of my size four brush because it looks more like lines and we want everything to be soft and simple in the whole of this painting, Blending it with the help of the size six brush now. 8. Project 5 - Soft Poppy Flower: Let's have a look at all the colors. It's Indian yellow, John Brilliant number two, orange, quinacridone coral, then as compost opera, may green, sap green, forest green, and tromini. These are all the shades that we need for completing the painting. Any colors that is closer to the one which I'm using is also good to go ahead with. I will start out with a small circle, and once that circle is done, we will just carve out two petals. This is majorly any Poppy, which is seen from the side. You can also take it as an abstract rose or an abstract poppy or any of the florals, which is more on the red side, I can, of course, serve as more of an abstract part. Why I say abstract Because we are doing everything wet on wet. And when it is wet on wet, the colors do move into each other because of which all the features of the poppy is not seen very well. But overall, you can understand, yes, this is a beautiful poppy, and it pops out beautifully with its color of red or quinacridone coral, orange, and compose opera. I'm overall excited to actually show this whole of the painting to you as I feel that this is a composition which we haven't touched at all. This particular class is not bound by any kind of composition. We are just going ahead with the flow. Whatever we like, we would be painting. Sometimes it can be clouds. It can be just some floor or fields. It can be some water body, anything and everything under the sun, we can go ahead and paint. Though it is just ten days because of which I could not touch upon a lot more subjects, which I would have loved to do, but that's absolutely fine. We can do it later on in one of the other classes, too. I'm going ahead and making some line like structure. You will see that these are basically wildflowers which usually happen to be there in um, wild grasslands or any kind of places where there is more of wilderness and less of only thinking about the nature or it is not completely man made. It just happens on its own. I always say that something which is controlled by man is very different or human beings is very different than the one which just appears naturally. Let's continue to add some more shape and sizes for these wildflowers. I know Poppy is important and we are going ahead and marking out more of these lines. You can also add these lines later on on the stage. You can add it now. I would leave the decision up to you. You can see on the right hand side, top corner, I have a may green which I did the takeout for my use. This is a very, very important green for this painting altogether. It has got the lighter yellowish kind of tone, which we usually don't see, and it's pretty vibrant and brilliant, which adds on to the beauty of the painting. Let's now start wetting out our area. I'm going ahead and wetting out the backside of the paper. Once I'm done with wetting the backside, I would just leave out the area of my floral and then wet the entire paper. There are so many ways in which you can paint. Sometimes it can be pouring, sometimes it can be just by wetting the paper. Sometimes it can be play of light and shadows. Here it would be a lot more about light. That we will add into the painting, but not much of shadows that we are going to do. It's all about the light and the darker values are basically towards the bottom, which is a shadow and the depth play. Everything will be more in an abstract and loose way the way an artist sees it, rather than it being the way I would say anybody would like to paint. It's not a realistic painting altogether, but it's something that is close to the way an artist would have a look and feel of any floral that he observes and want to add it or want to actually paint. It's my way of showing it. You can, of course, use all these techniques in any of your future paintings where you are painting a floral, and I'm pretty sure about it. The people who are watching it will obviously fall in love with it. Uh I'm starting out with my Indian yellow. You can see that this is the Indian yellow, which I'm adding on the top, as well as on the left side. Once I've added it, I will go here with my John Brilliant number two and just mix it in and around. It would be absolutely in a loose way that I'm adding all these colors. I'm not thinking much while I'm adding it, this looks more like any skin color that you might have in your palette. If not, then yes, you can also make this kind of a shade with adding a very little bit amount of orange into your I would say naples yellow. And you will get a sheet that's similar to the one which I'm adding right now. May green is very vibrant and brilliant, which we are adding to our painting. And I would say that you have to go ahead with a very with an approach where you are in and around the flower, you are adding mostly these yellows. And after that, when you go to the right side, you are going ahead and adding some sav green. Even towards the bottom, I would go ahead and add some forest green, so all of it, of course, stays. But first, let's go with our lighter values. We can always add the darker values at the end. Let's move on and let's add some of our sap green now. This is a bit more darker value compared to the ones that we have added till now to our painting, going to the right, and again, adding it on the right side. You see that I go very slow with my painting process. I just have a lot of water still there on my paper. This is because we did wet both the sides of the paper. When you wet both the sides of the paper, yes, you are going to have this kind of a situation where you can really play with your colors for way more longer period. I will now add some burn sienna, and in some spaces, I will start mixing my forest green. This is the darkest value of green, which I'm going to add. I'm using my size six brush to add all these colors because these are more like big blobs of colors which I want to go ahead and add, and they should mix up with your other shades that you have already applied on the paper. You can also go ahead, tilt your paper a bit here and there so that gravity automatically doesn't work and just gets you some more of the mixing of colors easily. I will use my line of brush now and start adding some of the darkest of the values and smallest of the spaces along with some may green that you see. Yes, mixing the colors, blending it well is very, very important. And hence we are working on that piece pretty strongly wherever it is important. I am now going ahead and adding some lines as you see over here. This is the forest green as you see, some lines, these are more this will become very blurred these lines. And maybe after this, you have to go with another layer where you will have more or less blurry lines coming in. Some of the spaces, of course, you see that the blending is not even, and we might have to go ahead and use our bigger brush to blend it a bit more evenly. Let's go ahead with our liner brush to add some lines as you observe and these lines are becoming more and more blurred, they will become really blurred. That's absolutely okay. Just adding lines is more important. At this stage. You can always think about having the perfect lines at the end. These colors that you absorb will become really light as at least one or two shade lighter once you have it dried off. So make sure whenever you are adding the colors, they are not really, really light that you might have to go ahead with another layer for the background before you start with the whole grounds. Now adding some lines with Bern sienna. You can mix some green into this burn Siena to get a darker value. It's absolutely okay. Mix and match whatever colors you have been using. No need to always pick up some new colors from your palette. This is something that I have realized very much that just change or mix your colors, and you will get a outcome that looks pretty nice, vibrant and beautiful. Let's go with somewhat darker lines of brown as you see me adding over here and then extending it a bit more above the floral that we have already added. I think this looks pretty beautiful now. I would like to now focus on my foregrounds rather than only the background. This is the darkest value. You can mix your green and your ultramarine to get a color like this, or you can use any color that's available with you. I'm really not a person who would like to actually get a lot into the color part. Whatever is available is great. Use it to your advantage. No need to buy new colors, something that is closer to the one, which I have is good to go. Now it's time to focus on the foregrounds. We are starting out with our reddish kind of shade. Now, what is this reddish shade? Of course, it would be our beautiful quinacrodon coral. You