Into the Woods: A 20-Day Watercolour Forest Adventure!

1. Into the Woods -A Watercolor Forest Adventure: In the heart of every forest lies a secret world of wonders waiting to be unveiled through those strokes of our brushes. As artists, we have the privilege to capture the true essence of nature's beauty, breathing life into our canvases, and sharing though, enchantment of the forest with the world. Hello, hello, hello. Welcome to the forest painting challenge, 20 days of watercolor, forest adventure. I'm chairman to one artist from Bangalore, India. I mostly paint landscapes with watercolors, gouache, and academics. Watercolors is my favorite medium, or does all the mediums has been good so far? Now coming to the watercolor for rest adventure, I'm absolutely thrilled to be your host on this artistic journey. Get ready to lose yourself. The world of enchanting forest, where we will express the beauty of forest using the magical medium, which is watercolors. Before we dive in, let me assure you that each and every essential technique is covered well in advance. So you can approach each painting with confidence and joy. And don't worry about the art supplies. I'll walk you through each and every art supply that I'm using for this class. Once you are familiar with the essential watercolor techniques, we will have some demos and practice exercises for you to get familiar with the subject and the techniques that we're going to use in the class. In the beginning of each day, I'll explain all the colors that I'm going to use in the class. And also I'll talk about the composition part, where I show you how to arrange the elements. That it is broken down into simple and doable steps. And there is no need to rush at all. You can take your own time to finish these 20 paintings. The main intention here is to enjoy the process and find your own creative voice. Let's embrace the serenity of the forest and captivating nature of watercolors together. Come join me as we embark on this 20, the watercolor challenge 2. Art supplies needed.: Before we dive into our artistic adventure, let me walk you through on the art supplies that I'm going to use for the class. First is this paper. This is post R&D GSM paper. It is 100% cotton. Handmade paper. Absorbs a lot of water, which is ideal for layering work in watercolor. So I would recommend you to use 100% cotton. Go with 300 GSM watercolor paper. So 25% cotton paper might dry very fast, so you might not get the exact same result. I would recommend you to use hundred percent cotton paper on right and left around a quarter inch of Bordeaux for every painting here. Next, let us talk about the colors that I am going to use. This is the palette that I'll be using for the entire class. So I'm going to read out the name of the colors. That is then this color palette. This one is indigo. Next is Payne's gray, Burnt umber, burnt sienna, cobalt blue, ultramarine blue, sap green. This is azure blue. I also have a steady load in blue here. Then a yellow ocher, lemon, yellow, red. This is a neutral, kind of warmer red. And here I have well-lit crimson lake or those murder somewhat pink color. Here I have a black Walmart LO right now it is empty. I'm going to fill it soon. Orange. Here I have raw umber. And this is very thin. So these are the colors that I'm going to be using in the class. The palette has all these wells, which is very helpful to mix the colors. Next, let us talk about the brushes. These are the brushes that I will be using in the class. So I'm going to show you the brushstrokes one by one. So this is Princeton. Neptune, size six brush. This brush has the capacity to hold lots of water so it can, it is ideal for washes. Look at the amount of water that it has. If you use it like this, it creates thicker brushstrokes. It even creates thinner brush strokes if applied carefully. Usually I apply in a slant around 45 degree angle. It covers a larger area. It can be used to paint the initial washes and the background washes. Next door in the queue we have silver black velvet, size 12, round brush. This brush also holds a good amount of water. It had this very soft bristles. I generally use it for larger brush work. I can use it for painting tree branches and thicker foliage, the diet, exercise and everything. Then I have a size eight round brush. This is what the regular brush stroke and no onshore for the smaller elements in the painting. And with the tip of this brush, you can use it for detailing purpose as well. But you need to be very careful and apply a little pressure in order to get this effect. When I have rigger brush by Rosemary, size for this can be used for detailing purpose. It can create very tiny lines. In order to get fine detailing lines, you need to have the right amount of paint in your brush. If your brushes over loaded with paint, then it will create thicker lines. So be careful with that with your fine liner brushes. Next we have said, well velvet size two round brush This can be used for painting smaller brushstrokes when you need to have more control over the fine line restaurants. This is almost same as the rigger brush, but with little more control. Then I have this old brush window, OneNote, Brazil's. I use this for dabbing and creating some random effect in the painting. This is an optional brush. If you have an old brush you can use it or the legs, It's totally okay. It helps us in creating a discrete texture for the tree, for niche. Then we would need food, jars of clean water. I had kept the clean water jar ER, but I had to use it for the brush demonstration. So two jars of water, one for Rome. They can clear water while painting. Another one to rinse off your dirty brushes. So I have placed everything inside this tube so that the dirty water falls inside this and my table doesn't get spoiled very easily. I used to have color water stains on my table, which I was tired of cleaning every now and then. So now I have everything inside this area, which is pretty good. Next we have tissues and napkins. Tissues can be used to wipe off the extra cleaned during the lifting process. And the lab Kim is for wiping the paints and brushes during the painting process. Then open cylinder. It is for sketching and marking the composition. You can also use a hairdryer for faster drying process. Next, to tape down the paper. During the painting process, we would need a cardboard and a masking tape to seal the paper type. Alright, that was all about the art supplies. You can use any alternative supplies that you already have at home. Don't worry if you do not have supplies as that of mine. Also do take some watercolor papers to practice the techniques. Warming up is very important to feel comfortable during the painting process. Smaller papers are also enough. If you have older papers or the backside of the paper, take same paper that you'll be using for the painting process because you will know how your paper will react to the dampness and how soon it is going to try to understand these factors before approaching the beam 3. Tonal values + How to achieve depth and dimension.: In this chapter, we will talk about tonal values in watercolors. Tonal values refers to the degree of lightness or darkness in any color. Let me demonstrate different tonal values to you. So fast, I'll take this violet color in a takeoff on this is the darkest tone. Next, we will add water to it and reduce the tonal value. After adding water, it becomes slightly less concentrated. And we will repeat the same, achieve different tonal values. We keep adding water to the paint until we get a very watery tone. I could still add water to this, but I think I'm going to stop it here till the end of the paper. So healed in this entire range. First we have the concentrated or the darkest tone, then we have the lightest or diluted tone. So this entire color values are called tonal range. So somewhere on this middle area, we have mid-tones, which is used for transition from darker to lighter color. Some colors have a wide range and some have a very lighter or a shorter range. Let us move on to our next color, which is lemon yellow. Since this color is slightly lighter and brighter in nature. So it is going to yield us shorter tonal range. After a couple of washes, you will see that transparent effect becomes lighter very soon. Let's try out another color. I'm going to take. This is your blue. I hope I'm pronouncing it right. Tonal values are heroes can vary between different brands of watercolors. Artist grade paints are known for their rich pigmentation, resulting in vibrant colors that are highly saturated and visually striking. Know, in contrast with that, student grade paints may exhibit less intensity and vibrancy due to their lower quality and affordability. Student grade paints often have a chalky texture due to the use of low quality pigments and fellows. So back to the demonstration, you can see how rich the pigments are. So this was the tonal range for this color. I'll repeat the same exercise with a different color. This time, I'll use indigo. So this is a very rich in concentrated color. I'm Shelby. I'm gonna get wider range for this tonal value. As I add water to paint, the colors remain still vibrant, resulting in a broad spectrum of tones. The painting you'll see here. This is a monochrome painting painted using indigo. The color offers a wide range of tonal values. Thus helps us achieve great depth and dimension in the painting. The first one in the spectrum, we have concentrated our darkest tone. Then we have the mid tones. Then here, let me as in numerical values to the tones, making it easier to identify and differentiate them. So the number one would be concentrated or darkest tone. The second number would be mid tone or the medium values. The third one is light or diluted tones. So I less in these numbers to the respective sheets In on what dose? This one is Duff, darkest tone, guest on. So these are the number three diluted tones. So you'll see this is the darkest tone in the mid area we have from your to around DR. we have midtone. And these are the diluted tones. The tonal values helps us create depth, highlight, and contrast in, at Artworks. Know, for example, if I want to create a sphere. So this is a circle, right? Now if I want to add dimension to it, I'm going to need to I'd darker and lighter value to it. So I add on one side I learned darker value than then blended with water, creating the mid-tone. Then add watered, making it very diluted. So this diluted tone will act as the highlight in this field. So this is their darkest tone and this one is the lightest. This light depends on the sunlight, the direction of sunlight. So this is the shadow. Here. We can add some shadows with different color. So this is not a perfect way of paintings. Fields are achieving light and shadows. I'm just showing you very rough way to understand tonal values in a better way. So I didn't. Darker shadows and lighter highlights along with some midtone values, makes the element or a drawing three-dimension, Three-dimensional. Depth highlight, contrast the artwork. Let's take another example of three. Let me draw it first. I'm going to roughly draw a tree shape and the Foliage part of the tree and divide it in three parts. Now, let's add the light and shadows on the tree. Let's, let say the light is from this side. We have to create lighter highlights on this side. The darker side on the, on the opposite side of the sunlight. I'm going to paint the darker side. I like this darker areas on the three sections. And then using clear water, I'm going to spread the paint and create the lighter tone. This will create a sense of light and shadow on the tree. No peaking darker color to intensify those shadows. So I have used darker to lighter Painting approach. You could also use light to dark. Actually, in watercolors, we shouldn't be using light to dark. But for demonstration purpose, I went ahead with dark to light. Next, let us draw some bushy tree shapes. Go from light to dark. Painting this entire thing with lighter color first, leaves some married lady with a lighter color on one side. Next, let us add some darker colors on anyone off the side, depending on the light source. Here, I'll add it on the right side, creating the shadows and the left dog wouldn't be having the highlights. I hope you getting my point here. Now, if you observe this bush, we really only see dark and light. That is no midtone. I'm going to lift some colors creating mid-tone values. They could damp brush and lift though paint. So this may be unable to lift the paint and create the mid-tone values. You can always add or remove the colors as per your need. So this again depicts the light and dark or shadow. Using tonal values, you can achieve depth and dimension. Mood and atmospheric effect in your painting. Tonal values contribute to the overall mood and atmosphere of a painting. By carefully selecting and manipulating values, artists can evoke different emotions or convey specific lighting conditions. I hope you're clear with the concept of tonal values. It will be used to create, highlight, and depth in the forest paintings 4. Wet on Wet Technique: If you have already watched my earlier classes, you may already be familiar with the basic watercolor techniques. However, I believe it's always helpful to refresh those skills. Let's take a look at some of the essential techniques together. The first one is wet on wet technique. It is a technique that involves applying wet paint onto the wet paper. Let us wet the paper first. This is the wet layer on which we will perform wet on wet technique. Next, I'm going to take wet paint. You can take any color. Now, let me apply this wet paint on wet layer. This technique helps us create a diffuse look. It allows the color to blend and spread naturally on the wet surface. So you can see how easily the colors treads on this wet surface. When you tilt the paper, the colors flow in the lower direction. Because of the gravity. Generally it is used to achieve smooth and atmospheric effect in the background elements of the painting. Next, let us simply paint a sky on a wet surface. Just very simple and easy to paint skies using watercolors. Let me first wet this area. I'm going to take the shades of blue to paint the sky. You could take any color of your choice. So I'll take this blue mix and apply it in the shape of clouds, leaving some white spaces in between. With wet on wet, it is really easy to paint watercolors guys have ever in this class, we don't have that many guys to paint. Maybe the forest works. You could just play around and add multiple colors if you want. If you are a beginner, then I would recommend you to practice these little Examples. So you see how easy and simple it was to create this beautiful sky. It also demonstrate painting mountains. I'm going to apply water and extend the sky. Then I'll take cobalt blue and ultramarine blue mix for the mounted. Directly apply it on this wet area. So here we have achieved this blurry and diffuse look for the mountain as well. Similarly, you can practice are the elements of nature to get familiar with this technique. I hope you clear with wet on wet technique. Next, let us move on to Wet on Dry Technique 5. Wet on Dry Technique: Let us talk about wet on dry technique. It is a technique that involves applying wet paint onto dry paper. So here, we do not have to wet, those are facing at once. We can directly apply paint on the dry surface. I'm going to load my brush with paint. So this is the Wet thing. And we are going to apply on Dry surface. So here we don't have to prevent the paper or anything. You can directly apply the paint on the paper. So this technique allows more controlled brushstrokes. No pain, stairs where it was intended to. Unlike this Technique where it spreads everywhere. So if we apply like this, it is going to remain like that. It will not spread on the areas where you do not intend to. That's why it is very important to choose what techniques you need for your painting. Right on Dry Technique is a great way to create detailed paintings. So Wet on Dry allows more control and precision. Know why he painting. Like I said, the color stays where it is intended to stay. Unlike wet on wet technique, where it spreads everywhere. So you can use this to your advantage and use for detailing work in your artwork. In my painting, I usually use wet on dry for the foreground element because it gives me defined edges, which helps me to go though focal element in the painting. And I use wet on wet technique for the background elements that helps me to create in the blood we're looking for painting. So that's how I usually choose the techniques in my painting. Let me show you some other examples. So you can paint grass blades with us on some trees and bushes or wherever you want to see those shapes in exact form, then you can go with this Technique 6. Dry on Wet Technique: Next one is dry on Wet. This means that we are applying dry or thicker pins on overt surface. So we first need to have a wet surface, right? I'm going to wet the surface first. And I'm also adding some diluted colors on the initial layer. Let's consider this as the initial layer, that is the right layer. Next, we should be Painting window, take car or dry color. So I'm going to take very thicker paint. So to perform dry on wet, your brush should be damp or no, should have less water. Now, let's take some ticker color. No consistent of the pain should be very thick. You could directly take ticker color. This is ticker and let me wipe off all the extra paint. So here, let's apply this thicker color and see how it spreads. So you can see the paints. It spreads in that spread. But not to this extent. Here we have thicker paint so we can still get some detailing. But for smoother detailing work. This dry on Wet Technique is helpful to create detailing with a sense of diffuse to look. It's like a combination of wet on wet and wet on dry. I'll be using this technique to create out-of-focus elements in the Painting, which are the midground and background elements. Me show you an example. Like let's say we have a wet surface. I'm going to take Payne's gray tick God, in concentrated form. Directly take paint with just 10% of water. Maybe. How ready take paint. And I'm going to paint some pine trees here. So at this point, when you're painting this, it appears darker. But once it dries up, it gives a very nice diffused look in the background of the painting. So I'll show you some examples. In this painting here. I have used a similar technique for the background to use. It creates a diffused and blurrier appearance in the midground and background elements. Drawing our attention to the foreground, detailing parts does helping us to create out-of-focus elements in the painting. So next, if I consider this painting, the background trees or blurrier and diffused, yet they're able to identify the shape, which in turn helps us to draw our attention on the foreground trees. So for this Technique to the best result, you need to apply thicker paint on or damp surface or as a phrase that has absorbed the water to certain extent. This will help the paints to retain its shape, yet create a diffuse look. Suppose you apply thicker paint on a totally wet surface than it is going to spread widely and as wet on wet technique. So be careful with that. I loved the initial layer to absorb some water. Then this technique will work the best 7. Dry on Dry Technique: Next Technique is dry on dry technique. This means that we need to apply dry paint on dry surface. So when I say dry paint, does it mean thicker paint? It need not be essentially thicker paint. You could also take diluted or lighter color paints. But what do you need to remember is your brush should have very less amount of paint, which will in turn create this kind of texture when you rub the brush against the paper. The idea is to have ready least amount of water and paint in your brush. So it is important to wipe off the extra paints and water of the brush before going for this technique. This technique is very helpful to create dramatic textures in European thing. Next, I'm adding some water to the color to get a lighter tonal value. So here you have to wipe off all the water and then glider brush against the surface of the paper to create the texture. It's good to have a tissue paper handy so that it absorbs all the paints. The more damp or dry the brushes, the more textured effect you will achieve. Next, I utilize the same extra area to create or night scape painting. So I'm going to paint a moon and night sky here. I'm leaving this negative whitespace for the moon. And I'll paint with darker blue color around this moon area. So that is our sky. And we have the moon. Below the horizon. We have ocean water, which has the deflection of the moon. To depict the reflection in the ocean water. I'm going to use this blank white area that was created using dry on Dry Technique. Know. To enhance this reflection. I'm going to add darker colors on board this height. This is how dry on dry technique helps us to create various effects in our Painting. So this was one simple example of dry on Dry. Combining with wet on dry. There you go. We have our simple landscape painting. You can further enhance it using darker colors. This is the glowing water that can be painted using this dry on dry technique. However, this class is based on painting the forest. I was just giving you general idea of how you can use this technique to your benefit. Let me further add some colors, suggesting some more elements in this painting. Here, I've added this darker blue color, suggesting the mountain in the distant area. So these are the four essential techniques that you would need for any watercolor painting. In the next chapter, I'll show you some additional techniques that would be helpful for the class 8. Lifting Technique: Now that we have learned all the essential watercolor techniques required for this class, that does also have a look at some additional techniques that would help us enhance our experience here. The lifting technique in watercolor refers to the process of removing or the lightening the paint that has already been applied on the paper. This technique involves using or wet or damp brush. Or you could even use a tissue or a napkin to live watercolors from the surface. Let's say we have already painted surface and we want to lift the colors. So what we can do is you can take wet brush, wipe off all the water on a tissue or a napkin. Your brush should be damped and should be able to live the colors. Here. I'm lifting the wet paint, revealing the white underlying color. There you go. You can see this light effect. You could also use our tissue paper to live the colors. Let me show you another example. Let's say we have a painted area. You want to remove some Colors and take a tissue paper. This is how you live the Colors and reveal the whiteness of the paper. This is basically used to create highlights and fix your mistakes on. You could also use it to create clouds in the these two examples where for wet surface, right? Now, what if you wanted to live the paints from a dry surface? So what you can do is you can obeyed or reactivate the paint by applying water. Once it gets activated, then you can follow the same steps. That is either using a damp brush or tissue paper. It is not simple. Let me try it again on already dried sulfates. So here the paper is dry. I'm going to pinch my plain water. You can see slate, whitish color. And let's see if I can remove colors from here. Apply water wherever it is needed to paint the paints here. So yeah, that was our lifting Technique. 9. Splaterring Technique: Next we have splaterring Technique. We will divide this Technique into two types. One is splaterring on Wet surveys and splaterring on the surface. Let's talk about splaterring on wet surface. Let's say we have wet surface here. So I'm going to paint that for, you know, on this wet surface. I am going to splatter some thicker paint. These this will create a diffused look on wet surface. Next for Dry splaterring, you can directly splatter the paint on the dry surface. You could also splatter it on an already painted dry surface. So this remains where it was supposed to. Right? It doesn't create any wild blues or diffuse look. You can either on the brush, our flick the paints like this. The splaterring Technique can be used to create different texture in the landscape paintings. It also helps us to add a sense of business in the plane areas. You can easily fill up the areas with some random splatters. So that's about it. You can try this on a rough paper and get familiar with the Technique 10. Tree Foliage - Examples: In this tab dot, we will explore various types of tree Foliage that you can incorporate into your artwork. This will be helpful in creating your own beautiful forest paintings. Alright, so let's start. First. We will create a bushy Foliage effect. So to create the impression of the leaves, I'm going to dab my brush and leave some spaces in between. This can be used as a filler element or even a focal element in the painting. You can vary the size of the brush strokes to create a mix of leaves sizes, resulting in a more natural and diverse depiction of Foliage mixed us. Adding pine trees. There are various ways in which you can incorporate pine trees. This is my preferred method where I add the, the Foliage in zigzaggy. My dog, has also become a go-to element in most of my Landscape works. And also you can paint these partly visible, Fine branches to fill in though painting the empty space in your painting, you don't always have to depict a fully grown tree. You can also add in these partly visible branches. So this way, the competition becomes more engaging and captivating. One pro tip here is you can paint one or two pine trees of proper shape. And I still have the space. You can fill it up with simple lines. This way you don't have to spend time on the intricate detailing work really loudly. Another example would be to add partly visible branches into multiple parts. Can either add the Foliage or just keep though branches bare minimum. Next, let us paint a pine tree again. I'm going to paint the tree when my regular way, but I'll smash the bottom part of this using my fingertip. This will ensure a smooth blend with the underlying layer. And it is also simple and effective technique for creating organic elements in the painting. I'm again using my fingertip to create partially visible branches on the sides. Also adding in darker colors in-between to create a variation in tonal values, hence, adding a sense of depth. Now once you have created these Foliage effect, then are the branches. To complete the look of the tree. Next, I'll take my rigger brush of size four. You could take any fine liner brush and add some tiny details like twigs and the branches on the outer end of these Foliage. My painting, these tiny brushstrokes, you can add a touch of realism and texture to the trees, creating a more life-like representation in the painting. Next we will be painting some conical, triangular shaped trees. We will first painted with a diluted color. That will be the lighter on the highlighted part in the tree. Next, I'll add some darker color. On the right side. The big thing though, shadow part. For the left part of the tree to be brighter or sunlit. It has to have the satellite or the source of light should be on the left side. So you feel understand this basic idea. Then you can paint any kind of light and shadows in a painting. If you're wanting to add further highlight in the object, then you can use a damp brush to lift the paint This will further reveal the underlying whiteness of the paper, resulting in the highlight. Next I'll be painting but similar tree, but we're though different color. So I lose shades of green here. So I'll start with a lighter green color. This will act as a lighter or the highlighted areas in a tree. Next, I'll add shadow part of the trees using darker green color. So you see, I have only added the darker color on one side. The other side, I've left it, as it is, suggesting though, sunlit effect. Next we will paint Foliage using babbling of the brush. So first I dab the paint in a very lighter tone. Next I'll add darker green. Some areas. This will have a nice balance of lighter and darker tones. Next, using a fine liner brush, I'll be adding the branches and twigs on the outer end of these Foliage. You don't have to paint each and every leaves and branches. It's loose representation of the tree. In the next example, I'll be starting a branch from the left side, which is again partly visible. So in this method, we are first adding the tree branch and then adding the Foliage. Unlike the previous method where I have Forest added though tree Foliage and then added though branches. So you can choose any method you want. No, I don't. The lower area, let me add some bushes. This is also an easier way to fill up the empty spaces. So you can also have mix of different colors for the bushes. Like er, I'm using orange and green to bring about sense of where it, adding darker shadow areas for these bushes to bring about a sense of contrast and also enhance the lighter colors. So we need to create the balance between lighter and darker colors. Now once these colors at about 50, 60% dry, I'm adding door or the branches. For these trees. You could even lead for the initial layer to completely dry and then add the details. Going back to the pine tree section. Here, I'll add few more trees with darker color. This is known as layering technique, wherein we paint over the already painted surface to create a sense of depth or add texture. If you carefully observe, you can see that depth already. You can use this property for other elements as well. Where do you will add multiple layers and create sort of depth and texture in your artworks. Lastly, we will loosely paint the cherry blossom tree. So I may need obviously and loosely paint the tree using pink color in diluted form. First, apply the colors in very diluted form, and then drop in some darker colors for the shadow effect. And also bring about tonal variation. Once this is done, you can add the trunk and the branches. And whatever details you need to add. You can use any other color as well, using the same Technique and paint a beautiful tree. So these were some of the examples. Do practice these basic tree shapes. It will help you create your own forest paintings or any other landscapes for that matter. As you gradually build muscle memory at, on this subject, you will feel much more confident when attempting to work. So keep practicing 11. Water & Brush Control: Water Control stands as a crucial factor in watercolors, as it directly influences the final output of your artwork. In the balance between the water on your brush and the water on the paper significantly impact the result you will achieve. Let's see what happens when you apply too much water on the paper. You can see we have a pool of water resting on the paper, which is more than required. Let's see what happens. Let me apply the paint. See this is what happens. The color just spreads everywhere. So it is very important that you take right amount of water in the paper and also in the brush. So always keep or tissue paper or a napkin handy so that you can control the amount of paints in your brush. Generally, beginners tend to fully load the brush and directly apply everything on the paper without removing the extra paint. This is good for the base washes. But when you're painting some elements, you need to have controlled amount of paint. Also, if your brush has very little paint, it will act as dry on Dry course Moodle, and even washes. You need to have right amount of paints in your brush. How do we determine if the paper has right amount of water in it? What you could do is you can generously apply water first and then with a damp brush you can run over the area, lifting off extra water that's there. This will ensure that you have water spread evenly on the surface. You can see that the water spread very softly and creates a diffuse cloak rather than spreading everywhere on the paper. Now, if we apply more water, then how can we use it to our benefit? You can hold your brush in a tilted position