Learn to Paint 10 Expressive Sky and Aesthetic Clouds With Gouache

1. Hello & Welcome Back: Do you have a lookup to the sky and find the clouds dancing to their own tune. I'm looking them dance. You feel like dancing along with them to their tool. At times when I look up to the sky, they seem to be spray painted by an artist. Hello everyone. I'm a marshy the barrio, a chartered accountant, and an artist based in India. It has been teaching us for more than a year now. And it's the best relaxation and best thing that I love to do. I vote majorly with gouache and watercolors and randomly explore acrylics at times. You can follow me on my Instagram handle, creating from the heart where I share all of my other words pertaining to gouache, watercolors and acrylics. This ten day paint expresses sky and cloud class. We are going to be painting in ten different aesthetic skies. I'm going to be guiding you through all of the different kinds of gouache colors that are available. What you can begin with the as a beginner and how to even be wet your brush beans or get them back to their perfect consistency using in some basic tools. I will even be guiding you through the other materials that we will be using for the class and also the color mixing part for each of the class projects as we move ahead into this ten day class, right? Understanding the rewriting of the gouache paints. We're even going to understand how you can use them and for what Deming's, we are also going to learn in the perfect blending of the squash and also the perfect consistency, how it is to be used easily and smoothly. As we will be progressing through the class, I will be guiding you through all the basics about gouache, from the blending to creating in the tonal radiations and of blending of two colors. And how to avoid certain colors being formed because of blending of the two colors. I'm going to be guiding you through each step in detail before beginning our class projects for the one. Along with blending, I will even be guiding you step-by-step through creating in the tonal variations of colors with gouache, using in water and using in the white gouache and understanding what works better. Since this class is more focused on clouds and sky, we're even going to be having an aseptic technique section for discussing in the different kind of basic plots that you can use for adding into your paintings. And also understand the blending of ten using indifferent tools such as flat brush, round brush your fingertips, as well as learning to add in some filler clouds and some rough clouds as well. I'm sure by the end of this class, you would love painting in skies with quash and creating the perfect loads. The data further ado, let's dive into the class and begin painting in these pretty erratic sky with those beautiful clouds. See you into the next lesson of this class. 2. Materials Required: So before moving ahead, let me discuss with you all the materials that I will be using in I will be using in this Ba Hong hot pressed people. This is approximately five inches by seven to eight inches in size. This is hot press that is, it has a very soft surface, as you can see. It does not have much green or texture and it's perfect for the gouache paints because gouache paints glide smoothly on such surfaces. Next, you would be needing in a set of gouache paints. I have discussed much detail about the gouache paints in the next lesson that will help you decide on the type of gouache paints you wish to go ahead with. Next, you would be needing in a palette for mixing your paints and two jars of clean water for each of the class project. Apart from that, you would be needing it some draft towels or some tissue papers for dabbing in some pilot as well for taking out the colors I will be using in a separate palette for the whitewash because we will be needing in whitewash for almost each of the class project. You will be needing in masking tape to tape down your paper. You can go ahead and use any masking tape that is available at your end. Next, you would be needing in a few brushes of you, of the round flat and some detail brushes. Through each class project I will be guiding you through the kind of brush that I'm using in, I will be using in this boils round brush a lot for adding in the greenery details easily, I will show you in the class project how you can use them to your advantage. These are all the materials that you need for these ten day class project. In the next lesson, we will be discussing much more detail about the gouache paints available. 3. Let's Know Gouache : Now let's dive a little more deeper into the different kinds of quash that are available and that you can use. First one that we will be discussing about is this set from the band neighbor palette. This set comes in a set of 1612. These are 20 ML bottle each, and the colors are in a jar format in this brand. You can simply use a spray bottle and wet the paint if the paint is dry inside the button and they are much easier to store and use. This also helps and as useful and you want to use in a lot of color, or you don't have to save the colors and keep them safe. Again. Among the 16 sheets, there are two sets of light photon in this set because you need a lot of white when it comes to gloss for blending purposes and for creating and different tonal values. Unlike watercolors, you need black color here as well. Plus, you need a lot of white because unlike watercolors, you cannot use in water March to create the lighter consistency of the color you need byte worth to adjust the tonal values. Let's move on to the next set. The next set is this hemoglobin, which is by the brand Mia. He meet. It comes in different sets in it comes in sets of 182456. Your isn't set off to an add-in colors that I'm using in. These are similar like the False run. That is, you don't leave that in Jelani Cobb format for this also, you can simply use in a spray bottle and re-read the paints again, if the paints are drying, in both of these formats, that's the bottle and these Jenny cups, it's very easy to be wet the paints and use them again if they've dry, which is not the case when it comes to the tube, it means you are, you can simply be with them easily and I believe in further be showing you how you can, you know, get the perfect consistency against by using in water. This set as well has two sets of white again, because as I told you, you need a lot of white when it comes to watch for feeding in the tone and variations. So these were the first two sets and these are very student-friendly and even economic benefit anyone to buy and move ahead. The court said that I have is this premium gouache set, which is a little costlier as well. Plus it is very premium when it comes to the pigments of these colors. These colors are into format. There are a lot more details. Denote your visa, 15 ML tubes each that are pigment colors. You didn't. This is a set of 34 and this set does not have a white and a black gouache. You can simply use a white gouache and a Blackboard separately. There are different brands will have the white and the black wash available separately in tubes as well as in bottled format. This premium set, you can see all the port cities also asked to get the price or details from their side as well. These are the three sets that we are comparing in today. One being in the border format, the second one being in these Jenny cards, and the third one in the tube format, you even get student grade paints or lesser, of course, Neo pains in the tube format as well. The only issue when it comes to the tube paints is that once the GI inside the tube, you cannot rewrite them or get them out or use it in any way. That's one benefit when it comes to these pains in the button, the jelly cup format. Now we're going to see how you can easily get the perfect consistency of these paints again. And you can see in the portal format the color or a little jive samples just going to spray in a little water and let it sit for a little while so that the paints getting a little wet and the water seeps in a little. When it comes to these jelly caps as well, I'm just going to spray in a little water over it and wait for it to settle in. And then using an a palette knife, I'm going to get these paints back to their original consistency. Now, I'm just going to be using in this palette knife and I'm just going to mix these paints again into this button and get them back into their original consistency and they will be very good and perfect to use again, in-between you will notice that there will be a few lamps that will be formed because the Sabines trained in. But once you keep mixing it with the palette knife, you will see the lamps disappearing and getting in a perfect smooth paint to use it again. Again after some time these paints may dry and because of the, you know, why should it around or because of keeping in the button open or not tightly packed. But again, you can simply adding water and get them back to their consistency. In the same way, the jelly cap on which we split the water, then we kept it. We are going to get this as well into its original consistency. Suggest using in the palette knife, I'm going to mix this as been, the water a, dives a little deeper when you get to set the link part a little time after spraying in. This makes it easier to blend the colors again. So this is the benefit about using in the flash in these cup and water format. But the problem with this is that they are not high-quality pigments. Hence, they are suitable for practice purposes or for big nose and they are economical as Ben. Another important tip to remember while reweighting these planes or getting them to their perfect consistency is that do not add a lot of water. Because if we'll add in a lot of water, the paints will lose they are or opacity. And it will be very difficult to get them all to have an opaque look on paper. Now the third way, when you have paint leftover onto your palette or onto your palette as well. On those also, you can simply be read them using in little water and they are also perfect to reuse again. So you can see I have a few of the gouache paints out on my palette, which I'm just going to simply leave it, I'm going to use it. But I recommend using in this palette pins again only for detailing purposes. Because for the BCR, if you are looking in for having perfectly opaque layer, it's very important to have the color with very less of water. Some pigments still will stay opaque like this orange you can see it is still a big despite using it by the re-weighting technique. But you are, if you see once I leave at the green color, it will not be that a bit because of pigment contested in this green color. Accordingly, depending on the opacity of the paint if you're using from your palette, you can decide whether to use them for the base layer or for detailing, depending on the opacity of your details or the BCR that you need it. Make sure for anything you do not use a lot of water when it comes to watch. Otherwise the opacity will be lost and it will be very difficult to get these paints back to their natural obesity. That is about the details of the different gouache, how you can be with them using a spray bottle brush or a palette knife, and how you can get them back to the original consistency and reuse them easily. If you are someone who's just beginning with gouache and just wants to invest a little and go ahead and practice it. The human core set and the neighbor palette set or the profit investment for you. Let's move on to the next lesson now. 4. Technique - Creating Tones with Gouache: So before moving ahead, let's understand how you can get different tones and values when it comes to guage. So there are two ways. One, you can keep adding in little water to the paint seconds. You can use invite guage. So let's try with both the methods and see what suits better. So I'm using in the city Lynn blue color. And first method I'm going to keep adding in little drop of water with each stroke that I keep adding in to this. I didn't do color out on the edge. I'm just keeping him adding a little, little drops off photo and trying to get in different tonal values. Let's see five to six different bad news by adding in water with each stroke out to you. It comes to using in the tonal values with water, you can see with every stroke the color is stoning lighter, but you will also notice that the underneath the paper can be seen as the strokes are going in light up, the tonal variation is visible. But along with that, the opacity of the paint is also going down because of the water content, pink increased into these pins. Now in the next one we are going to be testing in the same method using invite wash instead of water. I'm going to use in the same setting in Luke colors so that we can see a notable difference in-between the methods. Now, first I will against watch the color did I believe without adding in March of water just enough forgetting in the perfect consistency. Now with every stroke, I'm just going to keep adding in white quash little violet into it, just as we kept adding in water. With each stroke, you will notice that you are getting in a different tonal variation to the base blue color that we're using in. But along with that, you will also notice that we do not lose the opacity of the base when we do it with the whitewash method. That is why in the beginning when we were discussing in the different types of gouache sets available, I told you that having in a white gouache is very important because to get into different tonal variations, plus forgetting in the perfect blends in-between colors without farming in muddy tones or any thoughts I can recolor. Now you can see as I'm keeping on adding in more of the white, the color is going lighter as compared to what it was going when we were doing in with the water method. Plus we're not losing onto the opacity of the paint. The bottom paper is not visible and the paints stay open. Hence, I always recommend and I would recommend to you as well, to go Ahead for using invite gouache when it comes to getting into different tonal variations for the gouache paints, because with water you will lose the opacity and the variation will also be very little less seeds. But when it comes to white gouache, the opacity will also not be lost. Plus you will get better results and better blends between the colors by using in the white brush. I'll always using whitewash or blending as well as forgetting in the different tonal variations by using in this squash beans. Now in the next lesson we are going to be discussing in about blending wash in the right consistency. 5. Technique - Basics of Blending: Now that we have seen the different kinds of gouache set, let's understand the consistency of the gouache or using them perfectly enough being things I am using in this set of hemoglobin. So I'm just going to show you the different consistencies that you can use them in. How to understand whether the gouache isn't right consistency. I'm just picking up some of the pink color. Now first I'm directly using it from the palette you can see on the pallet itself, I had tried to leave it. But the first tool, the color becomes a little harsh to spread and it's very difficult to get into this mood spread easily. Now next I'm going to just add in a little tip off water onto this palette where I have fording the pink color. Now you will see that when I add in just little trouble photo, the color consistency becomes much better and easier to spread. And with every stroke you can see it's much easier to blend in and get this smooth spread of the color. Now next I'm just going to dig in a little of the color from the palette without even dipping my brush into water. Now, you can see the paints are not spread in ease and eat. You are getting in so much of the white and the dry brush which you do not need when it comes to adding in or blending in the wash into the false base layer or creating NPV skies and blends between the fellow. So it's very important to get the gouache in the perfect consistency so that it spreads easily and smoothly. Now in the same way, let us blend two colors and see how easily you can blend into colors in different techniques. The first fellow that I'm using is the city needs new color. You can see the perfect consistency, the beans as threading on easily and they are very easily having the perfect layout. And they are opaque as bell. When you, whenever you want to spread in the gouache paint, you have to make sure that they are opaque enough. The bottom white people shouldn't be visible only then it will have an opaque consistency. Now you're, I'm blending in the blue and the pink color in-between. You can see I have not used in any white. So automatically there is a little bit of the violet color that gets formed out here. You can see the violet color been formed because of the blending of the pink and the blue color. To avoid this, if you do not want in the violet color, you can simply use whitewash in between which we will be discussing out your next. So I'm going to be using in the same two colors that sensitive in blue and the pink color. But the only difference in-between we are going to be using in a little white for blending that we do not form the purple color. Instead, we will be having in the tonal variations of the blue and the pink color. Now, again, I will repeat whenever you are taking out the paints onto your palette, make sure you do not add in a lot of water. Because the water content will be more, the paints will not be affected and they will act as watercolors. Forgetting the paints and the right consistency. You need little droplets of water, but not excess of water. Otherwise they will not act as gouache colors. Now you are in-between, you can see I'm using in the white wash for blending. So you can see we do not have the purple color form as we had in the first part out you're on the left side. In fact, we have in the tonal variations of the blue and the pink. That's the sky blue and the baby being sort of a color that is formed because of using in the whitewash. Now another way that you can follow is adding the blue color then you can a bit off your white to your blue color. It says Getting a little of a lighter blue tone and addict next. And then you can even add a little of the pink column mixed in with white next to this light blue color, and then shift onto the dark pink color if you want the blending to be in a different pattern. So it depends onto your practice and your easiness, which method to till the petal of your I am using in the pink color directly without adding in little right now I will add in just a little right onto the pink color directly, A2, A2 as to avoid the purple color. Again, there are different methods, different ways, how you can do these blending and get the same result. So at the top and the bottom you will see the only difference is that you have a little more part of the light blue color because we added it separately than what we added it at the top space. This is how you can get in different layouts, different tonal variations, and blending your different skies depending on the type of sky or the background that you are looking forward to. You can either mix, invite to the base color P8 and lighter tones and then blend. You can simply just go ahead, lead onto colors and add white in-between and blend them. This is about the basics of blending with gouache. So let's move on to the next lesson now. 6. Techniques - Clouds: Now after seeing in the consistency of gouache and also understanding in the opacity and the tonal values. Let's focus on to adding in the clouds. This time, I'm using in the same city even blue color that we use for understanding the opacity and the tonal variations. The first and the most easiest way of adding in the clouds is using a round brush and just adding in simple strokes closer to each other, creating in the cloud effect. I'm not adding in any basically are out you're just adding in directly Cloud. The second one is you can just use the pointed tip edge of the brush and keep adding in very smaller half C kind of strokes closer to each other in Farmington clouds in this method or in any method you can use in more than one colors in this methodology. And let's use another color and try blending them as well. So I'm going to use the same pink color which we are using in from the beginning practice exercises. And just went to arrive in the similar strokes in-between our tour. Now in case if you want a perfect blending between the blue and the pink, you can simply even using your smaller fingertip and just blend them like this while they are still wet, but you need to be very gentle. Now, next, It's adding a few of the cloud effect using in a smaller size flat brush. You can use in a blender brush or a flat brush, whatever is available, but in a smaller size. Now in this method, we're just going to fall out little cloud strokes from the edges using the tip of the flat brush. I'm just given little diagonal cloud effect. So you're basically our sky can be of any color, but these are different ways of adding in the clouds with whatever color combination you are going in. Now next, even using the tip of the brush, you can add in the similar clouds as we were adding in the first layer using the round brush. In the same way, you can even use the tip of a flat brush and adding very simple basic clouds like this. Disclose it to each other, creating and simple random lines in-between. You need to leave in little gaps. So that basically follows that you will be adding still be visible in-between these cloud ranges that you added. Next, you can even add in simple cloud ship that is creating those fluffy cloud effect, filling in with the fallow in this also, you can use Intune to see different color variations, like you're used in the purple and the pink color and in-between, you can even use a little bit of white for blending it with the background. Now for creating and fluffy blended Cloud, you can even add in the color. And then while this is still wet, using in the tape, you can blend the edges into the background. So imagine a white sky and you just adding in this blue cloud, you can see the color and the cloud looks blended with the paper and has in the soft edge because of blending it using in the fingertip. Now using these smaller and you can even use these lines as the fellow clouds in your bigger paintings. And you can even using a mix of two or three of these cloud patterns for filling in your Skype. We will be practicing almost each of these in the coming ten days, creating and fluffy clouds using in the cotton candy colors. Creating and simple cloud effect using in the first kind of stroke. So do not worry, we will be working on each of these methods in detail in each of the coming class projects. 