mix a bit of yellow in it, and you see how beautifully the colors or the shades move into each other. Great. Let's continue to work with the colors. That is, again, some amount of quinacridone gold. And we would be adding the darkest value as compose opera extended. This is size four brush, which I'm using to add the colors. They might bleed at some spaces. Do not worry. Bleeds are good. Bs are good, at least for this particular painting, it's wet on wet. Let's go with the flow. It's spontaneous and spontaneity is something that's very, very important for our painting. Let's continue with the floral. I'm just extending the darkest value a bit more towards the top. I go very slow in this process because foregrounds are something that's very important to us and we have to focus a lot over there. You can go ahead with your darkest value. That can be your purple or it can be also any kind of neutral tint, et cetera that's available with you. Extend it towards the bottom area. If you are not happy, just the way I am not very happy, after seeing my stem, you can go ahead and just remove it with the help of your flat brush. I will do it for sure because I'm really not happy with how it has turned out. It's become too, too dark, which is not what I would really expect it. Yes, damp brush is always good to pick up any kind of colors that you want to pick in the process. Mixing some amount of light green along with it. I still you are not happy, again, you can pick up the colors as you want and then go ahead with another shade, which is up to your liking and add it to the painting. You can see I have removed the color from the entire space, and now again, I'm going ahead with my darkest value only, but slowly I'm adding it. And this is a bit more on the green side. I mix some more amount of green. That is my porous green. Okay, great. I guess, this looks good. Let's just add some more of these lines. Now, these are mostly wet on dry lines. Most of the places are dry as I see or maybe way less wet. It would be damp or moist, compared to the wetness that we had initially for the backgrounds. Background wetness is always more or the background, I would say the wildflowers that you want to add have to be or wild bushes whatever you want to add will be way more um, hazy or you can say blur compared to the one that you add over here. Going ahead with a lighter value of orange and leaving some white space between the petals of the flower. I will extend the color even towards the bottom area as you can see if there is some blurry effect, let it be, we can clean it up with our brush. That is your wet damp brush, and then again, go over it with some darker value of green to create the background. The background is still wet. Hence it's good to work over it and you have good amount of chances that the outcome would be pretty blurred. Which makes it look like wet on wet. Okay, let's go ahead and again start adding some of the colors, darkest value, as you see, and then adding some of Mquinacrodone coral in few of the areas. You can also make some amount of opera, that is your compose opera, if you don't have quinacrodon coral. Even red is good to go ahead for this kind of a flora. Cleaning up the edges with the help of my damp wet brush, as you see over here. Now it's time for the beautiful green that we will go ahead and add. But before this, let's just add some more of our darker values. You can use a neutral tint. You can mix the green with some blue to get a darkest value of colour. You can also mix some amount of green with any compose opera that you had. You need to just experiment with your colors and see whatever best dark color that you get and work around for this painting. And Adding colours and picking up the colors is pretty normal in wet on wet process. You should not worry on that part. Just go ahead and keep picking up your colors. Once you have picked up your colors, you want to add the greens, you can always switch your brush to a smaller brush and then go ahead with your darker value of green that we are going to add for the backgrounds. As you see over here, I've already added the green. The paper was wet, and hence it is moving and flowing. I'm picking up some lighter value of green and then blending it with the darkest value of green that we have udy added over here. Let's add some more of a darker value to the foreground petal. As you see over here, this is more like a very, very dark value and blending it with my colors that I have already applied. It's easy. It's mostly a very simple and sorted kind of poppy that you want to paint. Now, let your paper dry off, and once it's dried, we will start adding some white flowers. This is with the help of my whitewash. I will just add some dots in clusters and make it look like white flowers for the background. Adding the white flowers is like a pretty iterative process, so you have to go around with it many times. And since I hope you have enjoyed this video, it is very different from the one compositions that we have done previously. I, all the four compositions we have done previously, it's very different from that. We are going to go ahead with some further beautiful cloudscapes, some water, et cetera. So hold on, and more updates will be coming up very, very, very soon. I'm excited about this class, as it has a lot to offer and hope you are also enjoying it. Do write back to me in the discussion section. If you have any doubts, I would be more than happy to solve them. Once this is done, have a fine look at it, and do let it dry before you pick up your paper from this acrylic board. 9. Project 6 - The Evocative Sky: The colors for this painting is any yellow or John Brilliant number two. You can keep Indian yellow, orange, some quinacrodon coral. Then you can go ahead with paints gray, sermsblue, koba blue deep, burn Sienna, some yellow green, then some sacren and forestry. These are the colors that I would be using for completing my painting. Whatever colors are closer to the ones that you see over here are good to go ahead with. We start by adding water on both sides of the paper. First is the back side of the paper, and then we will add on the front side. You will add water throughout the back side and then place it on top of the acrylic board, and it will stick to it. Once it is done, we will start out with the actual site. Now, on the actual side, I would be painting my sky first, and then I would be moving to my bottom part. This is the first painting where we are not going ahead and painting the entire part. So we will move from top to bottom. That's the idea how we go about it. Leaving out the space which is majorly for our mountains. Once you have added good amount of water on the top part of the sky, just have a look at the sheen that you get, and you can always tilt your people exactly the way I'm doing over here, look at it, how the water flows. All the extra water, you need to take it out or pick it up with the help of your tissue from the ends and make it even. Once that is even, we will start out with our lightest of the value that is a mix of orange, yellow, and some amount of our inacrodon coral. These are the colors that I would use for the lighter values, but this is a mix that I would be doing. It's not that some of the places might appear more lighter because of the yellow being a bit more than the Quinacadon coral or the opera that I had into it. And some of the places might to a bit more lighter and value. So these all things are basically change of values which you are going to absorb very much in the whole of the sky painting. This is particularly a sky painting. If you are someone who is in love with skies and really want to paint skies, I have many of my classes where we are just painting incredible skies within ten to 15 minutes of your time. So looking forward to you guys to join those classes, too. Overall, I have 54 classes available on Skillshare, which makes it even more easier for each one of you to go ahead, pick up any subject that you want. I have literally covered everything under the sun that is possible for all of you to just make good use of all the resources that's available with you. You can see that I'm adding more of yellow and making it lighter in value compared to the other shades that were oldier more darker. I continue to add more and more colors as we progress towards the bottom part of our sky area. I'm not going to fill out entire part of my sky. You can see there is a lot of white spaces which I have left. This would be more with the cobalt blue that I would be going ahead and adding it. So this is the bar blue deep, which I would be adding for my sky area. You can also go ahead with ultramarine if you are someone who is in love with ultramarine just the way I am, though I haven't used ultramarine in this particular case. I'm mixing some amount of my do weariable pink on the palette and this pink is nothing but the brilliant