and then apply paint. So usually this can be used for the background techniques. One, the colors to flow, then you can go with this technique. Otherwise, it's always recommended to have even coat of water, straight blown. They'll paper. And if you have extra water, you can lift it off using a damp brush. Something like this. **** brush will soak in all the extra water without leaving any hard edges. Also, a pro tip on how to control water in your brush. Whenever you take water from the jar, always to slide the brush on the corners so that the extra water is removed. Just a gentle slide to remove the water. This is one way. Or you could even squeeze out the water with your fingers. Or you can even know, wipe off the water on a napkin. You can go with any method that you're comfortable with. If you are painting a larger wash, then you can load your brush with paint. If you are planning to paint some trees or something some shapes, then it is recommended to take paint in smaller quantities or remote wipe off the brush. If you have hard edges in your painting. On damp, brush and soften it. Alright, next, let us practice making some blurry or trees. For the background elements. For this, we're going to use dry on Wet Technique, which means we will be using guide vanes on its surface. If you see there's a guy's images, there are some blurry or trees in the background So I'll demonstrate the technique with which I painted such blurrier atmospheric background trees. Let's say we have Wet, painted some phase. So we have to wait for some time. For that. The paper reaches about 50, 60% of dampness level. Next, I'll be mixing the color in a thicker consistency, making it what I did for dry on wet technique. So at this stage, though, paper is only about 20 to 30% damp. Let's see what happens when we apply. On this stage of dampness. Colors do remain in the place where we applied it, but it doesn't retain the exact shape that we want. This is not the ideal state of dampness. Let's wait for some more time and see what happens when it is **** for about 56 staple of the time required to dry the paper. Depends on the temperature of the area that you are living in. That's why practicing on a rough piece of paper to understand your paper is very important. So this way you will know the drying time and absorption capacity of your paper. Let's try a small tree. Yeah. No initial pine tree we painted hi spread more than intended. So I don't think it is going to eating the result that lyric wire. That's why I do not paint it. When the paper is about like 20, 30%, wait for it to dry unless you are using 25% cotton paper. This rule applies for 100% cotton papers. So this has spread a lot compared to the newer version. No, the people is perfectly done creating the desired shape. Though paint remains where it was intended to. And it also gives us a diffused look. Will see the exact quiz. After it dries. We will apply the paint. At this stage when paper is perfectly that makes randomly filling the elements to show you how it will appear at day. And you can compare this, end, this tree, this, and see the different. This was painted on about 20 to 30%. And this was painted the paper was 50 to 60%. Though first example, though, paint smudge more than required. Second example gave us the right result. Desired shape. Next, let us paint another wait surface and perform the same technique I have used, red and diluted. Blue is the base color. Go with any color you have. In order to perform the right technique, we will have to wait for some time. Meanwhile, let us see what happens when we apply the veins on a wet surface. Let's take dry paint and apply it on the wet surface. Create any shape of your choice. So initially when you apply the paint, it looks as though it is going to retain the shape, but gradually it will start reading. So next, let us see how it looks on a damp surface. I'll have to wait. Just using this rough paper to dry the paper to some extent. When you will be able to paper from an angle of about 50, 60 degrees from across angle. You will see or kind of sheen on the paper. That's when you will know that the paper is perfect. To perform this Technique. Remember to check the amount of beans and you Brush. That's also important factor. Make style paint the same tree shape on the perfect damp paper? No. Okay. So these two shapes no paper is same. The color is same, brushes, same. Everything is same. What changed here was the level of dampness on the paper. In the first example, the paper was wet and Colors spread widely. The second example the paper was damp. So we could issue though, is that we wanted. In the next example, I'll show you what happens when the paper is almost dry. Let's say about 80, 90% of dryness. See, it gives us hard edges in between. It will be partially wet and partially dry. It might also create backgrounds in your painting. So you have to be very careful with the dry on wet technique. You have clapped light beams within the window range of 40 to 70%. Otherwise you will get hard edges. I hope you'll have a clear idea of how to achieve blurrier effects in the forest paintings. Do give it a try. For a Rocks paper for maybe when dry or Mini Forests painting. All right, I'll see you in the next chapter. 12. Demo - 3 Mini Forests: In this chapter, we will engage in a series of simple exercises to enhance our understanding of forest and learn the Art of painting them layer by layer by practicing these techniques that we learnt earlier, you will download a solid grasp of this object. So let's dive into the painting, practice A4 size paper and make three boxes in it, dividing it into three parts. We will be Painting three Mini Forests paintings inside these boxes. Let's begin with our first exercise. Take them all Brush and diarrhea completely. We will first start with wet on wet technique. Hence, I'm wetting the surface. First. I'm going to take Mildred down blue color by mixing Payne's gray and blue. Sorry, take a diluted version of this color. No randomly apply this as the initial base layer. Also leave some whitespace is in the center with slight intense tonal value. I paint the background trees. So here we are trying to build the painting layer by layer. And on the top, just that the brush creating suggestion of the Foliage. Next again, I'm increasing the intensity of this color. We will paint the ground elements. So you can see how we have the elements in the painting layer by layer by increasing the tonal value. The idea of being thin layer by layer helps us build a sense of aerial perspective in the painting. It adds so atmospheric wipe and attach off life to the painting that we create. If you do not consider adding these layers, your painting tends to IPR flat. Here, I'm using single tone, that is a mix of ultramarine and Payne's gray. But if we are using multiple colors, rule remains the same, that the tonal values should be balanced. You should have right amount of darker and lighter values in order to achieve their depth in the painting. Next, I'm applying another layer which is very darker than the previous layers. So whenever you add these darker colors, don't forget to leave the background areas as it to use. Let them be visible. So I have almost covered it up, so I'm adding lighter color trees in the background. This Art or sense of haze and atmospheric. Why window painting? If you tend to cover it up with a darker color, you'll only be left with blank spaces. And the technique that we are using now is dry on wet, meaning I'm using dry and thicker paint on its surface. So this is dry on Wet. Remember? Isn't it truly mesmerizing to witness how our forest comes to life with its and depth and the interplay of light. It's like the beauty of nature unfolding before our eyes. We will leave this exercise for now and come back after it dries. Now for the reference, this is dry on wet technique where we applied the car paint on or damp surface. So we need to allow it to dry. Meanwhile, let us paint our second exercise. Again. We will be using wet on wet technique for the diffuse to background effect On guide, the paper is wet. And I'll begin by taking sap green. I'm painting or diluted tree. This is our initial layer. Just roughly paint some pine trees. Next, I'll take a slightly different color. That is a Walmart or green color. I'm gonna take sap green, mix it with the burnt sienna. So here you can see they have brownish on a Walmart or green color. Am I playing second layer with this color? You can also add orange to green. If you want a warmer green. It's up to you. Paint few more pine trees over the existing ones. And then on the top area, I'll be adding the Foliage. Just to give us edition of the forest. We can already see an emerging shape of the forest here. Next, I'll be painting with an intense green color by mixing indigo with the green and burnt sienna. So it will create a very darker green color. Anyone have an readily available darker green. So I'm mixing my one shared paint, another layer of pine trees. Your there is no fixed count. We can paint as many trees you want. Okay, So let us leave it here and allow it to dry. Meanwhile, let us begin the third exercise. So for the third example, we will be again using wet on wet technique for the base layer where the surface thoroughly inside this box. Now I'm going to use a warmer yellow color. So I'll start by adding some vertical lines for the background area. Then mixing some orange and Romberg. I'll slowly build the area for the photos to your. Now, I'll slowly add some darker colors. Here. I'm mixing burnt umber when the orange and creating orange-ish brown color. Also, make sure to leave the ALU spaces in between. Don't fully cover it up. So this is a rough demonstration of the forest. I'm not going to add each and every detail your next and we're adding some darker brown color. In the center area. I'm gonna try to create a kind of sunlit effect. Adding in some Foliage effector and on the trees. The white gaps will also enhance this and let effect. On the corners. I'm adding Payne's gray and burnt umber mixed. So this is apple.com brown color. Then add orange color. And all those same area have to depict the sunlit trees. The initial base, Laos. And then we'd grown nails are done for all the three Mini paintings. Next, let us move on the detailing part Where we will paint the foreground element. Next, I'll take a mix of indigo and black, making it a very darker color. With that, I'll be painting some trees here. This will act as though foreground trees. Know, if you notice the whole Painting, you'll see that foreground elements are more attractive than that of background elements because they are sharp and detailed. The background tends to appear blurry when compared to the foreground elements here. That's how we are building the aerial perspective. We have created a sense of haze and atmospheric wipe in the background and only drawing the attention to the foreground trees. So I want these initial layers to be completely dried before I add the details here. Next, I'll be taking black and adding some trees here. Same thing goes with this as well. You can see how the background elements at PR, slightly blurry. Giving more attention to the foreground elements. You can absorb a clear distinguishing between the background and foreground elements, right? I want you all to practice these examples with Me too, that you a good control over the water. I'm also your brush. Brush Control and water control are the important aspects of painting. Yeah, please do it to me before moving on to doctoral projects. So you can use the elements that we have practiced in the Foliage chapter. And I've done as well your wish. There's no fixed shape and size as such. Okay, let us move on to the third example. Here that I'll be using a mix of burnt umber and black. And we'll add the trees on the sides so that we can preserve the sunlit area in the center. Then at the center area, I'll be adding some sunlit effect using lighter colors, like orange or brown. So these brown trees, they preserve the sunlit effect that we wanted it out. Mini painting on the top again and guarding the brown color to suggest that there is literally lesser light when compared to the middle area. These were some rough depiction of the forest paintings. If you want, you can practice more examples using some reference images from the Internet. I hope this chapter and gave you a little more perspective about Forest Painting 13. Day 1 - Colors and composition: Before starting our first project or Forest Adventure, I will talk about the Colors and composition required for the class. For the orangey hue, we will need orange or any similar color. If you don't have orange, you can mix yellow and red. Next, we would need all burnt sienna. You couldn't use any similar rusty brown color. Then you can take a warm or a neutral red color. So for the orange colored trees in the painting, I'm going to be using. I'll mix of orange, burnt sienna and read in different proportions that I'll explain in the Painting. Get this bright orangey red color. So you can use any orangey warm red color that you already have the dude next for the sky I'm using as your blue color. You can go with any similar shade that you already have legs or sky blue. Then we would need Payne's gray and also burnt umber. Next three would mean black. For the detailing purpose. These other colors required for the painting. You can go ahead with whatever similar colors you already have. Next, let us talk about the composition of the painting. If you are able to understand the composition well, then you can easily break down the complex objects into simple and doable steps. We will start by drawing a curvy pathway from the foreground area that is gently guiding us towards the midground area. Just a new thing. The road ends. We have another downhill Cove leading us to a deeper. This tan area. In the actual painting will just be creating a mild suggestion. And we'll mark the area for the land around the node on either sides. Now, we will draw the trees here. These are bushy trees in conical shape. So you don't have to draw the shape when you're painting. I'm doing it now for your reference. But on the foreground area we have these Niger trees with the branches and everything. So here the trees in the foreground, they are bigger in size because they are closer to the viewpoint, hence they appear bigger. That is one way of building aerial perspective in your painting. This will help us create a sense of depth. If you observe the mid ground trees, I've drawn them comparatively smaller. We will mark the shadow of the trees on the road, which indicates that the light is from the left side and the shadows are on the right side. Same is with domain ground trees. Sorry, I'll do some shading here to help you understand the shadow part in the conversation? No, I'll fast-forward the process to show you though. Shading areas. This will be our shadows in the painting. This is just a rough depiction of where our shadows are gonna be. I'll be explaining it in detail during the painting process. So here, if you observe these mid ground trees, the shadow part is on the right side. And the highlighted part in the trees falls on the left side. Heel for the background and midground element, I have used a combination of wet on wet and dry on Wet Technique, which gives us a blurrier and diffused look. For the foreground trees I have used wet on dry, which gives us sharp and detailed appearance in the painting. Now let me explain how you can add the foreground elements. I've painted this partially visible tree, the top of the two years, not visible here. Only the trunk and some branches. Even on the right side, I have done the same thing. Once you have the basic skeleton, then you can dab the paint very randomly, creating the Foliage on the branches. Next, for the mid ground trees, I'll be creating these conical shapes. And on one side I leave the lighter area. And on the right side your help adding the darker shadows and then blend it with the ground level. For the source of light is from the left side. Suppose the directional light was from the right side, then you would create the shadows on the left side. So it's just the vice versa. I hope you're clear with this. Let us move on to the Painting chapter 14. Day 1 - Tangerine Canopy ( Part I ): Welcome to the first project of this Forest Painting challenge. I hope you filled with excitement as we embark on this enchanting journey into the odds. So I have named this project as Tangerine Canopy because of the orange colored. Alright, let us begin by taping down the paper. Here I'm giving about a quarter inch border to doping onto the paper. They've done the paper on the sides really neatly. Were doing this to make sure it doesn't buckle up while painting. So he on, I realized that there is inside the paper. So I'm just lift the masking tape and push all the air outside. Once you have tape down the paper, run your finger all over the edges to make sure it is tightly sealed. On right? Now the wrapping of the paper is done below. Monk, the composition of the painting that we're going to do. Just want to dodge your from Your Honor, I'm going to draw C-shape. Here. The C shape should get broader as it comes towards the Woods. A foreground, because the road appears wider, closer to the viewpoint. So this is the reward. And on this little hairpin called. So here we are creating an illusion that there's a road which is going downhill. Martha horizon line. And some trees here. You don't have to draw exact shapes, just gentle marking those skeleton. Then in the background, we will have some mountains in some trees from the foreground area. Alright, that's about the basic composition of the painting. Right? Let's begin applying water on the paper. So use clean water. We really read the entire paper using a larger brush. You could also go with a spray bottle. So I'll start with the sky. Using my size two brush. I am using as your blue color. Apply this color as blue hue in the sky. And I leave some negative space for the white clouds. There is no defined shape as such, you can randomly apply the blue color, leaving some white patches in-between. And also, I'm using some ultramarine blue to bring about sense of color variation. It is optional. You don't have to follow each and every step. Okay, so next let us take Payne's gray. I'm going to paint the mountain in the distant area. Just applying some Payne's gray here. The mountains are away from the viewpoint. That's why I'm painting them in bluish gray color to suggest us and sense of haze in the atmosphere. This will add up to the aerial perspective in the Painting. Also to add depth in the mountain, I'm adding darker color, which is black here. We could also add concentrated Payne's gray. So we have these sharper edges in the bottom part of the mountain. So I am using my damp brush to pull the paint down. You can also use water to blend it well. Moving on, let us paint the pathway or the road. So here I'm using a mix of Payne's gray and black. The paper is wet already. So I'm applying the paint as wet on wet technique. Try to use single brushstroke like this. I'm the Lord continues here. On the backside. We might not be able to retain this backside rolled all the way till the end of the painting. As we paint the other elements, the colors might interfere window with this tiny road on the back. Adding some darker colors towards the foreground area. And also the road gets wider. Next, let us move on to paint the trees. So here we want to paint orange color trees. So I'm gonna use orange of course. And also once you are not red. So I have mixed these three colors to assume a vibrant looking orangey shade. When the painting dries. In my earlier painting, I had used orange color alone and it ended up looking very nicely. This time, I decided to make vibrant orange color audio brush with paint and apply them in vertical brushstrokes, which would look like trees. The colors are gonna spread as the paper is wet. So don't worry about this whitespaces. Sorry, I can see that there's a symmetry and similar uniformity. So I'm just gonna run through some of the trees. And in the mid area as well, we will add some paint. This will act as the base for the upcoming elements. I'm uncovering this part with the same paint in order to add a touch off mystery in this area. You don't have to spoon-feed each and every thing to your viewer. Let them interpret what's going on in the Painting. Next, we're going to paint the shadow or the darker areas in the painting. So take burnt umber, thicker consistency. I had about a little water to it. That's it. And this paint in the foreground area and leave some space here, I don't know midground. Around this area. I'm going to add us and let effect. So I'll be using just orange color to blend the color transition here. And I played around with growth area like so. Also around the three areas. So distinct the Foliage. Make sure you leave this at all for the reward. I'm using a damp brush and lifting the color What sinter discovered with the trees will have a lot of shadows. Fix on black. The foreground areas. Picking born Tiana. Add some trees here. Just add an impression of Foliage. Can lead to add the details. There tree here as well. These are partially visible trees. So here we have these trees, right? Big black and burnt umber could also add a bit of red. Now, I'm adding some depth to these trees. We will only apply paint on half part of the tree. The last half will depict the highlighted part. Loosely trying to nipping the fuller appearance in the trees. In the midground area, I have added these darker colors, creating a sense of a new one or slopey surface. I'm adding these lines to suggest a sense of sloppiness Around the road. Next, I'll take one-channel and apply around them in ground areas like this. This will create a sort of color balance, having orange width value and the darker value. Also, we need to keep checking the road on the backside. So I'm lifting the paint using a damp brush. No thick or make some Payne's gray and black really be adding shadows of the trees on the road. Like this. These are cast shadows of the trees that are on the left side of the Painting. Here. We just make one shadow. One more. I don't just say you're adding this shadow and the slopey go create an illusion that the area on the left is slightly slopey. Next week, Wednesday, a mix of burnt umber and black. It will basically create a darker brown color, which we will use to create a sense of depth in the Foliage. I'm using this on both sides. So this is the tree that is partially visible in the frame. Consider the trunk of the tree to be outside of the frame. So we will leave this to dry. Take your time, and come back once it is dry. I'm using this hair dryer in a very low setting. If we apply more heat to the paper, absorbs all the vibrancy of the color and leaves us with painting. So be very careful with that. You could either use a very low setting or leave it to dry naturally 15. Day 1 - Tangerine Canopy ( Part II ): Okay, So the paper has dried. Now let us move on to bring the next layers. So far we used wet on wet and dry on Wet Technique. Next, we're going to use wet on dry and dry on dry for detailing purpose. We'll start defining though mountain first. So I'm going to take Payne's gray and brown and add some lines and then dilute it with clear water. The main intention yard is to have nipped in the mountain, creating a sense of shadow on one side of the mountain. This makes it appear three-dimensional. Then on the other side, I'll be applying some tiny brushstrokes adjusting I need when APRN in the mountain. Moving on, let us add some details on the ground, trees. I'll take this darker, burnt sienna and apply the brushstrokes only on one side of the trees, suggesting those shadow part. The other half will appear kind of sunlit. You'll do the lack of darker colors. So we have brighter orange color light that will suggest this unlit part. Now, using a lighter orangeish color, I'm going to add a sense of definition to the lighter areas. You can go orange and one-channel and use it in diluted form. Randomly dabbing my brush your posts or just the leaves on a sense of character to their tree line. If you don't want to spend so much time on detailing these fees, you can leave it as it is with lighter and darker color. Just suggestion would be enough. So he are on the left and ground area. I'm adding some random brushstrokes, creating the impression of some leaves fallen on the ground. Next, let us paint the trunk of the trees. So I'm going to mix a darker brown color by taking bond amber and black. You couldn't make any darker colors and create your own darker black color. Here near the midground area. I'm drawing these painting, these tiny lines depicting the tree trunks. Notice their origin point. They are all starting from different points around the ground area. So this to you that I'm painting now is closer to the foreground or the viewpoint. That's why it is slightly because I helped for the trunk into two parts. This part here, just blend it with your fingertip. And he are on. So we have another tree, the objects closer to the viewpoint at your bigger in size. So this tree we are Painting bigger in size. And it will be closer to the foreground. Actually, it is in the foreground video. Right next to this, I'll add another line which will be slightly thinner, suggesting that it is little away from the foreground. Somewhere around the mid ground area will have Stories. So notice all their origin point. So this creates a sense of distance and aerial perspective in the painting. Next, I'll take my rosemary rigger, brush size four. We're going to add some teeny tiny branches here. So I'm adding these tiny brush strokes in different shapes and sizes. This will create a sense of organic appearance in the tree branches. Otherwise, if you are adding branches of same length, it is going to appear inorganic. Very symmetric uniform. We don't want that in our trees. Now, let's add some branches on the left side trees. So I'm adding branches on the trees that are further away from the viewpoint. And for the tree that is closer, I'll be adding slightly bigger branches. Doing this as per the rule of perspective. Objects that are closer to the viewpoint of yours, bigger in size and shape. Since this tree is the good, the tank is bigger. So is there branches. Next and no background video. I'm going to add some vertical lines. For distinct though, bear tree trunks. You can add as many by tree trunks you want. Now I remember I was supposed to create a road here, but after drying, the road just disappeared. So let's try to bring it back. Lapply water, user tissue paper. This is called lifting Technique, where you live to paint off from a wet surface. The paper had already dried. So what I did was I applied water and made it wet. Then I tried to live the beans. Sometimes the paintings want, especially watercolor paintings, doesn't know no expert on expectation. So it was okay to do our own trial and error without paintings. I'm just leaving a hint that there is a next. I'm going to paint the cast shadows of the trees on the reward. So I'm gonna take diluted mix of Payne's gray and black. I'll paint with horizontal lines suggesting the cast shadows on the road. Here the idea is to make the foreground area darker. So I'm painting more of these shadow parts around the foreground area. In the midground area, we are trying to keep it sunlit and only add a few shadows. Next, I don't this section, I'm adding some grass blades with brown color. Also splaterring. Something's suggesting some gases. This at all, being closer to the foreground, need some detailing work So let's do it. I'm the splaterring the paint and then dabbing it with my fingertip. This will create an impression of leaves fallen on the ground area. Moving on, let us paint the foliage on the trees. I'm using this mixture of four. Once you are nine orange and dabbing it on the branches, suggests default, which I'll be repeating those same step on the right side as well. So for the corners and the sides of the painting, I'm adding some darker Foliage by mixing black. Just dab this black color and you will have narco Foliage. So the reason for adding this darker Foliage is to get that low on the inner, lighter parts of the beam. When you have darker gardeners and the sides, the inner areas will flow on edge, on. The lighter parts will get highlighted. That is it ease in. Next, I add this darker brown color on the tree trunk. So this will make the tree if you're stronger having ticker bottom part. So I think this tiny little tree here, you can add as many you want. I'm just adding one. Hi and then around this foreground area in slag or some black color, this will create a darker shadowy appearance. I don't the foreground. You can observe your painting and see if you want to add anything or connect anything. If you're good with this, then we can peel off the masking tape. There you go. This is how the final painting looks like. I hope you had a FUN learning session today. And I encourage you to share your paintings in the projects gallery below so that I and other students can also see your creative and unique Creek creations. Please feel free to reach out if you have any questions or concerns about the painting process. I would be happy to provide guidance and support in each and every step. Thank you, and I'll see you all in the next chapter. 16. Day 2 - Colors and Composition: Before we begin our second project, let us take a moment to go through the colors we will be using and also discuss the composition of the artwork. The colors are Payne's gray, indigo, black, burnt sienna, sap, green, bond. You could use any similar colors that you already have. Next, let us talk about the composition of the painting. So I'll draw this small box representing vertical representation. Somewhere in the lower half of this box, we have the horizon area, a little mark as the horizon line. And in the background we have some pine trees, which appears blurry. So we will be painting the background and the midground trees. So to achieve these are blurry trees. We will be using wet on wet and dry on wet technique. Wet on wet for the background. Dry on Wet for the wind, ground, trees. This will give us the blurry effect. And then for the foreground elements, we will be painting the trees and grasses using dry on Wet Technique. These trees will have sharp bend hard edges because they are in the foreground. And hence they need somebody dealing work right? Again, show you the shape of the trees separately. So you have one trunk and then it regularly spread branches. The branches first and then I, though, leaves depicting the set of Foliage can draw some smaller trees as well. Just start the trunk and then for them into multiple parts. Next, I'll paint the tree using the paint. Start with Audrey trunk and then I, the branches. I think them in different direction and shapes. Definitely make it look more organic. Know, the easier way to complete this tree is filled the upper for the corner areas with thicker paint, and then only suggest a few areas. You don't have to paint the entire tree. So what I'm doing is filling the corner areas and then only I don't the lower areas, the areas visible to the light, those areas and adding these details by simply tapping. I'm not painting each and every leaf separately. This is like a shortcut method that you can use in your paintings. And once you have painted the Foliage, you can add in some tiny twigs and branches on the outside of these Foliage, giving more realistic and captivating appearance to the or all painting. I hope that makes sense. 