7. Day 1 - Pastel Sky: Let us begin with the day one class project for today. I have my paper taped down on all the four edges. You can use any masking the, which you are comfortable with and mask it onto all the four edges. Now before moving ahead, I'm going to be removing in all the colors that we will be using for this guy onto my palette. Using an a flat brush, I will begin removing the colors one-by-one. This time they're going to be painting in a pretty evening sky, sunny window. So the carlos that I'm removing is the new color I will be adding invited to all of these colors later on. The next color that I'm getting out on my palette is the modality red. It's sort of a pink color. So you can go ahead with the crimson tone or any other pink tone that is available in your palate if you do not have the exact same set. I'm just removing in very little of these base colors because we are going to be adding in a lot of white for feeding in the pastel colors for painting in the sky this time. And then we will be adding in little cloud details. The other colors that I will be removing is the orange and the yellow color. For the orange color I'm using in this red color from the set. So this is more towards the orange side instead of being on the red side. And I will add in a whitewash to this. It will be like a pistol orange color. And the last color that I will be removing is the yellow color. We are going to have in a good transitional sky using invite watch as well in-between, using in the pastel colors, we will be beginning with the blue color at the top, moving towards the pink, orange, and the yellow. I have all the four colors out on my palette. Now to each of these four colors, I'm going to be mixing in whitewash and keeping all the colors ready so that when they begin to paint, I do not have to wait for mixing the colors because that will make the blending a little difficult if the false near dries completely. Though, you can div at the entire falsely ER and get it perfectly done. But that increases the task hands I prefer keeping all the colors on my palette ready beforehand before beginning to paint in each of these, you can see I'm adding in more of white gouache much more than what the base pigment we have picked up. Now I'm going to keep mixing each color and keep adding them onto the paper so that the paint on my brush to not get wasted. Now the blue color seems a little extra light. I'm just going to add analytic, pinch off the brush and blue palette again to get a little tint of the darker blue inside this. So this is how you can even adjust the color tones depending on the tone that you are looking forward to. I've just added in a little bit of the Prussian blue color again, and I've got a pretty good sky blue color. Now I'm going to begin with this color at the top space. I'm going to run it to our little delta center line. Then I will shift into the mix of the pink and the white color. That's the modality thread color mixed in with the white gouache. Now you can see the consistency of gouache is forfeit. The paints are spreading smoothly and they are gliding on the paper because of the smooth surface of the paper. Although we do not have sharp edges in-between the stroke because of the perfect consistency of the paint. I'm done adding in the blue color. I've cleaned my brush and now I'm mixing in the pink and the white color and going to lead near to the blue color and blend it well. Make sure that every time you pick up any next color, you clean your brush well, otherwise the colors that will still stay on your brush will get mixed with this and you may get in a third color. Instead of getting in the fellows that we are looking for with gouache, it's very important that you keep cleaning your brush in-between, that you do not have any pigments left in. Now in-between the blue and the paint you can see I've left a little space because I do not want purple color there. If you're using invite worst separately. And I have just mixed in a little hint of pink to this so you can see that color variation. And now I'm going to blend it with the blue color. Now you will see that I do not have any fulfill color formed in-between. Rather, I have a fallback transition from blue to a lighter pink and then the pink color. Now just below the pink color, I'm adding in the orange color directly. I'm not adding invite out your because the orange and the pink are not forming any portfolio. In fact, you're just going to have in a perfect transition between them. Now just underneath the audience, I'm going to add in the yellow color at the bottom. I'm still going to add in a little touch of the blue sky again, it's going to be much lighter than the blue what we have used at the top space. This is just the BCR of this guy onto this, we are going to be adding in very little clouds with the same colors itself, and then a little silhouette to complete the painting. Now for the bottom most layer of blue, I've added more of white and got a, a light piece of blue color and I'm just going to add it near to the yellow Palo. Made sure that when you blend the yellow and the blue, you have more of white on your brush, otherwise you will get green color formed in-between. So in order to avoid the secondary colors being formed when you are laying down the primary colors, it's very important to use byte with quash that you get the perfect blends and transition from one color to the other. We are ready with the base, the sky. And you can see how pretty the sky looked and the blending between the colors is so smooth and it's looking like the perfect base still and that Yummy Candy Cloud sky. Now onto this, Let's pick an adding in some clouds to have picked up more of white, added it to the pink and got a much lighter pink color. Now I'm using a very smallest detailer brush, so I'm using a flat brush. I'm just going to begin adding in the Cloud using in this flat brush, suggest using the tip. I'm going to lay down very small half C strokes closer to each other. The blending point of the blue and the pink, going to add in little clouds are there. Next I'm picking up the orange color and with the orange color as well, I'm going to add in little clouds, add the blending point of the pink and orange color. Now you will have to adjust the pilot tones depending on your PC or color that you have used in. The color of the cloud has to be such that it has to be visible on the base layers. You can either use a lighter tone for the clouds or the darker tone depending on what you are looking forward to. Now I added the yellow color on the orange color and I want this cloud to be a little settled one. So I'm just using a damp brush and trying to blend in this yellow color onto the orange color, giving you that rough edge chipped so as to get it into that perfect cloud shape. You can see how easily you can add clouds when it comes to watch and also blend in very easily with the business just using a damp brush. Now next I'm going to shift into the blue color and going to add little clouds with the blue color as Ben. All of this you can see I'm just adding in with a very small flat detail of flat brush. You can add this even with a round brush or with the US smallest size flat brush. Now again, you can see the blue color clouds are of the lighter tone as compared to the basically a blue color, hence they are visible. You can even use a darker tone in the coming class projects we are even going to be creating in clouds with the darker tone. Then off the base layer. This is how we are going to learn in ten different composition, adding in clouds and different ways, creating different blends for this guy as well. So you will notice you are, I'm adding in clouds very slowly and not adding much of them, just trying to create the perfect balance into the sky. At places you will notice that I quickly use my finger to that the colors into the background and blend them so as to get that soft and, or, you know, smokey look to the clouds. It's very important to learn different techniques of adding in and then use the best that suits for you. So you can either use a brush or damp brush or another bigger size flat brush to blend in audio fingertips, just as I use it to create that little dabbing effect and giving you to sit and look. We are ready with our very simple sky with some little cloud details into this post-class project. Now I'm going to begin adding in the further silhouetted this which I'm going to be adding in with the black color. I'm just willing to remove in little black gouache out, you're onto my palette. Now using it. A smaller sized round brush which has a pointed tip. I'm going to begin adding in the details. So we are going to add in one simple street lights out your on the left side. So first I'm just adding in the poll for the street light. And then we're just going to give him little of the bush detail at the bottom space with the black color itself. Now since the only elements in our painting is going to be this pool and the bushes. I'm making sure the pool is all looking good enough and looks perfect. At the top, I've given it a thin line and at the bottom I'm making the ball a little teacup. Now if you're not confident about adding this with a brush directly, you can even use a marker or offensive, given a pencil sketch or an outline first to the pole, and then fill it with the black color. Or you can even use a thick marker and add the fall directly with the motto. But adding in with the paints make it look more natural and, you know, in line with the painting. Hence, I prefer adding in these details using in the black cohosh. You can see the bottom pole. I have made it thick enough and add the top where the light will be there. I have made it little thin one. Lastly to this poll, I'm just going to add a little of that Lyft compartmental to your, and then we will be adding in the light effect with the whitewash later on. Then, since we are walking in with the black color, I will add in the rest of the details. In the black color we are going to add in little bush detail at the bottom most left side. Make sure for this you use a black gouache in a good thick consistency so that you get the opaque look to the leaves. At the top you will see I'm just adding in little detail look to this bushy area. Suggest using the tip of my brush. I'm adding in little leaf shapes at the top. Now again, you are also, you will notice that I tried to read in the height of this bush area, somewhere taller, some are shorter. Before you begin adding in this ball and the bushes makes sure that your VCO is completely dry. And also when you begin adding in this Leo with the black color, make sure you do not add a lot of special because since we are walking with water-based gouache, gouache colors will get reactivated in the bottom layer if you will be adding in a lot of pressure out here. So go ahead with a very gentle hands. Now at the bottom space here, I'm just going to fill this space with the black color completely. You're on the edge. You can see I'm just giving you a little detail leaf peeking out from the left side now onto the right side of the pole as well. I'm just going to add in little of the same bush detail, but I'm going to make it a little more smaller than height. As I'm moving towards the center space, you can see I'm reducing the height because I am not going to take it the complete right side. On the right side, we are going to be adding in two to three families speaking out on the left side only I needed that effect of the Bush from the ground space. Just giving it that little finishing touch out, you're making it go lifted more smaller. Now, on the right side I'm going to begin adding in two to three palm leaves peeking out. So the main g is not visible, just a few leaves using the same black color using a round brush which has a pointed tip. I'm just going to begin adding in very simple palm leaves peeking out. Make sure you add the leaves quite thin enough so that you get the perfect didn't look to the details that we are adding in into this building. As I told you, I'm just going to be adding in two to three of the palm leaves. So I'm just adding in the second one and you will notice the second one overlaps the first one, uh, places and make sure you make it go overlapping so that it gets the perfect natural look as it should have been. Now I'm just adding another one or two or at the top of the first one that we added in. So after this, I guess we will almost be done with adding in the families as well. I do not want to add much profit or overdo anything because their main focus is the Cloud and the skies that we have created in. After this, we will just be left to adding in the white gouache for creating in that street light effect out there. Now I'm picking up some white gouache and I'm going to begin creating in that light effect, makes sure that you clean your brush completely. You can see my brush hard little black pigment at the bottom space despite cleaning it, hence, the white color was turning grid. So it's very important to clean your brush and clean it from the bottom space completely only the fellows will be off from your brush. Now using in the whitewash, I've added in the light effect as you can see. Now lastly, before removing the masking tape, I'm just going to be using in my point of fifth pen. I'm just going to add in two to three lines into the sky, crossing through the street light and the palm leaves on the right side as well. So just two of these you can see a pretty simple aesthetic sky with the perfect cotton candy colors and very minimal detail yet It's beautiful depreciate. So now let's remove the masking tape very carefully. Remove the masking tape that you added last that will be removed first. Removing very carefully and against the paper. Make sure the details that you added on the edge are completely dried before you begin to moving into masking tape. Your Is are pretty expressive sky for day one of this Tandy challenge. I hope you guys enjoyed painting this and learn to create your own pastel colors and blending them very smoothly without forming any other color in-between and adding in those perfect simple clouds in this one. Just one more thing. I'm going to form a little grids on by mixing in the black and white. I'm just going to add the little green leaves out to show the light effect following onto these black leaves, you can skip this step or adult who has to show that reflection of the light and the shadow of it. That is it for the day one of this ten day challenge. I will see you guys tomorrow into the D2 class project. Thank you so much for joining me into this class. 8. Day 2 - Pastel Clouds: Hello everyone, Welcome back to D2 of the ten days of painting expressive skies with wash and painting in those aesthetic class. Today in the second class project, we are going to be painting in a similar sky as compared to the first one. But today we are going to be adding in the Cloud with the pastel colors instead of this guy. The first color that I'm beginning width is the city didn't blue color again. And the base tie is going to be off a very light sky blue color to this setting in blue color, I'm going to be mixing in a lot of white, creating in a very light pasted blue fallow to begin adding into the skies piece. Next for the Cloud, I'm going to use in the same tones that we used previously. So for this class project I'm using in the set by the Miyagi miigwetch said because I wanted to show you using in both of the colors. That's the jenny kept the watercolors as well. I'm going to use the pink color, tone of orange color, and tone of yellow color to these three colors. I'm going to be creating in the basal collaborating in the pay scale cloud. So this time we are going to add in the Cloud with leaving in the white gap and then blending it with this guy with the help of the white and the blue car electrons. So fast I'm removing all the base year fellows onto my palette and then do each of these. I'm going to keep adding in the whitewash and mixing and create the pastel tones. We have to add in right through all of the fellows, including the cloud colors and the BCR Skype. Hello. I've added in the white color to each of these, you can see I've added closer to them. Now, I will first begin blending in the blue color and begin adding it directly to my sky. And then I didn't see blending one calligraphic time and keep adding them to the painting. The blue color, I'm going to add in much more of the white and very less of the blue. Because I want a very light sky blue color for my sky this time as compared to the last time that we still had a little darker blue door because we were going to have in the other pastel colors into the sky itself. Before I begin painting the sky, I just want to show you a rough pencil sketch for the Cloud area. So at the bottom right corner, approximately a big space. You have to leave it white so you do not have to add in the blue color out your final painting, the sky. Meeting that space. I'm just going to begin adding in the sky blue color that we created. And now you can see so much of white I added into getting the sky blue color. Hence, in the beginning, when we were discussing the different kinds of gouache, I told you when it comes to wash, you need a lot of white color. That is why these sets that come with the two buttons or two jars off the white color is one reason because you will still be out of the white flash despite the other colors still being there filled up. I'm just having a perfect blend into the sky with the blue color. Make sure you have to leave the bottom Brightspace blank only. Now I'm just mixing in little more white to the blue color. And I'm going to use the lighter tone of the blue color and add it to the rest of the bottom sky. Again, make sure at the bottom-right corner, you do not forget to need the whitespace for the Cloud area and make sure to bend. Blend the light blue and this darker blue taught very smoothly using invite, watch all the **** brush quickly. I've got a perfect blend into my sky and I've left that bottom space white for adding in the Cloud detail out there. So we are ready with the BCR for this type. Again, this class project is also going to be a very simple, easy one. You're the main focuses adding in that cloud, leaving in the white piece and creating that cotton candy effect into the sky. Now I'm shifting into a smallest size of flat brush. So again, this is our smallest size blender brush. You can use this one and say it's flat brush, or you can even use a round brush if you'd not have a flat brush and a blender brush, I'm going to mix in the white and the pink color force and begin adding in into the whites. This suggests closer to the blue color. I'm going to lay down this pink color. Now when the blue and the pink will blend together, you will notice little violet color being formed, and that's