pink which we have used in one of our audio paintings. I'm adding my size four brush to add all the colors to my sky, as you see over here. Some of the portions are already getting done as you see that some of the portions are really not shining anymore, and there is less of water that's available. On the paper, we have to work really fast at this stage and continue to just look at the finishing part, which is majorly the blues and some amount of neutral tint that I would go ahead and add I am using my cobalt blue deep as I did even tell you earlier. I am mixing again some more of this shade and just adding it towards the right side. Now, there will be more spaces where I would be adding the darker values. As we go towards the bottom, you have to make it lighter, so either you add more amount of water or some amount of iranium blue into it. Whatever blue basically is available, either it can be royal blue, erleium blue, any of these blue, that is lighter and shade that can be added pretty easily into our painting. Some more lighter value of blue towards the bottom part that you see over here, I'm going ahead and continuously adding now mixing my neutral tint with orange, yellow, whatever was available. I'm good with it. I don't mind mixing my colors as it comes, but I may go ahead and just add some more amount of neutral tint. You can also use Pains gray if you don't have neutral tint. It is also great to start out with your shades that we are looking forward to mix it with a bit of orange as you see over here so that they can be controlled to an extent. Now, the colors the paper is already becoming really dry, so the colors will not move much as you see, and hence you have to work around with it very, very quickly. I did tell you even this particular part earlier, if your paper has already dried up, leave it, do not try to work over it. If you work at this point in time, it would give you dry patches which we don't want in a soft painting like this one. I'm adding somewhat darker value compared to what we did add audio, and now I'm just dropping in one or two dots here and there. As you see the dots and drops coming in to our painting, they do not move a lot. I did, like, oddly tell you that my paper is not dry much anymore. Hence whatever I'm adding or whatever I'm doing will not move a lot. We have to see we are not adding any kind of patches in the dryer section. So make that point. And I think rest, we are good to go ahead with. If you are someone who still wants to add some more colors, I would say, I can very well see now. It is absolutely patchy. It's no more soft. You can use a very dry brush. I will tell you how exactly you can do the movement. It's very easy. I will show you how you can help to actually displace your colors from one particular portion to another. First, let's go ahead and add some blue towards the bottom part from where we have removed some amount of darker value of the brown that we did add earlier. Cool. I guess I'm good with how this painting has turned out. Believe me, I do not want to touch it more, and I will not be touching it to a greater extent. Only a few parts here and there where there should be some more of darker values. That's all, and then we will leave it as is. Now, the darker that we did add odio has become a bit more lighter, hence some drops of darker values. Now, as this was the last portion which I did paint, hence, there was still some amount of moisture that was left on the paper compared to the other parts which we did add odio. You can of course, see that, yes, the colors are not moving much, and I'm just trying to blend it with the colors that are available in the background shades, just adding some amount of opera into it. This is like a bright color that I'm trying to get as a transition that is darker to lighter value is basically my transition, which I want to show from the top for my orangish kind of shade that you see, and the other shade, of course, has to be lighter in value that is on the left, which is majorly my dark clouds that we usually see. Okay, great. Now, I will show you something like this. This is a round brush which I have. I use it. It's absolutely dry. I use it for displacing some of my you can say pints whenever I feel that it is necessary or I'm getting some dry patches that I don't want. I displace it like this. So of course, this is a trick that I can tell you, but there is no guaranteed results. Believe me, sometimes it works. Sometimes it doesn't work. So there is no best way that I can tell you that this is going to work for sure. And so it's just an experimental way to go about it. You may get lighter values also. Which may look great as an accident, which may not also look great. I always say this in advance that whenever you are working with watercolors, there are so many accidents that can happen. You may like it, you may not like it. It might not be up to your liking at all altogether. Okay, going ahead and adding some brown, as you see over here, and then making the brown move a bit, adding some more of the darker values. Once the darker values are added, we will clear out the space with the help of our flat brush. Adding some bonsienaO course, the bonsiena is very pretty, which I have. And hence, it also moves a lot. If you want to make your colors move less, I would say one of the important brands that you can look forward to is Megalo Mission Gold. All the colors don't move a lot, and hence you can control it very well. If you are starting out with watercolors. This is a great brand to move ahead with Windsor and Newton professional red colours also move a lot, and Senior is in between Windsor and Newton. And Migallo vision goal. So somewhere or the other, if you want a lot more movement in your colors in the water, then you can go with Senlio or Winsor and Newton, that is professional d. I haven't used much of the student rate Winsor and Newton. That is the Cotman colors. Hence, I will not be in the best case position to tell you about it. But for the others, of course, that's whatever you want to choose the way you want to control. But for me when I'm a big noo, I always love to go ahead with Migelo Mission gold. I'm using my yellow green colour to cover out the green patches that you see over here. Once the green patches are covered, we will just blend the colour with the brown that we have Audi added. I would be also adding some amount of darker green color. It can be our sap green that you see over here and blend it with the yellow green that's Audi there. Once we have added on the right side, that's a sub green, I would go ahead and even introduce the color on the left side. I will blend it with a yellow green that's already been added. You can also add some amount of forestry into it and blend it with the bottom part on the right side. I would leave that decision up to you. Sometimes this sabgreen I don't like to greater extent because it is a bit Um, I would say non transparent. I feel very strongly compared to my other sheds which are more transparent. Watercolors is all about transparency. And if I don't get that transparency, I sometimes get a bit bumped. But overall, it worked great in this painting, and that's what matters the most at the end of the day. The painting should speak to you. The painting should speak your mind. The painting should be creative as you want it, and the final outcome should be as what you have imagined. Now, this is from the eyes of an artist. This is from the eyes of how I see my painting. You may have a very, very different view of your painting altogether. Every artist has their own way of representing their own paintings. I'm now adding some more of my darker values of greens as we go towards the bottom, I'm using the same palette and picking it up, just adding it. On the left, also, I have added some of my greens as well as on the right. Adding the greens as you see over here and then blending it with the browns that is ody there. I will just blend my green into the brown and then add it a bit towards the inside as you see over here, trying to blend it in a soft, natural way rather than not keeping it natural. Something that I have learned over time is that keeping it natural actually makes the outcome look we more attractive and nice. So adding some more of our darker value of green towards the top side, the browns are, of course, great, as I see. So yes, I feel some more of my brown is needed just to blend that green into the brown, and I am again trying to blend it totally. I will add some of my darkest value of green and just add it towards the right side. This is an iterative process. Believe me, the best case scenario where you have the best blend and the best outcome may not be possible altogether. At some point in time, you have to really stop and just think that this is what I expected out of this painting, and this is what I have got. So that's one stage where you should go ahead