17. Day 2 - Twilight Pines: Today we're going to paint pine forest during the Twilight. Hence the name Twilight. Fine for this painting. Alright, let us begin by taping down the paper tape, the masking tape on all the sides. Once you tape it down, run your finger over the edges to make sure it is tightly sealed. Alright, the paper is sealed tightly. Now let us begin the painting. I'll start by marking the composition of the painting. We will have on horizon line somewhere in the lower half of the paper. Just roughly mocking the lines for the trees. I wouldn't be drawing each and every element of the painting at this point. I'm just adding the basic skeleton of the trees. The detailing part will be done during the painting process. But I stopped the elements. We will add as many paint. It's okay if you do not want to mark the Composition lines, you can directly go ahead and beam elements. Light. Moving on to our next step, we will wet the paper entirely. So you can use a larger brush. Or you could also use what does prayer. It is easier to wet the paper this way and then spread it across using a larger brush. I'm using a mop brush with water to evenly distribute the water on the paper. Generously applying water and make sure you're applying even code. There shouldn't be any puddles on the paper. Also, liftoff all the water drops on the sides. That is on the masking tape. This might create backends later on. Let us start the painting process. First, let me mix the colors required to paint the background. So I'm going to create a banker deep blue color. So I'll be mixing indigo and Payne's gray. Mix this color and thicker consistency Forest. Next I'll add burnt umber to this color to make it a little more. Are they in turn? Just a teeny bit of W would be sufficient. Before applying the color, we will place the paper in a tilted position. So I'm keeping the masking tape underneath the board. So we will start applying the color and on this horizon area. When we place the paper and are tilted by, the gravity will do its job and create kind of slowly affect the horizon area. I keep the paint slightly intense when compared to the upper Skype Art. I don't want this idea in the upper part. I'll keep it lighter or leave, leaving circular space in the top part. Depicting a sense of moonlight. On the sides. Just add some random brushstrokes will act as the background for the upcoming pine trees. So far, this was the initial layer. Let us add another layer of the same color Slowly increasing the intensity of the color, building a sense of depth. Mixing the same color. Again. It's better if you could mix more color so that you don't have to mix again and again. Now with this darker color and my pointed tip brush and painting pine tree, since I'm painting this on wet surface, it is going to appear blurrier once it dries. So this is the dry on wet technique. When applying thicker paints on a wet surface. Don't worry about achieving perfect pine tree shapes. It is. Okay, and these are the background elements. Anyway, they're going to dry and appeal blurrier. And to fill the space in-between, I'll be adding some simple vertical lines depicting the distinct trees in the background. So the thing you need to remember about painting pine trees is you need to make them look triangular in shape. That will make it look organic. These trees, me, slightly taller, which means that somewhere in the midground. Next, on the side, I'll be painting some partially visible trees. These are the trees that are closer to the foreground area. Hence they appear bigger insights. And other passion tree here. So the thing with these partial traces that you have to consider their trunk or the Holy Body outside of the paintings. In the same TO, I'll be painting another tree. Here on for this tree, I'm aiming to create a sense of backlit appearance because of the moon light in the background. So this tree originate somewhere in the midground or closer to the foreground area. Next we will paint though foreground area. So I'm gonna take burnt sienna and directly applied on this wet surface. And then I'll add some sap green right next to it and some more diluted burnt sienna light next to the green part. Here. My intention is to create a muddy area, though patch of green grass. So I will blend it with the existing color here. So next style, day, burnt umber and thicker consistency and apply some random strokes around this area. I don't have any particular expectation for this foreground area. I have randomly applied some brushstrokes, allowing the colors to flow freely. This way, we get to practice letting go and embracing the unpredictable nature of watercolors. Next, let us paint another layer of trees. Again, dry on Wet. This time we need to create slightly intense color. That's why I'm adding some black and burnt umber. Okay, so we have this darker, shade ready? I'm going to add it over the trees area. Again. Make sure your paper is damp at this point. I'll paint another layer of trees, creating more depth in the background and make broad area. There's a darker color and the previous lighter color Will you create a separation between background bandwidth, ground, painting, some partial Foliage on either side of the frame. So after drying, all this is going to appear blurrier. So I have to keep that in mind. This is not our focal element. We are just painting the background and we'd grown. So here I'm bringing back door tree trunk to the foreground. Though, area where it originates defines the distance of the tree from the viewpoint. And other Foliage on the top part. So if you feel you have already added Lord of Foliage, then you can reduce it. Makes sure you're leaving some white spaces. We're working. The Painting can actually spoil it sometimes. So I am trying to build a kind of depth by overlapping some tree Foliage. And the brush has a pointed tip. So it really helps me to create these pointy lines. So I hope you are able to see the perspective that we're painting here. Though. Unleash your background elements are now a building ready, blurred and hazy. That is because we have added darker elements in the metro. Similarly, when you add the foreground element, this midground is going to appear blurry. I'm defining these tree trunks using darker color. And on the right side, I'll add another tree trunk and some smaller lines for the background trees. Next, I use a damp, clean, damp brush and lift the paint from the sides of the trees here to create a sense of separation from the background. There's will also act as the highlight, making the tree stand out from the background elements. I'll repeat the same steps for the background trees as well. For this step to happen, your paper needs to be done. If it has dried, you can leave it as it is. Next, I'm going to mix a darker, darker green color by mixing Payne's gray, want sienna and sap green. And I'm going to splatter it on the foreground part. This will create a textured effect. Okay, so once you're done with this, leave it to dry completely, and then we'll come back and add all the details required 18. Day 2 - Twilight Pines ( part 2 ): On the paper has dried completely and this is how it looks. Next, I'm going to mix a darker color closer to black. I'm mixing all the colors that I have. Your light, Payne's gray, indigo want Dumbo in black. So I could have used only black, but that will appear slightly dull after drying. That's why I'm mixing all these colors. So now load your brush with this color and let us paint some foreground elements. So here are painting though Foliage. Basically I'm adding these leaf-like shapes one by one. Since we are painting though foreground element, so we need to do a little bit of detailing here. So let's paint some partial trees yard. We don't have to paint the entire tree off by adding these branches here. You just have to dab the brush and create the impression of leaves and foliage. So I'm going to repeat the same step and create multiple branches. I'm simply filling up the corner area with lots of brushstrokes. Next, I'll add a tree trunk. This will originate somewhere from the foreground area. So this tree is closer to the viewpoint. I'm going to make though bottom part of this tree slightly thicker and blend the sharp edges with fingertip. Look what just happened. This unintentionally has created a bad mark on the painting. Let's see if I can lift it off. If not, I'll try to cover it up somehow. Okay. So next, I'm going to few more branches you, in this foreground tree, paint this branches irregularly. Please avoid painting it and symmetrical manner that will only make your tree MPR inorganic or artificial. I'll be adding some trees here. I don't do a dark patch that I unintentionally created. So I've painted a tree trunk. Add, wanted to Foliage, know, and you go back to this larger tree and add some tiny literally leaves and branches. Now back to our little tree. I'm adding more branches and then covering it up with random dabs. The big thing though, Foliage, days you go, I somehow managed to cover this MAC So if you don't want this tree here, it's okay, you can skip it. I did it because I had to cover up the the, the brush mark. Adding another tree branch on the left side. I'm painting these lines with irregular brushstrokes. When you paint these branches with the wobbly brushstroke, you will suggest a sense of organic API audience in the, in their shape. Once you have painting though branches, then you kind of, I didn't know Foliage using a darker color. Just dab your brush and create the impression of leaves. Next, I'll add some trees at home. We'd go new video. Make sure to paint the trunks and slightly thinner sites as compared to the foreground trees. So I take a napkin and lift up paint in certain areas because I don't want those trees to be the focus. Mixed. Let us come back to the foreground element and add details. You're so I lose darker green color to paint the grass blades. So I add these teeny tiny grass blades around the trees. And I be applying this dry brush technique to create a textured effect. So I have taken a very loose approach to paint the ground here. Take some green paint and splatter it on the foreground area. So here I've taken my fine liner brush and with the darker green color, I'm painting these grass blades in the ground area. Next with the same brush. I we are adding some detailing to the trees because her take this darker blue or black color. So at this darker mix, I'll be adding some tiny tweaks and branches to achieve more organic appearance and the trees. This will enhance the natural feel of the painting and bring a sense of realism to the artwork. Next, I'll be adding some tiny lines to this larger tree here. This will allow a sense of realism and make it more captivating. So you can add as many branches and twigs wherever you want on these trees. That is no fixed number as such, you can form your own tree shape. That is no rules here. Alright, we're done with this project. Remove the masking tape. Dentally be loved the deep. There you go. This is the final APRNs of our painting. I hope you had a wonderful time during today's Forest Painting session. Please feel to share Your Artworks with me. I know the projects gallery. I would love to see an appreciate your creativity and don't hesitate to ask any questions or share your thoughts about the process. Let us continue to explore the joy of together. I'll see you in the next chapter. Until then, bye-bye. 19. Day 3 - Colors and Composition: Before we begin our third project, that is, go through the colors that are needed for the class. We would need burnt umber. You could also use bonds here. Now, if you don't house burnt umber, these two are slightly different brown colors, but that's okay. Next, we would need Payne's gray or black. And you could use any Walmart and low color, sap green. You could use any Walmart or neutral green for this. Next, we wouldn't need ultramarine blue for the sky. Next we would need orange for us, light warmer tone in the trees. And raw, umber for the muddy part three. If you don't have a raw umber, you could mix ocher and burnt umber together. Lastly, we would need in the book. Now let us talk about the composition of the painting. I'll sketch the elements inside this small rectangular box. Painting is what we call orientation. So we will start by marking though the pathway. The battery leads us on a captivating journey through the lush forest. Then we'll start drawing the tree shapes. So you can see how I'm increasing the size of the trees as I come towards the foreground area. This will help us build an aerial perspective and the painting creating a sense of distance. In the yard. It was the background and the mid ground elements, which will be painted as blurrier effect in the painting. Next we have the foreground elements, which really be painted into sharp details. So we have this foreground, trees. Select me, show you how we can paint the trees and folk their branches. You can start with the trunk and then split the branch into multiple parts, creating the branches. So when brush, it is really easy. Let us practice painting the trees using a paintbrush. So you can see how I'm applying the paint you're using wobbly brushstrokes. I'm intentionally shaking my hand movement so that it creates a nice effect in the trees. Then once you have the trunk, you can then split it into multiple parts, creating the branches. Similarly, you can paint those smaller trees as well, absorbed some tree shapes in the nature or using a reference images and try to practice them on a rough paper. This will build a sense of muscle memory around painting trees. I also have another class on painting trees alone. You can check that out. And for painting the foliage, you can simply dab your brush and create these foliage like shapes or even splatter some paints. Painting the leaves individually one at a time, can take a lot of times. It's good to paint it loosely. You could also use an old brush for dabbing and creating the foliage shape. Or maybe even a fine brush if you have that will help us cover a larger area. Fast. If not, you can even go with your regular brush. That's totally okay. Then let's see how to create sunlit branch. I'm using this bond on board for the sunlit area. And then on the sides, we will apply darker color. You could also use lifting technique to live. The colors are from the paper. So this lighter brown color will resemble the sunlit appearance on the tree 20. Day 3 - Through the Lush Forest : Welcome to the three of the forest painting adventure. Today we will be painting a lush green forest with a beautiful pathway. So grab your brushes and let us capture the acidity of the forest along the way. Alright, let us begin our third project. I'm going to tape down the paper nicely on all the sides and make sure you have tightly sealed it. Once you have taped down the paper over the edges to make sure it is tightly sealed. Okay, so now let us mark the composition of the painting. I'm simply marking the rough skeleton of the painting. So *** laude from the mid anionic, we have this pathway coming towards the foreground. Drove to Coke and warmly line, suggesting the pathway. And on either side of this pathway, we will resolve some space for the rest of the element. We will add using the paint. I'm not drawing anything as of now. Alright. So let us begin by wetting the paper. We will go with wet on wet technique for the base layers. I'm using a water spray bottle here. You could also use a larger brush. Now to spread the water evenly, I'm using a mop brush. Use any brush of your choice. So I'm running my brush vertically and horizontally, making sure the water is spread equally on the paper. This will help us ensure there are no water particles on the paper. Now let's mix the color. I'm using Payne's gray and indigo in equal proportion. So they'll paint and water consistency is one is to one like 50% of water and 50% of paint. And being the pathway. Now for the muddy area on the sides, mixing wrong but Baltimore together, you could go with any brown color that you already have with you doesn't have to be the exact same shade. Apply this on either side of this pathway. So the initial layer of the pathway is w. We will leave it and move on to paint the forest. I'm going to mix the colors required. So here I am mixing sap green and yellow to form a lighter green color. Also add a bit of orange to make it more Walmart. Okay, wait, before we paid down for this part, we need to have sky in our painting. So I'm going to do that using Go diluted ultramarine blue color. Take small amount of ultramarine blue and add loads of water to it to make it diluted. Paint this in a minimal form. So I'm applying some paint, leaving some white spaces in-between. If you want, you can paint it darker as well, but I would prefer keeping it light. Now let's go back to the green color that we mixed earlier with this. So I will start by painting some mid-sized trees. I don't dominate ground area. I'm bending a kind of a pine tree shapes your with zigzaggy brushstrokes. Leave some blank space between the trees. Roughly paint the trees. Don't worry about achieving perfection. This is the initial layer. It is going to spread and create bloody effect. So next, I'm mixing orange to this green color, and it will form an orange green color. We will have these orange trees in-between. So I want a sense of variation here in the trees. So for some traits it is green and for some it is orangeish or brownish green So you have to paint these trees on either side of the pathway. So this will suggest the pathway going through the forest. I add the colors to cover up the blank area in the foreground. So far, this was the initial wash, which really depict the lighter colors in the painting. Now on the same weird selfies, I'm going to add darker colors to add depth and dimension in the painting. Next, let us intensify the pathway. So I'm mixing Payne's gray and indigo again in darker tone. Will be adding that are no boundaries of the pathway. On the other side, I'll add this round Ghana. So this has an, hence the depth. And when the partway more captivated. Next we are going to paint the darker layers for the forest. So I want you to make the darker colors in advance. So I lose this existing darker gray mix and I burnt sienna and sap green to the same color. This will wake or darker green color. Mix least bound form a lady darker green color. I'm not applying it now, but keeping the colors and maybe will help us paint quickly. That was one color. Next we'll take some green and mix it together. We will use this as lighter green color for the foliage part. So with this color, because I'll be painting though, partially visible for the h or the top part on the upper frame of the painting. So simply paid some leaf-like shape. Collectively, they look as though foliage. Simply add this zigzaggy brushstrokes are some curved lines. Don't fully cover it up, leaving some spaces in between. All right, let's do it on the other side as well. I'm roughly mocking these brushstrokes depicting the foliage. Now for the main ground trees here, I'm going to add the mid-tone colors. So this is slightly darker green color when compared to the previous layer. So in their landscape, for anything to create a sense of harmony, you should have different tonal values, like lighter tones, mid tones, and darker tones. Then it will make our painting complete. I'm also adding a mix of orange and green brushstrokes. This will suggest some orange trees in the jaw. Also notice that the height of the tree decreases as we move towards the Cloud at the background. The foreground trees are taller. That will create a sense of aerial perspective and a sense of distance in the painting. Suppose I had painted the trees in same height, then it would have appeared flat and you wouldn't feel the difference in the landscape. Okay, So far we have been did the lighter tones, the mid tones. Now we will add the darker tones in doping. I'm roughly marking these brushstrokes here, depicting the tree shape. Just remember the pine tree shape. And think that you're only painting some parts of it, not entire tree. Also, I'm making sure the background color is visible here. The Lord completely blocked the background colors. Let them show through these blank spaces. Taking some time to make some more darker green color. That's why it is really helpful to mix more colors in it. But also remember this is dry on wet technique. At this point. Initial layer was a wet on wet. Now, on the top part B, I think the darker foliage, born fully covered it up, leaves some lighter green areas as well. For the main countries, partly apply the brush strokes, making the other parts of the trees visible. That way we will make the tree look fuller and complete, depicting the shadow and the highlight. But one side of the tree will suggest the lighter part, other side will suggest the darker side. So when I reach the bottom part of this forest area, I'm being deemed darker colors. Usually the bottom areas relax the sunlight so I'm painting it darker. See this sharp area here and take a damp brush and put on my brush along this line. This will soften this hard as Douglas being formed. On the side, I'm applying some random lines suggesting the foliage. So the outer ends of the foliage, simple tiny lines that are chances that you might apply these darker brush strokes. So be careful. My intention was to leave some lighter green areas in-between these trees, yet have these darker foliage. Next, I add more downward along the boundaries of this forest area. Next I'm going to make mid-tone green color. I'm taking a yellow, green, and burnt sienna. Use mid-tone colors to create a smoother transition from lighter to darker color. We don't want the sharp change in colors. With this color. I'm applying some midtone values on the foliage and the leaves. Adding some more random foliage in between empty areas here. Next, I'll take a damp brush, clean damp brush, and a napkin. Lift the colors from the main area. If your paper has already dried, then leave it as it is. It will create a highlight on the pathway. Also create a sense of direction towards the forest area. Now towards the foreground, I'm going to add darker colors. You could use Payne's gray and black for this new add darker color to a particular area. Lighter colors. And I want that area will automatically get highlighted. Mixed. I'm taking a mix of Payne's gray and burnt down and flattering the beads around the pathway. Here on the left side, I feel I need to add some darker leaves. So you can always step back and see if your bid is lacking something. Now is the time to make some corrections. If you want to absorb your painting from a distinct area and see if it needs any connection. So next, before allowing it to completely dry, I'm going to sprinkle some water using my water spray bottle and leave it to dry fully. So what happens here is it will create some tiny water droplets like effect once it dries. So this is an optional step. You can do it or skip it. It's up to you. You will still get a beautiful background even if you don't drink the water audit. Alright, so let's allow the paint to dry 21. Day 3 - Through the Lush Forest ( part 2 ): Alright, the paper has dried and this is how it looks once it dries. So in watercolors, the colors tend to appear slightly faded after drying wet. That's okay. Okay. So let's continue. I'm going to paint the tree trunk. So I have mixed burnt umber and black. You couldn't make any darker color. Notice my hand movement here. I'm trying to create all wobbly appearance and a tree trunk. Just blending the bottom part using my fingertip. Let us paint another tree trunk in the foreground area. Again, doing it with wobbly brushstrokes, creating unnatural factor in the trunk of the tree. So he are a handful tree into multiple parts. So I'm mixing the same color again. Next painting, another tree on the left side. Blend it using the fingertip or a tissue paper. Just remember, when you're painting the trees in the foreground area, the trunk should be ticker entice. The trees in the midground area will be comparatively thinner and smaller. Next, I'm going to draw a tree that is much closer to the viewpoint. So I'm gonna make this tree partially exposed to sunlight. Part of this tree will have sunlit appearance. So I'm gonna paint that with the brown color. I'm using burnt umber for the same. Lifting some extra paint using a damp brush so that it has a transparent effect, the brown areas. So do you see this transparent effect already, which gives us some little APRNs in the painting. I'm going to add some more branches. You can fool them as many times you want. Adding these little touches brings a sense of life to our Painting. Trying to define the shape of the trees. These trees we are painting using wet on dry technique because we need hard edges. These hard edges will define the shape of the trees. Are adding some branches. That is no fixed point for adding these branches. You can fold them. Anybody want? The only thing we need to remember is to make them look organic. Now to depict a sense of distance and create an aerial perspective, I'm adding some smaller or three counts domain ground area. So you may not have achieved completely same result as mine for the background area. So you can see where you're trees on. And then add these trunk and the branches So in the foreground, I may filling in the area by painting some tiny trees fully apply some random lines in between. We need to make this area look for Florida, extending the above branches to make the trees look. Follow. Next, I'll dig slightly darker green color. And with that, I'll be adding some grass blades in the foreground area. This area is closer to the viewpoint so we can see the tiny details. You're right. That's why I'm adding these lines and some grass shapes. And I don't the midground area, I'll be adding smaller details. The same rule applies for the Foliage part as well. Since it is closer to the viewpoint, we would be able to see though leaves and the Foliage. I'm going to take darker green color and that my brush to create the shape of the Foliage. You could also use an old brush or decode fan brush or something like that, and cover it up with the Foliage. Audio code individually, paint the leaves. It's up to you. Next, I'll be using my fine brush. To make the process easier. We add on trying to fully cover the area. Just random brush strokes to suggest the leaves. On the corner, I'm going to add a darker green color, which is sap green mixed with black. So I'll be adding some leaves using green color. So this is spatially sunlit area, right? So we need to paint it with lighter green color. Finally, by adding some more branches, you can fold them into as many parts you want. Next, I'm going to cover the upper area of doping being within of paper and splatter some darker beams on the Monday pathway. This will add a sense of texture on the ground. Okay, So we had almost done. Now, I'm going to do some corrections. Can take black and make the tree trunks darker. I felt that some tree trunks where appearing lighter. So I'm kind of adding this darker color. Also. I'll be adding some extra tree trunks in the background area. So take your time and analyze your artwork. It is missing anything. Okay, now let us add some board using a fine liner brush. Alright, we are done with this Artwork. Let us remove the masking tape and revealed or final. If you weren't gently below the masking tape, please don't end up tearing the paper. There you go. This is how our painting looks like. I hope you enjoyed and had often learning session. Today. Please do share your class project and other projects can be. I would really love to see your rate negation. And please feel free to ask your doubts questions regarding this class all day. So I will see you in the next chapter. 22. Day 4 - Colors and Composition: Before starting the day four project, let us walk through the Colors required and also talking about the composition of the painting. The colors needed are red. You can take any warm or neutral colored red. And then we would need Crimson. Rose. My no, this is an optional color. However, it's good if you have it. Next, we would need burnt umber. You could use any brown that you have. Next is cobalt blue. Whoops, this color looks nerdy. Let me clean the brush and apply it here. Then we would need black. Or you could mix your own black by mixing the primary and secondary colors in your color palette. Next, we would need Payne's gray. You could also use indigo if you don't have a Payne's gray. And last is orange. Next, let us talk about the composition of the painting. We'll draw a small rectangular blocks, will draw small rectangular box. Here the painting is in portrait form. So we draw a similar box. So somebody starting from your redraw, the pathway. This is not the typical pathway. Let us consider this as less frequently visited or pathway or a trail, or maybe an abundant road. And next we have the trees starting from the background, coming all the way towards the foreground area. The background trees in this painting will appear hazy and blurry. And the foreground will appear clear and focused. The trees will have the red Foliage. You don't have to cover the entire trees with Foliage. Let us also try to show some bare branches. Next, let us draw the trees separately. You can add simple lines and then form the branches into multiple parts. Draw wobbly branches. Organic. In the painting, we have a mix of straight and crew could branches does not just straight vertical lines. I'll start by drawing the tree trunk using burnt umber. And then to add a sense of variation in their trunk, I add in some darker brown color. So that way you can have a variation. Similarly, you can draw multiple trees and formed the branches. This will make the painting look organic. And in-between. You can add some vertical lines to fill up the space. Now for the Foliage part, you can either dab the paint and create the IPR ends of the Foliage. You could individually paint the leaves one-by-one. This will add a touch of intricacy in the painting. I've done the same thing for some areas that have just dab the paint. And for a few areas have I didn't leaves with individual brushstrokes. And then to IDO, the shadow, appearance in the Foliage. I'll be adding darker red, the color. The thing with the Foliage here is, we can paint it with different tonal values. Let's say red is the brightest tone. Then we need to have a mid-tone and a darker tone. To achieve darker tone, I'll mix black with red. For the mid tone. I'll add a very tiny bit of black and pink to assume medium tone. For the darkest tone, you can use direct black color. That way you'll have a nice, well-balanced Foliage APRNs. Then for the background trees here you can use a mix of Payne's gray and burnt down bowl or Payne's gray alone. Why we use a bluish hue is to suggest an atmospheric wipe in the background. I hope you're clear with this more, but the painting chapter 23. Day 4 - Crimson Woods: Welcome to day four or Forest Painting adventure. Today we are going to paint Crimson Woods. Painting is covered with red fallen leaves and also read Foliage. Does the name Crimson Woods. Okay, let's start by taping down the paper. They've done the paper from on the face. So once you tape it down on your finger over the edges to make sure it is fully sealed. Okay, now let's draw the competition of the painting. I'm going to take a pencil and it is all around here. In the lower half, we will mark the horizon line. From there to the foreground, we will create a sort of pathway. This would be like a less frequently visited cradle through the wounds. So we will have some fallen leaves on the ground next month. The basic skeleton of the trees, just roughly marking these lines. And as we come towards the foreground, I'll increase the height of these three compositions. Foreground area will have larger trees when compared to the midground area. Something like this. So this is the pathway. We will have some fallen leaves on the ground covering the Partly. Striking though some leaves on the trees. You can define the shape during the painting process. For now, we will just draw the basic skeleton. That's it. I'll guide you through each and every step as we've been. Okay, so now I take my Princeton Neptune size six brush and I'm going to wet the entire paper. Apply generous amount of water in horizontal and vertical brushstrokes so that it is evenly spread throughout the paper. So we have to wet the entire paper for wet on wet technique. This is going to be our initial layer. Then we will paint our foundation element. So make sure you spread the water throughout the paper. Next, I take my size 12 silver black velvet brush. You could take any similar size two brush. I'm