perfectly okay. That will add to the beauty of your sky. We will later on be blending the blue and the pink very well, using in white gouache and the blue color. So you can see I'm using little white already at the meeting point of the blue and the pink color so as to get the perfect blend and transition. Now next to the pink color, I'm adding in a mix of the Bastille orange color by mixing in the orange and the white color. If you do not have the orange color, you can use a vermilion color or adding little bit of the skeleton yellow color. Now you can see this is just a very small cloud patch, hence you need and very little color, so make sure you mix them very little colors for this. Now at the bottom space, I'm going to add into a yellow color. You can see in-between lending of each of the color I'm using more of Y directly from my palette so as to get the perfect blend and transition. Now beyond to do careful on the rightmost end because the yellow and the blue mixing together forming a green color, which we do not want. The purple color. It would have been as a transitional color. Now at the top for blending in, I'm going to use in literal of the whitewash directly. That is the cloud and the blue space. So just on the margin I'm adding in the white paint and blending it well with the blue and the yellow color and the orange and the pink color in-between. If you need at the blue space, you can even add a little blue color to get the perfect blend as well. Now this was just the one base cloud that we added in leaving in the whitespace, we're going to be adding in the other Clouds diagonally moving from the bottom left to the top using the same pace, teal colors. So I'm first going to begin in with the pastel pink color that we have created in, and going to begin adding in very simple clouds. I'm using in the same blender brush and just using the tip, I'm adding in loose tool. I'm going to blend all of these using in a damp brush or the fingertip late it on, just adding in the color patches. Now on top of this and for that again, one more lighter tone. So basically when you add in two to three tones and make all the tones visible, it helps and adding in little shadow effect as well to the clouds. Now on the top right side out here, I'm going to add in a bit Cloud using in this space that pain pallor. And I will add in little orange touch to this as this big cloud out here, I'm going to blend it using in the fingertip and show it perfectly blended into the background of the sky. On top of the pink color, I'm just adding a little yellow strokes as well before beginning to blend in. Now next underneath the yellow, I'm going to add in little of the white gouache as well so as to make my blending mode easier and get a perfect transition. I'm just going to add little more pink at the top side because the pink seems a little less as compared to what we needed. Now before beginning to blend in, I'm just going to add in some smaller clouds with a very light pink thin, very little cloud effect out. You're randomly into the rest of the sky space giving him those tiny cloud details. Now using the tip of my finger, I'm going to blend this cloud completely into the background. Now the difference, if you notice this cloud looks a little dull as compared to the bottom-most right cloud that we added directly on the white paper. Hence, I wanted to add in that bigger focus cloud at the bottom by leaving the space white and then blending issues with the blue color easily. Now the other clouds that you see we are adding in with the pastel colors. They seem a little done because of the blue color background that we already have it. Though, you can still turn them right by adding in more and more layers. But the effect of the Cloud on the whitespace will still stand out differently. After blending it, I just added in little of the effect with the light pink color again. Now you're again, I'm just blending these small clouds into this tight, giving them the soft edge. It using a damp brush. Even if the clouds die in, you can simply using the damp brush and add these Cloud details and blend them. I'm just giving little more highlights for the clouds. And then we're just going to add in very simple board Zillow hit with some violence into this class project. Now for adding in the further details, I'm going to be using into technical pen in two sizes that I'm going to be using is 0.30.5. I'm going to just tilt my paper a little and using in the 0.3 brush pen first, I'm going to begin adding in fine lines into the sky space to act as the white lines out. Now make sure your painting is completely dry. Otherwise, if you will rest your hand anywhere, the pain may get lifted. Also, the black pen may not work smoothly through a paints are still wet. You can use for the fine tip if you wish to. I'm going to use in this 0.3.5 poison, pick a light. I'm just adding into the three lines very close to each other and just meeting at a single point and very fine line or living in very gaps are very minimum gap in-between these lines out to you. Now shifting to the 0.5 size pen, I'm going to add in a few off to pick our lines in-between these violence that we have added in. Again for this also makes sure that your base layer is completely dry. Also a benefit when you tape down your paper on a moveable surfaces that you can simply rotate your paper according to your hand comfortability. And that makes adding in all of these details much more easier because you can tilt the paper according to your convenience and angles so as to get in the perfect strokes. Now, lastly, using in the black brush, I'm going to be adding in a few of the board sitting onto these via lines. So for that I'm going to use in the blackboard. If you want, you can add these as values in a technical pen. But adding them with the color, we'll give it a different vibrant look. Hence, I preferred adding it with the black brush instead of adding it with the pandemic, I'm going to add in a few birds sitting onto these guidelines vary randomly and in different angles and shapes. Now using the Blackboard at the bottom left side, I'm going to provide in lifting off the book details just as we added in the last class project suggest very simple, leaves the day in a little detail manner. So you can see I'm just using the tip and adding in very random leaf chips closer to each other. As I'm moving downwards, you will see that I'm increasing the area of this bush space. And on the leftmost side I'm this building, this piece with the black color. And on the right side that is included spy space, where the leaves are popping out. I'm adding in the detail leaf look. Toyota at the bottom space. You can see how I've ended in the bush details such as embodied in using in the black color. Yet it adds so much beauty to the painting and giving it the prophet detailed look. Now lastly, using in the white brush, I'm going to be adding in a moon on the top-left sites I'm using in the whitewashing, not take classes and leave without adding in macro photo, adding in a very small moon out you're in-between these violence. It, we're ready with our class project as belly for d2. Another simple produce sky with those aesthetic candy clouds, but completely different manner and approach than what we did in the first-class project. Let's remove the masking tape and CFI and I'm painting with those clean edges. Also, you would notice the vibrancy of the bottom cloud looks completely different and makes the sky look more aesthetic. Your final painting for D2 of this ten day paint expressive Skype. Plus, I hope you guys enjoyed painting this and loved creating in the blend in the bottom most sky, using in the blue color again, for blending it well into the sky, you can see how clean and clear the blends, despite adding them later on and blending them later on using the same base your colors. I will see you guys tomorrow into the D3 class project. Thank you so much to each one of you for joining me in to this class. 9. Day 3 - Purple Sky: Hello everyone. Welcome back to D3 of the 10-day paint expressive skies. We are going to begin with a very light pencil sketch. So I'm going to mark the horizon line, little below the center line. The top area is going to be the sky area in which we are going to have in some low-lying, darker clouds closer to the horizon right out here. I've just marked in rough pencil sketch so that we do not have them visible when we paint them. And the bottom media is going to be a simple field area. But this time the sky that we are going to be painting is going to be with a different technique. That is, we are going to pull out the strokes from the edges creating in that cloudy while painting the sky itself in the previous class projects, if you remember, we went ahead with a very simple sky with very simple layering and blending. This time the blending and the Cloud techniques are all going to be a little different. So the first color that I'm picking up is the bright violet color. To this violet color, I'm going to be adding in white further to create a lighter tone. This is going to be the top area of the sky, and we're going to begin adding the Skype directly from the edges moving in, diagnosing. The next color that you will be needing in is going to be a little bit of the orange mixed in with white. Now remember, orange and violet did not go well with each other. They create muddy tones in-between. But that is what we need to learn, how to avoid them and how to still get a blending is perfect with such to come to secondary colors. Now I will mix in the violet and the white color and begin painting with it deliberately. I have the orange color also already on my palette. Make sure you do not add much of photo otherwise, the paints will begin to act as watercolors and they will not stay open. Now, as I told you from the left side or the right side, whichever side you wish to begin, we are going to begin diagonally moving to the center space. I'm going to mark out the strokes as well diagonally like this. I'm using a flat brush, half inch size. You can use whichever flat brushes available depending on the size of your paper. Now to this mix, I'm just going to add in a little tinge of the black color to make it look a little greenish violet color. Do not add much of the black color. Otherwise it will turn to you all you can see, despite me adding in just a little tinge, it has turned in a little extra dark. So I'm just going to add a little of the violet and the black white color again so as to make it go a little 12b1 lighter. Now in the same way, I'm going to begin in with the similar strokes from the right side here. And then I'm going to blend in both of these torques coming till the center point. From the left side you will see the sky moving till the center. And from the right side you will see the sky moving till the center. At the bottom, you can see I've left enough space or closer to the horizon line because there we will be adding in the orange color and blending these two. Let's shift to the orange color now and begin blending in these colors as bent. It's going to add a little more of byte because they seemed that the orange is still, don't DACA. And what I needed, I'm going to begin with the orange color closer to the horizon line first and giving us treat stroke. When they reach towards the purple color for blending, we are going to be using in much more of the white and then shift to the diagnosis strokes again for blending. Now from the bottom you can see I'm pulling out the diagnostics till the violet color. I'm not blending both of these colors at the moment. I'm just teaching, making it reach till the white gap. We will blend it later on. Now if at any moment you'll feel that the violet color has been picked up on your brush, then make sure you clean your brush because otherwise you may get the violet color being laid onto the orange color completely. Now slowly, I'm beginning to blend both of these add points. And for blending, you can either take more of a white color, use a damp brush, or using the VCO colors depending on the properties of the followers that you need, which color you wish to make them look much more stronger. I'm using ingested **** brush and little of the white gouache, very little touch. Again from the top I'm blending till the center point of the orange color. You can see slowly the blending is building up. But still we have the perfect stroke visible. And what we needed in especially try using invite for blending at the meeting point of the wildlife and the orange follow. So automatically you will have a thin transition between the fellows. Now I'm just using a little more of the orange color to get the blends perfectly. Do not worry, as I told you, we're still going to lay down some darker clouds at the bottom space. So if you know you have any of the other species which have gotten more of the purple color on the orange or the blending hasn't won when you can cover them up with the clouds that we will be adding in. But as far as possible, a white such situations and try to get the blending forfeit. It may take little time and practice, but it's quite easy to get this easy blending because of the white gouache that we're using. Now I'm going to begin adding in the clouds. For the clouds, I'm going to use in a darker mix of the violet, white and the black color. First, I will begin with a lighter layer maybe, and then move on to the DACA Leo. I'm using a size 0 mop brush. You can use a round brush as well, which has a little pointed tip. Now majorly towards the orange color part, we are going to be adding in these low line clouds. And also majorly we will be adding clouds on the right side at the meeting point of the violet, violet color so as to get into perfect, you know, if you have, if you do not have blending at the right endpoint, you can cover them up using in these clouds strokes, buttons by blending seems perfect. I'm just going to add the clouds naturally out. Now to this mix. I just added in little more of the violet color, and now I'm going to begin adding in the second layer. So just as we discussed in the technique section, adding in clouds with two colors using in the half ses troupes. You can see very simply, I'm just adding in a blend of different kinds of clouds and with two different tonal variations to get the perfect balance into the sky. The reason being the top area of the sky has the violet and the violet critically boot. Hence, by now adding the clouds at the lower part, I'm using a mix of both the fellows to ask to strike a balance and perfect or, you know, transition into the sky and the clouds aspirin. Now I've just added in little more white to this and I'm just going to give him little strokes at the top area of the sky and add a little of the Cloud effects out there. But it's going to be quite less as compared to what clouds we have been adding at the bottom space, using in a very light gray color tone by mixing in the violet black and the white color. It's very much more of white as compared to the violet. And immediately from the left side you can see I've just given in simple and long strokes to act as the Cloud. And I didn't that abstract and that you don't little rough kind of a batch to the sky giving in that cloud effect. Now closer to the horizon line, I'm going to add in a very beautiful settings on view so far die for the false layer. I'm just mixing in more of Phi to the orange color that's already on my palette. And I'm going to create a small circle out you're in the centers based almost in-between these clothes. Then to this, it will further be adding in more detail and Laos and creating in that bright warm loop. So for the first layer, just a very small circle with the light color. Now, I'm going to use the orange color directly and add a border to this and blended with the white color very gently, some picking up the orange color without adding in any white or March of water to this. And just onto the edge of this circle, I'm going to be adding in a very thin stroke of the orange color forced. Now using a damp brush, I'm going to blend in the edge of this orange color line on the outside with the sky, suggest using a damp brush. You can simply begin blending it very carefully. And then we will blend it a little on the inside as when using in the white color from the palette. You can even use the white color on the edges of the outside area as well to blend it, if you do not find it easy to blend it with the water directly. So basically it will be such that the edge that is the route orange color that we have added in will have a different globe but still a blended look as you can see now. That is it for the first layer. Now let's begin painting in the field falsely until the sky drives and begin adding in further details later on for the field and post when to pick up the yellow ocher color. I'm not going to be adding in any white to it as of now. Just going to pick up the yellow ocher color in a good tip, Kansas City, so as to get an opaque look and begin painting in the field area closer to the horizon line. So half of the film media is going to be off the yellow ocher color and the bottom half is going to be with the sap green color. So first closer to the horizon line, I'm running in very carefully so that I do not run into this guy space and trying to get that perfect line at the horizon line. And the bottom half is going to be filled in with those have been fallow. And I will blend both the sap green and the yellow ocher color when, while adding in the green color. Now since I do not have a direct sap green color, I'm mixing in the two medium tone green on my palette to get a medium tone green color. So it works the lightest being under dark is green. I'm mixing both of that to get a medium tone of green. I'm adding it at the bottom space and moving towards the top area, I'm going to blend it with the yellow ocher color. Then the yellow ocher Pavlovian majorly be only visible closer to the horizon line in-between, you will have a blend of the yellow ocher and the green at the bottom more space you will have to be in column E journey. Now you're, you can see whenever, while blending, if you feel that the calories less, you can pick up the BTO color. Or if you feel the courageous enough, then just for blending, you can use a damp brush. I have been using a mix of both the techniques. That is, I picked up a little of the yellow ocher color as well at the top and rest, I use a damp brush for blending in. Now next, I'm just going to mix in a little bit more of the darker green color to the green that is already on my palette because we are going to begin adding in the bush effect on the horizon line. It doesn't have to be completely dark, but it doesn't have to be completely like using a sap green color or a medium bones have been color basically directly. A smallest sized round brush. I'm going to begin adding in the bush effect on the horizon line. Now I'm going to begin adding in the bush effect in such a way that I do not cover the clouds completely. And it's going to be on the horizon line at the top of the gouache. I'm going to give him the detailed look using the tip of the brush. But as I move towards the bottom side, I'm majorly going to be filling it with the green color directly. Also throughout the horizon line variable will be adding in this bush effect. I'll make sure that IVD the height of this bushy area and not keep it one street light and closer to the sun area. Be a little careful that you do not cover the sun with these bushes for now. Now as I'm moving closer to the sun space, I'm going to use in a further lighter green. I'm just mixing in more of the light green because I wanted to show the sunlight effect on obesity space as well. And hence adding in this medium green tone that is much lighter than the green that we're using on the edges. You'll get notice at the edge, that is the left edge, I had a big bush. Then I added in the bush in a very small height, then again increase the height and again, moving closer to the sun space, I have reduced the height so that we do not cover the sudden space. Now as I'm moving much more closer towards the sun, I have for those picks up only the light pink color. So asked to show that light effect out there. Now made sure repeating it again that you do not cover the sun space with these needs. And make sure that near to the sun space you have these leaves. Are the bushy area smaller so that they are just under the sun on the horizon line. On the left hand right of the sun, you can see I used in the light green tone. And now again, as we are shifting onto the right side much far from the sun space, I have shifted into the darker green color again, just in the center space closer to the sun area is where I used in the light pink color to show a little of the light effect, we are still left