and reach to feel satisfied altogether. Okay, great. I think once this part is completely done, we will go ahead and just add our mountain. This would be in the blue shade. You can go ahead with the same blue that you have added for the top part of the sky or even go ahead with a darker value of koba blue, mix it with some amount of your neutral tint and get a shade that looks more organic or greenish in shade. And that is on the darker side, of course, it is a faraway land, and hence I wanted to make it more darker. You can also make it lighter. But for this particular painting, we are making it as a contrast. Our sky is light. Hence, I will try to keep my faraway lands a bit more darker. I am picking up my size four brush to add it, mixing it with some amount of our green. Now, this green is basically my sap green that I'm picking up along with some forest green, mixing the colour as we want and then extending it on the left side. So that's what I will do. I will paint the entire part of the mountain and then we will remove or just blend some areas which are appearing as not as feels altogether. They look more like they have blended together, and I don't want the blended together look. Hence just use your flat brush to pick up the colors from any of the spaces where you think it is necessary. I'm to pick up the color, as I did tell you even earlier. This is a damp, clean brush that I use very often for picking up my colors from wherever it is necessary. Okay, great. I guess this is how the whole painting has turned up. I hope you are happy with J six. It's a quick one. Like 15 to 18 months is all you need for doing this painting. There is not much of your drawing, et cetera that we are also doing over here. It's just a very simple painting. Going ahead and adding the clouds and then our land and some bushes for our faraway background. These are basically far away trees or bushes, whatever you want to say, one or two drops here and there. Since the paper is wet, they will blend into each other and look more like far away trees. Great. Have a fun look at it. Do not allow your water to get into the painting and hence avoid any backgrounds. 10. Day 7 - A Simple Landscape: Let's have a look at all the colors. The first is my royal blue. Next would be ultramarine. You can also keep some amount of purple, naples yellow, orange, yellow green, olive green, forest green, and you can keep neutral tint for your windmills. So that's it from the colors perspective, which we need to complete this painting. Today we are going to do a very simple sunset sky. Along with it, you will understand that I'm going to draw only a few lines to mark the bottom area. There are two sets of highlands or grasslands, which we are going to show over here. And once that is done, we are going to just add a few you can say windmills. That's it. Once the windmills are done, we will go ahead and start adding the colors. The major work is off blending. Now, why I see blending plays an important role in this particular painting, there is a lot of blending that we are going to do for the sky, as well as for the bottom area of the grassland. I hope you will find this painting really simple and easy and it is very, very big nerve friendly for anyone who is struggling with watercolors, this is the first painting that they can go ahead with, though you might think that I have level down again, but it is just to give a quick break from wherever we have been till now. Let's just make three blades of the windmills. This is the modern day windmill that I'm adding. I will add two or three more of these windmills. You can draw them at this point or also just draw a similar or simple lines and weave it. As we progress, we will just go ahead and add more of the lines or you can say more of the depiction of this windmill in a detailed way. I will go ahead and wet the backside of the paper. Once I've added on the backside of the paper, I would go ahead and even add water on the front side of the paper. Now, this is to keep the paper wet for a longer period of time, and you will get more time to work on the painting. Oh We are now on the front side. I have used my washbush to add the paints on top of the paper. You can see that slowly I'm going ahead and adding some bits of my water on top of my paper and just doing a cross swath so that there are no spaces that are empty. Et's start out by selecting the colors that you're going to do. I would go ahead with my naples yellow. This is basically for the bottom part of my sky area. As we go towards the top, it will become orange and then it would be the blue and some purple. It's going to be a very, very simple painting. You don't need to worry, go ahead and start blending your colors. If you are someone who is facing even a bit of a challenge with watercolors regarding your skies, what you can do is you can have a small eraser or any of the other item under the top part of this acrylic board and see that it is silted. What would happen if your board is dirted your water will move into each other, and that would help your pigments to really mix well with each other. You rather than doing more of this blending work, you can focus on just handing the colors, and the blending will happen on its own with the help of the gravitational pull. I'm going ahead with the lightest value of blue, that is royal blue. I love this blue. You can also use illium blue. If this blue is not available, it will go darker and darker. As we progress. But for my first layer, I have gone ahead and added this blue. It will never mix with your yellow or this orange to give any kind of muddy mixes. That's the best part. Now I'm adding some amount of my ultramarine, as you can see. Ultramarine is a granulated color, which usually helps a lot. When you add these colors to the paper, they just granulate well on the paper and show a beautiful outcome. There was some mark that came up, so I had to remove that and maybe have to again go ahead and blend the colors a bit more. Skies are something upon which I have already given a lot of classes. If you are someone who really wants to paint skies, I would request you guys to go ahead and watch out my other classes on skies, there are skies, where we have gone ahead and painted for 14 days, then there is some seven days, three days, four days, five days, There's multiple sky classes that I've already given. And most of them are bringer friendly. So please go ahead and look out for these classes where you can really, really learn a lot. Mixing some amount of purple and then blending into the blue that we have already added. I'm going ahead and again, adding this royal blue to keep the blend similar. And with this process, you can see that the colors will move into each other rather than staying at a single place and not displacing much. Another thing that is important for any color if you are struggling as a big nurse, you can see the color choices that you make. If you love to work on bigger paper, you can go ahead with colors like Windsora Newton or any of the other shades of QOR or maybe canalia. So these move a lot on paper compared to your colors like Migalo Mission Gold or maybe some other few brands which I have used there. Movement is a bit lower. So there are two parts of it. For me, it becomes really easy to work around with them as they don't move a lot. Hence, I don't need to worry if I'm working on a smaller paper or a bigger paper. But if you are someone who is struggling to get the blending, then I can always suggest go for colors that move a lot, you can easily get the blends. Go ahead and add some yellow or yellow green on the paper once done at the sub green. And then blend it with the yellow that you have Audi added. You can also add some blue like I am adding right now, and this is basically the same ultramarine blue that I'm going ahead and adding into the background. Now, the left side is majorly the glassln area that is far away, and I'm going to make it darker in value. Let's have a closer look at this painting, and you can see that on the right side as I move, it would be lighter blending that I'm going ahead with, and on the left side, it is a bit more darker, or it has more of the blue content with the darker value of saprem. I would also go ahead and add some more darker values to the bottom part of this grassland. It would not be a single color. You can go ahead and blend it with the blending brush. If you're someone who is not great with the blending brush, just dip your brush in water, then take out all the extra water on the tissue as I do on the left side. And blend it with the background. The background still look I would say this is the background is done. The foreground still looks very, very light, which is for the grassland, and I have to go ahead and add some more of my darker values. Right now, I'm working on a dry paper. To be frank, my paper has already dried out and I might have