gonna take cobalt blue and mix it with the tiny bit of burnt umber so that we get the hue. This shade is closer to Payne's gray. To this color mix, you can add some Crimson or rose madder, some more cobalt blue and burnt umber. So I want a kind of purplish gray color. Look something something like this. I'm going to apply this on the sides of the Painting frame, leaving the middle area blank. As of now. No big diluted mix of this color. And I'll use this diluted mix to blend the color into the white background. Create a circular shape. You want the light In ripples had just a sense of light. Now using the tip of the brush, I'll mark some vertical lines suggesting though trees in the background seen some straight and some slant lines. Next you can take Walmart or a slightly neutral red. This is vital red. I'm going to apply it on the foreground part. Sorry, I know a bit of orange to this side, more warm. I'm painting inside the pathway that I had drawn earlier. Next, you can mix this color with the cobalt blue or black to make muted down tone of red color. I'll have muddy red color, which I'll apply on the sides. You're depicting the Foliage of the background trees. I'm doing this to show the effect of light in other areas of the Painting. Next, I'll take slightly darker red color. Add some black. I add this on the sides of the pathway. This will add a sense of depth in the pathway, creating light in the mid area. And then the same color on the sides for the Foliage effect. Next, we'll apply some existing darker Brush tool on the painted area. May style take black color and apply it on the site to add further depth here in the pathway. So I don't do Syria. So I'm going to take my size eight brush. Next, we really take Payne's gray and add a bit of burnt umber to this. With this color mix, we will be adding though background trees. So for distant areas, paint tiny lines depicting the tree trunks. In this area. Let's add some middle ground trees. Okay. So these lighter colors trees grow on trees. Next I'll add some branches. It will be in the angular form And adding some more trees in the background. These are going to be some smaller size trees. Foreground pathway, I'm going to add some darker red color. Just dabbing some darker red paint to create an uneven lake surface. So here I'm going to add some branches for the trees. We need to add something, brushstrokes. So I'm going to switch to my fine liner brush. Take Payne's gray or black in diluted form in paint these branches. Once we're done painting with these diluted branches on the sides of the Painting frame, we will be adding some darker color and branches. This will create a sense of depth and help us illuminate the mid area of the Painting. Next, I'll be mixing some darker brown. So I have taken Burnt umber and black. With this darker brown color. I'll be painting there tree trunks around the foreground area. For the background branches, we have lighter gray color in for the foreground. Once we will be painting with darker brown, this will create an aerial perspective and add a sense of depth to the Painting. It's okay if you paint the branches on the existing area. Overlapping strokes off branches create depth in the Painting. So far, the painting was painted using wet on wet and dry on wet. So for the initial layer we painted using wet on wet. And these branches that we have painting now, our dry on wet. Now, to make the forest a bit more dense, I'm going to add some more branches. The branches are done. Next, let us add some more foliage using bright color. Map. Somebody paint around the branches. This will suggest though the Foliage. Okay, So we're done with the initial base wash off the Painting, which includes the background and the midground area. We will allow this to dry completely and then come back. And I, the other details, which is the foreground elements of the painting. Okay, so let us allow the painting to dry completely. You could use a hairdryer as well in a cool setting. The heart setting my TO make the colors locked down 24. Day 4 - Crimson Woods ( part 2 ): Alright, though paper has almost dried. Make sure to check the paper before painting anything light. So next I'm going to take brown, notice burnt umber, and paint some trees around this area here. Paint the trees in a very irregular manner. Make the tree branches look organic. And blender. Trunk using your fingertip. The aim of painting these trees using wet on dry technique is to HU, hard edge and detailed trees. We want the focus of the painting to be on these elements. Now on the left side, I'm going to paint another tree using brown color. Sorry, you burnt umber. Painting some more detailed trees. You're using wet on dry technique. The background layer has dried. Does we are painting on dry surface. Next, I'm going to add some variation in these tree trunks. So I'll be mixing black with this brown color to make our darker brown color. And I just dab it in random places of these trees. Since the tree layer is wet, the colors will spread nicely. Repeat this step on multiple parts of the tree. Also makes sure to leave some lighter brown areas as well. This will suggest that there is some light falling on the tree branches. I simply paint some more tree branches and trees and let you absorb the process. You can paint along with me or wait for me to complete this and rewind the video if you need your SAP to you to start some trees from here on this area. So next time take bread. Now concentrated form and brittle, black to it. To make this darker red. Okay, so I'm going to cover the upper area so that it doesn't fall on the upper part. Okay. So I have bad cards, red. Now I'm going to splatter it on this part and spread it using my fingertip. Create an illusion of fallen leaves on the ground. Also makes sure to leave the lighter red areas as well. We do not want to completely cover this area. The darker leaves. Let's have a nice balance of All the colors, darker and lighter as well. On the side yard, I'm going to use black in a concentrated form. Splatter this black paint mostly on the sides and very less on domain areas. If you have not achieve the desired result, you can take your brush and fill up the empty areas. Debit with your finger, right? And that will be good enough. Next time, take some red corner. Non diluted form. And with this diluted mix, I'll be painting some Foliage. So wherever I have these deep of the branches, I'll be adding some leaves, forming the set of Foliage. You can spread the color using your fingertip, that is an easier way. And then on this lighter areas, I dab some concentrated paint so that we have a nice mix of lighter, darker tonal value. Next, we build up some paint on the upper area because the upper area is quite empty it to fill that up as well. You could also paint some individual leaves suggesting intricate detailing work in the painting. Using my fine liner you to add these tiny leaves. So next I'll switch to my pointed tip brush and paint some Foliage and leaf-like shapes. On the upper part. I just randomly use urine. They're also dropping some leaf-like shapes in the ground area as well. Next, let us take black and we shall paint some black colored leaves around the Foliage here. This will suggest the shadow part of the leaves. It doesn't really important to have a balance of light and darker colors. Next we will add some bushes along this pathway. Let's take red and mix it with black. So we'll have a maroon is shade. I'm going to add this along the pathway. So distinct, some dark good leaves and the shadow part of the trees. This way they'll meet area will get highlighted. Next. I'll add this midtone shade. I don't want the red and the Black Lives Hi is the mid-tone color. Next, I'll splatter some red paint on the upper part of the Painting. Distinct, some leaf-like shapes. Next, you can step back and absorb the Painting. See if you have left out anything. I feel I have missed some branches on the upper part in the foreground area. So I'm taking this black and adding some branches and some darker colors on the sides of the existing branches. This video make the trees appear cylindrical because of the light and shadow effect. So I take some time to add some new branches in the background area. And also enhancing the existing branches of the foreground trees. Also making sure that the leaves and branches are connected. It shouldn't look like the leaves are just floating in the air. One or two leaves, this might look like falling leaves, but you can keep everything like that, right? Alright. So let's remove the masking tape. So this is how those painting looks like. I hope you've enjoyed painting this with me. Go share your class projects under the projects gallery, and feel free to ask your doubts and questions and other discussion section. I would be glad to assist. I'll see you in the next chapter. Take care 25. Day 5 - Composition & Colors: Before we begin our class project, let us discuss the composition and the colors needed. The colors required, our Payne's gray, forest green. You could also use very dim green. We would basically need or cooler green color. Next we would need a bluish green color. So this is like a lighter green for the foreground. But if you don't have this color, you could make so L0 and green together. Next we would need burnt umber. Then black. Next we would need indigo, Payne's gray and indigo, I'll pretty much similar colors. Then we would need burnt sienna. Next for the foliage color. We'll make our own shade by using burnt umber, black, and yellowish green color. So we'll mix these three colors together to form a darker color with a greenish undertone. Okay, so that was about the colors. Next, let us move on to the composition part. Okay, So we will draw a horizon line. Below this line, we have the lake water about this is the distinct trees. Then in the foreground will draw a slant line. This really resemble the bind area. The mid section is for the leg. Then in the distance area we have the trees will paint misty appearance for the trees. Then here we have the league. In the foreground. We have this grassy area. The area closer to the foreground appears darker than we have some lighter green area towards the bank. Doesn't grassy area. We have some trees. And we will also draw some tiny trees around the midground area. Then on the corners of the painting frame, we will add some partially visible tree foliage. In the foreground part. We will add some grass blimps by adding more character to it. So here I'm going to show you how to paint the foliage. Roughly take random color. We are going to paint these crisscross restaurant depicting the foliage. Since we are being fingered on a wet or damp surface, it is going to spread and create a blurrier effect. Does nothing complicated here. You just have to do these kinds of brushstrokes. When it comes to tree trunks. You can use your entire brush, apply some pressure and all in one go, you can paint the tree trunks. If you want something on lines and you apply less pressure. So with single brush you can achieve multiple kinds of brushstrokes. Now for the grass blades, we will be painting these tiny lines depicting the grasses 26. Day 5 - Hidden Forest Lake: Welcome to day five of the class, Forest Painting adventure. In today's class, we're going to paint a calm and setting Lake in the middle of the enchanted forest. Let us begin. I'll start by dipping down the paper. They've done all the sides neatly. Once you tape it down, run your finger over the edges of the paper. Make sure it is tightly sealed. Okay, So let us draw the composition of the painting. I'm going to take up until this is the line part in the here, we will have the horizon line. So the area between the horizon line is for the Lake and some trees in the background. I'll be painting these trees later using my paintbrush. In the foreground land area, I'm going to mark some tree lines. Just enough skeleton will do. Okay, that's it for the Composition panel. Now, let's take our brushes. Start the painting, process. It clean water, and load your brush with water. Well wet the paper entirely to perform wet on wet technique. So this will be the initial wash. Apply water thoroughly, keep applying. Let the papers so given all the water so that it is able to perform multiple layering work. I'm simply running my brush in vertical and horizontal motion so that in order paper remains wet for longer duration. So liftoff all the excess water from the sides so that we don't have any buttons happening during the painting process. Take indigo, bit of Payne's gray, mix, these two colors together. With this color mix, let us apply the colors for the lake water. I'm going to apply the paint around the boundaries of the lake, leaving the middle area very lighter in color. Next, I'll apply another coat of color on the boundaries, again. Adding some black, this time. For intense look. This white color that we have left behind in the center area resembles a sheen in the water body. Applying some vertical brushstrokes, funny, aging, smoother blend in the water part. Next, I'll just around my brush around. **** brush, creating a sort of misty effect in the water. Although this would be an optional step, you can leave the water body as it is. Next, let us paint the background area for the forest. I'm going to use forest green and Payne's gray. So here we have achieved cooler green color, which is ideal for the background or trees. I'm painting these random bushy trees for the background area. Next you have to mix very darker green color. So let's take Payne's gray, black, forest green, and a bit of brown And I add some darker Foliage or the bushes for the background trees. So I'm painting this in a very loose style. So now clean your brush thoroughly. Wipe, perform the water, and use this **** brush to create a misty effect in the background trees. Now, we need diluted color for the background. I'm using the same color in diluted mix and applying on the top part. This could be though background misty forest. You could add some Payne's gray as well in diluted form. It makes them going to define this background area using some darker paint. I am going to paint the pine trees you or you could paint any trees of your choice. There's no fixed rule as such. So let us take a darker green color to give a cooler hint and adding a bit of indigo to this. So I'm adding some random pine tree shapes. With the tip of your brush. Apply some zigzaggy brushstrokes. Fine trees are one of the easiest or trees to paint it though, watercolor. Now to fill in the empty spaces in-between, just add some vertical lines. Apply it in afford motion. So these are random zigzaggy brushstrokes and vertical lines will collectively a PR as a pine forest in the background area. You can also lift some paints suggesting the misty APRNs. No. Take this illusion green Conda. If you don't have a similar shade, then you can use L0, a bit of orange and green. Any dream you have. We want our Walmart greenish yellow color. Okay. Before moving on to that part, I'm going to lift some paints from the Lake area and also splatter some water droplets to create a unique effect in the water. So take this color, apply it around the foreground and own the land area here. This is basically a yellowish green color. I want this area to pass the viewer's attention. So I'm bending it very vibrant. Next I'm going to mix forest green. And once you are no, this will form our darker, warmer green color. We'll apply this in the bottom part of the paper and blended with this yellow color. So we need to make sure that we are creating a smoother transition you and apply fewer brushstrokes on the yellow area so that it creates a smooth transition. When we look at it. Next, I'm going to take, once you are no black along with this yellow, green. So we have a very darker color. I'll apply this in the bottom. Empty space. Makes more black now. And make though foreground area darker. This way, the lighter green color will get highlighted when you have darker colors over there. Do not completely covering it up with this darker color. Let there be some lighter yellow color. So this is the base layer of the painting. We need to further add some more elements using dry on wet technique itself So in case your paper has dried at this point, let it dry completely, and then you can revert the paper. If your paper is still damp like mine, then you can follow along. If not, you can pause the video and follow the steps that I mentioned earlier. Next, I'm going to take a darker color with a mild greenish undertone, makes this yellowish green with black and burnt umber. My paper is damp and I'm going to paint some curved brushstrokes, suggesting the tree Foliage leave some tiny spaces in-between. This is partially visible tree in the frame of the painting. Adding another tree in the same door. And then on the right side of the frame, apply some crisscross brushstrokes. So when you apply these darker brushstrokes on damp paper, which is dry on wet technique, it will blurry and diffused kind of effect once it dries. So at this point, I'm only adding the foliage and the leaves, not adding the trunk part of the trees. We will do that in the next layer, will be painting using wet on dry. For now, let's focus on drying this. I'm going to use my hairdryer to speed up the drying process. Use your hairdryer in a cooler setting. The color remains vibrant. If you're using hot setting, then the color tends to fade away and it appears. Keep moving your hairdryer in different direction so as to avoid though backgrounds in one direction. This will evenly Dry the Painting 27. Day 5- Hidden Forest Lake (part 2): Okay, So the paper looks dry now. You can touch the paper and see if it has completely dried. Okay, Next, let us move on to paint the foreground element. So I'm going to mix the darker color using black and brown. So this will give me a darker brown color. With my size eight round brush, I'm loading this paint thicker consistency. And I'll paint the trees one-by-one. Painting another tree and the center. The point where the root of the tree originate defines the distance from the viewpoint. Next, we will paint another tree in the midground area. So how do we determine it is in the mid ground? It does recall have the point where it originates. I didn't some branches. So in the tree here in the right side. So I'm adding the branches in different direction. Next, I'll do the same thing for the left side. And I'll add some paint to make the area around the roots to go and blend with the background. Makes dense which to my fine liner brush. Load your brush with paint, dab off the extra paint. This video, we will get nice precision in the brush. Let's paint a tiny tree with some wobbly brushstrokes and adding some grass blades around the foreground area. I'm, we will paint some shorter gases around the midground area. I'll be adding some more tiny trees around bind area. So this doesn't have to be exactly in the same place. You can add trees anywhere around the midground area. I didn't more branches. So paying them in irregular manner. Next, with the same color. I'm going to add some branches in the center tree before them into multiple parts. Coming back to the foreground area, I'll be adding more grass blades and loading my brush, creating this textured effect. This is dry on dry technique where we take **** paint and light the brush to achieve some extra defect. Next we'll take this greenish color and paint some grass blades around the lighter green area on the roots area of the tree I'll add some more grasses. Next toucan splatter some paint creating or textured effect on the grassy area will be at almost done with the painting. But in the background area, I noticed a slightly fuzzy appearance. That wasn't exactly what I had intended to achieve for the background. So to address that, I am planning to add another layer of color, probably depicting some trees clearly. So let's apply some clean water and paint some gray shapes. Depicting no more depth in the painting. For the paint, we will take forest green and Payne's gray. It should be a cooler, darker green color. This paint and apply on the wet area. This will create a slightly blurrier appearance. If we are getting any hard edge, then you can use your damp brush to soften the sharp edges. Okay, so I use my hairdryer to dry this layer. Otherwise, it will interfere with the other layers that we're going to paint mixed. Okay, So this is almost dry. Now, I'm going to add some tree trunks for the background area. Simply add some vertical lines. These vertical lines will depict though tree travel in though distinct area. I don't this horizon area. Light sell more horizontal lines depicting sense of movement and ripples in the water. Now with green color adding some more grasses. This is again optional. So we are done with this painting. Let us remove the masking tape gently. Alright, so we're done with this painting. I hope you enjoyed being, being this with me. You share your class projects under the projects gallery. I would really love to see your recreations. 28. Day 6 - Composition & Colors : Before we begin our class project, let me walk you through the composition and the color is required for the class. The first color is crimson. Next, we have orange. This is cobalt blue by Magellan mission. Black. Payne's gray or indigo is also sap green. And any new tools or more moderate. When we mix burnt umber and black, we will get a darker brown color, which I'll be using for the trees. And then if we mix burnt umber and cobalt blue, we will get to the blue color, which I'll be using for the background trees. Next, let us discuss the composition of the painting. Okay, we'll begin by drawing a sloppy area for the line. This is the grassy area in the painting. In the background, we have some trees. We will be creating a sunset appearance with Miles and raised in the area and the pink color around the sun. For this larger tree here in the mid ground will have sunlit appearance. You can see sort of a yellow tint on the tree. In the foreground we have grasses. Upper portion of the painting will be covered with the foliage. The midground area will be bright and let, the upper part, we will paint a darker around the midground area. Maybe paint these tiny trees. Now let me show you how we will paint the foliage for the trees. So you can start by adding the branches, one simple line, and then fork it into multiple parts. Once you have painted the desired shape, then you can add foliage, my dabbing the brush, creating the shape of the leaves. This will collectively appear as a beautiful tree foliage. We don't have to spend too much time on painting single leaves one at a time. You can also paint some crisscross brush strokes, suggesting the pine tree shapes. All these foliage shapes will collectively appear as forest at the end. Next, for those sunlit appearance, you can first paint with orange color for the underlying tone. And then you can add the darker colors, leaving the orange spot for those and let color. Once you have that sunlit appearance, you can add darker colors like black or Payne's gray. For much in doubt gotta be RNA. That is how we'd been the sunlit appearance on tree trunk 29. Day 6 - Blushing Woods: Welcome to day six of the Glass Forest adventure. Today we are going to paint a radiant pink, glowing forest. Thus, we will name it as blushing would. Alright, so let us begin with our painting process. I'm going to tape down the paper neatly using masking tape. They've done all the sites neatly. This is to ensure that the paper doesn't buckle up while painting. Okay, so once you have taped down, run your finger over the edges to make sure it is neatly sitting down and make sure that paper is flat. Before we jump into the painting process, let's mount the composition. So I'm going to mark slopey land here. So we will have some trees. This will be our tree. So where we will create a sunlit appearance. So I'm not drawing anything here. And some more trees. That's about the sketching for now. The rest of the details we'll be adding later while painting. Okay. So let's begin. We're going to wet the entire paper. Apply water in vertical and horizontal motion so that it is evenly spread to all the papers. Alright, so the paper is thoroughly wet. Now, I'm going to mix kind of peach color. So I'll take pink. This is Clemson. And then I'll add some orange to this. We have pink and orange. So diluted mix of these two colors will look like bg color. And it makes it in larger quantity so that I don't run out of colors while painting. Load your brush with the paint and apply it about this sloping line. I'm trying to create what kind of colors spot in the center. This will suggest the source of light. Next, we'll take a tissue paper and clean our brush. So you have to blend the color with no background. Now I'm adding some orange and applying it around the circular area, creating or Walmart weren't around the source of light. So he only will create this tiny circular shape. This will be our son in the background. The upper area will just smoothly blend this. Next with a damp, clean brush. I'm going to lift the paint, creating the light rays. Next, I'll add a touch of orange color around the light rays To add a sense of Walmart most feared, we just tried to simply add some brush strokes around the circular area. Feel free to create your own interpretation of these sundries. You don't need to replicate mine. And you can add your own unique artistic touch them in a simple manner. And by chance, you apply any color within this circular area. Then you can lift it off using a clean and damp brush or a tissue paper. Next, I'll apply this peachy pink color on the top area. Moving on, let's take a warmer green color. This is sap green. Add a bit of orange to add a Walmart Dutch. Now, I'll apply this color on the sloping. Next, add black to the same mixture and apply it in the bottom part of the paper. This will be our foreground area. Blend the two colors together. Here, I'm intending to achieve brighter green color for the mid ground and the foreground will be darker. I'll blend this black and green mixture. So with the same color, I'll be adding some background bushes. I'm sorry, I could not record painting these tiny bushes in the background. You can pause the video and take your time to paint these background bushes with same color. It is very simple. Just dab your brush and you will create the impression of the keys. Next, I'll be adding another layer of paint for the same trees. Clean brush. I'm going to take burnt umber. I'm painting some trees. Or the CDR. These are dumb it down trees. Can paint these trees anywhere, doesn't have to be 0 Leon. These places. They'll take cobalt blue and mix it with the burnt umber. This will create a darker brown color. I'll apply this for the upper part of the trees. This darker brown color will suggest darker appearance on the tree branches. Next, I'll add some burnt umber to the existing mixture. This should look more like an or the blue color. Now on these trees, we will add some foliage depicting the pine trees. I'll add some crisscross brush strokes suggesting the pine branches. It's okay if your blue looks different. Doesn't matter much. You remember we had drawn the tree trunk, so I'll paint inside that area, leaving some space for those eyelid appearance. Also randomly applying some drops depicting the foliage in the midground area. Next, we will mix black and green to form a darker green color. And I'm going to dab this being in the foreground area, creating the impression of four uneven surface on the grasses. Next, with the same darker color. I'll be enhancing the pine trees in the midground area. Just paint some simple pine tree shapes. Style take thicker orange color and apply around this area in the center to create a sunlight effect on the grasses. Take some orange and applied on the tree trunk, the thicker tree trunk. Next, let us add another layer of trees by mixing Payne's gray and cobalt blue. This time it should be slightly darker. You could only use Payne's gray. That's also fine. Apply some crisscross stroke, suggesting the pine tree shapes. Also make sure to leave some tiny blank spaces in between so that the background color is visible. With the same color. I'll add the trunk of the tree as well. So by adding this darker color, we can already see a sense of depth in the painting. Add some partially visible branches. At this point. If you don't see much of blue colored leaves, then you can go back and add those oh, foliage in whatever areas you want. So once I'm satisfied, I leave it to dry and then come back and add the details. 