to add one more layer to the sun as well. So do not worry, that's not the detailed look of the sun's still. Now as I'm moving further towards the right side, as you can see, the green color, tonal variation or stone further darker just as it was on the leftmost edge. Now I'm going to quickly, I didn't the remaining Bush effect onto the right side out. You can notice only at the top of the bush I given the detailed look using the tip of my brush and as I move towards the bottom closer to the horizon line, I correct me, fill it with the color complete the I'm almost done adding in the bush effect onto my horizon line. Now the next detail that I'm going to go ahead adding is the DDL to the sun. So the first year of the sun is completely dried and now I'm going to begin adding in some warm colors. I'm going to pick up the yellow color. I'm going to add in a little after yellow color to the center of the sun, mixed in a little pinch off white because I want a good warm look under center loop with the rest of the sky. The outside ring of the sun, you can already see we've given enough good orange color blended with the background. Now we're going to add this yellow color into the center space and blended well again with the outline of the Sun that we have added in. Now you can see I'm adding in one more color, a bright color into the center space. The sun is standing out so differently and vibrant. Now I'm just going to pick up a little darker green color and give some finishing strokes onto the horizon line with the darker green color. The next detail that we are going to be adding in is, is going to be the DDS into the field space. In the field area we're going to be keeping in the details very minimum. Because our main focus was this guy's piece. The TPMs are just to make it a complete painting altogether. In the field area I'm just going to use in the darker green color. I'm just going to add in very simple brushstrokes closer to each other and very limited of it, not going in with the much detail. Look for the grass, just a simple far afield. The minimum grass details that I've added in. Now onto the leftmost edge, I'm going to begin adding in the detail of the detail knockoff the class just by pressing in my brush, adding in some leaves detail closer to each other, creating in a bunch of leaves out they're closer together. In the same VM just going to be adding in some limited leaves out two are in the center space, suggest to give him little deviance. I'm adding in the leaf details from the bottoms piece trying to show some popping out leaves out to you. Now on the right side of the sky, I just feel like pulling out this bush ADR a little taller. I'm just going to increase this DDL out. With gouache. You can see how easy it is to keep adding in details and little by little. And then whenever you feel that, you know, you need to add a particular detail a little more. You can simply just go ahead and add it. It can be the lighter tone on the darker tone or the darker tool or the lighter tone it will not make into and you can easily add in the detail step-by-step little violated. Now using in this lighter green color, I'm just going to add a little more grass strokes randomly in the field space as well. Now I'm going to shift into my round brush, does coiled round brush, which I always use for adding in the green details and using the tip of this brush, I'm just going to add in little more detail into the field space. Make sure your brush is completely done. Do not dip it in water directly. Pick up paint onto the brush so that you get these dry brush grass details and simply just holding the brush perpendicular, you can add in little bush and grass details into your il area when you want to feed the details minimalistic and not much of the detailed view. That is it for the grass did in very minimum as it will do. And medially towards the button site, you can see I have not added much be there on the yellow ocher. Now lastly, before removing the masking tape, I'm going to quickly add in a little cloud crossing the sun as well, using that same color mix off the bright violet, black and white color that we use for adding in the Cloud. I'm just going to add in little cloud crossing the sun space. So be very careful. Do not add too much of pressure. Otherwise, the San Carlos will get activated and blend in with this color. Just to add a little more of the black dot so that you get those darker cloud effect out. You're just adding in very minimum and little small clouds or they're crossing through the sun's peace. That is, it just added in to small clouds, one at the top side of the sun and one at the bottom side. And we are ready with our class project. Let's begin removing the masking tape. The masking tape that you added last will be removed post be very careful by moving in the masking t and also makes sure that you remove the masking tape against the paper so that you do not tear off the edges. Your final in 1943 of this ten-day paint explicit sky to dv learned adding in the cloud effect while painting the base year sky itself and moving from the edges, moving and diagnose. I hope you guys enjoyed painting this with me today. I will see you guys tomorrow into the default class project. Thank you so much for joining me into this class. 10. Day 4 - Bold Blue Clouds: Hello everyone, Welcome back to deep or of the pen they paint expressive Skype class. Today we are going to be painting in a pretty night sky kind of a view and adding in those PLC dark clothes. And along with that, we will be adding in a small cityscape kind of facilitate. Let's begin with the pencil sketch. So at the bottom of the paper, I'm giving you a very rough marking for the horizon line. And on top of that you can see I'm adding in random been very dark cityscape, cityscape sketch. This is just a very rough sketch because as soon as you will begin adding the colors, all of this will begin to get it enough into the sky. We are going to add in some power lines and symbiosis. This is just again, for your knowledge, where things will be pleased that I'm getting in this pencil sketch because with painting with gouache, all of this will get hidden because of the opacity of gouache. Now let's begin picking up the colors one-by-one, false for the sky, I'm picking up the pollution group color to the top of this guy is going to be a very dark one directly. It shouldn't look palette out. I'm directly going to begin adding and keep adding one color at a time as soon as I have them on my palette, because the rest of the colors are going to be the same that we have been using so far. So I have similitude on my palette has been. Now next closer to this darker blue color. I'm going to be adding in little of the night a blue stroke. So for data and picking up the city and in Luke hello and to this OL tag not mixed in white directly using in this color from the palette. Just going to give in one line of this color as well. And then I will move on to the white color. Now, when I'm adding in this scholar, I will blend it with the dark blue color since the top space as well so as to get the perfect transition between the followers. Now next, shift onto the white color and just below the light blue color that we have added in, I'm going to be picking up the white color and directly adding some white color and then blend it till the top blue color so as to get the perfect transition between the followers. Now while writing the paints, if you find this a little difficult, just pick up a little damp brush suggests are dropping the tip of your brush into water and then use it backprop blending. And that will make your blending game much more smoother and easier. You are, you can see moving from the bottom. I'm moving till the top color makes sure you move from one edge to the others. Do not leave it in between. Otherwise you will get some cuts and patches in-between in which we do not want. Also from the top layer or after you list the darkest color, make sure before reaching the bottom right again, you clean your brush. Otherwise, the dark blue color that's listed on your brush will get laid down at the bottom space has been now closer to the horizon line. I'm just picking up little up the orange color. I'm going to add it closer to the horizon line and blended with the right in-between. So you can see between the blue and the orange, that is a lot of white space that we have painted in. Using in the orange color, I will blend it. And this is going to be the BCR of this guy. So we'll just pick up little white color and blend all of this. And then we will begin adding in clouds into this guy. Before blending, I'm just adding in little bit of the yellow color as well, just about the audience color so as to give a little more of the sunset light effect suggests little touch of the yellow as you can see. Now just using a little right, I'm going to begin blending all of these quickly. So you can see even after laying down the paints, you can simply add, invite and try to get in the perfect blends and transition between different color tones. Now I find the right space a little more than I'm going to pick up the **** brush and we're going to move from the audience color of the bottom space and move it below the top layer of vital death. So automatically you can see with the wet brush, little orange and yellow gets lifted and laid onto the white stuff that I'm adding in. The reducing the white effect in the sky and turning it into a transitional sky off light blue to light orange. And then the base neurons that we have used in. Now using the blue color that we used at the topmost area of this guy, I'm going to begin adding in the clouds by adding in the snout I'm using in a mop brush. This is a size 0 mop brush which has a pointed tip. You can simply using a round brush or a flat brushes belly. And they just went to begin adding in the half-sister. We are going to be having it a major leader clouds onto this lighter part of the sky. We are going to have one big cloud or tear in the center space and then most of them onto the right side. You can see I'm adding in rough patches of Hep C strokes closer to each other out your to form the Cloud Shell. You can see at the edges I'm using the tip of the brush giving in that draft cloud shape edge and in the center majorly filling it with the color directly in the center. Now, I'm just giving it out to your very small cloud. Didn't just using the tip because I'm going to be connecting this cloud till the cloud onto the left or right side as well. Also at the bottom out, you are giving in some rough edge to the Cloud. Now using the same technique I'm adding in the cloud out you're onto the right side is going to be another bigger cloud. Half of it is hidden and not visible in our view. Now the Sandberg cloud and this cloud on the right, I'm going to be connecting both of these together using in some smaller cloud details in between. If you remember, we had learned adding interstellar clouds. So again, just using in another time of the filler cloud that just dabbing in the tip of the brush, adding in some fine details in between to show little or connection or filling in those gaps in between these two big plows out here. Now for the next year of clouds, I'm going to mix in the nation WHO and the civilian blue color out you are on my palette and going to create a medium tone of the new follow. When do we using in this medium blue tone, I will begin adding in the Cloud. At the bottom side of the staff are clouds that we have added in there. If you want, you can even add in a pinch of black color to get a 3-inch stone. I have also added in a lifted into the black colored very little. Now I'm going to begin adding in the clouds out here onto the orange column, Italy. So again, you are also going to be using in the simple straight straw surviving in the Cloud. So you can see very rough random strokes that I'm losing in to fill in the clouds out here at the bottom area. In-between, I will just add bigger participant in this piece. And then again for the keep adding in some smaller clouds to fill in the sky. So we are done adding in the middle clouds now in between them this going to be adding in some filler flowers using in some simple straight lines of this color that we have mixed it. This is a mixed of the Prussian blue, black and the city even blue color. You can see just using the tip I'm adding in very rough random lines to given some filler details in-between these bigger clouds that we already added. Now before moving on in this sprint to use Lipton of the whitewashing. Just going to add in little highlights to these clouds out here at the bottom side. Just very fine line of the white gouache and closer to these flouts to add in little light details. So just in between these filler clouds, adding in little light cloud effect using the whiteboards, but the technique is the same, just using simple strokes close to each other. Now next we're going to paint in the bottom cityscape to the bottom space. We are going to fill it completely with the black color. Make sure to pick up the black gouache in a good thick consistency. So I'm going to shift into my flat brush. I'm going to pick up some black wash and beginner adding it at the bottom space. You can see I've defined the horizon line quite well and given a perfect straight line with the black color. Now on top of this, I'm going to be adding in a few of the building details what we were adding in with the pencil sketch. Then we're even going to give them lifted off the road details onto this black color that we have painted in. So we will be using in a mix of black and white that's forming in a three color and giving in some light effect. It's some good effects. And then some light effect has been on top of it. We are going to be adding in some buildings, some violins and power lines as well. Let's begin adding in the details one-by-one. So I'm going to pick up a smaller sized round brush now. And using this brush, I will begin adding in the details with a black brush itself. So first let's begin adding in the cityscape details on top of the horizon line to vary randomly. I'm just going to begin placing in some rough buildings on top of this and fill them completely with the black color itself. You have for using a blend and mix off different sizes and different shapes of the buildings out here so that you get the nutshell view in-between. You will even see I will be leaving little gaps because there I've been given some grass detail or bush details later on using in this point brush. Then let's begin quickly add in the rest of the cityscape the in-between, I'm going to leave a little space for the green details again, in the center area, as you can see, I've left a major space blank for now because there, or I'm going to add in much detail with the bushes. Plus I'm going to be adding in the power lines as Ben, Do not overdo your entire horizon line with just the buildings that we are adding in. The leftmost side, your I'm giving injustice of flat lean long it out. You're just a little highlighted as compared to the horizon line. Now next I'm just going to mix in a little bit of white to this black gouache, as I told you, and farming in a light gray tone, I'm going to begin adding in the pleadings onto the black space at the bottom. Media suggest mixing in very little right to the black color. Now I'm going to mark in a very dark detail for the road we are not going to be adding in much detail view because our main focus again, what is this guy areas when we will be adding details out there, they will be little more detailed as compared to what we are adding out your diagonally. I'm going to add in the road and the road is just going to reach in a little towards the right side in the center, but a little more towards the right side, not completely filled the right edge. You can see how simply just using in a gray tone, you could directly get in that role effect onto a black patches when using the gouache colors. So as we always see with flash, It's very easy to give in the lighter details as well on the darker color. And in fact, it's much easier to add lighter details on darker color with gouache and get the perfect effect rather than adding in the darker tones on the lighter colors. So I'm just giving it the other little more perfect blending and adding in little more lighter strokes. Who asked to get the perfect or defects out here? Now next, using in the white gouache, I'm just going to add in, lifted off the light effect out. You're just using the tip of my round brush. I'm going to add in very simple dots or some smallest quiz. Ensure as some of the light peeking out from this pieces as well, wherein we have more of the cityscape which is not defined out, you're into a painting. Leader light peeking out is what we are giving in the new off. Next I'm going to begin adding in the Bush detailing the spaces on the horizon line that we have left it blank. For the bush we are going to be using in the same food to three different techniques that we have kept using it so far. One is using the tip of your round brush. You can see on the edge I given the detail loop of the leaf and then fill the rest of the space with the black color. Today's same way out, you're in the center space. I'm going to begin adding in some bush detail using the black color has been you'll get noticed throughout I'm trying to really the height of the booth and not keeping them off one single height. I'm trying to 3D them and give them all the natural loop as well. Now, you can add in a little of this bushes peck flossing your of one or two of the buildings as well. So you're on one of the buildings on the right side In see, I'm just adding in very simple branches, just touching to the Bangla effect and giving them a little more or branch effect popping from behind of these houses. I'm just using the tip of the brush, adding in very fine branches close to each other to create this loop. Now next let's begin adding in some power lines out. You're going to add in new offer power lines. So you can either watch where I'm placing them, the power lines, or you can have your own placement, then it not be at the exact same placement as mine. I am using in the same insights to round brush, which has a pointed tip pens. I'm able to achieve these fine powerline medial and the state lines. Do not worry if you are not confident about adding these, do they clean using in the Blackboard, you can post them with a pen and using a scale. And then given the detail look using in the brush and the color, you can even directly using a little thicker marker to add in such thick looking like. Now, I am adding in the power lines onto the right side of this bigger power line that I added. And as I'm moving towards the right, you can see the height of the power line diminution and Boeing one smaller than smaller. Now towards the left side I'm going to add in little more bigger anticoag power lines. So basically the left side view is much more closer to you. And as you are moving towards the right side of your painting, W is going far away from your hands. Everything is stoning smaller. That is the understanding of the perspective for this painting, from which angle you are viewing it accordingly, the size and the placement of the details will be under this center power. If you can see, I'm adding in very much more detail loop. So I gave him little outdoors or board DBAs as well. And now on top of this as well, just trying to give him little more detailed look at it. Another power line out here on the left side and to this as well, I'm just going to add in little details are what I'm going to do is the center pole that I added in. I will append to the data as, you know, that billboard kind of thing or are those advertisement boards. And we will try to give him little more detail out there using different colors need to learn. And rest of the 9th, we're going to consider them as power line. The one that I've added out your on the left side, this, I'm going to even consider it as this cheap light. So you can see I've given them the steep polyfit and got the street light handlers well out. To that we will add in the light effect using the white color later on. We are done adding in all the pole details and other billboard and all the street light deviance. Now I'm going to shift into my smallest size technical pencil. This is a 0.1 tip technical pen so that I get in very fine lines. And now using in this pen, I'm going to begin adding in the violin details out. You're going to connect the bigger folds out you altogether. Now since I have my people deep down on a movable surface, it becomes quite easier for me to just tilt my paper and easily getting those mood lines. Now in-between, I just added in one more fine line out your two given little morph and action. Basically put this advertisement