to go ahead and add some water to blend my colors, which is absolutely okay. After some time, your paper will start drying. It will only stay wet for ten to 12 minutes, Maxim, and you have to work pretty quickly in watercolors because of this simple treason. There will be accidents. As I always say, accidents are good. So go ahead and don't take it personally or don't take it. Like, why did I create this? Why did it happen? It is okay to get through all these happy accidents. With these happy accidents, we get to learn in watercolors. I'm adding the darkest value of green, which is basically my forest green towards the bottom part and then blending it with my sap green, or you can also go ahead with olive green. See, every company has got different I would say, name of their colors with maybe the same pigment that another company is selling as sap green. And this particular company is selling as your maybe olive green. As per my advice, always check the pigments that you are purchasing rather than going on the name of the pigments. That is something which I have done in the past, and over the years, I have learned that it's important to know what pigment goes into a particular, I would say, in this particular paying tube, rather than knowing exactly the name of the pigment. You can see a very soft approach of the foreground. I'm just adding a few dots towards the bottom area. This is just to show the grasslands. I am not even creating lines. I really don't want to add a lot of lines. It's just the grasses that are growing up, and it will automatically show up. I'm using my size for brush from the brand that we see. This is a very good brush of mine that I've come across very recently. Once my sister got it from US, if you are someone doesn't have any access to this kind of brushes, you can go ahead with Escoda or maybe other brands that are available with you. It's absolutely fine. You can keep investing slowly on good art supplies. You can just add some Oleine as tots or you can go ahead and add some yellow. Whatever yellow is available, do not worry, go ahead and add these tots. Let us take some darkest value of blue, which can be paints gray or it can be also some of the other blue that's available with you, maybe Prussian blue or it can be neutral tint whatever is available and start out with the areas that has to be done more intricate, which means you have to switch your brush to either size one or two, whatever is available, and then use the tip of your brush to make the lines for our windmill. It is simple, easy, may have to go slow and make sure that either your bottom area is already dry before you paint this or go from the side if your bottom area is still wet. Let's have a closer look at it, how we go ahead and paint the other smaller portions. Right now, I would use any of my thinnest brush too, or else you can also go ahead with the same brush. I would leave that decision up to you. If you're confident in going ahead with your bigger brush, it's good. The paper is still wet. I'm just applying some water and spraying it at the bottom part of my grassland. And then again, going ahead with some few dots as you observe me adding it over here. H You can see I'm using the tip of my size four brush only to create these lines for our windmills. That's absolutely okay. Whichever brush you're more comfortable with, go ahead and do it with that. Just bringing some yellow, as you see, I'm using my fingers to do that into the greens that we have already added. This is my orlein yellow, and these are the smaller dots which can be seen. The paper is still wet because of which I can continue this process, and now I'm removing some spaces which has gone a bit on the top, and that is basically the colors of the darker value of green has moved a bit towards the top area. This happens, you know, in the blending process. So absolutely fine. As I say, take it with a pinch of salt, and then just leave this painting to dry off and have a fun look at it. I'm pretty sure about it that you would be really proud of yourself once you have a final look and know that, yes, it is simple, easy, yet interesting to know how quickly it can be blended and how easily we can create a final painting. 11. Day 8 - Floral Fields in France: Look at all the colors for this painting. It is serines blue, cobalt blue deep, and then there is coral that I've Kuncrodon coral is basically a color that I'm really in love with Indian yellow. Then it is Opera. Yellow, forest green is the color that you get over here that is yellow green or forest green, whichever both the colors will make this part of the painting. Then we are left with ultramarine. Ultramarine is an optional color, which you can keep. This is basically for some darker values over here for the green because I love to mix some blue into the green and then apply it on the paper. Today in day eight, we are going to paint a floral field. I'm very excited to teach you this one. First, I will just allow to just take a measurement that is around eight to 9 centimeters you can take on your paper and mark the area. This is basically to show the horizon line. If you are someone who is struggling with watercolors and cannot draw very well, you can use your scale. Though I would always say that if you can mark with your free hand line drawing, that is better. But if you cannot, it's okay to start out this way. Now it's time to draw hut. Of course, it's going to be a two dimension one, at least two to three dimension is all I'm expecting on this paper, and you will go ahead and start out with one single line in the middle, just to see how much distance we want for our art. I would say that I did not like where I placed my top line. So I'm going ahead and placing the line a bit in the lower part and then extending it on the left, as well as on the right. This would be more like a square box, kind of a structure, which you would, of course, observe as we progress. And on the right, we will go ahead and just met out the vanishing point. Now what is a vanishing point? This is something that I've explained aldo in many of my other classes. All the lines that you place on the plane of paper will meet one single point either on your horizon line or above your horizon line or below your horizon line, but that is how a vanishing point appears. Just follow this simple approach for your drawing and just extend your lines on the right. You will also extend the top line, but it has to be more slanting. You will see how slanting I make my lines and then create the roof of this hut. It's easy, but needs a bit of understanding. I have been doing it for years now. That's one of the reasons if I don't find something up to the proportion, I go ahead and then again, correct my proportions. If you're someone who is new to this, it will take a bit more time. But that's absolutely okay. If it even takes time, it's fine. Just try to create more and more houses, and you will get a hang of it. I did not like how it has turned out, so I have erased it again and started out with my lines. I want to make it a bit far away, kind of a view. That's one of the reasons I'm making it more thinner than what I initially thought so that it gives the faraway look. Let us continue to draw some doors and windows, if possible, and then we will look for a background. Now, the background would be a bit of hills and very simple sky. I will go ahead with floral fields, but mostly these will just be lines as of now. We are going to make it loose. As you have seen even earlier, we are not going to make it as if that there is a lot of uh, you can say, like, a lot of florals, et cetera, is there. It would be very loose just a way to show that, yes, there are floral fields existing in the Farwayans. And then the light comes from the left, I think, and there is some shadow that I want to make. But it all depends, right, how you want to address it. It's absolutely okay. You do not need to worry much about the shadows and the light at this stage. It would be more of the clear skies that we are going to add, and there will be two layer of mountains and greens that I'm going to add in this painting. Now it's time to start adding those lines, which will meet to a single point called as the vanishing point. Let's continue to add some more lines that converge to one single point vanishing point. Now, this vanishing point cannot be seen on the horizon line. That's absolutely okay. We can just imagine that, yes, it's somewhere on the paper plane or outside the paper plane. It's absolutely okay to imagine it this way. See, an artist's perspective, you have to understand whatever you want to show to the world or whatever you want to showcase through your painting is all that a spectator will infer or a spectator will understand that gives you a lot of freedom to play with your colors, to play with your perspective, to play with the fields, et cetera, keeping a few points of