30. Day 6 - Blushing Woods (part 2): Okay, So the paper has dried completely. Now, let us paint the next Laos. Next, let us take this orange color and we will paint the trunk of the VLE. This will be the sunlit part of the tree. And next time day burnt umber. And we'll apply it on the right side. Trying to create a sunlit effect on the left part of the HDRI. Next, I'll apply Payne's gray on top and right side of the tree. Also playing on the lower part of the trunk around the root area. Now, blenders Brown with the black color. We don't want a sudden transition in the tree trunk right? Next to me, take some tissue paper, the paint, creating a sense of light rays on the paint, another tree. And we using the same Technique for this as well. In the center, I'm going to apply orange or brownish color for sense of sunlight, APRNs. And then on the top and the bottom, I'll be adding darker color. Here. I'm extending the tree trunk part so that it appears closer to the real point. Now notice the origin point of the tree. It creates a separation from the background. For the darker part, you can either go with Payne's gray or black color. Anything of your choice. Make sense. Paint another tree in the background or her own midground area. Notice that origin point, it is far from this ticker tree. So I'll end this here. Notice a difference from the point it originate. This is what creates a sense of distance and aerial perspective in the Painting. Let's add some more trees. In some tiny trees as well. To add more character and drama in though Painting. For these tiny branches, you can use a fine liner brush. It will really help us get those tiny intricate lines. Now for this taller trees, I'll be adding the branches. First. I use random branches. Then you can add in the Foliage You can paint a straight line for them into multiple parts and then dab your brush, creating know Foliage. So here we do not have any particular shape in mind. This is already loose approach to paint the foliage and branches. Paint the branches in different size and shape that will make it look more organic. So next I'm taking my fine liner brush and adding some fine lines. Tank. These tiny tweaks will make the tree appear more organic and appealing. Mixed two adults and so sunlit appearance in the tree branches. I'm going to use one umber and orange and mix. It will make though branches appeared warm and vibrant. Now, I'm going to add some tiny details to these smaller trees. And on the midground area, you can add more smaller trees if you want. No, coming back to those and let part of the tree, I am not really happy with the outcome. If you're fine with how it looks, then you can stick to that. Otherwise, you can add some red color on the tree trunk to make it more warm, more appealing. Again, I left some means creating the light rays on right next to let us perform the splaterring Technique on the foreground area. I'm going to mix some green and black and splaterring. This darker green paint on the foreground area. Lord, you brush with paint and tab door handle of the brush. Splattered paint will create a sort of texture on the foreground area. Some of these plateaus I lost played it using my fingertip. For the midground area, I'm splatter some orangey paint. Okay, So this is how it looks once we're done splaterring. Now, let us use darker green paints to paint some gases in the midground area. Paint as many tiny gases you want that on this area, on the road part of these trees. I'm adding some grass blades. Next, let us go back to the branches, but I'll take Payne's gray and cobalt blue. So with this color, I'll be painting some bluish branches and Foliage on. So I'm gonna fill up the space using splaterring Technique again. And I'm adding some bonds. I don't doping area. Okay, we're almost done. Lastly, we will add few elements to enhance the overall shape of the Painting. Be adding some branches into existing trees. Lastly, we will add some details in the foreground grass part. I'm going to take black and a bit of green and add some brushstrokes in the foreground area. You could create any kind of texture for the grasses here. You could either individually paint the grass blades are simply dab the brush strokes, just like I did here. Let us remove the masking tape neatly and reveal the final look of the painting. It one more correction I need to make. You're using fine liner brush. By law. Apply some vertical brushstrokes to simply avoid the sharp light rays that was being formed on the tree and also adding some, I need branches here and then day you go. This is how the painting looks like. Once it is done. I hope you enjoyed creating this Artwork with Me. Please do leave your review or feedback for this class and don't forget to share your class projects under the projects gallery. I would love to see your recreations 31. Day 7 - Composition & Colors: Before we begin our day seven, let me walk you through the composition and the color is needed for this session. Let's talk about the colors. We would need. An orange, sap, green, Payne's gray, and black. So these are the colors that we're going to need for the class. You could use any alternative color that you already have. Next, let us talk about the composition of the painting. So somewhere in the mid level for the horizon and the riverbank. But what this area is deforest and below is the reward. We have some trees here. The rebel band, good. This is like the main tree here. This tree is slightly closer to the viewpoint. And we have the reflection of the trees in the water. Similarly, we have another set of trees. Those trees are in the background further away from the viewpoint. So wherever you have the trees, right under that, we will paint the reflection of the trees in the same shape. You have to paint the inverted shape of the trees. In front desk code, you're going to paint an inverted curve. We don't have to add the branches in the reflection part. Now, for the foliage pipe, we will be dabbing the brush, creating the impression of foliage. So we have to dab it one-by-one. And you can smudge the paint using your fingertip. That will be an easier way to spread, are covered the larger area. You can even use a fine brush or an old brush for wider coverage. I'll be using the round brush itself. And then we will be painting the tree branches, poking them in multiple parts. The detail step I'll explain during the painting process. For water ripples, you need to just apply these horizontal lines to get a sort of ripple effect. Alright, so let us move on to the step-by-step painting process 32. Day 7 - Glowy Emerald Forest: Welcome to day seven of the class, forest adventure. Today we are going to paint this lush green forest with glowing reward. Does I have named this painting as GloVe emerald forest? Let us begin our project. My taping down the paper. Apply masking tape on all the sides neatly. Make sure it is tightly sealed. Once you're done, make sure to run your finger over the edges. This will ensure that the paper is neatly sitting down. Right? Now let us mark the composition of the paper. We mark the horizon somewhere in the middle. We have the forest and below is the river water. So your paper orientation should be no portrait manner. I'll mark another line right next to this and then draw a sort of Kobe area for the riverbank. And another part of line for the riverbank itself. In the background, we will draw some bushes and some trees. These are rough depiction of the element. I'll mark the skeleton for the trees. This will define their placement. You can draw straight lines or some curved lines to depict the trees. So whenever we have painted the tree, I'm sorry, whenever we have drawn the trees right below it, we will have glide reflection as well. We can draw an inverted image of whatever you have drawn for the forest area. This area we will resolve for the land part. So that's about the sketching part. Rest of the details we will add as we paint. Now, let us read the paper titled leap for wet on wet technique. I'm using my mop brush to wet the area. Apply vertical and horizontal brushstrokes to make sure the water is applied thoroughly on the paper. So this step is very important as our paper needs to absorb more water to perform multiple layer of washes. If you just apply, why not two coats of water, then it might dry faster. As a result, we may not be able to perform wet on wet or dry on wet later on. So where did thoroughly. Now, let us move on to the painting part. I'm going to take mice. I use 12 round brush and we'll mix some darker bluish paint like indigo and Payne's gray mix. I use this to paint the background elements. Dab your brush, creating these kinds of brushstrokes, leaving some white spaces in-between. The reason behind painting these brush strokes, leaving some white spaces is to have a soft and blurry background that will appear as a hazy atmosphere in the painting. Instead of directly painting the forest, I'm building a sort of background for the painting. The viewer could interpret this either as the sky or the hazy elements in the background. The same color I'll apply in the water as well. Those are just a mild impression of the reflection. To avoid those sharp lines here, I apply my clean brush around it. Moving on, I'll take a yellow color. You can take a neutral or a slightly warmer yellow. Or you could even go with lemon yellow, which is cooler yellow. Then I'll take sap green and mix it with this yellow color. So basically we want a lighter green color If you have a ready-made, lighter green, you could go with that. Now take this paint and dab some brushstrokes, creating the background leaf-like shapes. I'm leaving some spaces in between. Not completely applying the screen. Since we're painting on a wet surface, it is going to spread and create very fuzzy and blurrier appearance in the background. And for its reflection in the water. I'll be applying some horizontal brushstrokes because it is what? And we don't have to replicate the exact same reflection. And we will be applying multiple washes. So this is not the final one, just loosely applying some lighter green color. Currently, my paints are spreading in nowhere direction, creating hair-like texture. So to avoid that, I'll turn my clipboard in different direction so that it spreads evenly. The reason why I rarely tape my paper on the table itself. Doing that, we'll restrict my brushstrokes and also the flow of paint. Next, I'll take orange and mix it with the lighter green color. I'm going to apply this on the horizon area for some orange colored bushes in the background. I'll also apply it around the green leafy parts. So as to have sort of variation in the background. I'm painting the background in a very loose manner. At this point. I'm not trying to define any elements for the background. Just loosely apply the Paine's. Later at the end, we can connect all the dots. Next, I'll take brown mix. So let me mix burnt umber, burnt sienna. I'll apply this mix on the riverbank area. Next, I'm switching to my size eight round brush. I'm going to mix a darker green color. So for that, I'll take some green. I want here now. And then I add Payne's gray. You could also add black to it. Really gave us a darker green color. I'm going to paint some trees for the midground area. Simply dab the paint, creating the shape of the trees. You can apply these dots one-by-one. Next we will repeat the same thing for the foliage on the upper parts. So when you're applying this, leave some areas for the lighter green colors as well? No, not completely cover it up. On the upper area as well. I'll paint some foliage shapes. So wherever we have drawn the tree trunk and added the lighter green patches, I don't want those areas. We will add these darker colored patches for the foliage. I hope that makes sense. Do not cover the lighter green and blue areas fully. Leave some space for them as well. Leave on them in our painting to suggest, highlight, and background areas. Now to add a sense of variation in the darker foliage, I'll be adding some orange. And once you have this really create some brown you use in the background. My paper is slightly damp, so it is easier to apply these veins Achieve a blurry effect. I'll splatter the same paint. Now coming to the reflection part, I'll add some horizontal brushstrokes for the reward. Want to apply some zigzaggy brush strokes and leaving some lighter green spaces. This will suggest the reflection of lighter colored leaves in the water. I don't do sides. I'll be adding darker colors to suggest the shadows in the water. I tried to preserve the lighter color in the area will lead the side, sorry, we are adding darker colors. Using some green paint on the forest area. Apply some green paint on the riverbank area. So I did some grasses. They're also intensify the brown color using concentrated colors. I'll take Payne's gray and burnt umber, dark brown, rice and beans, some background tree trunks. These are not the trees that we sketched earlier. Those trees are for the foreground elements. Here, I'm adding the background elements which will appear hazy once they're dry. Now I'll apply some brown color for the foreground riverbank area. So these empty areas are further tree trunks, Okay. Since we want a softer look, further reflection of trees in the water. So I'll be painting the reflection first and then the trees. Because by the time we paint the actual trees, the water part is going to dry. Then we will get hard edges there. So first, I'll paint the trees and wherever we have the reflection there, we will add the trees. Okay? So the sketching of the tree is my reference here. Wherever I have drawn the trees earlier, there itself, I add these reflections of the trees and some horizontal lines to suggest a movement in the water. Here I have a curved line, so I'll draw an inverted curvy line. The lighter green color appears slightly faded. So I'm going to apply some yellow color again to make it vibrant and intends. Only apply or dismantle brushstrokes because this has to resemble the water. If we are applying vertical brushstrokes, it will spoil the painting. I'll simply add some tiny lines for the background destined trees. Next, I'm going to make black and green for a darker, intense green color. I'll add that around the riverbank area for shadow effect. Remember, only apply horizontal brushstrokes. And the foreground, I'll make it darker again so that the mid yellow color There's glorified. We will leave it here and let it dry completely. And then we'll come back and paint the foreground element 33. Day 7 - Glowy Emerald Forest (part 2): Okay, So the paper looks dry gently does the paper and see if it has dry it. Next, I'm going to take this size four round brush. This is an ordinal Brush. You can use any similar sized brush. I'll take burnt umber and Payne's gray, mix it together. This color mix in a diluted tone. And we will be applying some midground trees here using this color. Keep our napkin handy so that you can wipe off the extra paint. This way you will get a nice precision. While painting. I'm painting the tiny tree trunks. For the midground area. You can fork the branches and with the help of this napkin and lift off some extra paint. This way it will not be very prominent element in the Painting. Similarly, paint multiple trees. Next, letters mix lighter green color. So I have taken a low and sap green and form the lighter green. Now take this color and dab it on the lighter green areas to define that area. I'm doing this or leon, few areas, not on the entire painting, although this would be an optional step. Next, let us paint the trees. So I have taken size eight round brush and I'm going to mix the paint for this. So basically you have to mix a darker brown color. So let's take one Dumbo been Shanan Payne's gray, mix it together. And let us paint this mean Tree Yard, which is on the riverbank area. So this is the tickets tree because it is slightly closer to the foreground area. So once you paint the road area here, blended with your fingertip so that MPLS mood and blends well with the background. So the reflection of the tree aligns with the actual tree, right? Moving on to our next tree inflection, we will paint right about that area so that it aligns with the reflection. Then we have a nice reflection. Right, about this, we will add another tree. So anybody doing the same thing with your painting as well? Whenever you how Spain did the reflection, right about that Yogananda. Actually, Next on the right side, we have inverted tree. So we're going to paint the mirror image of that. It is okay if your reflections or not that clear, you can still paint the trees. So I'm going to form this tree into multiple bonds. And don't forget to blend the root area. Then I add the trees wherever we have the reflection Also, I add another tree trunk on the left corner. Next, I'll take slightly darker brown color. By mixing black to one number. On with this darker mix, I'm going to add some tiny lines, adding texture to the tree trunks. These tiny lines defining the structure of the tree. When repeat this for all the trees here. Now, I'm gonna, I don't branches. Whenever you paint the branches, paint them in different direction. I know in a very irregular manner. Don't paint them Lego symmetrical, uniform shape that will only make the trees look inorganic. We should aim to paint the trees no natural and organic mono. Next item, switch to my rigger brush, which I use as my fine liner brush. With the help of this Brush, I'll be painting the tiny branches and twigs in the trees. Notice how I'm adding the branches in different direction and forking them very naturally. I don't have any particular shape in mind. What I'm making sure that I do not move my Blushing same direction. Day two, we're almost done with the branches. Now, let us add though Foliage part for these trees. Again, switching to my size eight round brush and mixing darker green color. Take sap green and burnt sienna. And a bit of black will get a very darker green color. Now, either paint in the shape of Foliage by dabbing the brush repeatedly. You can even smarts Dupain's using your fingertip If you'll find it lazy to no pain each and every Foliage set, then you can use your fine brush to cover the larger area. That will be much faster and easier. Or you could also use your old worn-out Brush. And randomly that Dupain's little create an organic Foliage APRNs. I have a fine brush, but I wanted to restrict myself to the round brush for this Painting. So I'm taking my own time to create these brushstrokes. And also, not everyone will have Fan Brush available. So I thought why not paint with their own Brush itself? So if you have a fine brush or an old brush, feel free to go ahead and complete the Foliage. Foster. Also, I'm splaterring some green beans on the top and smudging it with my fingertip. Another easier way to paint the foliage. And I'll apply some darker brown brushstrokes. I don't know me well, by giddy, you will repeat the same on this midground, the World Bank area as well. Next we really big black and white balls, though, extra paint from the brush, my brushes, damp. Brush creating or textured effect, though we won't buying carrier. And then with same darker color, I'm gonna add some more grass blades in the foreground. The horizon area. I'll add some trees as filler elements. These are simple tiny trees. Next I'm going to take darker green color again by mixing green and brown. And with this darker green color, I'm going to paint replacing the water. This will add a sense of movement, like appearance in the water. So all you have to do is add some horizontal lines, leaving some spaces in between and around the boundaries of the river bank. We will apply darker colors just to add some depth in the water. No middle, lighter green area. I'm applying very few so that we retain the loneliness in the water. Next, I'm mixing even more intense green by adding black. Relied along the boundaries of the reward bank. Applied this darker color around the foreground area as well. This will make the lighter green color more attractive and Glowy. So if you want any lighter color to get highlighted, apply darker colors around it. Next, big thick got a low color. And with this, we will apply some ripples in the water. And the same paint we will splatter on the upper area to suggest lighter colored leaves. Next with black color. I'm going to apply some tiny lines on the tree trunk to add more depth to the trees. Some simple vertical lines. When do you don't have to add all intricate detailing work? And I'm going to enhance the reflection part as well. So I'll simply apply some horizontal lines leaving some spaces in between, like a zigzaggy brush stroke. This tree is slightly closer to the viewpoint when compared to the other trees. That's why it needs a bit more attention. We are done with this painting. Let us remove the masking tape. Now. There you go. This is how the painting looks like once it is done. I hope you enjoyed painting this with me. Please, please do share your class projects under the projects gallery. I would really love to see your unique recreations. Thank you for watching my class. I'll see you in the next chapter. Until then, bye-bye. 34. Day 8 - Colors & Composition: Before we begin the painting session, let me walk you through the Composition and Colors needed for the class. So let's talk about the colors first. We're going to need indigo. This is the primary color for this painting. Then we would need black. We want on Wet and Payne's gray. Now we would also need darker brown color. For that. We will mix burnt umber and black. This will give us a darker brown color. Right? Now, let us talk about the composition of the painting. Somewhere in the middle, we will mark the horizon. And from there we will mark to slant or angular lines to define their tree line in the background. The white empty area is the snow. In the background. We will roughly paint the tree Foliage. Then we have foreground elements which are slightly detailed. In the foreground. We have this darker pine trees and a fallen tree branch on the snowy part. And some lose grass blade on the snow. These darker elements or the foreground elements in the painting. Next, let me show you how to paint the tree branches. So we will add the main branch first and then we can folk though branch into multiple parts if needed. Otherwise, you can directly add the leaves like shape by adding angular brushstrokes. Suppose this is a tree, we relied domain branches first. Then you can add these Foliage or the leaf shapes. That easy. All you need to do is just apply some angular brush strokes like this. These brushstrokes will collectively appear as a pine tree Foliage. I hope you're clear with the Composition part. Now, let us move on to do painting project 35. Day 8 - Winter Forest: Welcome back to the aid of Forest Adventure. Today we're going to paint window forest scene. Okay, so let us begin. I'm going to tape down the paper using masking tape a put down on all the sides so that it remains intact during the painting process. I have given about quite a range of border to this painting. Once you're done, just run your finger over the edges. Make sure it does tightly sealed data via going to paint, enchanting Winter Forest Painting. So let us mark the composition. So first I'm going to mock the horizon line. The area of the paper from there to slant lines on either side. This will be our midground tree line. Though. Background, you will have some Forest which we will been widely getting the painting process flow. Now, I know Lima these lines as the reference. Right here we really have the pine tree leaves. I'm just roughly marking these shapes. The upper area will be covered with the three branches and pine tree leaves. And then we will mark the main gown trees. So we need to create a separation, rightly painting. And you're the foreground area. We have fallen tree branch. You can refer to the final outcome and adjust your sketching as per your convenience. Let's start the painting process. I'm going to apply clean water thoroughly on the paper. Keep applying water. We need to make the paper wet so that we can perform multiple washes and do a lot of layering work. Next, let us take indigo and mix some paint in our palette. We need to keep the paints ready. So this one is thicker or concentrated tone. Will take this color in another and add lots of water to it to make diluted. Don't. So keep two different tonal values ready. Now, I'll apply this around the horizon. Leave some white gap in the mid ground and then come to the foreground area will apply the same paint. Blend is diluted color with the white background. We shouldn't have any sharp edges. So this area, I will preserve it for the white snowy effect. Next, I'll move on to paint though Forest part. I'll apply this diluted color on the upper part. Here, I'm randomly applying the paint, but on some areas I leave some white gap suggesting the snow effect on the trees. Notice on the left side of the painting leaving some white spaces. And also using lifting Technique to lift the paint showing the white background surface. Next-gen, think this darker color, concentrated indigo. This is the darkest value. We're going to add this. So this is slightly bluish. So I'm going to mix a bit of black with this. So I left lightest paint around the boundaries that we had defined earlier. And also the foreground area Moving on, let us paint some background trees with the same color. So I'm going to just apply some vertical lines depicting though the string trees randomly apply vertical brushstrokes on the sides of the painting. Here we will have some tree leaves. So these are the background elements. So it doesn't need that must detailing work. Let us take concentrated indigo and black. Here I want to paint pine trees in white color to resemble the snow on the leaves. So I'll be using negative painting approach where I live the actual wider area and paint outside of the focal element. So you can imagine a shape of Foliage or leaf on the paper and then paint outside of it. So basically we are painting outside the focal element, creating the desired shapes. It doesn't have to be perfect. You could leave some spaces, then add the leaf shapes that will also work. Since these are background and the midground elements. So it doesn't have to be perfect. Do not worry about achieving perfect shapes. At this point. We have achieved a dense forest. It look in the background. Next we will take concentrated in the code and apply some brushstrokes in the shape of leaves and some tree trunks. This will add or a sense of depth in the Painting. So applying this darker color around the boundary area, I think the same darker color, and apply some strokes on the foreground area. Suppose you were not able to achieve though leaf-like shapes in the earlier attempt, then you can take a damp brush and use lifting Technique to define the leaf shapes here. And then to add more depth. In some areas, I'll be mixing indigo and black in concentrated form. And I'll add some darker leaves. So I'm trying to bring a sense of balance in the Colors. So we have lighter colors, mid-tone colors, and also darker colors. It will create a sense of harmony in the Painting. Then with this darker color, I'll be adding the tree trunks. Because we have tree Foliage, we need to connect them together, right? So just add though vertical lines. It will be depicted as a tree trunks. Adding some darker brushstrokes for the foreground and the treeline areas. This will enhance the mid white area. Next thing, diluted color and create the impression of some footprint. Now you can absorb your painting and see if it needs any connection. So I'm going to take a damp brush and lift some paint from some areas, giving some definition to the Foliage. Next, we will take GO bond Dumbo or burnt sienna, any brown color, and we'll paint the foreground, tree fallen on the ground. The recording has stopped midway. So here you will be applying the tree branch like shape. This is a fallen tree on the ground. We're painting the initial layer. You can use to tonal values, lighter and darker. And the shape doesn't have to look exactly like this. You can paint a simple tree branch as well. Right? So we will allow this to dry completely 36. Day 8 - Winter Forest - part 2: Right, the background layer has dried completely. So next I'll take indigo and black, mix it in thicker form in one of the wells. Then I'll take this color mix, add lots of water to make diluted tone of this color. With this diluted color, I'm going to paint the background trees. No, I add the pine tree leaves. I add some continuous angular brushstrokes, which really low. I feel as Fine tree Foliage. I'm painting the entire tree here. Because maybe how darker trees coming up next. So just some simple suggestion in the background is enough. Yeah, and I'm painting the trees and then smudging it off using my fingertip so that it doesn't appear very sharp and are prominent in the background. The detailing work needs to be only there for the foreground elements. I'll add some more binary tree Foliage chips. You can loosely apply some angular brushstrokes. Now take some extra diluted colors by applying more water to the existing diluted paint. In. Don't create these kind of brushstrokes will repeat the same thing on the upper part as well. So I'm adding these angular Foliage Lake shapes randomly. This way, we will see you forest like APRNs in the Painting. We will repeat this step on the entire upper part of the Painting. Okay, So we're almost done with the background and the mid ground part. Next, let us move on to though foreground elements, which will be slightly all kinds of D dealing book. So I'm going to mix indigo and black, innovative, thicker foam. Use this color to paint the foreground element. Let us first, I add straight tree trunk. Little ahead of that, I'll paint another tree trunk. And then on the right side, one more tree trunk. You can add as many trees you want. There's no description as such. Then I need to find the shape around the root area. Next, letters or tree branches. I don't do trunks that we have already painted. Paint them in many shapes and sizes. And once you have this Foliage, by adding some angular brushstrokes, we had loosely painting these Foliage. Your, don't have to worry about painting these Foliage with great perfection. Apply branches of different sizes. This will create more realistic organic appearance in though painting. Absorbed when I have held my brush, I'm holding it on the dog bark so that they did lose brushstrokes. So you feel notice as we add these darker elements in the painting, which is the foreground element. Though. Background and the midground elements adds a sense of depth to the Painting. It appears deep and creates the illusion of dense forest. Splaterring some paint on the top area. Next, I'll switch to my fine liner brush. This is phase four Rigo Brush. I'll be adding tiny branches and twigs and own the outer ends of the Foliage. And I'm just going to glide my brush around the root area to make it look very natural. So you can add as many three branches you want. There's no restriction or fixed number as such. Our intention is to create a sense of harmony and fuller appearance in the painting. And I don't know midground area. I'll be adding some tiny trees. Use your fine liner brush itself to add these trees. These are simply some complimentary elements in the. Next, let us take a tissue paper and some painting the brush wipe off the extra paint. And then we will create this tiny and shadow lines as the glass plate. These glass plates are partially submerged in the windows. No. Next we will perform the daily invoke on the tree trunk or the tree branch fallen on the snow. So I've taken this darker brown color and I we slightly adding these details on some of the areas Adding some more grass blades and splaterring some paint at all under 32 hooks. Here on the right side. I feel that the real looks empty. So I'm just adding some tree trunk. You can get into multiple parts and adding some random trees. Going back to the background area, that is something missing in the background. I'll be adding some trees here just to add more depth in the Painting. Do it with diluted color. We don't want this element to interfere with the foreground element. So you can step back and observe your Painting. See if it needs any connection or if you need to add any new element. That is how we make up Painting. Look at dealing. Making these final tweaks in the painting is a wonderful way to enhance its overall quality. Hiding go sense of balance and harmony in the painting. And never hesitate to add your own touch to the painting that will make you connect to the Painting instantly. Almost done with this. Some random grasses in the foreground. And we're done. Let us gently remove the masking tape and reveal the final look of the painting. They ago, this is how the painting looks like at the end. I hope you enjoyed this session with me. Do share your projects and other projects can be. I would really love to see your unique three creations. 