board, I'm giving you a stamp PSD, so as to give it more realistic view if you have ever noticed on those advertisement wards as bell. Now, same VM. Just going to add in few more details. Now, you know the problem out your is you have to be very careful before you lay your hand onto any faster because if the pallor is wet by any chance it will get lifted. And then if your hand gets lead anywhere again, the colors will get transferred out there, spoiling in the space. So it's very important to make sure you lay your hand. Now using the pen itself, I'm just adding little more details to these advertisement boards that I have added in Europe. And the left side board also I converted it into a steak is instead of using it as a TIF lamp, I completely forgot about adding that for the Street class. I just added in that stamp is so that's perfectly okay. Now this green to add in few more lines, you can see just little more disease. Now, just going to add in further details using the black color itself, but the smallest size pen. These rightmost poles out your, I'm adding in the street light effect using in the black pen itself, you can see the poll as well as the, a steep lamp I'm adding and using the black color. So as you are moving from the center towards the left edge, you can see the height of those folds up, Kevin pleasing for the steep late. Now, the major thing let's do add in are the power line bios. So let's begin adding them one by one. Now again, these wires, you can add them vary randomly and according to your risk because there is no specific pattern or specific method of adding these. I'm going to be adding in a few, moving out your from the top to this bigger fall and then connecting them to the smaller falls moving towards the right side. For this, I'm going to use in the smallest size and the thinner pen so that I get those perfect tense dropped and make them look more natural. I'm using in three different size of pens in between. So this is a 0.5 pen I am using in a 0.3 as well as 0 find one. So there are three different values of this tower lines that you will get. The ones that are closer to our view. I'm keeping them tickets. So for that I'm using in the 0.5 pin, then the ones that are little more closer to our view for that I'm using in the 0.3 pen and the ones that are far most from our view for that I'm using in the 0.1 pen and adding in the details one-by-one growing one-line appetite. Now, from the top left side, I'm adding in a few more violence cross me and all the forth. You can see how easy it becomes when you're P4 is on a movable surface, you can simply just still good for adding in the details, making the task so much more easier. I'm just going to add in little more connection to these violins out your, which are the closest to our view to just some current connections that I'm trying to add it. Now I'm going to add in another thin line closer to this bottom most line that we have added so far. Now a few more lines moving out from your, you can see how simple details can make the painting look so much more natural and so much more realistic. If you have ever happened to witness such an evening Sunset Street View, you can delete and resonate with it and conceal the natural beauty of the painting coming out through this. That is it. We are done adding all the wireline revealed using the different size of fan and adding in little details. Now one last thing before we moving in the masking tape is adding in this small moon at the top right side. Sephardic in the moon I'm going to use in the whitewash. So using a round brush and fresh whitewash without adding any color and water too. I'm going to use it in a thick consistency and going to quickly add in a small moon on the top right side of the sky onto the darker blue tone. So make sure you do not add much water to your whitewash. Use it in a thick consistency so that you get an opaque look. I'm adding a half-moon out. You are instead of a full moon so as to give it, you know, every time I keep adding in the full moon for I prefer adding in the half-moon this time I would say that is it. Let's remove the masking tape and see your final painting for day four of this ten-day class. Those limited light effect that we added on the pathway are in the flat areas you can see it creates a completely different field. If you want. You can even add in a little more light details using in the yellow and orange squash as well. To give it more detail view. Your final painting for day four of these ten paint expressive sky. I hope today you guys enjoy painting in these dark and gloomy clouds closer to each other, creating in that depth into the sky. And then painting that roadway. I'm just going to add in a few styles using the white pen directly. Just going to drop a very small study deals very roughly only at the top area of the sky. I didn't see you guys tomorrow into the D35 class project. Thank you so much to each one of you for joining me in this class and painting along with me. I will see you guys tomorrow. Thank you so much once again. 11. Day 5 - Thunder Night: Hello everyone. Welcome back to day five of the attendee paint expressive skies. Today we are going to be painting a long night sky kind of look with a little thunder and some clouds as well. Let's begin preparing the colors first. We're going to go ahead with the purples, dark sky for the night sky effect. I'm picking up the color to this. I'm adding in a little bit of the black color, and I'm going to add in little Writer as well. So it's going to be a little, a dark purple gray kind of a tone that we're going to go ahead with. So I'm going to mix all of these three colors. In these three colors, the violet color is going to be in the major proportion, and black and white are going to be lesser. Black is going to be the least as compared to the popular invite as well. I've mixed the color and now I'm going to begin applying this color from the top space in-between. I will follow the even lighten the tone by adding in little more white to us to get the gradient to the night sky. False beginning in with this darker mix off the wildly black and white fellow at the top and moving downwards will get little lighter values as verified, adding in more of violet and white. As you can see, 1 third of the paper I've covered up with this mix up the color they do, this color makes itself. I'm just going to add in little more violet. I'm going to go ahead with a bright violet tone into the center space of this guy. So we get the perfect transition in this guy to get the perfect night view onto. This time, we will be adding the clouds in a very different manner, creating a little panda look. As you can see, I've added more of pilot and easily the color variation is visible, right? Clearly, even on the paper as well, if you see, I'm going to blend both of these colors well enough. Now further the bottom space, I'm going to add in more of white to this mix itself. I'm just going to add in more white now, I'm going to mix it well and create a photo lighter tone and add it at the bottom space and blend all the three colors. Now at the bottom most space, we are going to have a little black silhouette on their hands and not valid much about laying the colors did properly. Now at the moment, if you see my blending between the colors is not that great. And there are so many different patches visible which we do not want in the sky. I'm going to go ahead and blend all of these, either using a damp brush or little of the white color. Picking up little white, I will begin blending from the bottom and move till the top space. And at the top of this thigh, I'm still going to add a little more darker tone just using the black color. You can see how just using a damp brush or white color, you can simply get the blends right. And the blending goals are so much smoother and easier and look perfectly blended without those sharp edges. It's picking up, lifted off the black color. I'm just going to blend it at the top space and get more darker space at the top. I'm done with the basically out of the sky. That's a night sky look using in the violet color and the black and white to get different tonal variations. Now onto this, I'm going to begin adding in lifted off the thundercloud effect using in the white gouache. So for that I'm going to be using in this down brush with the tip of which is spoiled, which I use majorly for bushes. But this time we are going to create clouds using this suggest using the tip of the brush, I'm going to begin adding in the clouds again. You're again, the thing is that you do not have excess water on your brush. And I'm holding my brush perpendicular, as you can see, I'm adding in a very rough halves cloud out. You're at the top space. And then using the same white color, I'm going to add little of the cloud our tour at the bottom areas. Now you will see that at this moment the white cloud is a little dull one. So I'm going to add little of the brighter effect as well. Because I wanted to make it and give it a look of the time the sky hands on one to have a blend of both a little of the dial clouds and the bright clouds as Ben. To give them little bright effect. You can see I'm adding in white gouache again on layer of the falsely of clouds. Now, you will also notice that I'm adding in the clouds vary randomly. And how easy it is to add the clouds just using an ACE pointed brush, getting in those imperfect shape to the clouds, that gives it more of the natural loop. My people was a little wet after the base layer blending. Hence automatically you will see the base of the cloud looks perfectly blended. Now using it, it off the grave, violet color I'm going to add didn't let it off the darker cloud effect as well. So the policy into little extra light to just add in little tinge of black to get it a little more on the darker side. Just going to add little effect with this and blended win. You would notice the darker cloud effect is quite less as compared to the light clouds that we have added in because I want a really good panda loop. And not much of the darker class because we already have the dark night sky in the base layer. Hens just started to get a little balance in between the clouds as well. Now just adding little smaller effects you're in there. Now to list those in, I'm going to begin adding in the silhouette detail at the bottom space. I'm going to use in the black color. And we are going to add in a very simple cityscape kind of facility. I will just begin mocking out directly with the color. If you are someone who's not confident about adding these with the fellows Today clean, you can have a rough pencil sketch for it, or you can even given some MCA outlines. Now, on the right side out to her, I'm adding in just a big group that is visible to the top of the roof. I'm giving up on little triangular a cheap so as to give a little detail, look to the edge of this roof and the rest of the bottom space. I'm going to directly be filling it with the black color. Now I'm filling up this entire bottom space with the black wash. Make sure you use the black washing a good thick consistency so that you get the perfect opaque loop. Also do not add a lot of pressure. Otherwise the BCL Carla and black will get mixed up and you will not get the bright black color look that the bold effect for the silhouette that we needed. Now moving towards the left side, I'm going to change the shape of the fluids that we will be adding in. Just added in one big out. You're on the right side. Now beginning from the leftmost edge, I'm going to add in differentiates to give him the cityscape look out. You're on the left side again, I'm adding in the top roof space, but in a very different shape as you can see, after all of these drive, we will even given little highlight effect with dark gray color, the violet gray color that we used for this guy. Now, this time if you want, you can even change the cityscape cell ahead and add your own cityscapes. Hello, hey, instead of following the same silhouette that I am adding in, it's completely onto you and your choice and according to your salary, you can even give them highlights with the violet gray color that we have formed in. From the top space you're taking in a little slant line. I'm going to add in the Powerball details. I'm adding in these lines are lifted slant or so as to give them a little tilted angled view from our spot. Always make sure that you treat tilted line. Again, if you're not confident about adding this directly with the color, you can use a pencil scale for the outline order black market for dollar plane, and then fill it with the black color. I'm going to add in a few of the pine trees in the center space of the bottom layer in-between these two roofs. If you want, you can add more of the silhouettes. As I told you. I'm going to go ahead with the pine tree silhouettes out here to give it a little different tasks, then the regular cityscape, that peaky padding in. So quickly I'm just using a smallest size brush out you are using in the black color itself. I'm just adding very simple pine trees. I'm not making the details look much sharper, clear or margin the detailed manner, starting it very randomly, giving it the shape, the buying cheap. I will try to read it the heights of the pine tree throughout driving, not keep them all off the exact same height. Some very little taller, somewhere a little shorter so as to get the perfect, don't follow space out here. As I told you, if you want, you can even add in adult cityscapes instead of adding in the pine tree. Or you can even add in the bush effect using in this file brush or the round tip brush that we have been adding so far. It's again, a mix of all the techniques that we have learned or other details that you can use out to either go ahead with more detailed cityscape or adding in the bush effect using in the round brush orders point brush, or adding in the pine trees or any other kind of tree on any other details that you would like to go ahead with. Feel free to add it or ask for your own creativity and asked for your own wish out here. I'm done adding the pine trees out here. And you can see I've tried to vary the height in-between of these pine trees. Now I'm going to begin adding in further more detail to this poll that we have added your. After that, we will be left to add in the time that effect using the white color plus some violins from this pole to show that perfectly Street View during the night sky. This point, I've given this small extension where we will be adding one street light effect. We will add the street light using in the white quash later on. Now using the whitewashing a thick consistency, I'm just going to add the street light out. Make sure you do not add a lot of photo TO whitewash, otherwise you will not get the opaque law. And make sure you're using a smaller sized round brush and not add a lot of pressure, otherwise, the paint from the bottom layer will begin to spread again. What I will do is I will first give it a little of the dialogue so as to make it act as the background light effects. So you can see I'm just blending the outside of it with the bottom layer. In our studies, Dr. Stevens given the light effect again onto this using in the bright color. Now next using in this violet gray color, the darker tone, I'm adding it to your out to the roof on the left side. The space that I had left blank and not added in the black color that was to give them little highlight using in this darker tone of the violet gray color. Using in this color, I'd say if I'm going to add a little details onto the roof out, you're onto the right side as well. You can see how to simply adding in little highlights or with the sky color onto the roof or the other cityscape details that you are adding creates another level of D-Day look to your painting. So basically this shows a little of the sky color effect onto the bottom silhouettes that you are showing in the perfect balance between your sky and other details. Instead of keeping the silhouette just simple black color. Now next I'm going to begin adding in the tundra detail. So for data I'm going to use in the white gouache and I'm using in our size double 0 detailer brush, which has a pointed tip and will give me very fine lines. I'm going to add little of the time that he didn't near to the pole first, make sure that you can either read and watch all the thunder details that I added and then add accordingly, or you can create your own time. They affect the yard as well. Now I'm going to show a little of the thunder at the bottom side cloud here as well, from behind the pine trees. And a luteal out from behind this house roof that we have added in. You can see how slowly I'm adding in the town that effect at places I'm giving it a little dull white effect to the condo to get the perfect balance in the thunder lightning luke as well. I would not recommend using in a white gel pen your because one you would get in thick lines using in the white gel pen. Secondly, you will not be able to really the tonal variations of white colors when using a white gel pen O'Bannon with my new brush, you can create little dashed lines in between to give a balance effect to your Canva lightning as well. Somewhere it is very dull because of the clouds and somewhere it's bright. So accordingly you see you can vary if you are using in the white gouache on the left side yard, you can see I'm giving in the tundra effect, peeking out from that dark cloud that we had added in. Now to the pandas, you can see just very simple you, as we kept adding branches in the same way you have to keep adding in these lightnings and you don't make smaller linings go from the bigger one and keep them all attach outlet on the left side. As you can see, I'm trying to show that this standard lightning is from behind this cloud out here. Just a little more of the lightening effect and then we will shift to the folder details, make sure you do not add a lot of conduct also uncover the entire sky so you'll have to strike a balance because we are still left to add in little detail. Those details are going to be the light effect to the street light that we have added some violent as I told you. So next we're going to begin adding in the street light for that also we are going to use in the white gouache, but we are going to use the white gouache and a good thick consistency so as to get a opaque lookout, you're only in the center of this white circle that we created. I'm adding in this white color to get the light effect. Lastly, I'm going to shift into my technical pen for adding in the wireline details. You can again use a fine liner brush and the black color and add in these details. But I prefer using an append to ask to add them quickly and smoothly. Now I'm adding in three of the lines coming in from the top left side. You're coming in until the poll. And then we will connect it from behind the pole till the right side. As you can see when you have your paper taped down on a movable surface, It's so easier to just tilt your board according to your hand or comfortability and adding the details source smoothly by just tilting your paper. So I'm just going to be adding in a few more of the lines. I'm using a 0.3 pen. It's not completely a fine tip and not ticked applied the 0.51, it's in-between, which is perfect for adding in the details. Just adding a few of these violin details or cure at the bottom medias bell in-between the roofs and from behind the pine trees as well. Just adding little details to these polls before or, you know, moving on ahead. So I'm adding one of these, the deal using in the black pen itself, it becomes much easier and quicker to add in these details. Just adding in one last while I know tour and to this wire line, I'm going to give him little of the trombone via lookout, you're at the rightmost side near to the fallout. Be given little highlight details to the roof of the houses that we have added in. I'm just going to add a little highlight to this poll as well. So a very fine line out here on the left side of the bowl to give it the effect of the sky onto the fall as Bill. Now the street light, if you see I'm finding it a little smaller, so I'm just going to spread it a little and make it a little bigger as compared to what I added previously, that it gets a perfect treat light lookout TO. Now before removing the masking tape, just adding little more highlights to just added for the light or light effect highlight onto this roof out you are on the left side. And on the leftmost side of this roof, I'm just going to give them little dry brush effect on the roof area has been and blend it a little bit the black so as to give it that darker effect itself. Now before removing the masking tape, just giving you the finishing line out here onto the roof area, your Asbell. And then that is it. We