course in place like your vanishing point, then your other things like you have two vanishing points or one vanishing point, or your heart, et cetera. So all of these things are important, the principal scale, et cetera. But rest, you can do or play with your colors, your perspective to quite an extent. I'm adding water on the back side of the paper, as well as on the front side of the paper. Both sides, I would be adding water. And then sticking it to my acrylic sheet so that it stays wet for a longer period of time. I will start off with sereneous blue. This is one of the most beautiful shades that I have ever worked out with. So going ahead and applying it on the top part of the sky as the sky is still wet, going ahead with my size four or size six brush, whichever you feel you're more comfortable with six I feel will be more comfort and go as if you want, there's absolute randomness in applying the colors. I would also go ahead with some amount of my Copal blue deep or you can also go ahead with ultramarine. Those are two colors which I feel are good to go ahead with. I'm using my, you can say, the broader brush, and this is basically the brush that I use for most of the places where I want to add more of water, et cetera. You can always use the wash brush to alter the variability of your water into the clouds area or into the sky area. That I leave it up to you. Once this is done, let's go ahead with some cobalt blue deep. You can go ahead even ultramarine or any other shade of blue if you don't have cobalt or blue deep available with you. Et's go ahead and start wetting the area where we will be adding our floral fields. I will go ahead with my wash brush to add the water. Once we have added the water, we will start adding the colors like your yellow, then some amount of your orange or maybe other colors like pink, then green, et cetera. Let's see what best suits us. It is more to do with the flow of the watercolors. I really don't decide all the colors initially. As we progress, I decide the colors. Though in the beginning of the video, I do tell you about all the colors that I'm going to use, but it takes me some time to decide on every set of colors that is important for this particular painting because sometimes they don't work out exactly the way I want them to. I'm starting out with the yellowish orange color that is there and marking the fields. You can see I'm going along the lines which we have already created, and this is my size six brush, which I'm using. These are broader lines that gets created at this moment. Slowly, we would be introducing more colors. This is the lightest value which I'm going to add. And then as we progress, it would be darker and darker. I like to go from your lighter values to darker values because that gives me a lot more chance to play with my values, colors, as well as it gives me a lot more opportunity to understand that I do not need to remove any darker values from my paper on nor it will give me any muddy mixes. I will just get some clear transparent shades which I want for this painting. I'm going ahead and adding some of my pink, which is the opera and the yellow that I have already added to create an orange kind of shade for this part of the painting. Now, this orange looks quite a mix of your nice opera colour, and you can also pick up the colours like inacrodon coral, et cetera, for this part of the painting. I will go ahead with some dark green and just add it in the spaces that are in white. I want to avoid any kind of muddy mixes for this painting, as you know, hence, I've kept the colours pretty light in a way that they are not mixing with any of them. Like, yes, there are no dirty mixes that I'm getting as of now. I would like to avoid it, believe me or not. This is something that I have always, always wanted in any painting of mine. Let's pick up some more dark green colour and apply it with the help of the size fous. You see me doing it now in and around the heart or the house that we have made over here. Now, you can add some light mixes of purple as you see over here in and around the green shade that has been added. We will add it on the left, as well as on the right. I'm not going to add it in all the parts. It's just a mix that I want. Hence, you can mix it with some quinacrodon coral and get a shade that looks really nice, pretty, beautiful, rather than just going ahead with lavender fields. These are more about any colored floral feeds that you want. They can be yellow. They can be your brighter shades. I love to keep it warmer. Hence, I have chosen the colours like yellow quinacrodon coral, or you can go ahead with Opera and some orange. Do try to avoid the stage. At this moment. This is going ahead with a very thin brush and trying to add a few lines here and there, some dots. This I will not use in my whole of the painting. So it's just some parts that I'm touching right now, and I will again blend it. So avoid this part, but I still wanted to show you because there are some mistakes which we do in a painting, and it's okay. Sometimes we cannot avoid those. We continue it continues to grow basically goes in our head. If it would have been in this particular way, the final outcome would have been something different. And hence always trying it out, it's important. Once you are done with the blending of these colors with each other, we will just focus on the background hills and then also move on to the hut. That is a very, very important part, and some of the areas will be a bit more darker as the colors are blending with each other and they are becoming way more softer than what we have applied. You should know that the shades currently are one shade darker than what it would finally turn out. Adding some olive green for the background, you can see that this is the olive green, or you can also go ahead with yellow green or any other green that's available with you. It can be even sap green. No particular color, you have to go ahead with whatever available on your palette. If you don't have a color that is similar, go ahead and mix up some of the yellow with your greens that you have and something similar will appear. You can also mix a bit of brown into it to get a shade that looks like in something closer to the one that I'm using. So it is all mix and match. You can just mix the color, see the early tones are coming or not if the early tones are appearing and this is warm, then go ahead and use it in your painting. Adding a bit of darker value of green to just finish it off and then blending it with the help of my yellow. I'm just filling up the space that is in between with help of a warm shade that is my inion yellow. You can go ahead with any yellow that's available with you. Let's add a bit of quin acrodon coral in a few of the places where we need, as you can see over here, I'm extending from the left and going towards the right. I'm slowly extending it and adding it from the left to the right, making the lines so that it looks like floral field. Of course, this gives a way that you can see your fields, et cetera, that is the more it is organized or the more it gives a line, it feels like, yes, this is more man made. Of course, nature is absolutely generic. You will not find fields like this. If it is man made, then only you will get any feels like this and extending it with the help of mine darker value of green color. This is using my line of brush. You can go ahead with any thin brush that's available with you for carrying out this activity. It will help you define the vanishing line in a better way, which gives an impression that all the colors are not actually blending with each other because in the first intiao when we were adding the colors, yes, the paper was wet and they do blend with each other, which we don't want as we progress and as the paper becomes drier and drier. Now, the background mountains are painting, so we have to go ahead and paint those background mountains, too. But before we go ahead with the background mountains, let's pick up some of our naples yellow and start applying on the house area. Do pardon my voice because I have a pretty broken voice. As my child was under the viral fever and we have also got infected because of that, though, this is not required, but still, I would like to tell you that do pardon my voice as my voice is not as it should have been. I'm covering the entire area of the house and then adding some burn sienna towards the bottom and the other areas wherever I think it is necessary, the colors will move as we have already added. The naples yellow, and the paper is dry. I want to show some contrast in the country house, and hence I am adding the darker value on the right side, the lighter value will remain on the left side. I continue to add some shades of yellow ochre kind of colour. You can mix it with the brown and then again, add it, allow it to dry off. And then for the background mountain, I'm