37. Day 9 - Composition & Colors: Before we begin with the ninth project of the series, let me walk you through the Composition and Colors needed. The colors are orange, yellow, blue. Payne's gray ones here. Now, one or more. You could use any similar brown that you already have. Then we would need red, black, and green. These other colors that we would need for this project. You can go by any similar colors that you already have in your palate. Next, let us talk about the composition of the painting. In the background. Those are dense forest and we also have a reflection of that forest in the water. In the mid section that is a Foggy layer. Below the horizon is the Lake or the liver, and above the horizon is the treeline. In the mid section, we have the Foggy part. These background elements are away from the viewpoint. In the foreground we have this piece of land. This suggests the reward or the Lake bank area. We will mark the sun in the sky. And then in the foreground we'll paint our trees. These are giant trees closer to the viewpoint. Them into multiple parts covering the upper area. Now, let me show you an example of how we can paint the trees. You can first add domain drunk, whatever direction or shape you want. Once you have this, then you can add the branches one by one. I'm showing it very lastly, what this is, how this can be done. And we will cover bit darker paint. You can also add in some smaller trees to bring about a sense of variation in the tree sizes. So that's it about the composition. Now let us move on to do painting project 38. Day 9 - Foggy Lakeview Forest: Welcome to day nine of the class, Forest Adventure. Today we are going to paint this beautiful forest with Foggy Lakeview. Let us get started. All right. Let us begin by taping down the paper. Apply masking tape on all the sides neatly. And once you're done, run your finger over the edges. Make sure it this tightly scene. Okay, so let us mark the composition of the painting. Somewhere in the upper half, I'm going to mark the horizon line. About this is the line and below is the water around the horizon. I'm going to draw the tree line. And then that reflection of these trees in the water. And somewhere here and we will have the shape of the sun, both in the sky and the reflection as well. And in the foreground, we will mark the area for the land. This is the riverbank cavea. We will be painting our main foreground trees on this piece of land. Okay, So let us begin the painting process. I'm going to wet the paper using my mop brush. With the help of my mop brush, I'm applying clean water throughout the surveys of the paper. Applying repeated brushstrokes. Because I want the paper to absorb the water well enough to perform multiple layers in the painting. The not skip this step. Keep applying water to make sure though paper has absorbed water and it will remain wet for longer duration. Okay, So the paper is completely wet. Next, let us start painting the sky. I'll be using some Walmart US. So I'll take orange, add some water, make it midtone consistency. Now, apply this color mix in the form of angular strokes. This will suggest some orange streaks in the sky. Make sure to leave some blank areas in-between. Now, replicate the same in the water reflection as well. Next, let us add some blue colors in the sky. I'll take as your blue. Add a bit of ultramarine blue to it. I'll apply this paint on the blank areas in the sky. Be careful when you're applying pains. I don't want this orange area. What happens is when you mix blue with a lowish shades, you will tend to get a greenish color. I'm only applying this blue color on the blank areas. And I want you didn't get to paint on the orange bar. Next, we will take slightly concentrated orange and apply the brushstrokes on the lighter colored orange area. This will add a sense of depth in the Cloud. Next, I'll be adding those son in the painting. I've taken this makes off red and orange and I add a circular shape. You depicting the sun in the sky will do the same thing for the reflection as well. Since we're painting on Wet area. So there are chances that the colors might bleed into the circular area. So not worry about that. If that happens, you could use tissue paper to live the Colors Like I said, we're painting on a wet surface. I'm trying hard to preserve this whitespace, but seems like it is not possible at this point. So what I'll do is I use tissue paper instead to live the colors. This will give me the whitespace to depict the sand in the sky and also in the reflection part. Next, let us paint the background elements on the horizon area. So I'll take Payne's gray to paint the tree line. Notice how I'm intentionally leaving the whitespace for the misty effect in the background. Also paint these bushes in different sizes so that it appears organic. Next, I'll use burnt sienna for the mid area. In order to add a touch of sunlight appearance on the trees. We have to blend these together. We can now have a sharp transition, right? I a darker brown color. Now to give some depth, I'll be mixing Payne's gray and brown, adding some more brushstrokes. Depth in the background tree line. Next, I use my clean brush to soften the Foggy appearance in the beaker. I'm using the tissue paper again to ensure that the sun this still visible in the sky. It's okay if you couldn't retain the shape of the sun, you can let it go and move on to the next steps. So here I'm blending this Foggy Part value into the background. And at this point, if your paper is still damp, and if you could add more layers, then you could go ahead and add some darker clouds in the sky. If your paper has dried, then you can leave it as it is. You don't have to do this step. So whenever you add the Cloud at the reflection in the water as well, you could use Payne's gray or a mix of ultramarine and burnt umber. Next, I'm going to define the shape of the sun. You use a darker orange color lever so Colors space. Apply the paint around it. You can blend these sharp lines using clear water. Painting some additional concentrated brushstrokes in the water to suggest the intense sun rays in the reflection I wasn't able to create those are colored shape. Does. I've added these intense brushstrokes and own those same area. Next, lettuce mix some green colors. For the foreground area. I'll take some green and mix some burnt sienna to it. This will create, or brownish green color, which I will add in the foreground part. Next, let us make some darker gray color. I'll take Payne's gray and black will use this color to create some depth in the background forest area. So we have painted one layer of forest. Now we will add the mid ground trees. I have taken my rigger brush to paint these trees. All you need to do is add some vertical lines and then paint the shape of the Foliage. So for Foliage, you can just dab your brush, creating the shape of the leaves. We create the similar inverted shape for the reflection as well. These are the midground trees in the painting. It is okay if it is a little bit here and it doesn't have to be exactly same as that of the actual trees. Note that it is okay. If your paper has dried, you can go with wet on dry technique by using a slightly diluted Colors. So with this in gray color, I'll be painting the trees on either sides. And when it comes to the center area, use a different color because that area is partially sunlit. So now we are around this middle area. I'll be using burnt sienna for painting the trees around this area. So you can simply dab your brush, create bingo shape of the Foliage. The ad is your look. The outer end of the trees. I'll be adding some dark shapes to suggest the tiny leaves and twigs create sort of natural and organic APRNs in the trees. You could even add some bare trees as well. I'll add some taller trees as well to break the symmetry. So you can add as many trees you want. In European, it is totally up to you. Next, take any darker color in, we will apply this on the green area to add a sense of depth in the grassy part. Once this is done, we will allow this to dry completely. And then we will come back and add the foreground element 39. Day 9 - Foggy Lakeview Forest (part 2): On write, the paper has dried completely. No lettuce mix the colors to paint the foreground elements. So I'm going to take a darker color. Have taken black and indigo here. You could do mix any darker. I know that you have on your palette. Doesn't necessarily have to be black colleague. Okay, so I'll take this color and takeoff on, and I'll start painting the tree trunks. The trees will be covered on the entire painting frame because it is closer to the middle point. You can paint as many tree trunks you want. Repainting for two files them here. So once we have these tree trunks ready, we will be adding the branches. In Lome. I know I had some branches and form them into multiple parts. This will make the tree appear organic and paint the branches in the front door angles so that it appears much organic. For these tiny branches, you can use or rigor or a fine liner brush to paint these tiny twigs and branches. I will repeat the same step on the other trees as well. I don't want this area. The two trees are located closer to each other. So we need to paint some overlapping branches indicating greater depth in the painting. You could also glide your brush creating some dry texture defect. You're on the left side. I'll be adding some branches, suggesting though, branches from the outside of the painting frame And I don't own the sun Yard. I'll be adding some brand just with brown color so that it shows this unlit defect in the branches. And on the lower part, I'll be adding some tiny branches. Apply some crisscross brush strokes so that it appears like overlapped branches. So here I'm adding some tiny lines. Big thing that makes the output end of those branches. There is no such fixed shape for these trees. You can paint as many branches you want. It's up to you. Next, I load my brush with black paint and splatter some paints on the upper area. Next, steak or darker green color. We will apply some grass blades on the foreground area. Okay, so now to add a sense of depth and fuller appearance for these trees, I'll be adding some black color on the top area. Just glide my brush creating or dry brush effect. And also I'll be extending the tree branches and forking them into multiple parts. You can paint these tree branches in any shape and size, and you can bend it in any angular as well. He owed. My main aim is to make these trees appear Lake Forest, which is to make them dense and fuller interference. You can also add a couple of smaller trees as well. This will bring about a sense of diversity. And lastly, I'm going to splatter some black paint. This will create a sensor's busy-ness in the atmosphere. Then we are done with this painting. Now let us remove the masking tape. Willing though finally, look of the painting. There you go. This is how the painting looks like. I hope you enjoyed painting this with me. Do share your class project and other projects category. I would really love to see your uniquely creations. Please do post them. I'll see you in the next session. Until then. Bye bye. 40. Day 10 - Composition and Colors: Let us talk about the colors that we are going to need for this class. Indigo or any similar darker blue color. Next, we would need black. These are the two main colors. Next is paints gray. So this would be an optional color for this painting. This is almost like a monochrome painting. You can go with other color as well. For example, purple, brown, or some darker colors of your choice. It's up to you whatever color you want. You can go ahead with that. Next, let us talk about the composition part of the painting. In this painting, we will be painting all the trees towards the center area. Here we are creating a bottom up view. The trunks are on the sides of the paper, and the top of the trees is around the center area of the paper. We'll be drawing the trunk area of the tree thicker in shape. As we move upwards, the top part of the tree gets narrower. Again, it should meet around the center of the paper here. If you get this basic idea, then it is easier for you to paint the entire painting. Once you have drawn the basic lines, then you can add the branches and whatever shapes you want. That was about the composition part. Make sure you're drawing the basic skeleton, author of Sketch on the painting paper that it will act as the guideline throughout the painting process. Without these reference lines, it will be difficult to paint the trees. 41. Day 10 - Beneath the Trees : Welcome back to the class into the woods forest painting adventure. In today's session, we are going to paint this artwork without any delay. Let's begin. I'll start off by securing my paper. We're going to take the paper down using masking tape. I'll be giving about a que inch of border on all the sides. Once you're done, run your finger over the edges to make sure the paper is tightly secured. Let us mark the composition of the painting. We will mark the pencil lines for the tree shape and it is very important. Do not skip this step. Otherwise, it will be tough in the later stages of the painting. This artwork is going to depict a bottom up perspective. We are viewing the trees from a lower position. The center area of the painting depicts the top part of the trees. Let us mark the tree shapes. The upper part of the trees should meet somewhere around the center area of the painting. This will help us create a bottom up perspective. Note that this is just a rough sketch of the artwork. Now let us move on to the painting process. First, I'm going to wet the entire paper using my brush. Apply clean water and ran your brush horizontally and vertically to make sure that the water is applied equally throughout the paper. Again, I'll go over this, apply another layer of water. What this will do is it will make our paper absorb all the water and remain wet for a longer duration from the sides. You can lift off all the excess water using napkin and a damp brush. We'll wet the paper again. All right. That was about wetting the paper. Now let us get to the painting part. We'll take Indico first and add water, making it a diluted consistency. We have about 20:30 percent of paint and lots of water in it. Now lodo brush with this color mix and apply it very randomly on the paper. The white blank areas will depict the light in the painting cover. The paints on the sides in the center leave some white ******. As our initial layer, we will build multiple layers on the same wet surface. Now I'll move my bolt in different direction so that the color spreads nicely, giving a soft effect in the sky. The next let us makes indigo in a midtone consistency, which means 50% of water and paints. I apply this color mix on the sides of the paper. The sides are actually the bottom part of the trees. It creates a darker effect, leave some blank ****** in between. Now using the same color, we will be painting the distant trees in the same perspective. We will use the sketching for a reference and paint some trees around that in the same direction. Next I'll define the shape of the distant trees, adding some branches and foliage. This is going to dry, much lighter. Now to create the foliage, dab your brush, leaving some dotted shapes. Collectively, it will appear as the foliage leave some blank ****** as well. Do not overcrowd it with lots of foliage. We want some white areas as well in the painting. Next I'm going to mix indigo and black color. We'll take this in thicker consistency, not very thick. About 60% of paint and 40% of water. And the color mix. With this color mix, we will apply slightly darker colored trees, creating multiple layers and depth in the painting. I'm referring the background pencil line for the direction of the trees. This will help me create the same angles throughout the painting. Start with the trunk first and then add the leaves or the foliage. Paint the trees in all directions, creating a circular bottom up view. The trees that we are painting are the midground trees. Once this layer, whole layer, we will paint the next four ground trees. Okay, Make sure the bottom part is thicker and the top part of the trees are thinner. So I'll let you observe while I paint these trees. All right, that's pretty much it with the midground layer. Next we will mix the same color again. Go and black and splatter the paints on the sides of the painting. Okay, so we will leave this here for drying and then we will come back and add the foreground elements, the trees that are closer to the viewpoint. Okay, so I'm going to let this dry. 42. Day 10 - Beneath the Trees (part 2): All right, Now the paper looks completely dry. Next, we would need black color. I'm going to X and a bit of indigo for a cooler black color. The black shade that I have is more on a warmer side. To make it a bit cooler, I'm adding indigo to it. Since I want the painting to have a cooler atmospheric vibe, I'm choosing this cooler black. Next, I'm going to paint the trees around these pencil lines. These are my reference lines. Now let us paint the trees. Apply slight pressure on the belly of the brush to create a thicker trunk at the bottom part. And as you move upwards, reduce the pressure to create thinner lines, mix the color in more quantity so that you don't run out of the paints while painting carefully paint all the trees following the initial sketch. So if you want, you can fork one or two tree branches in between. This is wet on dry technique. Here, there is no need to rush through the process. You can take your own sweet time to paint these trees. You can rotate your paper to feel comfortable drawing the other side of the trees. So you need to paint the trunk part of the tree thicker when compared to the top part. That is how we will build the perspective of bottom up view. Also add some smaller sized trees to have a sense of variation. Next, I'll be adding some thinner branches to make the tree look organic. You could add as many trees you want. There is no restriction on the number of trees. Also paint the trees using wobbly hand movement so that each tree gets a unique shape. I'll go back again and make some of the trees thicker in the bottom part. Next I'll take indigo and black color in a diluted tone, and I'll be adding a similar tree shapes to suggest distant trees here. By doing this painting will have a sense of depth, looking like a forest. Make sure that this color mix is much lighter than the foreground color. It should be very diluted so that it appears as midground trees. If you paint it in a darker color, then it will appear same as the foreground trees. I'm enjoying this process. I've added a lot of trees, but you can skip some of them if you want. You don't have to paint the exact number of trees. Next, you can take a fan brush or round brush, an old round brush. Hold the brush like this and dab it on the paper, creating the impression of foliage or leaves. I'm using an old brush of mine to paint these damps. If you're using a new or an expensive brush, there are chances of spoiling the bristles of the brush with an old brush itself. Or you could go with the fan brush. This is a brush which is really helpful to paint the foliage faster and in a easier way. I'm adding foliage on top of every tree here. Well, if you do not want to add foliage, then you can only paint the bare trees. That is also fine. I've taken this round brush and I'm dabbing the paint, make sure you don't have more water in it. It should be like a dry brush technique. You can also use your fingertips to smudge the pains. I'll add some smaller trees and foliage on the corners of the painting. Take your time and do it slowly. You don't have to rush through the process. Wherever I find these empty areas, I'll add some random foliage and make it look like smaller trees. Oh, next I'll switch to my fine line and I'll be adding tiny lines depicting the branches and twigs in the tree. This will add more character to the trees in the painting. It will also make, it appears add as many tree branches you want. There is no restriction on that. You could also paint overlapping brush strokes. Next, let splatter paints on the bottom and all the sides of the painting. All right, so we are done with this painting. Now let us remove the masking tape. This is how the painting looks. I hope you enjoyed painting this with me and had a fun learning session. Do share your class projects under the Project gallery. I would really love to see your artworks. Okay, I'll see you in the next chapter. Until then, bye bye. 43. Day 11 - Colors and Composition: Before we begin our 11th project, let me walk you through the composition of the painting and also the colors required. The colors needed are yellow. This is a warm yellow color. Next is orange. Then we would need two colors. One is crimson or any pink. And then we would need a peach color. This would be an optional color. If you have something similar, go ahead with it. Otherwise, you can skip it. Then we would need burn Sia Voilet. Next is black and then burned Tumber. These are the colors needed for the 11th project. Next, let us talk about the composition of the painting. The orientation of the paper would be in portrait manner. Foot still start with marking the bank area near the horizon above. This is the forest below. This is the water. In the water we have the reflection of the trees. These trees are mostly straight and some are forked into multiple branches. The mint area is lighter because of the sunlight. The corners of the painting are slightly darker. In this painting, we have a reflection of the deer will be slightly in distorted manner to suggest a sense of movement in the water. Then we have some random foliage on the tree branches. Now let me explain how to draw the deer. So we'll first draw a rectangle and then add the neck part. Then we'll add the limbs, hind limbs, and the forelimbs. Then we have the face or the head part. For this, I'll first draw the circle and add triangles around it to suggest the mouth and the ears. Once you have the basic skeleton, then you can adjust the drawing accordingly. 44. Day 11 - Deer in the Forest: Welcome to day 11 of the class Forest Painting Adventure. Today we are going to paint this beautiful painting. Let us begin. I'm going to start by taping down the paper. As usual, I'll be applying the masking tape, giving about a quarter inch border to the painting, tape down all the sites. This will secure the paper during the painting process. Once you're done taping down, run your finger over the edges to make sure the paper is tightly sealed. All right. Now let us move on to the sketching part. I'll be sketching the composition roughly somewhere in the lower half of the paper. I'll be marking the area for the land. This is a bank area below this is the lake. Water above the horizon is the forest. In the forest we will paint this beautiful deer. Don't worry if you don't know to draw the deer. I'll show you an easier and simplified way to draw the same. First, we will start with this rectangular shape for the main body of the deer. Then we will add the limbs. For the limbs, we will add two like shapes, simple lines for the hind legs and two for the forelegs, adding the tail. Next, let us draw the neck and the head part. Extend a curved line upwards from the body to create the neck part for the head. Draw a circle and then add a triangle shape around it. Connect the circle and triangle to form the des face. Add the ears. Okay, So we have the basic skeleton now. Let us erase the unnecessary lines and define the overall shape of the deer. I have to admit that I'm not that great in painting animals. It doesn't come that naturally to me. I keep struggling as a lot of times to get it right. If you know any easier way, then please go ahead and do it. All right. Now it looks somewhat okash. I'll also change the shape of the leg here so as to indicate that it is moving forward. Okay, so let us not spend more time on this and move on to draw the other elements. All right, next let us mark the trees. Okay, so let us begin with the painting process. I'm going to wet the paper down using clean water. Apply water generously. Make sure you're applying multiple layers of water so that the paper remains wet for longer duration. This will help the retain moisture for longer duration. All right? Okay. Now let us make the colors required. We'll take orange and yellow. I've taken about 20% of orange and 80% of low mix. Next to this color mix, I'll be adding crimson. That was one color. Next, I'll take another color from a different color palette. This is like a rosy pink color. If you have any similar color, you can go ahead with that. Otherwise, you can use crimson or rose madder. That's fine. Here my aim is to achieve a peachy pink color. Next, let us take a warm yellow color. Separately. We have these two colors. Next, I'll take yellow in diluted form and start applying in the center of the paper. Then I'll be applying this peachy pink color. Or you could take just pink color and apply it on the sides. Next, I'll take crimson color, applying on the corners of the painting. Now mix orange with this crimson and apply next to the plain area. We want to have a variation in the background color, that's why we're applying this. Apply another coat of yellow in the center to increase the intensity of this color. Then we'll repeat the same colors for the water reflection as well. Next, let us apply another coat of the same colors with the slightly more intensity. We will be applying this in vertical stroke. If you observe, I'm applying this on the sides first and then going to the mid areas with a yellow color. Let the colors blend with each other and create a nice background. I'll tilt the paper and I allow the paints to spread. Well, we don't want our paints to be collected in one particular area, hence I'm tilting this board in different direction. Next, let us paint the midground trees. I'm mixing burnchiana and crimson to achieve a reddish brown color. Also, I have switched to a fine liner size two round brush to paint thinner lines in the background. Since our paper is wet, it is going to create some blurry background trees. Note that I'm painting these red trees on the red part of the painting. All you need to do is paint some simple vertical lines that will depict our trees. We shall repeat the same for the reflection part as well. So here I'll apply some colors around the bank area. Next, for the yellow area in the center, Let's paint the midground trees with yellow or orange color. This will match with the background. Do it for the reflection part as well. Next, we will mix slightly darker brown and apply it as trees in the mid ground. This will act as the darker trees. We will have a combination of yellow and red and brown colored trees. Moving on, let us paint the deer. We will first loosely apply the base coat using a brownish or brownish red color. Then we will paint the reflection. The reflection doesn't have to be exactly the same as the actual deer. You can simply apply the colors. Then we will paint the bank area using burn sianna. This is the lake or the river bank below. This is the water and the reflection. Next we will mix burn timber and burn siana to paint the darker colored trees. I'll also mix a bit of violet on the sides. I'm adding darker trees applying the same color for the deer as well. Use a reddish orange color to paint the trees in the yellow area. Now using the same color, paint some foliage by simply dabbing the brush. These dabs will appear as the tree leaves. You can add foliage with either pink or orangish color. It is good to have a sense of variation in the foliage. I would suggest you to apply varied pressure for each dab so that you have leaves of different sizes. Next for the trees on the sides of the painting frame, we will use a slightly darker color so that it corresponds with the background color. Next, I'll be defining the shape of the deer. I'll use a clean, damp brush and lift off the excess paints outside the sketched area. Next, I'll take a mix of brown and black and apply it along this bank line. All right, Now you can let it dry or use a head dryer to completely dry this area. If you're using a head dryer, use it in a cooler setting so that it don't lose its vibrancy after drying. 45. Day 11 - Deer in the Forest ( part 2 ): All right, the paper is completely dry Now, next letter is mix the colors to paint the darker trees using wet on dry technique. I have mixed burn timber crimson and burn siana to make this darker brownish color. With this, I'll be painting the trees. I'll start painting the vertical lines depicting the tree trunk. You can drop in some concentrated colors in between to add a sense of variation. You can forge the tree trunk as many times you want. Right next to this, I'll paint another tree. There is no fixed number as such, for the number of trees that you want to paint, let me mix more of the same color. Now let's paint it on the left side. Next, let us paint the reflection of the trees in the water. Initially, I thought of painting exact replica of the trees and suggest a sense of calm water, but then I changed my mind and decided to go with a distorted reflection so that we don't have to paint exact replica of the deer. I just wanted to make the process easier. Now to paint this distorted reflection, I'll be applying a few strokes of water and few strokes of the lighter brownish red color. It doesn't have to be exactly one particular color. You could go with the shades of red, yellow, brown because we have the trees and the sky in different color. Right? All right. Now let's add few more trees with the slightly reddish color here. I'm trying to add a sense of variation in the tree colors. This will make the forest look more organic and colorful. Next, I'll take some diluted colors. Very diluted as you can see with this lvened few trees. Now to blend these tree trunks with the ground area, I'm going to add some grasses. These are simple grass blades. Just to blend the trees into the horizon ground area. In the mid area, I'll be painting some shorter grasses so that it doesn't cover up the deer. Next I'm going to take Black Primson and burn Anna to make a darker reddish brown color. I'll use this color mix to add the shadow part for the tree trunks. With the same color mix, I'll be adding the branches for some of the trees here, don't add for the lighter trees, search for the trees that has the same color and then add the branches. Next, I'll be adding the reflection of the trees in the water. To make the reflection appear distorted, I'm going to apply some horizontal lines. I'll mix slightly darker color by taking Bunchiana and crimson and apply it on the sides to achieve a depth in the reflection as well. In order to highlight the lighter areas, we need to add some darker areas as well that brings a sense of contrast and balance in the painting. Okay, next let us paint the deer. So I'm going to mix some crimson to the existing color. I'll take this small amount of color and add some water to it, making it diluted tone. I'll paint the deer here. I'm using my fine liner size two round brush. With this I'll be able to paint the details and around the feet of the deer, I'll cover it up with grass blades. Next to add a sense of shadow and dimension to the deer, I'll be adding darker brownish color around the abdomen and the neck area. Adding shadows on one side of the limbs. This adds a sense of depth and dimension to the animal. Now let us go back to the water reflection. I'll first apply water and then apply some yellow color. This will create a glowish effect in the water. Next, we need to create the reflection of the deer. I'll be creating the reflection in distorted manner. We don't have to do it perfectly okay. I'll add the colors here just to create some resemblance of the deer. Also add the reflection of grass plates. Okay, moving on, let us add some foliage on the tree branches. I'll simply paints, creating the appearance of the foliage. All these small dots will collectively appear as a bunch of foliages. Try using different colors for some foliage, I'll use black for some of them. I'll add in some darker brownish, red color, or black here. I'm going to add a darker tree trunk next. This is. Very dark color, closer to black and the reflection of this tree. Next, I'll be adding some foliage on the left part of the painting. So for that I'll just turn my bold so that it is easier to paint the leaves. I'm simply dabbing my brush and smudging it with my finger tip. So I'll let you observe while I paint these foliage. And here I'll add some tiny birds accompanying the deer. Lastly, I'll add some horizontal lines suggesting a sense of movement in the water. These are the ripples you could paint them using or red color. All right, we are done with this painting. Now let us peel off the masking tape and reveal the final look of the painting. There you go. This is the final look of the painting. I hope you enjoyed painting this with me. Also, do share your projects under the project's gallery. I would really love to see your artworks. All right, I'll see you in the next chapter. Until then, bye bye. 46. Day 12 - Colors & Composition: Hello. Before we begin our 12th project, let me walk you through the composition and the colors required. The colors needed are sap, green, burnt sienna. This is by Jello Mission. Next is burnt umber. Then we need black. If you don't want to use black, you could also use paints gray or indigo. As an alternate, then we would need paint scrap. These are the colors that you would need for the class. You could use any alternative color that you already have with you. Now let us talk about the composition of the painting. The orientation of the painting, paper is in portrait mode. In the foreground we have these grasses. It's a slopey land. On this we have a giant tree. This is the tree which has the tree house. We'll draw a simple house here with some fence, doors, and windows. Once we have drawn the tree house, we will extend the tree and fork it into multiple parts. Around this area, we have some other trees as well. The foliage of the trees appear like the pine needles. Now let me show you how to paint these pine needles. We'll paint some angular or straight lines forming the clustered foliage. You could even splatter some paints and smudge it using your fingertips. The branches goes like this. We'll fork it into multiple parts by drawing some wobbly lines. Don't try to paint very straight lines. That was about the composition of the painting. Let us move on to the painting session. 