will be ready with the class project four day five of these ten day challenge. Now let's remove the masking tape and see our final painting with those beautiful clean white edges. Make sure you remove the masking tape once everything is dried and move it against your paper? We are almost done removing the masking tape as well. And your is our final painting for day five of these ten day paint expressive skies. I hope you guys enjoyed painting this and learned another technique of adding in those pretty loud so easily. So I will see you guys into the next class project tomorrow. Thank you so much for joining me. 12. Day 6 - Farm House Sky: Hello everyone, Welcome back to D6. Off the attendees paint expressive sky. Today we are going to paint in another beautiful bold sky. Let's begin picking up the colors for this. So the first column that I'm picking up is this violet color from the palette. Said it's not exactly a dark while lift column, but it's on the lighter side, So it's more on the pink side, violet. So you can pick up a medium tone of pink if you do not have a violet and add in a little bit of blue to it to get a little more towards the violet side. So I have just added in a little touch of blue, if you can see on my palette to get it more on the violet side part to this, I'm going to even be adding in little off the white gouache as well and mix all of these three to get a pasting violet, lavender disorder for color. So you can see how easily, by mixing in the colors that are available in your palette, you can create your own colors. This mix I'm going to add in a little touch of black as well. You can see the black color seems a little old boundary and the column mixture is quite less as to what I will be needing on the paper. So I just started little more of the violet color and now just dive in adding a little more of the white colorized well. And using this face still a little grayish touch because we added in the black color, so it will get that little grayish touch as well. We'll be painting the sky with two colors. One is going to be this space will mix of two or violet, black, blue, and the white color. And the one is going to be the orange color mixing with the white color. Also in-between is going to be using in a lot of white to keep the blending easy. Because if you will blend the violet and the orange together, it will begin giving you muddy tones, which we do not want. I'm almost ready with my violet color. I already have the orange color on my palette to which I will mix in a little more widely to run while painting itself directly. This time I'm going to begin adding in the sky diagonally. So on the left side you can see it's smaller and underwrite uncovering major part. It's going to be diagnosed Skype. Now underneath this violet color, I'm going to add a little white color and get a lighter tone to this color, then they will shift to the orange color. So I will quickly just clean my brush and pick up the white color and begin adding it just below the violet color. This is because we do not want muddy tones as I told you previously. So make sure you pick up the white color with a clean brush. You can see how I have blended the white color till the top space. So automatically you get the perfect transitional radiations as well between the colors plus it gives in a little more pleasing effect. Now next time I'm going to pick up the orange color mixing with the white gouache. Again, pick it up with a clean brush so that you do not have the violet color on your brush. Otherwise you will already get the muddy tone on your palette. I'm just reactivating this color with a little tip of water and I'm going to use in white later on as better for blending this, your eye will just begin adding in this color. Now, I'm at the top of this and at the bottom of this orange layer that I added, I'm going to use in the white color as I told you for blending. Picking up the white color directly on my brush, I will false blend the top space with the violet color. In this way, you will see this fight violet and orange being, you know, creating muddy tones when blended together. Your, because you are using in the white in-between. It's not creating in those muddy tones. I'm going to add a little white at the bottom of the audience piece because now the bottom was based. I will fill it again with the violet color and blend all of these. We are ready with the base layer of this guy. This time we've gone in with very different color tones for us sky as you can see. Now till they settled in, I will just create the colors that we will be using for adding in the clouds. We are going to add in the clouds with the grayish violet tone of a Doctorate of consistency. So in that, the black component will be a little more to get that little darker. It won't be extra dots, so make sure you do not make it a black color completely to this mix of the violet color that I have your I'm just adding in little black and I'm going to blend it. You can see at the top area I had that little lighter tone. That is the tone that I'm going to use, not the bottom darker tone. If you feel that your tone has turned out too dark, you can simply just add in a little more of the violet and bite again, because you need a grayish violet towards darker than the base layer color that we have used it. Now using in this smallest size, flat brush, I'm just going to begin adding in the clouds. Basically, I'm just going to keep pulling the clouds from the edges. Now again, when you begin to apply the colors on the paper, you will begin to notice whether the color is visible on your sky or not. And accordingly, you can be a little off the fallow radiations again so that you'll get the perfect blend and profit look with your sky colors as well. You can see for blending at the bottom space of the Cloud, I use it a little lighter colors well, to make it look saddled with the sky. Now again, using in this darker color, I'm going to add in some clouds out. You're at the top left side as well. So you can see I'm adding the clouds very roughly just giving in very rough random stroke. I'm going to try and connect both of these clouds through this MATLAB, like placing them almost closer to each other. Also in-between these clouds you can see little lighter tones because at that case has been an add too much pressure. The clouds get blended with the bottom layer, creating a balance into the space as bell. Now, I'm just going to mix in a little tinge of black to my orange color mix to get the little or grayish orange tone. And using this color, I'm just going to add in very little effect to the clouds that out you're going to be quite less, do not add excess of it, going very slowly, otherwise you may ruin it. And then going back will be a little difficult correcting in all of the details. Now I'm just adding in little more white to the violet color mix. And using this lighter color, I'm going to add some of the clouds out. You're at the bottom space on the orange color. As I told you with the orange color, we added in very less details for the clouds. Now again, shifting into this lavender color, I'm beginning to add in the details out here at this phase. Now you can see I'm just using simple straight lines using the tip of the brush. Adding in these details, again, you're in this class project. You can see how we've used in different kinds of clouds to fill in our sky as well. Now just dabbing little bit whiteout here to give a little more effects. And that will be it for the cloud. We will begin adding in the silhouette at the bottom space. Celebrate with that we will be adding is going to be again, a little kind of a cityscape view that we will be going ahead with. That we will mainly be using in black color and then adding in highlights using in the sky colors later on in one of the previous class projects as well. That is the D5 class project. We added very little highlight, if you remember, same Livia going to add in little highlights this time as well. First, let's begin with the black color and begin adding in the silhouette details one by one. So you can see at the bottom space, I haven't added much of the Cloud details for this reason. Now again, I'm going to add in a mix of the bush details and little building details out your, you can either have your own cityscapes elevator at the bottom media, or you can simply go ahead with only adding in Bush details of grass details or only cityscape detail. That's everything depending completely undo your choice. So go ahead and you know, as you wish, you can add the details. So first at the top space, you can see I've filled in with the detailed look of the bushy area using in the proposed the round brush. And at the bottom space, I'm going to fill this completely with the black color. Now you're on the leftmost side. I'm going to add in one big house. Given that to the view or light onto this house, we will add in little light effect later on the highlight effect using in this guy Carlos, this house for the first layer, we are going to fill this as well with the black color completely. And then once everything dries in, now I've shifted into a bigger size brush and now I'm just going to fill in all of the spaces, the bottom space with the black color completely. This is how you can just given the outline using a smallest size brush to give it all little detail. Then for the rest of the bottom spaces with the black palate directly making your task a little quicker. We are still left to add in much more details into this. This is just the first layer of videos that we are beginning in width. I'm done filling the entire space with a black color. Now I'm going to add in little palm tree effect as well. So again, I'm shifting to my smallest sized round brush. I'm not going to add in much detail, look up the palm trees. It's going to be very simple one with the black color itself popping out from between these bush details that we have added in. Just make sure about one thing that you really the height of the bush and you're not at places make it go a little smaller and then it is taller. So this is kind of a seem like a farmhouse view at the end. So basically your farmers on the left edge and then all the greenery or the bush details out your, It's a silhouette with a black color. So simply you can see I'm adding the pumps. You also very roughly not much detailed by now. So I'm going to add two to three of these in different heights. So accordingly, you can go ahead and add a few smaller ones and then one or two taller ones, depending again on the size of your paper and the placement that you are going ahead with this boundary out you are, you can see I've taken a taller than the other palm trees that we added already. So again, for the Friday she then you can see I'm not going ahead with much. Did they look very simple details, very easy for any one of you to follow along and I didn't easily. Now I'm further shifting for the smallest size brush because now I'm going to add in Baltimore up AMT, just closer to this biggest palm tree that we added in, but it's going to be smaller as compared to this big one. And the strokes out you're going to be much more fine. After this, I'm just going to add in little more grass detail and I'll see if I need to add in another one or two families, depending on the grass details that we added. Now randomly at places you can see I'm just increasing the height of the bush and now I'm just going to add in little more of grass detail out. You're very simple grass strokes closer to each other while making them pull up towards the sky space. In-between these two trees, I'm adding another very small pump g out here. You can see it half the size of those trees and very simple strokes to act in as the foliage. So this G basically maybe a far-off key which is just visible in-between both of these out your, I'm just going to add in further more detail. Just adding in little more detail out. You're on the right side. So another palm tree, a smaller one as compared to the bigger ones that we added previously and very simple pilot detail. Now I will just add one more palm tree out your and I guess that would be enough to get into perfect farmhouse kind of overview. After this, I will be adding in one big three on the rightmost side, but that won't be a palm tree exactly. It's going to be our simple, basic tree with a lot of branches popping out. Now in-between again, you can see I didn't need to grass detail to maintain the natural look out here since we are making it look like the farmhouse view. And of course, over the summer sitting in who wouldn't love to stay at such a farmhouse view, right? Since all of us cannot travel, of course. Why not paint one out? You're just adding in simple branches out to her as you can see. Now using this point brush, I'm just going to add in the foliage detail to this tree that we added last. So I have not dip this brush in water. I'm just going to pick up little black color and holding my brush perpendicular. I'm just going to simply add in the foliage details quickly. Now using this brush itself, I'm just going to add in little more of the foreign HD deal out. You're on the left side closer to the house as well, giving it more of the natural loop, blending it too well with the bass note that we have already added it. After this, we'll be left with very less details to be added in. You can see already the painting looks so beautiful with those perfect or live sky. And then there was dust clouds and this farmhouse view that we are adding in with so much of the trinity sort of details. Now using this mix of orange color, I'm going to begin adding in the highlights onto the house that we have added out. You're using a round brush. We are going to add in little details, giving him little random highlights. So I'm just going to go ahead and add in very random highlights. There is no specific or image or reference that I'm following our tour. I may even correct a little bit later on if it does not seem perfect to me. But for now, just adding in first or small patch to show him the lighter effect our tour. Now till this settles in, I'm going to create a mix of the yellow, orange and the white color. And I'm just going to add a little light effect into the greenery space that we added in. So you can see my brush had a little of the black color still. And it's mixed in with door of yellow palette, creating it a muddy, yellowish color, which we do not want for the light effect. So I'm going to quickly clean my brush again, pick up some fresh yellow color, fresh orange color and mix it with a little bit of the fresh white fellow for adding in the light effect in the bush space. So basically those small lamps that we have in-between the Trinity Walking fields. So that is a little effect that we are going to give him very randomly. I've mixed in the yellow, orange and the white color. And you can see it's more of an orange tone that is fun. So very randomly you can see I'm just adding in the light effect in-between these bushes. So between the green fields having the perfect light effect. Very little of the details, as I told you, I'm not going to add in much. What are these quickly do is I'm false, blending them a little into the background so as to give them a little blurry effect as well. Once the citizen, I will further add bright light effect to this. Basically you will have that glowing light as well look or because of these blended lights that we are adding. Just going to add a few more of these on the right side as well quickly. Now on this patch out, you're going to add in little simple, a lighter strokes of the orange color again to give a little light effect, your eyes bent. So again, as I told you in the beginning, this is very random or patch that associated on the house to give him little highlighted, showing a separate space or side area or offense detail out your very roughly with some white details on it. I'm just quickly blending the edges a little into the background with the black color again, because I feel this patch is looking a little reward, suggest keeping those offense details in SAS with the orange color that we added into actin as defense piece. And just going to add in little light detail at the top area of the house. So now basically you can get a clear understanding. Those are straight lines that we have added at the bottom of the house are the fence lines out there, or just with little light effect in the background. Now, again, using in the mix of the yellow and orange color, I'm just going to add in the light effects to the other small dots that we have added at the bottom space. You can see quickly I added little more of the light effect now just going to give him little more detailed look to these fence details out your as well, showing that these pens are the ones with little light effect into giving you that perfect effect to the vacation at Sandhaus right? Now, I've added much more light effect, as you can see even in the bushy area to give it that glowing effect. That is it. We are ready with our class project for D6. Let's remove the masking tape and see your final painting with those clean edges. I'm absolutely in love with this class project and it's by far my favorite class project from this class. Make sure you remove the masking tape once your edges are completely dry it and move it against the people so that you do not tear off the edges. Your final painting for these six of these ten day paint explicit skies. I hope you guys enjoyed painting with me today and loved painting this farmhouse view with this pretty sky. I will see you guys tomorrow into the D7 class project. Thank you so much for joining me into this class. 13. Day 7 - Bright Blue Sky : Welcome back to day seven of the ten D paint expressive skies. Today we are going to be painting in a pretty blue sky that was a bright white clouds. Let's begin by preparing the colors first. The first color that I'm going to pick up is this Prussian blue color. And to descend going to be mixing in a lot of fights to get a very light pasted blue color. I'm just speaking in very little touch of the base layer color. As you can see, I've hardly removed a little of the blue color to this. I'm going to be adding in lots of fights out this blue color. Now I'm just going to mix into whitewash. Now make sure about one thing that you mix in enough color because we are going to be painting the entire Skype forced with this a blue column mix that we're creating. And then on top of that we will be adding in the white cloud separately. So depending on the size of the paper that you're using in, make sure you have enough column mixed in for the entire paper to get filled up. I'm this way to mix in both the colors now and see it. This guy loop sort of a shade for the sky area. This color still teams staff to meet. So I'm still going to add in furthermore white because as I told you, we want a very bright blue sky. We don't want a dark one. That we have the bright cloud effect as well onto the bright sky. Just going to mix in a little more white to this now. And then you begin painting the sky area to this mix of the Persian blue and the white color. I will mix in a little. Think of the civilian blue color because too much white with the Prussian blue is giving me a little dull blue shade, which I do not exactly, or one for my Skype suggest to give them that little bright component. I'm going to add in just a little tinge of the city in, in blue color from my other sick. Now my blue color is almost ready. What I will do is I will give him one stroke of this darker mix at the top of the sky. And then for the add-in little more white and go ahead with the lighter tone at the bottom spaces. So first I'm just beginning in with one darker tone. I'm directly using the city didn't blue color for this top layer from the palette. You can see this color does not have them mix of white, do not use pollution Lou Your, because it will be very tough to go ahead with a medium tone of blue for the top layer, That's a dark layer to get the transition value to the blue background sky as Ben. And now towards the entire bottom spy, I'm going to use the mixed that we created off the light blue out here. I'm going to lay down the entire sky with this color and blend it with the dark color as Ben, make sure you do not add macro photo, otherwise your paints will not act opaque and B will act as watercolors. Also for blending, you can use a damp brush or little more of white in-between. You can see I'm running my brush completely from left to right so that I do not have any strokes in-between or any sharp edges in-between. With every stroke, I'm trying to make the previously as better blended easily. I'm going to quickly finish adding up the blue and then move ahead further. Now in this last flee or I'm just going to clean my brush and pick up thresh white and