going ahead with my darkest colour. That is the green which I had, adding some blue into it, blending it, the darker green or you can say the light of darker green that we have added or that is basically your olive green has already dried off because of which we can work for the background mountains now. When you want to change the value, just add some water into this darker value of green, and you will see that the colors are changing on it so. You can work on the hot floral fields, et cetera till it is wet, so I'm still going ahead and working on it, though it is not needed anymore. I feel very strongly that we have the shades, colors, et cetera in place for our floral fields going ahead with my darkest value of brown for the hot area and then covering it. As you see over here, the colors will blend into each other. You do not need to worry. I'm just creating some shadows, et cetera, leave it as it can be also the grounds and also some more greens in and around the hot area. Paper is wet as you see, so I need to even pick up the colours in few of the areas where I think it is necessary. Let's paint the windows. Now, I will go ahead with the darkest value of brown. You can make some amount of blue into your bunsena to get a shade that looks like this one, or else even half paints gray, dark brown, whatever is available with you. CPA is also good to go ahead with. I have picked up some Bnciena in my brush, and I'm starting to add it in a few of the spaces where I think it is necessary. This is with the help of my lineup brush that I'm adding. You can go ahead with any the brush that's available with you, which has a very thin line or which has got a very, very thin tip. That's what I want to say that it should create thin lines. I'm just picking up some of the colors. If it is extending, this is how we go about it. Again, I'm using my wash brush to clean out some of the pieces. This is basically a flat brush, which I always keep to make it a bit more easier for myself. You can have even more thinner, uh, whatever you say flat brushes, et cetera with you if you want to pick up the colors from any of the spaces that's needed. I'm going ahead with the darkest value of this brown and adding the window as well as the door, it's kept very, very soft. Believe me, the idea is to just paint really soft and easy way. We are not here to define everything. I'm not going to go ahead and just paint in a way that you will get each and every stroke defined or it would be hard edges. Mostly it is soft edges throughout the entire part of this paint. Maybe ten, 15% would be hard just just to show the various kinds of you can say component that's there in this painting. All the paintings have got a different composition, and with every composition, there is a lot of change that also holds into the painting. For the bottom part of the hut, I will add some few drops of the green value as you see, one or two drops here and there. And even if it is moving a lot, you can pick up the colours as you see over here. Again, this is for defining our structure of the house in a better way. So there is some amount of definition, of course, that's needed for any kind of a house that we paint. You are almost in the final stages where we are just adding few drops lines, blending some colors, et cetera. Most of the things are done. We don't have to do anything more. All the background, all the foregrounds, everything is set. Step up, relax, see if you really want to add anything, or you want to let it be as is. You can see I am also waiting for a while and checking for everything. I would like to add a few words as the painting looks very empty, you can see it's a very easy way. Small perds on the left side of the painting that I'm going ahead and adding. You can also do this exercise or else. You may also leave it. I would leave that decision up to you. These are small components that if you like, you can add. If you don't like, you may just avoid it. The blending of colors have become too much because of which I have to pick up and make the horizon look like Horizon line more, but these are more smaller nuances. Mostly the painting is done. Have a fine look at it, see how it has turned out. Are you happy and excited to finish off the painting? We are done with the eighth day. There are last two paintings which are left, which are going to be super simple, easy. I am not going to take more than 15 to 20 minutes to complete those paintings. You are going to see it yourself and then have a final look at this one, give it to any of the friends. You want to or just hang it on your um table. You can use it anyway you want. But do not remove this till the paper is completely dry off. Okay, great. I'm super happy with how your paintings are turning off. I'm not getting much time to give feedback, but we'll back on each of the projects very soon till then you can drop your feedback about how this class is going on. I would be more than happy to have a look at it. 12. Project 9 - Loose Landscape: Let's have a look at all the colors. It's serenes blue, co baar, blue, deep, yellow green, then sap green, forest and some amount of indigo, as well any of the naples yellow or maybe some amount of brown that you can keep for yourself, painting them. Peeled, along with some water. Mostly wet on wet that we have done, and I love to explore it with you guys. I hope you have been enjoying though there has been a bit of delays on the uploads because of some personal reason, which I will explain later. You will get more updates on the emails very soon. So do follow me further updates. And we have also completed more than 100 students. Given out soon. Let's go ahead and mark the horizon line. Above the horizon line, there will be a small hill that we are going to add. Once we have added the hill. Below that, exactly, I would be adding the water area. Small, small flowers, it's basically to show that here exactly I want to place my flowers. Nothing else I have in mind while I'm making these flowers. It's absolutely loose. Go with the flow. Don't think much, enjoy the enjoy the pinks, water, and your brushes. Let the brush dance and let the whole of the painting come together on its own. It's a quick, small one. About 20 minutes is all you need for completing this painting. There's nothing much that we are going to do, as I did tell you. It's a very easy, simple landscape painting, and anyone who is even a big no can at least attempt this kind of a painting. See, all the paintings might not turn out exactly the way you might be seeing your instructor doing it. It's absolutely okay. Go ahead, attempt it once or twice, and you will get a result that is similar to the one that you observe. For us, also, it takes a lot of time to practice and then get back to you with any of these classes. So most of these paintings are practiced two to three times, or we have a lot of practice that we have done earlier that helps us to go ahead and work this out altogether. Hence, I think that just enjoying the flow is most important aspect of watercolors. Go ahead, apply the water on both sides of the paper. I'm going ahead with my either you can go with p over here. Along with it, I have taken even Sereneusblue. You can go ahead with any of the other blues that's available with you. If you have some peacock blue or something like that, that also looks pretty similar to the sereneus blue. That's what I'm using over here. I'm now adding some serenes blue into it as well as you can add some brown into the mix if you want to make it darker. But according to me, right now, let's just go ahead with the lightest value. And slowly steadily, we will make it more and more darker as we progress with the painting. I In the lower side of the painting, I will not be adding a lot of clouds. I will keep it more on the white side compared to the one that we have added on the top part. I have taken the seneus blue in between until the top almost when we were painting from the middle to the top, and then I have gone ahead with my darker value that is basically this kobalt blue deep. For the other areas, now you can make some amount of indigo in it or else neutral tint, whatever is available with you for completing this part of the painting. As you see, the whole of the painting is slow. You can take your own time as both the sides of the paper are already wet, you do not need to think much when you are adding the clouds or just adding any lines, your paper will support you to the flest and hence, it's easier to continue and work on paintings where you have your paper supporting you, but make sure that you have 100% cotton, mole made paper, illose paper. Kind of paper like your handmade paper might not support this kind of a painting. I usually ask for arches, ana, fabriano artistico or any kind of other paper that you have, which is 100% cotton altogether for painting to go bad or you are not getting the supportzi elllos