47. Day 12 - Dreamy Treehouse: Welcome to date 12 of the forest painting adventure. Today we are going to paint this beautiful tree house, mist the forest. Let us begin. We'll start by taping down the paper using masking tape. Gently tap down all the sites and make sure the paper is nicely stretched. Once you're done, run your finger over all the edges to make sure it is tightly sealed. Okay. Next let us sketch the basic composition of the painting. I'll begin by drawing two parallel lines, suggesting the tree trunk. Now, adding these supporting pillars for the tree house and the base part, this is a barrier or the fence for the tree house. Just mark some vertical lines and then connect them with simple horizontal lines. This is the fence for the house. Next I'll create a very simple tree house. Notice the angle between the roof. I'm adding these lines to make the roof appear conical, otherwise it's going to look flat. And then add the door and the windows. Now we will extend the tree trunk and continue its upper part, then fork it again around this area. We will add some more trees as are supporting elements in the painting. In the foreground, we have a slopy land with some trees. All right, that's about the sketching. Now let us move on to the painting part. I'm going to start applying water throughout the paper using a mop brush. Apply generous amount of water. Apply horizontal and vertical brush strokes, so that the water is equally distributed throughout the paper. We will repeat this a couple of times so that our papers good amount of moisture and remains wet for longer duration. Okay, next let us mix the colors required for the painting. I'm going to take a sap green and Burnciana, little bit of Burnciana, to make a slightly brownish green color. I've mixed this color in a thicker consistency. Next I'll paints gray in a separate, well, we'll take paints gray and apply it on the upper area, suggesting a misty vibe in the atmosphere. And then applying at the lower area as well. Next, let us take this brownish green mixture and apply over the slopey area. Observe the final painting, we have some tiny plants on this area. For that, we are going to paint the base area. As of now using the same color mixture. I'll be adding some midground trees also with the paints gray to have a slight variation. Once this dries, it is going to appear faded or blurrier in the background. But it will definitely add a sense of, or a sense of depth to the painting. Let's not skip it Adding some more trees around this area on the right side, I'll just dab this, creating an impression of foliage. Next I'll go over this gray trees, so that it has shades of green as well. Next on top right part, I'll dab my brush, creating the impression of foliage. Leave some spaces in between adding tree foliage behind the tree house, eg paints gray and add the shadow part in the foliage. Next I'm going to a darker green color. For that, I'll take sap green and burn siana. This is going to form a green color, almost like a black shade. Next we'll take our older color, which is sap green, and burn sianamidreen color. On the left side. I'll paint the tree foliage again. This on the upper part as well. Your brush should not have a lot of water in it, otherwise it is going to spread a lot and you won't be able to get proper shapes. Then I'll take this darker green mix with some black, and dab it on the foliage areas. This will create a sense of variation in the foliage having darker and lighter color mixes. Okay, next let us allow it to dry completely. You can either dry naturally or use a hair dryer to speed up the drying process. It is totally up to you, but if you're using a dryer, then move it around in different areas of the painting and use it in a cooler setting so that the color doesn't lose its vibrancy. 48. Day 12 - Dreamy Treehouse ( part 2 ): All right, the painting looks completely dry. Next, let us mix the colors needed for the next step. I'll take burn timber and burn Sana, mix it together to form a darker brown color. With this, we will paint the tree trunk. Carefully apply the color within the boundary I'm using size John Brush. Now I'll add some water, make the color slightly diluted, and paint the roof of the house. And with more water, I'll pull the paints down for the walls and windows area. We can define the shadow and highlight of the house later on. But for now, let's paint the base coat of the tree house. Next, we will mix slightly grayish blue color. For that, I'll take paints, gray burn timber, and ultramarine blue. I'll use this color for painting the midground trees. These trees will appear slightly because of the mist in the atmosphere. This tree is slightly closer to the foreground. I'll add a few strokes of brown as well. On the left side, we'll have another tree. I'll paint it using brown color itself. Folk the branch into multiple parts. For the main tree, I'm going to add a sense of shadow using darker color. Adding shadow will make the tree appear cylindrical. Rather than giving it a flat look, we are trying to make it dimensional. Next, I'm going to mix a slightly darker green color by mixing some green and burn Sana. You could also add a bit of black if you need. Now, with this darker green mix, let us paint the plants in the foreground area. You can paint this like palm tree leaves. Paint these in different sizes, or you could even choose different type of leaves here in this area. Having a base coat of green color really helps to bring out the essence of these plants and makes the overall composition looks fuller. Do leaves some empty spaces as well? So once you have painted some plant shapes, then you can randomly fill in the empty spaces in the backside. Now I'll add some darker brush strokes and also splatter some paints. Now let us add black to the darker green mixture. This will make a darker green color. I'll add this on the foreground, grassy part, only on some areas, this will represent the shadow areas. Next, let's take darker brown color by mixing burnt umber and black. I'll be adding the shadow part for the trees here. This adds depth to the tree and also defines its shape. At the same time, we will also define the tree house, adding darker color underneath the tree house, adding the same darker brown color for the door and the windows and also the fence. Next, let us take Berniana and I add some details on the roof part, adding some details on the other trees as well. Adding more branches to the existing trees, You can add them in any direction you want. Also, you could overlap the branches if you're using a size aid brush, then use the tip of the brush to paint the branches and tiny wigs. If you're not comfortable using a thicker brush, then go ahead and use a fine liner brush for thinner lines. Next, I'll switch to my fine liner brush, which is size two round brush. I'll use this brush to paint the tiny detailed foliage using darker green color here. Just add some tiny lines. We are painting some simple lines suggesting pine needles. Together, they will appear as pine clusters. You can even paint it like a star or an asterisk shape. You can paint these clusters around all the branches that we have here. Take your time and do it as per your pace. You could paint as many clusters or foliage as you want. There's no restriction as such. But once you're done, let it dry. This is going to be the midtone color of the foliage. Once we're done with this, we will allow this to dry so that it doesn't interfere with the next layer. Okay, so the colors are completely dry. Now let us mix the darker color. I add black to the existing green and we have darker green color. With this color mix, I'm going to add some more strokes of pine needles around the existing branches. This will make the foliage or the pine clusters appear more. Then you could add these pine needles on a new area as well. Doesn't have to be on existing branches alone. It's up to you whenever you want. You can add them next. I'm going to mix black with burned timber, making it a darker brown color. With this, I'll add some twigs, the branches. Since I'm using a fine line of brush, I can paint these tiny twigs on the outer ends of the foliage. This will make the tree appear organic and much fuller. You could also add some details like I'm adding some lines on the roof here and defining the windows. Adding some more branches on the trees. Now going back to the foreground grassy part, we'll add some more definition to the plants in the foreground. Now take darker green color and splatter some paints on the upper area, smudge it or blended using your fingertip. All right. Next let us paint the birds. I have used black color to paint the birds. Now I'm going to add some depth to the tree house. So I'll add darker colors only on one side of the house. Blend it using clear water so that we have nice transition from shadow to highlight. Adding the shadows will create a sense of depth in the tree house. You're almost done. Let me add some finishing touches to the painting. It's totally optional. I'm defining some of the tree branches here. All right, we are done with this. Now let us remove the masking tape, revealing the final look of the painting. There you go. This is how the final painting looks like. I hope you enjoyed this session. Please do share your final projects under the Project gallery. I would really love to see your artworks. All right, I'll see you in the next session. Until then, bye bye. 49. Day 13 - Colors and composition: Before we begin a 13, let me walk you through the colors and the composition of the painting. The colors needed are varied in hue. Or you could also go with a cooler green color that you have. Then we would need lemon yellow, this is a cooler yellow color. Then we have sap green, which is warm green color. Next is orange. Then we would need burned timber and burnt sienna. Then the darker colors, which is black and paints gray, we would need indigo as well. You could use any similar colors that you already have with you. Now let us talk about the composition of the painting. Somewhere in the lower half, we will imagine the horizon line. From there, we have a pathway coming towards the foreground. We'll draw the trees starting from the background towards the foreground. That is one aspect. Somewhere closer to the foreground area, we have this giant tree falling on the ground. We will try to make this as our focal element in the painting. Thus we have the name to the painting, which is fallen majesty. And in the foreground we have another huge tree, then some trees in the background area. We'll draw the branches for these trees because that covers the upper corners of the painting. In the foreground area, we have some grass plates. Now let us see how to paint this fallen tree. We will try to create a balance of highlights and shadows. We'll paint the lighter colors first, then add the midtone colors. Towards the end, we will add the darker colors. This is how we create depth and dimension in the tree. Okay, let's move on to the painting session. 50. Day 13 - Fallen Majesty: Hello and welcome back to day 13 of the series Forest Adventure. Today let us paint this beautiful painting called Fallen Majesty. So we will start by prepping the paper. I'm going to apply masking tape throughout the sides of the paper. Tape down all the sides so that the paper remains intact during the painting process. So once you're done taping down the paper, run your finger over the edges to make sure it is tightly sealed. Okay, so we're taping down the paper now. Let us draw the sketching or the composition part. Somewhere around the mid area of the paper. I'll be drawing this line marking as the horizon area. Then I'll mark the tree line. These are the background trees. Next, I'll start drawing the trees towards the foreground. We'll draw the trees in such a way that it appears like it is moving away from the foreground area. And then we have some other trees around this area. Don't worry if you're not able to sketch it. I'll guide you through each and every step during the painting process. Next, let us draw the giant tree fallen on the ground. The trunk is horizontally inclined, We will erase the pencil marks inside this trunk area. Then I'm going to add a pathway leading to the background area in the foreground. We have some more trees. All right. That is it for the sketching part. Now let us move on to the painting process. I'm going to apply clean water throughout the paper using a mob rush. Apply multiple brush strokes of water so that the paper absorbs more water and remains wet for longer duration. Okay, next let us mix the colors. First, I'll take Viridian hue. This is a cooler green color. You could take any similar color of your choice. I'll take this color in diluted mix. I'll be applying this on the upper part of the tree. This is going to be the foliage part in the painting. Just loosely apply this. Next, I'll mix the same color with the indigo and paints gray slightly darker version of this color. I'm going to apply the shadows for the foliage part. I'm not intending to define any tree as of now. Just loosely apply it, we can define it later on. Next, I'm going to mix lemon yellow with a bit of a sap green. This will give us a lighter green color. And we'll be using this same color mix for the foreground area. Again, loose brush on the pathway and on the sides as well, completely in the pathway area. Just some random loose brush strokes. I apply this color around the sides and in the foreground as well. Here I add this green color, suggesting the foliage. Now let us a darker grayish color. I'll take burn number paints, gray and Bridian hue around the horizon area. Let us add some darker colors to add a sense of depth. This depth is going to enhance the forest in the background. Once I have the base colors in place, I'll go over the tree areas to add another layer of the foliage. At this point, I'll try to define the shape of the trees. So here I don't want the colors to bleed inside this fallen tree, so let me lift the colors from this area. Now, we'll mix brown and a bit of violet to paint the tree trunk. This is just the initial layer I'm adding to the tree. We will add further layers later on. Then let me add the color on the foreground tree. Now using the same color, I'll be adding vertical lines in the background to suggest the tree trunks. Note that the color is not very pigmented. I'm using slightly diluted color, that it just creates slight impression of the tree trunks. Now I'll extend the tree trunks joining it into the ground area. So here I have some empty space, so I'll just blend it with this diluted color. Now for these bigger trees, I'll be adding the branches and I'll drop in some greenish color in the background area. Next, I'm going to mix sap green and lemon yellow To get a medium greenish tone, I'll use this color around the bottom part of the tree trunks. Next, mixing slightly darker tone of that color. Or you could simply take some green and apply on the sides of the painting. This will define the pathway towards the background area. Try to retain the lighter green color in the mid section. Now I'll take a, a lighter green color or directly lemon yellow, and apply in the mid areas and the foreground part. This will enhance the greenish color. I'll apply some strokes of sap green here. I'll just apply some random brush strokes depicting grasses. Then I'll take burnt sienna and randomly apply some brush strokes so that when it gets blended with the green color, it appears greenish brown. Next, let us mix a darker brown color. I've taken black and burn timber. I'll apply this color mix on the tree trunk. This will make the tree appear dimensional. Then I'll repeat the same for the other trees as well. Make sure to leave this tiny gap for the fallen tree trunk, adding this darker color on the branches. So I'll apply the darker color on all the background trees. The darker color has spread entirely on the tree. So I'll lift the color slightly to create a sort of highlight. I'll be lifting the color from the foreground tree as well, adding the crowd to the background trees to define their shape. Let us go back to the foliage part. I'll use a idian hue and paint some tree foliage. You can paint the foliage one, y one, or simply add some zigzaggitrokes to suggest the pine foliage. You can use a damp brush to lift the paints from certain areas defining the foliage. Now I'll take a green color and splatter some paints in the foreground area. I'll mix brown with green and use this darker color to splatter in the foreground again. Now we will allow this to dry. Once it is dry, we'll come back and paint the details. 51. Day 13 - Fallen Majesty ( part 2 ): Okay, so the paper has completely dried. Now, let us move on to paint the further details. Okay, so moving on, I'm going to mix burned timber and paints gray to make a darker color. Now with this color mix, I'll be adding some detailing to the background trees. Use the pointed tip of the brush. This will define the shape of the trees. The steps that we did earlier was to add a base color to the elements. This is to define them. All right, leave the empty space for the fallen tree and then continue painting the tree. Next, we will apply some colors on the fallen tree. I'll take orange and burn timber, apply it as the highlight color. We'll add the darker color later on. We'll repeat this for the tree on the left side as well. The trees that are closer to the viewpoint appears in the true colors. We are giving them these warm colors. Next, let us mix a darker brown color. So here I've taken a burn and burn timber. I'll apply this as the shadow color of the tree. This step adds a sense of depth in the tree and makes it look cylindrical. We have highlights and darker shadows as well. Next, with same darker color, we will paint some more new trees in the midground area. Next, take a very darker brown color by mixing black and burned timber, and add some more darker colors around the edges of the tree. Here I'll add some smaller branches in the tree. This will make the tree appear organic, adding some branches on the upper part as well, to show there are some branches outside of the painting frame as well. Next, I'll switch to my fine liner brush to add some fine detailing work. You can add some twigs and tiny branches in the palette. I have this brownish green color. I'll use this to paint the grass blades. Paint some simple vertical and angular lines that will collectively appear as grasses towards the foreground. Will add some larger brush strokes because it is closer to the viewpoint. As we go towards the background, we will add smaller lines. Now I'll go back to the tree branches and add some fine twigs and tiny branches. We'll fork them into multiple parts. Next, we will apply darker colors on the corners of the painting. I'll add the more darker colored branches. Because of this darker color on the corners, the lighter area will be glorified. This is the trick that I use in my paintings to make the paintings look vibrant. And it also balances the light and shadow part, which makes it look attractive. I'll add another layer of darker color to this fallen tree because this is the main focal element in the painting, darkening this tree over here. This adds more character to the painting, again, forking it into multiple parts. Here I'm adding some vertical lines on the tree trunk, suggesting a sense of textured effect on the trees on the sides. I've added more trees to make the painting appear fuller. Now let us add some grass blades using very darker green color to bring in a sense of balance and harmony in the grasses as well. Whenever I paint something, I make sure there are different tonal values. We need lighter color tone color and darker colors as well, without which the painting will appear incomplete. Next, I'll take ardian hue and splatter it on the foliage or the branches area. Once it is flattered, I'll spread it using my finger tip. This will resemble the foliage or the leaves on the trees. All right, so we are done with this. Now let us peel off the masking tape and reveal the final look of the painting. Slowly peel it off at an angle of about 50, 60 degrees. There you go. This is how the final painting looks like. I hope you liked it and also hope that you enjoyed this painting session. Do share your class projects with me under the projects. I'll see you in the next chapter. Until then, bye bye. 52. Day 14 - Colors and Composition: Before we start our 14th class project, let me walk you through the composition and the colors required for this painting. All right. So the colors needed are lemon yellow, this is a cool yellow color. Then we would need sap green, indigo, cobalt blue. Or you could also use indigo. Then we would need crimson, burned iana, and burnt arbor. These are the shades of brown I have here. Next is paints gray and then black. You could use any alternative color that you already have with you. Okay, so that's about the colors. Now let us discuss the composition of the painting. The orientation of the paper would be in portrait manner. In the lower half of the paper, we'll mark the horizon line. Around this horizon line, we have some pine trees in pink color. We'll paint them in multiple layers. Then we have the background foliage, this is present around midground area. Then we have the trees in the foreground and the midground area. The thicker or the trees that are wider are closer to the view point, and these thinner trees are around the middle ground area, and the foreground area is covered with grasses. I'll mark the foliage area using pencil sketching. This is to show the area where we have the foliage and the leaves. So that's about the composition. Let us move on to the painting chapter. 53. Day 14 - Blooming Woods : Welcome back to day 14 of the class forest adventure. In this session, we are going to paint this blooming forest painting. Let us begin. Firstly, let us prepare the paper for the painting. I'm going to tape down the paper using masking tape on all the sides. Here, I'm giving about a quarter inch of border to the painting. I'm using 1 " masking tape. Tape it down on all the sides and once you're done, just run your finger over the edges and let it seal tightly. Now let us start the sketching. Somewhere in the lower part of the paper, I'll mark these vertical lines for the skeleton of the trees and below that is the horizon. In the foreground we have some giant trees marking the trunk part of the trees. Then we'll have some midground trees as well. At this point, you don't have to worry about the exact sketching. This is just a rough skeleton. Yeah, that is about the sketching. Now, let us move on to the painting part. To begin our painting, I'll first wet the paper using my mob brush. Apply even coat of water throughout the paper. Run your brush a couple of times over the paper to make sure the paper has absorbed a lot of water and it will remain wet for longer duration. Okay, so we are done wetting the paper now lets makes the colors required. I'll take ultramarine blue in midtone consistency. Which means about 50, 50% of water and paint. Then I'll also a light green color which is lemon yellow and sap green mix. Have these two colors ready. Now take this lighter green color and start dabbing it on the upper part. This is going to suggest the lighter green leaves in the painting. I'll randomly apply this color because it is not so important. At the end, we just want a slight hint of lighter green color. Leave the empty spaces for the tree trunk. Next, I'll apply the same lighter green color for the foreground area as well. This will suggest the lighter green leaves or grasses on the foreground area. Okay, now I'll mix slightly darker green color using more of sap green. I'll use this color to apply some brush strokes on the foreground area. This area is going to be the grassy land around the tree trunks. You can refer to the final output here in the screen. Next, let us mix a pinkish color. I've taken crimson color and I'm going to mix it in mid tone consistency. Take this color mix and paint some pine tree shapes. Simply apply some zigzagi brush strokes. The tip part of the tree should appear narrow. As you paint the bottom part, make it wider in shape. The overall shape of the tree should appear conical in shape. This was the base layer for the pink colored trees in the painting. Next, let us take ultramarine blue, or you could also take coal blue. I'll use this diluted mix and apply randomly on the mid empty areas. This will suggest the background sky and the background trees. We will leave it up to the viewer's interpretation. Next, I'll use slightly darker shade of this color for the sides of the painting. Here we have already painted the green color. Next, I'm going to mix a bit, Go to this blue and apply on the sides around this green area. This will suggest the darker leaves and the background area in the painting using the same color. I'll be painting the upper areas leaving some mild green areas for the lighter highlights rest of the area. I'll cover it up with this darker color. This will act as the darker leaves in the painting. Use slightly thicker color to paint the darker paint. Using diluted color might spread very widely and may not create the shapes we want. Next, I'm going to mix green and burn Iana. This will create a brownish green color. I'm going to apply this around the foreground area, apply some random brakes in the mid area. Next we'll take darker crimson and apply another layer of brush strokes on the trees. This will create a depth in the background trees. Next, I'll mix crimson and Bonsiana to paint the lower areas of these trees. And blend it with the green color background here. At this point, I feel the green color is much lighter. I'm applying another layer of the lighter green color for the reserved areas. Here I want to make the horizon area. I'm mixing burnt timber and ultramarine blue, applying it around the bottom area of these trees. I want the upper area of the trees to be lighter and make the lower areas darker. Going forward, we are going to paint another set of trees with the wet on dry technique. Currently, we are painting the background trees. It's okay if it doesn't turn out that well in this layer, we can fix it later on. In the final step, I'm applying lighter green color over the green areas here, so that it appears vibrant. If your painting is vibrant, then you can leave it as it is. Mine appears a bit dull. Next, I'm mixing indigo with burned timber. This will make a darker gray color, black color. With this color, I'll be painting the background tree trunks. These are the trees that are in the midground area. It is going to appear much lighter once it dries, but I still feel the need to add them here at this point. Okay, Once you have painted these tree trunks, you can let it dry naturally or use a head dryer to speed up the drying process. I'll be using a head dryer for this. Use it in a cooler setting so that the colors don't lose the vibrant. Okay. I'll see you in the next chapter once the painting dries completely. 54. Day 14 - Blooming Woods (part 2): All right. The paper looks completely right. Now, Let us go ahead and paint the detailing work. Let us make a green color. I've added a bit of blue to make it more cooler in color. Now on the lighter green parts, I'm going to dab some random foliage like shapes. Using this cooler green color, leave some space, dab the brush and it will be resembled as the foliage can Take your own time to paint the bunch of foliage, I will be painting on the entire upper area, leaving some tiny spaces here and there. The idea of doing this is to have a fuller looking background in the painting. Moving on, let us mix midtone consistency of crimson color. With this color mix, we will be adding some depth to the background. Trees, Apply some crisscross zigzagi for the existing trees here. This will add dimension to the trees. If you feel it is more sharp, you can use clear water to blend it with the background. Next, I'll take burned timber. You could use any brown you have. And we will paint the tree trunk here in the foreground. We'll start with the lighter color. I'll apply brown on the left side tree as well. This is a base layer of the tree. Okay, now adding some darker colors on the sides of the trunk. Then we'll add a couple more trees in the midground area. Notice the position of the trees where it begins. I'm starting somewhere in the midground area. This decides the position of the trees. Next, let us take black and burn temper. This will be a darker brown color. I'll add this to the brown color on the tree trunk. The trees will appear darker, leave some spaces for the brown color as well. Next, take darker green color and apply some grass plates around the tree trunk. Next, I'll cover the foreground part with darker color so that the mid lighter green area gets highlighted Using burns as well, to add some patches of muddy appearance. Suppose you have any hard edges. Use clear water to blend it with the background. Using some darker green paints to splatter it on the mid area. I'm painting it very loosely and I'm not intending to define any shape here. Next, we'll mix a darker pinkish color. Take crimson and black and form a darker pink color. With this color, we'll paint another layer of pine trees around the horizon area. Draw a line, vertical line, and apply some zigzaggi brush strokes. This will suggest a pine tree shape. We'll cover this horizon area here, mixing slightly darker pink color. We will paint the pine trees along the horizon line. Next we'll take black and mix it with sap green, so this will form a very darker green color. With this we will be painting the branches on the sides of the painting do not cover the occur green foliage that we have already painted. This is only on the sides. We'll roughly paint the foliage shape and also add some branches, adding some foliage and branches on the left side. Then we'll do it on the right side as well. Paint it very irregularly and apply different type of pressure onto the brush. This will result in very organic brush strokes sell a darker brown color. And we'll paint some trees in the middleground area, hiding some branches to the trees around the root of the trees. Here the paints have spread because of the wetness I'm going to lift off the pains to get a nice detailed trunk part. Here I'll add some branches. You can simply add some diagonal lines making the area appear fuller and organic. So you can add as many tree branches you want. Adding some grass plates on the foreground area. Lodiobrush with some darker green paints and splatter the paints on the upper part. This will create some organic splatters which will resemble the tiny leaves. I'm painting some tiny leaf like shapes here. These tiny details at the end of the painting will make it appear as though we have thoughtfully painted the artwork. Now, time for some tiny branches and twigs. You can paint them in any direction you want. It is up to you. Okay, So we're almost done, but before finishing it off, we'll dry the foreground area so that we can come back and add some detailing work. Okay. So it is not done. I'm using my head dryer to speed up the drying process here. Use it in a cooler setting so that we don't lose the vibrancy of the colors. Okay, so the paints appear dry. Now I'm going to add some darker grass blades on the foreground area. Since it is closer to the viewpoint, we need to add some detailing work. All right, we are done with this painting. Now let us remove the masking tape and the veil. The final look of the painting, gently peel off the tape. There you go. This is how the final painting looks like. Beautiful, right? I hope you enjoyed painting this with me. Do share your final art works under the project's gallery. I would love to see your works. 