begin blending white with a blue color to get for the lighter tone. So basically you will have three tonal variations in your sky. At the top you have this area in blue in between, you have a little mixed with white. And at the bottom space you will have a very bright sky blue color because of more white. So I'm just going to blend it with the blue at the top layer. So automatically this will also have an a little of the blue touch to it, as you can see. I'm just moving my brush from the bottom till the top so as to get the perfect blends as you can see and law having any sharp edges in-between, even if you will have little since we are going to add in a lot of cloud system, you can easily cover up your mistakes as well as much as possible to improve. It's better to try to not have sharp edges or unfinished blending in-between. This is a father base layer of the sky and I want to this we are going to begin adding in the clouds, so it's further clouds. We are going to use it to defend total radiations. One will be of a grayish tone and one will be off the white color to add in the bright clouds over it. So that grayish tone cloud would only be acting in, as you don't immediately the shadow to the bright white clouds that we will be adding. Picked up a little white to that. I'm just mixing in a little tinge of the black color. You have to mix in very little black because we do not want a very dark greens when it has to be more of or less of blacks. Now for the first layer of clouds and beginning ahead with the gray tone, I'm using my smallest size blender brush so you can use this fallacy is flat brushes balance. You do not have the blender brush and just using the tip, you can see I'm adding in the patch of this color creating in little cloud sheets and onto the edges of this cloud. I'm giving it very thus edge, as you can see, time to just pull out the color giving indoors or rough Cloud sheets. Now in the same way, I'm going to keep adding in a few of the Cloud. So you will see some of the clouds coming in from the edges. Just as we added out your one at the top most left edge. This is again just the base year, as I told you, a False New York, I'm adding in with a little more of white and very less gray that I'm including right now. Again, you will see that the first layer blends a little bit of background layer because, you know, we leave a little harsh on our brush by adding these two given those dark edge. Until this, we will still be adding in more colors to get into the brightest thing. For now, just using the white color directly. If adding in the first layer, then we will move to the next video with the gray color and then the writer effect with one more thick layer of the white color. So you can see and notice I'm just adding the clouds vary randomly and closer to each other, trying to maintain distinct sheets of clouds. As you can see some way some clouds are thick or somebody or longer but tin from the edges as well and pulling out the clouds and especially towards the edges of the clouds if you see, I'm trying to give them a very rough shape. At the bottom here, you can see I've given on a very big cloud effect out here. Now just using the tip, I will give them very small cloud effects in-between these bigger clouds that we have added in. So these are kind of the funnel cloud effects that we're adding in. So you need to add in a balance and not just keep adding in only bigger and bigger clouds, you have to strike a balance between different sizes of clouds. Now again, I have picked up little white color in March, teacup consistency. And I'm just going to begin adding in layer onto the false clouds that I've added in so as to give in that bright white cow defect that places. But again from the edge I will try to pull out and give those dark sheep as needed. So it's kind of a dry brush detail that I tried to give in on the edge so as to give it that rough look. You can see the bright cloud at the top in the center and the other cloud effect look a little dull and settled one. I'm not going to add in this thick white clear to all of the clouds. I will strike a balance between that as well. Now I have picked up the gray color and just under the whitespace of the clouds, I'm going to add in little effect with this gray color. And then on top of this we will add in the bright white effects. What will happen is this gray color on top of white. When we will add in this gray color, we'll begin to act as the shadow to the white clouds that we will be adding in giving in a shadow balance to your sky area, which is very important. Hence, just adding in the gray colors, as you can see only at the bottom edge majorly two, given the shadow effect. At the bottom most part of the sky, you will notice I have not added much of the clouds because we are going to add in little silhouette out there and then some street lights as Ben, I'm keeping the lowest piece a little empty only for now. We will see later on if you need to add more or out depending on the silhouette that we added. Now I'm going to pick up the white again. I'm going to add in the finishing touches to the rest of the clouds as well. So I've picked up the white. Now, these clouds, I'm going to add in the white color in such a way that the Greek alert bottom layer be visible underneath the white color might vary randomly and graph mean you don't have to follow a set pattern or a set cheap for this gray color to be visible. Now you will see how beautifully the gray color or will act as the shadow to these clouds just onto the sky space. I'm quickly adding in the white details to almost all of the clouds to make them bright. But you can see I'm adding in such a way that the bees daphnia is still visible or pleases and the bottom gray acts as the shadow. Then this is how you can add shadow to tone clouds are given this into a tonal variations to the Clouds as well. By walking on layoffs and building the clouds in layers. Now wherever I feel the need to, I'm just going to add in listing of the funnel clouds to make my SPY look perfect. I'm sure your Skype placements or your clouds placements would be a little different than mine. So you can accordingly adjust the pillow clouds or using different methods to add in the filler clouds. So at the bottom, I've just given it. It's two o'clock dal plots blended into the sky. Now to this, we are going to do one more thing using a damp brush. You will notice I'm just blending the top of the white sky of white cloud out you're into the sky. You can see how beautifully the sky is looking blended into the background, having a little smoky effect in the background. Not necessarily to all of the clouds that you have to do this, but to a few plots you can give them this, you know, Smokey blended effect into the background using a damp brush, blending it very easily like this. The smoky effect using a damp brush and for blending, I just use the tip of my finger, the smaller finger, and automatically blend it a little into the sky. So these are multiple techniques that you can use in what, two to the best and accordingly. Or you know, with practice, you will be able to achieve the results and understand what works better for you and how it should be working. Now, just going to add in little cloud effect at the bottom side because what I will try to show your clouds from behind the silhouette that we will be adding it. So just adding in Von Cloud or two or at the bottom space which is going to get half or more than half, just cover up to the silhouette. But peeking from behind the solute, it will give a good effect. Suggests the last Cloud or you are at the bottom right side as well. And then we will begin adding the silicate with the black color. Again, you will notice the right side cloud is more right and the left side thought looks more blended into the background and more settled into the sky. That is it for the clouds part for now. Now let us begin adding the solo hit with the black color. You need to make sure that everything dries completely solvated for a minute or two for the clouds to settle in. And then begin with the black color silhouette part. Now my sky and clouds are completely dried and I have some black color picked up on my brush. So I've picked up the black color, no good tip consistency so as to get the perfect opaque loop. And using the black color, I'm going to begin adding in the solar heat for the silicate part. This time I'm just going to add in simple Bush and then we're giving in a mode of this cheap light details this time. First I'm just creating in the top area. You can see just using the tip of my brush giving him the bidding look at the thoughts space and at the bottom, filling it with black color. In the same way, I'm going to quickly add in the silhouette detail to the entire bottom space. This bush details basic Bush, what we have learned so far. Again in these also, you can see we've known so many different techniques of adding in the bush deep in you or we are adding in directly using the round brush at the top, you'll give little detailed look by just dabbing the tip of your brush, giving him Listen leafy top and bottom species, you'll fill it with a black color. This bushy area, I'm not making it go too much height it because as I told you, we will be adding more of the street light effect, which will go taller and be covering the half of this guy species at places. So this, I just want to keep it low lying so as to give the finishing edge to the details that we will be adding in photo. Now from behind this brush you can see that cloud speaking at the bottom piece, look so beautiful. Look much better and blended. I have almost reached the end of this bottom space bushy idea. We are still left to add in a lot of other details as well. We're going to add in leaves popping out from the top right side as well. Then we will be adding in, in a little more detailed view. You're at the right side. You can see I've taken the class details are a little more taller and towards the top. I'm using the black color itself. I'm just going to give it a little more detail view at places where I feel I need to add little more detail at the top of these Bush areas. Just simply the same technique that we use somewhere. I'm adding in little taller ones out here. Now on the left side as well, I'm going to add in little more detail moving towards the top space, giving a little more detailed view. So you can see how slowly step-by-step we are building in the details so that we do not overdo, overdo the details at any spot. That is very important to go in very slowly with the detail In part. Now, if you'll notice on the left side, I'm adding in much more detail looking leaf than what we have addict in that space completely. So that is how you need to build in DDS layers on layers giving you a little more detailed view at places. On the left side you can see we've taken the details almost in the center of the sky, but very thin not to take one. Now seeing from the top right side, I'm going to add in detail leaves. The leaves are going to be much more detailed. And even what we added at the bottom left side right now. So I'm going to add little branches as well inbetween and from those pop out very random leaves, but in the Detail View, so I'm going to go in very slowly and keep adding the leaves one-by-one along with the branches. From the smaller branches. From the bigger branches, you can pop out the leaves and adding little smaller branches as well. And purple for the leaves from them as well. You can see how I'm building in the details of the leaves out, you're popping out leaves closer to each other, adding some of them in a bunch as well. Now, crisscrossing this and overlaying on to this post-meal that we have added in, I'm going to begin adding in the photo leaves. So it's going to be at the top right side only and it's lifted. You're not literally take all that is moving little towards the center space. And I'm going to keep adding such needs almost till the center of the sky on the rightmost side. But I'll just going to try and add them in such a way that the background sky is still visible at places in-between these leaves. You can see how I added in a few of the branches popping up from the branches that we added all your and adding in leaves to them. As we move towards the bottom right side, I did use the length and tried to make them go shorter and give it the perfect and out they're very randomly variable. I feel the need. I'm just going to pop out a few more leaves and branches so as to get the perfect view. After this, we will be left to add in little off the street light effect and the violin details at the bottom space. To complete this perfect looking sky. I absolutely loved the white clouds popping out in this, having in that soft background with the lighter tone and the gray tones at places giving it the perfect shadow and the bright details. Now using the black color, I'm going to add in the street lights out. So when I'm adding O2, you're on the right side. As I always tell you, if you're not confident about adding these poll details directly with this last color, you can first add a small pencil sketch or use a backup for adding the outline and then fill them with the black color. To these, I'm going to begin adding in little details on step-by-step to this poll out your I'm trying to given the traffic light effects, hence I'm just adding in three simple blocks out you are to act as the traffic light. Now next onto the left side, I'm going to add in a street light effect has been, this cheap light is going to be a little dip. So I'm going to add it tilting in towards the right side. The street light is going to be towards the left of this pole and this ball is going to be obtained as compared to the traffic light pole that we added in. Now on the left side, I'm creating the hand in for this cheap light that we will be adding it and creating in this space for the lighters bend the light details we will be adding in later on ahead. Now next I'm going to add in one more detail out you're in-between both of these polls that we added so far. So this one is again going to be steep, but the smaller one to this one, I'm going to add the light effect towards the right side this time. You can see this time we are adding in the light effect. It falls quite differently. Or taking the handles a little slant and a little longer one as well. And do the bullets just randomly going to add in the other details that I added for the previous one. Then we are going to be adding in some violence moving across these falls into the sky space so far starting in these bottom medius, then we'll shift into the byline details has been. Now I feel these much details add enough because I do not want to overdo the space out here and cover the sky completely. I'm just going to pick up my spoil town brush. I'm going to add in little more bush detail at the bottom space using in this coil brush to give it little more pleasant view out there. You can see I have not added the detail with this point brush onto the entire space in-between as lifted spaces without a naturally look as bad but little detail with this brush you can see create such a different effect and creates much more naturally effects then using a simple round brush every time. So you can use a blend of both the techniques to get the perfect blend and the effect for your Bush space. And so easily you can fill in the videos as Ben. Randomly you can see at pleases just using this technique, I've increased the height of the bush. Now next I'm just going to shift to my round brush again and using the black color, I'm just going to add in little details to the traffic light pole and then leaving adding the light details for those. So I forgot to add these little details or the member, it's these little details that gives your painting much more detailed look. So do not worry if you miss two, add them all at one go. In fact, it's always better to keep adding them step-by-step so that you do not overdo add any space because then it's very difficult to go back to the previous step. Now next, using in the mix of this yellow and orange color, I'm going to add in the light to both of these cheap lights. I already have the yellow and the orange color on my palette out to or from the previous exercise. I'm just going to mix both of these and quickly going to add in the first year to the street lights out. Fill the center space very carefully so that you do not activate the black color around it. Otherwise, it will get mixed up with the audience and the yellow mix and create a muddy tune out there, which we do not want. Onto this, we will still be adding in a bright light effect using in the white color later on, once the first layer dries in, I've just picked up some fresh yellow palette again, and I'm just going to add a little bright yellow effect to the street lights. After this, we will add in little effect on the street lights on the bottom Bush effect area as well. And then at the white lines and BDD with our painting for D7 as well. So you can see quickly how I added the second layer of the galaxy alone, making the Lightboard more bright. I purposely did not go with the white color light out here because it would blend in with the Cloud and not give that right. Now, using in the black fellow mixed in with the orange, spell it out. I'm going to create a muddy brown color by mixing in both of these and just going to give him little effect onto the bush just underneath these whitespaces. Make sure one thing you do not have excess water may adapt your brush onto the last issue, if you feel there is excess pigment because we weren't very simple Bush effect suggest on top of this just where the light is falling. I'm giving him little of the detail and light effect onto the bush underneath both of these feet lights. You can see, again, very simple detail, but it makes your painting go one more step closer to the realistic view. Now before removing the masking tape, Let's quickly pick up a technical pen and quickly adding the violence. So for that I'm using in the 0.1 pen and I'm going to add in a few of the details with the 0.3 pins. So first I'm adding the fine lines using in this pin-pin. Now these guidelines are very last thing that I'm adding in. You can go ahead and add them a little defendant mind is perfectly okay and ASPE of composition that you wish to add it. But I'm just going to add him a blend of some thicker and thinner lines to maintain the balance in my sky. I'm not going to add much of them at the top of the skies. It's going to be more of them at the bottom space. Reason for that being that if you notice the top video of this guy is majorly filled up with good enough amount of clouds, but the bottom space behind the bushes is not filled in with much cloud. So to get the focus out there as well, I'm going to add in more of these are violins effect at the bottom space and not much at the top speed. You can see how quickly I added in all the lines very roughly connecting to defend false different places, different angles, giving in the perfect view. Now I'm just going to add in little more detail randomly wherever I see the knee. And then we will remove the masking tape and we'll be ready with our class project for D7 as well. Now let's remove the masking tape finally. Again, the last class project was by far my most favorite. But after today's class project, this happens to be my most favorite one because of the bright sky and the clouds look so perfect and so realistic in this one. And I even know if the silhouette detail in this one out. Be very careful by removing the masking tape so that you do not tear off the paper. It's very important otherwise your entire painting may go for a toss. Your final painting for these seven of this ten-day paint expressive sky. I hope you guys enjoyed painting with me today. I will see you guys tomorrow into the day each class project, we are just three more days away from closing this ten-day challenge. Thank you so much to each one of you for joining me into this class. 