paper cannot keep the water on top of the paper or even on the back side of the paper, you cannot keep it for a longer period of time. And I usually see there is a lot of sinness that also happens on a celllos paper. Lifting is difficult compared to the other papers that we use in our painting. I'm using my DiVinc brush for adding all this. You can go ahead with any size ford brush that is available with you. No need to have these exact brushes, as I always say. Whatever is available, please go ahead with that. Okay, time to add some water. You can see that the water is also moving to a great extent and the colors may move a bit more. It's absolutely okay. If the greens, blues, et cetera, mixes up, don't think much. You can always go ahead and lift out your colors from any place that you want, because these colors are artist red paints. If you are going ahead, even with student red paints, then also lifting is easier. Only point is that in student red, you might have to go ahead with two to three washers compared to the artists red where you might have to go ahead with only one wash is all I can say. A For the water area, also, I'm going ahead and mixing the same colors of my sky as you know that the water always reflects the sky. If it has algae or any other kind of corals in it, then the color may change. But otherwise, mostly it is the sky color as water doesn't have any color of its own, so it reflects the colors which is there or which is falling on it. I'm going ahead with my naples yellow and starting to apply it just below the area of the water. Let us start out with the yellow green and mix it with the colors that we have added. That is your naples yellow, and then we will go ahead with a beautiful blend of both of these shades. As you see, I'm using my flat brush now, which is basically my wash brush more compared to what I did earlier, as it is a bigger paper and I don't have water available on the paper any longer. I would really need these colors to go ahead and work on it. So yes, let's just pack it as and continue to work with these shades. I am also adding some amount of olive green into it. You can go ahead with sap green olive green. A green which has a bit of earthy pigment in it, or else mix your light green with some amount of brown to get a shade that's closer to the one which I am using. Let's continue to add some more darker greens as you see, with the help of our size sits or sized brush, whatever is available near the blue of the water, which is already there, and then mix it with naples yellow, as you see over here. Now, the naples yellow, what happens is, if you mix it with naples yellow, the color also changes to quite an extent. And that's absolutely okay because it's fine. You do not need the same colours everywhere. You can always go ahead with different set of shades and mixing on the paper. The best part is that you will see different shades rather than if you mix it on the palette where only a single shade will come up. Adding some Bnciena and the darkest value of green, the darkest value of green is your forest green. You can mix it with some of your olive green or sap green to get a shade that looks similar. Now I'm using my liner brush to add a few grasses. I'm really not sure how much effect it will give at this stage because the paper is still wet. We might have to go over it again and again in the later stages. That's absolutely okay. Just wait and see how it works for you. We will repeat the process of making the grasses as we progress and add some more smaller and thinner lines over here, as you see near the water area. Again, going ahead and adding some grasses. So far away grasses will be more like lines, as you see, I'm adding with the help of my liner brush. Anything that is far away from our eyes will be more thinner, whereas anything that is closer to our eyes will be more I would say, larger in size and shape. So that particular thing, you have to keep in mind. Then go ahead with the purple, as you see over here. I will also make some amount of Opera or any other pink to give it a better look because I am always inclined towards purple flowers. You can go ahead pink or red or any of the other flowers, also, though we have already attempted a floral field odio, where we have added the quinacrodon coral and the reddish and pinkish kind of shades. So it's good to always try out different shades for painting because there are various landscapes that we have done and different kind of different kind of wet on wet techniques have been applied everywhere. Somewhere we have tried to lift, somewhere we have tried to add some places we are just adding dots. Everything that you are doing is not going to, like, is not perfect in a way that if it's far away, we are just adding dots for the floral fields. If it is closer, we might go ahead and add some lines to show the line of these grasslands. But yes, whatever's said and done Always, always make sure that you have a perspective in mind. Far away things will be more blur, more smaller, closer things will be more bigger in size, and that's all you need to keep in mind. I now I'm using some clear brush to apply the water on this grassland. You will see that water also has an effect. It will give you white kind of grasses that you might not have imagined can also come up. I use it in many of my paintings, and I'm using it for this easy painting tool. You will love to add these kind of techniques, even to your future paintings from here, whatever you learn can easily be applied in any composition that you want to go ahead with, as there has been no restriction with the composition that we have attempted or any kind of landscapes and the different subjects that we have touched upon. Now you can add the mountains or you can say the green hills in the background and just go ahead with some darker green in the bottom or some darker green in the top. I would leave that decision up to you. I'm not thinking much when we are adding this. It's just to create an illusion of your horizon line and make the horizon line in a better way is all I understand. Let's go ahead with some darker value of green and apply it in the bottom part of the painting, as you see over here and some dots in the hill area. This is very small, small dots, which is applied to show the part of the greenery and the mixes in a better way. Now we are left out with very few areas because most of the things are audit done. It's just the refinement and some added things that we want to add. Over added things means, of course, very simple, simple, small dots, lines, et cetera, is all we are going to do. I continue to add some more grasses and lines. Now the grasses can be seen well. And as I did say, even earlier, it's some few dots, lines, et cetera, which is basically to show the refinement of the painting. It is, again, not wet on dry. It's mostly wet on wet that we have done. Maybe some of the areas if you really want to do wet on dry, you can go ahead with it, or if your paper has already dried up, it's okay. But my paper is still wet and has some moisture on it. Of course, it's not wet, wet. You can say, but it's moist, and that's what I'm going to use for my advantage. Ast few things that you should keep in mind while doing any kind of a wet on wet painting is your paper needs to hold water, and you need to try that paper earlier rather than going ahead, wet 25% cotton, 50% cotton, 75% cotton, always go ahead with 100% cotton paper. I have emphasized on it Audio, and I really want to emphasize it in at least the second last painting because you have already attempted so many of my paintings, and I would like you to nail all of them, and it can be done only if your paper is good. Your paper can be good and great. I would say you can have a similar result or same result maybe better than what I have also attempted if you continue to work with I mean, the greatest of the paper is something that I always always say overtime, have your good brushes. If it's a side hussle, accumulate slowly. If it's a hobby, then also accumulate slowly. You do not need all the brushes at 1.10 time. You can have all the brushes. I have been painting for last six to seven years. And it has been a continuous process. I have been accumulating a lot of brushes over time. It's not that I buy everything together. I buy a few brushes, wait for that particular year to get over, and again, buy something next year. I have been using Escoda brush, as you all know. It's Escoda optimum. I've been using it for past maybe four to five years. If you invest on a good brush, it can support you for maybe, I don't know, yours and yours and yours. And hence, buying good brushes overtime can really help. Now let's have a fun look at the whole of the painting and let it dry completely before you go ahead with the next one. The last one will be uploaded again by tomorrow as I'm going to wrap up this last as soon as possible. Y