55. Day 15 - Morning Glow: Hello and welcome to day 15 of the forest adventure. Today we are going to paint this glowy morning painting. So let us begin. I'm going to tape down the paper using masking tape. Take down all the sides neatly, and once you are done, run your finger over the edges to make sure it is tightly sealed. Okay, now let us mark the composition of the painting. This is going to be a dense forest painting. We cannot mark each and every tree that we are going to paint. But just for the reference and the placement purpose, I'll draw a few trees just to get a basic idea of what we are going to do in the painting. Once you have marked the size of the trees and the placements will begin painting. First I'm going to wet the paper thoroughly To perform wet on wet technique. I'm going to apply multiple brush strokes so that the paper becomes moist and remains wet for a longer duration. Here I am using 100% cotton paper, which has the ability to retain water for a long time. If you're using less than 100% cotton or ceulose paper, then you can break down the process into multiple steps, which means there will be a lot of drying and wet in order to achieve similar results. Anyway, I'm hoping that you're using 100% cotton paper so that you can easily follow along with me. Once the paper is thoroughly wet, you can lift off the excess water from the sides of the paper so that it doesn't interfere with the painting process. Next I'll switch to my size 12 round brush. Okay, so let us mix the colors needed. I'll take the low and mix it in medium consistency. Apply the paints on the upper part, leaving a tiny circular area. This is to suggest the sun in the background area. Now let us apply this yellow on the sides as well. Okay, next I'm going to take a bit of orange in midtone consistency, and dab the paints around the sun area that we just painted. This will depict the foliage in the background. Next, apply orange around the lower part. Next, I'll paint the tree trunks using a diluted orange color. Simply add some vertical lines depicting the tree trunks. Next, around the lower area, I'll apply some orange over that. I'll be applying some sap green. This will create a brownish green color in the background. You can do it very roughly. Doesn't have to depict anything at this point. Next, I want to illuminate the center part. For that, I'm going to add darker colors on the sides of the painting. Let's mix brown and some orange. I've taken burn Sana, burnt umber and orange. Now I'll use this color mix to paint the corners of the painting randomly, dab the paints leave some tiny spaces in between. This will depict the foliage in the background area. And because of the sunlit part, the center area appears much brighter. Now going back to the center sunlit part, I'm going to apply some lighter color to suggest some leaves. Then I'll add some yellow as well. Moving on, let us take any brown and a bit of paints gray to make a darker brown color, I'll apply this color mix around the sides of the artwork. If you notice, we are building a sort of layers in the painting, the brush strokes in different sizes. This will collectively appear as the foliage. Now around the foreground area, I'll apply some green and brownish paints. This is for the grasses in the foreground area. You can loosely paint any tree of your choice, or you could even paint some random leaf like shapes. Remember, you don't have to follow the exact same step, but I would rather suggest you to understand the motive behind the painting, these multiple layers. Next, let us take any darker brown color and paint the tree trunks. I'm painting the tree trunks only on the sides of the painting. I'll not touch the center sunlit area as of now. Notice how I'm avoiding to paint the center area that we will work later with a lighter color. Apart from that, you can create as many tree trunks you want in your painting. Now let us paint the sunlit part on the tree trunk. I'll take slightly orangish brown color and paint the tree trunks here. This is to suggest the light effect on the trunk part. Then I'll paint some additional branches around those areas. Let's add some smaller trees next. Let us add darker brown color on the tree trunk to add a sort of shadow and depth to the tree trunks. Now with this orangish brown color, I'm going to paint a tree trunk very tiny ones in the midground area. The thicker ones are in the foreground, Y. Next, I'll take darker brown color by mixing black on the sides of these branches. I'll add this darker color so that it looks and creates a sort of dimension to the trees. You can use a fine liner or pointed tip brush to paint these tiny branches. My intention is to create a dense look in the forest. Now in the foreground area, I'm going to define the shrubs or the plants by adding some darker green leaves. You can see I'm adding the shapes of leaves here. These are the tiny plants under the trees. Since these tiny plants are closer to the view point, we want to create a sort of definition in this area. That's why I'll add these branches and some leaves in the foreground part. All right. We'll allow the pants to dry. You could use a head dryer or let it dry naturally. Once it is dry, we can come back and add all the details needed. 56. Day 15 - Morning Glow (part 2): All right, the paper is completely dry. Now let us move on to paint the details using wet on dry technique. Next, take a darker brown color by mixing brown and black, or paints gray with this color. We will be painting the tree using wet on dry technique. With wet on dry, we get sharp edges and the color remains vibrant. I'll paint these trees with wobbly brush strokes so that it appears organic. We will first add the main trunk, then fork it into multiple parts. And around the upper area, we'll be adding the foliage and smudging it. Using finger tips for the foliage, you can simply dab your brush, creating these leaf like shapes. Make sure you're applying varied pressure on the brush so that it creates different size of leaves. Next, I'll take orange and a bit of brown, and I'll paint the tree trunk with this orangish color. These orange colored trees will suggest a sense of light on the tree trunk. Once you have applied the colors, use a damp and clean brush to lift off the paints from one side. This will create a glowish effect. Then I'll take brownish color to apply it on the other side. This will create a very dramatic effect in the trees. You can use this technique to paint the other trees as well. All right, now let us add the branches for this tree using orange color itself around the sunlight area. For the other parts, you can use darker color, adding more foliage on the left side a orange color. And we'll paint the trees around the mid area, the area where we have this white sunlit part, we will paint the trees using orange and brown color for the sides of the painting. We will use darker color for the lower area of the sunlit part. We need to use a brownish color carefully create the transition between orange and brown color on the sides of the painting. I'll add some darker brown branches. Next, I'll add branches on the sides of the frame. This means that the actual tree is outside the painting frame and only the branches are visible here. Here, I'm adding these branches very wild and loosely that it depicts a sense of dense forest vibe. Moving on, we will add some plants or shrubs in the foreground area using darker green color. I'm adding these tiny leaf like shapes to suggest these plants. Next, I'll add some more trees in the sunlit part. This is going to make the painting appear. A bit more sophisticated using orange color. I'm painting these branches. You could go with loose brush strokes. As we approach the lower part of the trees, we need to use brown color or darker brown. Darker brown suggests the shadow part in the tree and the brown color suggests partially sunlit Ada. Now let's mix darker brown color and give some border to these trees. This will make the trees appear dimensional. Next time, Going to splatter paints, you could use brown color and also black color for different kind of platters. It creates an organic appearance of leaves in the painting in the foreground area, you could splatter some green color or black color. Now we're almost done with the painting. You could step back and look at the painting. You could analyze if there is any missing element. I'm going to add border to the trees here. This will add more depth to the painting. I'll also fill in some empty spaces suggesting the branches for the mid area. I'll splatter some orange color. If you have splattered around the white segment, you can lift it off using a napkin or a tissue paper. All right, we are done with this painting. Let us remove the masking tape. There you go. This is how the painting looks like once it is done. I hope you've enjoyed painting this with me. Do share your projects under the project gallery. I'll see you in the next chapter. Until then, bye bye. 57. Day 16 - Colors and Composition : Let us discuss the colors needed for day 16, the first one being indigo. Next, we would need paints. Gray, ultramarine blue, sap, green burned timber, burn siana black low as your blue. Or you could also go with cellular blue. Note that you don't have to use exactly these colors. You could go with any similar color of your choice. Now let us discuss the composition part of the painting. In the lower half of the paper, we have a water stream flowing through the pine forest. And we'll draw two angular lines suggesting the water stream around that we'll be adding or drawing these pine trees on the sides of the painting frame. We have these huge pine trees whose actual body is out of the painting frame and we can only see the foliage part. Then behind these we have mid ground and background trees, those are farther away from the viewpoint. We'll paint them in a much lighter color. I'll show you how to paint the pine trees here use diluted green color for the base. We'll be painting the trees in multiple layers. We'll paint the first layer using wet on wet, and the second and the third layer using wet on dry. For the third layer, we will use a concentrated tone. This makes the tree looks complete with all the lighter and darker colors and makes it appear very beautiful. All right, let us move on to the painting chapter. 58. Day 16 - Pine Stream: Welcome to Sisteene of the class forest adventure. Today we are going to paint this beautiful string passing through the pine forest. Okay, so let us begin by taping down the paper. We will tape down all the sides of the paper using masking tape. Once you're done taping down the paper, run your finger over the edges to make sure it is tightly sealed. Let us do the sketching part now. We'll mark the compositions roughly at the bottom part of the paper. There is a stream of water flowing at a diagonal angle on the boundaries of the water stream. We have some random elements like grasses, rocks in the foreground. We'll mark some grasses around the midground area. We have the pine trees surrounding the water stream. You can draw a straight line and then mark the zigzaggi shapes to suggest the pine tree. We are roughly drawing the shapes of the trees on the sides of the painting frame. We'll mark the foliage of, of the pine tree. We'll do it on either side. The main body of the tree is outside of the painting frame. Then we will draw some partially submerged rocks in the water. Okay, next, let us start with the painting. I'm going to apply clean water throughout the paper. Use a large brush to apply water, it will be easier to cover the larger area. Apply generous amount of water. Let the paper absorb good amount of moisture so that it remains wet for longer duration. Keep applying water and run your brush in to and from motion. At the end, we will wipe off all the extra water that's there on the paper. We don't want water puddles remaining on the paper. Now, I'll take a masking tape or you can take any object and keep it under your paper that we have a slight tilt during the painting process. I'll take go in a thicker consistency. Now, take a small amount of color, add water to make a diluted consistency. Now to this diluted mix, I'll be adding a bit of ultramarine blue to paint the sky. You could use any color for your sky. Now leaving some small gaps. I'll be painting the sky. My sky will be blue in this painting. To spread the color, I'll turn around my board so that I get a nice flowy effect in my sky. I'll take this concentrated indigo color. With this color, we'll be painting the background tree line. Take a napkin and keep it handy. We will need it to wipe off the paint during the painting process. Now I'll hold my brush in a very slanted position and dab off the paint to create these pine tree shapes in the distant area. Now with the clean rush, I'll pull the paint down. This will help us to blend this element into the atmosphere. Now you can go over the same segment and add some pine trees to add some more depth in that area. Next to add some further depth, I'll add another layer of pine trees. Now you can a slightly lighter tone to add some more layers of pine tree in the background. Next, I'll add some darker colored pine trees. Here we are trying to add a sense of tonal variation. We will have different tonal values of the same color, indigo, which will bring a sense of harmony in the background area. If at all you have achieved any patchy appearance, you can use clear water to blend it with the background. If you want to achieve some lighter effect, you can use lifting technique. Next, let us paint the trees. So I'm going to mix green color. Take Sam green and a bit of yellow. I'll take this color in a slightly midtone consistency and apply the paints in zigzaggi manner. This is the base wash for the trees. I'll apply this paint on all the trees, applying it on the foreground area as well. And leave some space for the stream water next. Right above this tree area, we have some empty space, right? We will add some midground trees using a bluish color. I'll be using indigo and a bit of green. With this color mix, I'll be adding some bigger trees around this area. I don't want the empty space here fill in this white space with the blue color. Once you have filled in this empty space, we will ache a darker tone of indigo and paint another layer of trees here. This will create a sense of depth in the trees. I'm painting some zigzagi random brush strokes. We need to do it for all the u, darker blue trees we have painted. And we will add some darker lines in between the green areas as well towards the foreground area. To define the green tree, I'll be adding some shadow parts. We'll apply some darker indigo color in the foreground area. Then we will apply this darker paint along the boundaries of the stream water. Next, let us paint the water. I'm taking azure blue and ultramarine blue makes and applying a diluted mix of this color. This will give a slight blue hint in the water. Rest of the area will blend it with clear water. If you feel any sharp edges, you can blend it using a clean, damp brush. Now, we will allow our paper to dry completely. Once it is dry, we will come back and add all the details to our painting. 59. Day 16 - Pine Stream (part 2): All right. So the paper is completely dry. Now, let us add some details on the trees. I'll take green color, sap green. Add some burn Iana to it to get early green color. Okay. If you want to make it a little more darker, you could add black or paints gray. This darker green mix, I'll be defining the tree foliage. You can add some random zigzaggi lines. I'll be painting the foliage one by one to all the trees. You can add one main line and then add the foliage by adding multiple angular lines. Notice my hand movements and the brush strokes, how I'm adding these lines here, There is no pattern as such. One thing you need to make sure your brush doesn't have lots of paints in it. You need to wipe off all the extra paints from the brush in order to get the crisp lines. We will repeat it on the other trees as well. This is the second layer. Once this is done, we will add even more darker layer to build that sense of depth in the tree line towards the bottom area. We will add some more brush strokes to make the area look fuller. You can apply these brush strokes in various tones. Like for some areas, you can apply lighter color. And you can go with darker tone. The area where we have these blue and green trees, I'll add some darker color trees so that there is a nice balance between the transition. Here we will paint a tree using a darker color. You can use indigo or black. Let us add another layer of foliage with darker color for any element or painting to. Appear complete and beautiful. We need to have a sense of tonal balance. That's why we are using lighter tones, mid tones, and darker tones. The foreground area, I'm trying to define a separate pine tree, smaller in size. Now let us go to the left side trees and add another layer of details. Here I paint two different trees overlapping with each other. I'll apply some darker colors on the bottom area of these trees. Next, I'll take azure blue and ultramarine. And you find the, I've applied the color on the boundaries. Next, using my clean brush, I'll spread the water. Next, take any darker color. You could take black or indigo for darker green as well, and apply it along the boundaries of the water stream. This will bring out the essence of the blue color in the water. Now using a darker color, I'll be painting some pine trees along this boundary. Now we will take a darker brown or black color and paint the partially submerged rocks in the water. Now I'll use my head dryer to dry these rocks. I'll be building multiple layers on them. Once these rocks are dry, you can use a darker color to add some shadows on them. Now let us add some birds. These are optional. Add them only if you want. Now, I'll add some final touches to the trees. Here you can add some tiny twigs or defining leaves. All right, so we are done. Now, let us remove the masking tape and reveal the final look of the painting. There you go. This is how our painting looks like. I hope you have enjoyed painting this with me. Do share your class projects under the Projects Gallery. I would love to see your works. Okay, so I'll see you in the next session. Until then, bye bye. 60. Day 17 Colors and Composition: Before we begin our 17th project, let me walk you through the colors needed and also the composition part of the painting. All right, the colors needed are lemon yellow. I'll be using a cool yellow here. Then we would need sap green. You could also use Hookers green or any mid range green. Then cobalt blue, ultramarine blue, ultramarine blue. I've used for the sky, but at the end the sky is not that visible, you can skip it. Next is burn Sana and burn timber. I've used this color to achieve a brownish green color. Then we have black and paints gray. I've used black for the sides of the painting frame to paint these darker foliage. Next is azure blue. I'll use this to get blue hue in the water. Next we would need a white crayon or oil pestle. If you don't have this, you could use a candle or a wax stick. Now let me show you how this works. Apply the wax over the desired area. When we apply paints over this section, this technique will help us preserve the white area of the painting. You can see when applying paints, it will leave that white section as it is. This is very helpful to get plain white areas, especially when you want to paint something very loosely. Next, let us talk about the composition part of the waterfall painting. First, I'll mark the area for the waterfall. Then around the waterfalls, I'll be marking the area for the forest part. Then at the basin of the waterfalls, we have these rocks. From there, there is a water stream. The waterfall is flowing towards the foreground. Around the sides of this flowing water, we have some rocks and grassy shapes, and on the sides of the painting frame, we have these darker silhouettes covering the entire scene. I'm shading the part to resemble the silo, the tree foliage that has covered the painting frame. Okay, now for this waterfall part. I'll apply the oil pastel around that area. Will be applying the paint around the waterfall. We have these forest area on the sides of the painting frame. We have darker foliage. These darker trees are closer to the foreground area and there is lack of light. We are painting it dark. The light is being reflected on the midground area, which is the waterfall and the trees around it. Next, I'll demonstrate how to paint the midground forest area. I'll go from light to dark. I'll apply lighter green paint as the base coat. This will be the reflected lighter leaves. Next, I'll use a mid green color. We'll apply a few brush strokes and some tiny strokes on the lighter part. Next, we will mix a darker green color. I'll use green burn, cana, and black. I'll use this for the darker stone. So when you apply lighter tones, mid tones, and darker tones, we get a nice balanced composition. This is how we paint the forest in the midground area. You could paint any shapes by using this technique. That's about it. Now let us move on to the painting chapter and learn everything in detail. 61. Day 17 - Jungle Waterfall: Welcome to day 17 of the class forest painting adventure. Today we are going to paint this beautiful waterfall in the jungle. Okay, so let us begin. I'll start by taping down the masking tape. Taping down helps to keep the paper intact during the painting process. Once you're done taping down the paper, run your finger over the edges to make sure it is tightly sealed. Now let us start with the composition part. I'm going to do some basic sketching here. This is going to be a waterfall painting. I'll roughly mark the area for the waterfall. Draw it very gently, we do not want darker pencil lines. And then around the waterfalls, I'm going to mark some areas for the forest, and then I'll draw some rocks. The waterfall is around the mid ground area. The foreground area is covered with trees and some rocks. We will have the water flowing through the foreground area. Next, I'm going to take this white tons and I'll apply this around the waterfall area. If you do not have white ions, you can also use candle wax. Apply this wax on the foreground water area as well. The reason behind applying wax is to resist the colors from being applied on the paper. This technique helps us to preserve the whiteness of the paper without absorbing any color. Next, I'll take my brush and water spray bottle to wet the paper. Here, the purpose is to make the paper entirely wet. Now using my mom brush, I'm spreading the water throughout the paper. Apply multiple brush strokes and make sure the paper has absorbed good amount of water, that it remains wet for longer duration. I'm applying vertical and horizontal brush strokes to make sure that there are no uneven puddles on the paper. Now let's take any blue color. I'm taking ultramarine blue and I'm painting the background sky here. A few diluted brush strokes are good enough. Next time, switching to my size eight round brush, we'll take paints gray and mix it with water. The paint and water ratio is one is to one. Now we'll apply this mix. On the rocks as the base layer, you can leave some wide spaces to suggest water. And we'll apply this mix for the rocks around the foreground area. For the waterfall part, I'll apply some vertical brush strokes in between, suggesting the underlying rocks around the waterfall. Next, I'll take the same paints gray mix. Apply on the upper part to suggest a distant forest in the background. Next, with a clean damp brush, I'll lift some of the paints from this area, giving a variation in the background forest part. Next, we will mix two shades of green. One is mid green color, another one is lighter green. First, I'll mix mid green by taking more of sap green and very little amount of lemon yellow. Next is more amount of lemon yellow and a bit of sub green to get a green color lodo brush with lighter green. And as the base coat for the forest area, I'm applying this lighter green very randomly. This will act as the highlight in the forest area. Next, a cooler green color, I'll take Cobol blue green to this, this will form a cooler green. I'll use this color for the farther part of the forest. Apply this color and blend it with the lighter green part. We are only applying this around the origin of the waterfall area. Next, let us take sap green. I'll use this color in a slightly thicker consistency and apply it around the midground area. Leave the lighter green areas for the highlights and randomly dab the colors. This is the base coat for the shadow parts of the forest. The lighter green was for the high light part. The sides of this painting will be covered by trees. We don't have to add all the lighter colors on the corners. I'll be using diluted paints, gray and paint the sides of the painting tile. Take azure blue and apply some horizontal brakes to suggest water flowing through the foreground. You can apply some horizontal brush strokes and then apply water and blend it into the background. I'll also apply a few brush strokes of blue around the waterfall area. If at all you feel you have applied darker tones, then you can use a damp brush and a napkin to remove the extra colors. I'm lifting some darker paints around the waterfall area. Next let us makes a very darker green color. I'll use Sam, Green, Black, and burned Siena. This will give us very dark green color, which are ideal for the shadow parts. Now take this color and apply some random brush strokes on the top part of the painting. This will suggest the darker trees surrounding the whole waterfall and the forest area. O, for the left and right side, I'll apply some random lines, suggesting the tree branches. Use the tip of the brush to get thinner lines. If not, you could go with the fine liner brush. Then I'll randomly dab the brush to suggest the darker foliage around the foreground area. The area around the viewpoint is darker, thus the trees are also darker, the sunlight falls on the midground area, that's why we see those lighter highlights. Next, I'll mix a darker brown color by taking a burnt umber and paints gray. I'll apply this for the rocks around the foreground area. Then I'll use the same darker color to paint the rocks around the water fall area and some darker color around the basin of the waterfall. I'll also cover the foreground area with darker color. Okay, so we will allow this to dry completely and then add all the required details once it dries. 62. Day 17 - Jungle Waterfall ( part 2 ): All right, now the paints have completely dried. You can touch your paper and see if it has dried or not. Okay, so let us move on to painting the further layers. We'll start with the distant forest. Now let us mix the colors. I'll take lemon ello and a bit of sap green to make a lighter green color. With this lighter green mix, I'll start painting the layers on the distant forest. Will damp the colors on lighter green areas and then smudge it so that it blends with the background. You don't have to cover the entire area. Just some random daps would be enough. Next, I'm going to paint some darker colors above the waterfall area because I want the white color to be enhanced. That's why I'm adding background area. I don't want it to appear as a blob of paint. I'll blend it with the background by applying clean water. Then to make it more natural, I'll dab some darker paints as well. Next, I'll take sap green and mix it with the existing darker color. It's slightly darker but not very dark color. We'll apply this color mix onto the green areas. This will suggest the midtone areas of the foliage. Make sure to leave those lighter green areas and apply the paints around them. I'll use my fingertips to smush the paints for easier coverage. I'll repeat the steps on all the mid green colors. Once this is ready, then we can add the darker hues. You can keep wearing the midtone greens by adding or removing some green paints here. I'm leaving the lighter green color to some extent, and then applying this darker color towards the foreground area. I'll paint some random lines suggesting grass plate effect. Going back to the foliage part, I use the tip of my brush to create these various effects which will help us make the foliage look organic. We are trying to create some random leaf like shapes. Next, let makes darker green color. So I'll take green burn, siano and black. You could also use paints gray if you don't want to use black. Now we are adding the darker shadows on some areas very randomly. We don't want to cover up the lighter or mid tone greens. Once we add this darker color, you can see how the lighter colors are glorified. That's why it is very important to create a balance of lighter and darker tones along with the mid tones as well. Although I'll try to keep the darker colors in the midground area very minimal here. The trees in the foreground area will be darker and the midground area will be comparatively brighter. We'll get to the foreground part later on, but now let us fit the midground areas here. I'm trying to define a shape for the foliage here. You can try to make some set of green foliage patches by adding the boundary using this darker green color. I'll use a darker color to paint some grass blades around the foreground area. Now splutter the paints to create some random effect. Next, I'll use a lighter green color to add the highlights on some of the areas where lighter green is missing. Like I said, a sense of balance is very important in a painting. Next, let us take burnt umber in a midtone consistency and apply it around the rocks in the foreground area. Then I'll also apply it around the mid ground area. The wax we applied earlier is resisting the paints and leaving some white highlights. I'll use banchana and burnt umber to paint the areas of the rock. Since it is closer to the viewpoint, it needs some detailing work. If you have applied very sharp edges and dark patches, you can either lift the paint or blend it with clear water. There is always a solution to fix something that went wrong using diluted green color, very diluted, and apply it around the waterfall part to add a sense of depth to the water. This will make the water appear dimensional rather than appearing flat. Next, we will add some depth on the rocks near the waterfall, darker color to add the shadows there. Using a darker color to balance the waterfall part here, I'm simply following my intuition to fix the things. There's no reference or anything as such. Next, let us add some rocks that will be partly submerged in the stream of water. Moving on, let us paint the foreground trees. First I have darker brown color. To paint the trunk and the branches, I'm using a dark brown color paint, some overlapping brush strokes suggesting the tree trunks and branches overlap with each other. I'll darken the area around the foreground part and paint the thicker trunk starting from the foreground. Bottom part. I'll cover the sides of the upper part. Next, take this brown mix and mix it with sap green. We will get a very darker green color. Now with this darker mix, I'm going to paint the leaf shapes on the upper part of the painting. This will suggest that the area is covered with the foliage. You could do it one by one or apply some random brush strokes suggesting the foliage. I'll repeat this on the branches in the sides of the painting. You could paint some smaller leaves as well. This will bring a sense of variation and I'll add some leaves around the mid area. Tell switch to my size two rod. With this I'll be painting the tiny branches and twigs. Paint some wobbly and criss cross lines suggesting the branches. Next, I'll add some leaves and foliage with this brush. Since it is a smaller brush, we will get some smaller leaf shapes by dabbing the brush. I'll be adding some brushes in the foreground area, suggesting the grass blades. Wherever you have some green area and some empty spaces, you could add these brush strokes suggesting the grass blades. I'll be adding some details around the midground area. You can observe your painting and see if it needs any detailing. Work next to the net to make the water fall more intense and vibrant. I'll be using this white crayons and apply some strokes of this color. If you do not have a crayon, then you can go with the white gauge or acrylic. Next, I'll use darker brown color and apply some detail around the midground area, adding some darker color on the brown areas to give some depth to the rocks that we have painted. All right, so we're done with this painting now. Let us remove the masking tape. There you go. This is how the final painting looks like. Isn't this beautiful? I hope you enjoyed painting this with me. Do share your class projects under the project's gallery. I would really love to see your artworks. I'll see you in the next chapter. Until then, bye bye.