14. Day 8 - Sunset Field: Hello everyone, Welcome to the eight of the ten day paint expressive Skype class. Today we are going to paint a simple middle kind of painting with a beautiful sky and clouds. Let's begin preparing the colors for the sky first. The first color that I'm picking up is the shade off occlusion blue, which I will be mixing with a lot of white to get it into a little lighter tone. Along with that, I will be using in pasted tones of pink and orange for the Skype. This time also the sky we are going to be painting in diagnosis. And I'm going to keep mixing in the white color to the base Leo colors so as to get into pastel colors to them. I'm just going to add a little white to the blue color that we've picked up out here. Along with that, I'm even adding in a little tinge of the black color to this as well so as to get it into a little greenish tone. Today we are going to be painting a very evening sky and then giving it a middle with little details at the bottom, we won't be adding florals in the middle. Rather we will be going ahead with a very simple grass field kind of a look. Let's begin adding in the details. Now. I have my blue color ready. You can see it's a grayish blue fallow or a steel blue color that you can call that we have fun by mixing in the Prussian blue, black, and the white color. Next, we will be needing an orange color to the orange gallery as well. I'm going to be mixing in the white color and a little pasted think kind of a color for which I am using the metallic red color from the Naval palette set to go these colors as well. I will be mixing in whitewash, getting in the paste in colors to both of them. So I will just add on the right and keep it out here. And then we will begin painting once we have all the sky colors ready. Now first let's begin with the blue column mix that we haven't. Now I'm going to begin diagonally from left to right. But at the top right side I'm going to leave a little space white, because there I will be adding pink color as bell at the topmost space. So you can see I'm going diagonally with the blue color that we have formed, leaving little space at this top area right outside, wide step for the pink color to be added there. Now mixing in the white with the metallic red color, I've got a pastel pink color. And using the space, that pink color, I'm going to be adding it at the top of the blue color and at the bottom of the blue color and blended well. When this blue and the modality that will begin bending with each other, they will begin to form in a little bit of a popular shade in-between. If you want, you can avoid that by adding in white in-between, but I'm not going to add invite in-between because I want that little violet color automatically being formed to get that perfect evening sky look. You can see how beautifully the pink and blue have blended. And even to the right of the blue I've given in the pink stroke speaking in and blending it all well. Now next I'm going to mix in the orange and the white color and follow a pistol orange color and added below to the pink color at the bottom space. Then also I won't be using invite for blending because pink and orange going well together and they're blending would also not be forming in any muddy tones. So we can simply go ahead with blending of both of these colors. Now the next color just below the orange colors and I'm going to be adding in is going to be the yellow color to the yellow color. I'm not going to add in white because I have a bright yellow color already. And that's perfect to given the sunset view. If you want, you can add in white to your yellow as well. If your yellow is too dark, just underneath the orange, adding in the yellow and blending both of these well together as bell, you can see how step-by-step, you can easily go ahead with blending one color. And even if the previous near driving, you can still simply get in the colors right. Now, we are still left to add in the clouds onto this. If at any point you feel that you're blending hasn't gone right or were unable to cover up the mistakes of your sky. You still have the clouds to cover up the mistakes. Now at the bottom, more space I've just added in a little touch of the orange color again, just below the yellow color. And I'm ready with a basically offer the sky onto this. We will be beginning to add in the clouds. Now. Now for the clouds, I'm adding invite to the pink color that I use and creating in a photo lighter tone of the pink color. Using this pretty BB being sort of a color, I'm going to begin adding in the clouds now. Basically we are just going to be using in a smallest size flat brush. Or if you do not have flat brush, you'll be using round brush. I'm just using the tip of my smallest size blender brush and just beginning dividing very simple Cloud strokes closer to each other. Now again, make sure that you do not add in a lot of pressure on your brush going with very gentle strokes. Otherwise, the base year colors will begin to get activated and that will begin creating rough patches and make the colors blend and will not give you the opaque Cloud loop. I'm going to roughly add in clouds wherever I feel that I need to cover up little spaces or to give them little lighter effects. Now I'm just going to add one clouds out here. On the left side you can see how smoothly I'm adding in the clouds, just using the tip and adding in simple strokes. It's very simple to keep adding in little details, just getting to know the techniques. It's very important, I will repeat again to control the pressure on your brush while adding these layers. Otherwise the basically your colors will get activated. Now next, I'm going to pick up some orange color. I'm going to add in some bright orange cloud at the bottom space of this guy. So I'm going to pick in fresh orange color again. And you know, I didn't false bolt skies. And then using a little of the pasty loadings color, I will blend them with the bottom layer and get them into a little lighter or Cloud range as well. So now just using the tip of the flat brush, I'm going to begin adding in simple strokes from left and right side board, almost in the center of the sky spaces and begin blending in the clouds. Now I'm going to mix in little bite to the orange color out your and using a smallest size brush, I'm just going to pick in a very light shade of the orange color that is orange mixed with white. I'm going to begin adding in some little low-lying clouds out. You're into the sky, just blending them with the darker orange sky that I have added in. Further using this lighter color mix, you can see I'm adding four the smaller clouds moving towards the bottom side. So the bottom media, we're just going to have very small and simple field it is. And you know, these profit low-lying clouds will come from behind of those grass details that we will be adding and give a perfect loop. That is the reason I'm adding in the Cloud still such bottom of this guy space this time so as to give them the perfect begin loop from behind those grass details. Now you are, you can see I've tried to use a mix of both the darker and the lighter orange sheets to get into details into the clouds. I'm just going to add a little of the orange clouds at the top space as well on the pink color, so as to get a perfect transition between the cloud colors as well. Now using the black color, I will begin adding in details for the field area. First using the black color, I'm just going to add a small patch out you're using in my flat brush, one straight line to fill in the bottom space. Now from this black space, I'm going to pop out the grass and afield details that we are going to add in The first, just adding in a black space at the bottom, filling in the bottom area for the fee. I'm just going to give the top space or perfect filling so that I do not have any rough ships coming in. Now onto this black space, I'm just going to give them little orange touch to reflect on middle of the sky. Adf suggests using in this pastel orange color, I'm going to add it in the center of the black space and blended with the black color of Lean, letting little orange spaces be visible. As I told you, just knit and highlights that we added in the center space. You can see with the light orange mix that we have. Now under this, let us begin adding in further details. So I'm going to shift into my round brush to begin adding in the further details into the middle at the bottom space. If I have picked up my spoil round brush and I haven't dipped my brush in water. I just picked up black color and adapt the excess paint as well onto the tissue. And now at the bottom, just about the black color line that we filled. I'm just giving in the photosphere of the grass detail. Now you can see how the black color is looking more detail than what it was looking in a street fill light. Now when you are beginning to add in the grass detail on top of this, you can see this is beginning to look like a field area already. This entire line I've given in this detail using in this point brush. Now we will begin adding in little detail leaf details using in our smallest sized round brush or a pointed tip round brush. Now I'm going to use in my pointed tip round brush and begin adding in the detail leaves on top of this piece. I'm going to try and VD the height of the leaf and the different kind of leave details that we begin to add in. But far I didn't in the leaf details, I'm going to use the black color itself. Now just using in the pointed tip brush and beginning to add in simple glass tubes crisscross to each other. Coming out from this black space, you will see the grass strokes are moving in different angles. Some of them a little street, some tilted towards the left and some tilted towards the right. At places I'm even adding in bunch of them together. We are going to be adding a lot more details into this field space. This is just the beginning with little details of simple grass troops. Completely from left to right. I'm going to add in this kind of grass tool. Now again, you can see I'm trying to vary the heights of these grass troops somewhere. I've taken them a lot taller, almost in the center of the sky. In-between, I take them shorter and then again taller, trying to really the height and make them look more natural. Now again, you can see I'm taking in such bigger strokes, even bigger than the previous strokes that we have taken so far. So it makes sure you do not add much of the biggest tools, just little of them, that you let the sky and the clouds halls will be visible. And as I told you, you can see the audience clouds from behind. These brushstrokes look so beautiful and perfect and give the Buffett field a sunset kind of a view that we are trying to paint out too. Now moving to the next detail of the field to some of these bigger strokes that I painted, I'm going to give them little of the between kind of a detail, making them give details like the wheat grass just at the top of them. I'm pulling up little the strokes from both the sides, giving them look off the wheat field. I'm going to do the same to some of the bigger strokes. And some of the smallest stroke says very quickly. Again, you always Bell, I'm just using in the pointed tip of my brush for adding in the details out your strokes that I've added. I'm adding in this detail, this side what I'm doing this from one of big old rusty deal, I'm pulling out four to five of these smaller branches, giving him those are little minute leaf details. You can see how such a simple painting, and we are making it look so much detail with just very simple details of the field area. Even without adding in any flowers. And the sky looks at the perfect sunset sky that one would love to witness on a field visit. Adding this detail of glass may be a little tedious or tiresome for some of you. So you can show me take a break in-between and resume back again because since we are working with gouache, it's quite easy to resume even if you're painting is completely dried at any point and keep adding the details later on. I'm just going to add a little more details in the grass field. Now wherever I feel the need of adding in more of the grass details, I'm just going to begin adding them slowly one by one. Now if you want, you can give it a little highlight streets using in the brown color as well to reflect the sunset sky color effect onto this grass area as well. But I'm going to keep it simple black for now and just adding in little more detail slowly wherever I feel it is important to add in, make sure you do not overdo any one kind of detail, going very slowly, adding details little by little at all spaces. You can always come back and add more details wherever you feel the need to. Now you can see from these smaller class strokes as Barry, I'm trying to pull up little of the wheat grass detail. I'm just pulling little of them are a little taller as well, so as to give him a perfect transition from smaller to bigger and bigger to smaller ones getting in the perfect balance in our entire fields. 5th. Now in-between, I'm just going to call up little of the simple grass strokes that we began with again better, but I feel that is little gap or little of the strokes are needed in between to balance the field space very randomly. You can see I'm adding a few of these drugs again. Again, this is very important that you do not add one kind of strokes altogether. You can see in the first year I had left enough gap species. Then we added the wheat field space. And then again, as we felt the need, we added the simple strokes again. Now next using in the white gouache, I'm going to add in a moon at the top left side. So I'm going to add in a glowing moon kind of a detail. So first using the white color, I'm going to create a glowing space. And then once that dries a little, I will add a moon just in the center of a growing space. So for creating the growing space first, I'm going to add in a small patch of fight. Then using a damp brush, I'm going to blend this white into the bottom layer, making it go a little dull white kind of a batch. Suggest now using a damp brush, I'm going to run at the edges of this white color and begin blending it into the background. You can see how beautiful this growing spaces looking for the mood. Now once this dries, I'm going to add in the moon just in the center of this whitespace. Using the whitewashing, not thick consistency without adding in much of the water. I'm just going to add in a small moon in the center of this face. And you can see how bright the moon is looking. Because if the background blowing space that we added in, that is it for our easy, simple, Pretty Class Project for it, Let's remove the masking tape and CF final painting with those clean edges, make sure you remove the masking tape at an angle from your paper so that you do not tear off the edges. Removing the masking tape after painting is the most satisfying part compared to the whole painting. Put together. Your final painting for the eight of these 10-day paint expressive skies. I hope you guys enjoyed painting this beautiful field detail with me today. You can change the color combinations for the field, or we make a floral middle kind of a detail and add the clouds in the different techniques that we have learned for your own experimentation purposes. Thank you so much once again to each one of you for joining me. I will see you guys into the day nine class project to model. 15. Day 9 - Evening Sky: Hello everyone. Welcome to D9. We are on the second last day of the attendee paint expressive Skype class. Today we are going to paint a pretty blue and violet sky with against simple leaf the deals with the black color. I'm picking up the pollution blue color and adding it to the mix that we already have in your. And I'm going to use this violet color. So this is the violet light color from the palette. Say bye to this. I'm going to add in little blue to make it go more towards the violet side. As you can see, this is more towards the right side for now. To both of these, I'm even going to add in the white gouache to get in the pastel color look fast mixing in the blue color and the white color out here from the previous class projects, I already had little off the blue color out, which are the little tint of black has been. So if you want mixing in separately, you can even add in a little tent of the black to this color mix to get in a steel blue kind of a color. Now using this color in the perfect consistency, I'm going to begin adding this color from the bottom space. So I'm using in our half-inch flat brush out, you have to begin adding in simple stroke of this color. I'm going to blend this simple color out. You're onto the entire space. Almost two-thirds of the page. I have covered it up with the blue color, as you can see at the top space. Now, I'm going to add in the mix of the violet color. I'm going to mix in this White and violet light color. And the BCR already had little blue color. If you're busy or just not having the blue color, you can also add in little bit separately as even I'm adding in separately to get the violet column more towards the blue side. Now, In this color, I'm going to add it at the top space of this guy wherein we have in the whitespace lifting. And I'm going to fill this color completely and blend it with the blue color as well. You can see the two colors look so pretty together and they look perfectly blended at the center point or at the point actually where we've blended both of them together. Now. And you feel that the blending or there are some rough lines, you can simply just run a damp brush from top to bottom, moving left to right completely. So I've just given in another layer of the wash. Now on this we are going to be adding in a lot of Cloud details. Very simple one. Let's wait for this to settle in a bit and dry out. And then we will begin adding in the clouds. Now for adding in the clouds, I've just mixed in a little more of the violet light color to this mixture. And now we are going to add in the clouds. This time we are going to add in very simple clouds. In my smallest size, flat brush. And using the tip of the brush, I'm going to be adding in very simple rough lines closer to each other, trying to form in very rough clouds. You can see I'm adding the clouds in quite different sizes as well as quite different angles. 16. Day 10 - Pathway Sky & Thank You: Hello everyone, Welcome back to the VR. On the last day of this ten-day paint expressive skies and clouds. Today we are going to paint a cityscape kind of abuse. So it's going to be more of a roadway view that we are going to be painting. Let's begin with the simple pencil sketch. So at the bottom of the paper, I'm going to mark out the pathway that we are going to be adding. I'm adding in the past we diagonally out, you're from the left bottom. I'm taking it towards the right, Moving up diagonally. As you can see, the bottom area is going to be the pathways piece and the top space is going to be the sky and the other details that we will be adding in for the cityscape. If you want, you can even use a scale to mark out this pencil sketch so that you get that perfect straight diagonal line at the bottom space for marking out the pathway. Now at the bottom again, I'm going to make it a little split. Again. I'm going to split this path we as bird into two spaces in the center, we will be adding little highlight details. Now at the top of this as well, I'm just giving you a little at the highlight space, this small line that we've drawn in. And at top of this we're going to have little of the bush detail or little cityscape detail. I'm getting a rough marking for this area as well. And rest of the top space is going to be the complete skies piece. Now if you want along this pathway, you can add in a perfect cityscape with doing building detailing, simple Bush details as I have added in. So let's begin preparing the fellows for the sky first. So I'm going to be using in this yellow light color, the orange color, blue color mix. Exciting for us. Begin all the three colors out on my Padlet and then begin mixing the colors to form the different tones. For the orange color I have picked up to their chief from my neighbor palette, which is more towards the audience site. For the blue color, I'm picking up this lesion blue color, very little to this ambling to be adding in the black and white gouache to create a steel gray blue kind of colors. Let's add a little sense of the black and the white wash and mix up this color for the sky space. I have all the color mixes, daddy, now I'm going to pick up the yellow color to the yellow and orange color. I haven't added in anybody this time because I want to create a kind of overview. First beginning with the yellow color, just about the bush space. Now I'm going to try and maintain the bushy area. If a literal goes inside, It's perfectly okay. Now, next slide top of the yellow color. I'm going to begin adding in the orange color. I'm going to blend both of these colors. At the top of the sky you can see and have the whitespace, meaning where we will be adding in the blue color. So make sure you do not cover the entire space just with the yellow and the orange color. Now, I am using a damp brush for blending in and making the blends between the yellow and the audience mood. Now this time you can see I have moved from the orange to the yellow, giving in the orange highlights onto the yellow color. I forget the 4 fifth evening view of dawning into the night sky. Now I've just picked up little at the white gouache and I'm going to die you a little off the bottom yellow color and create little lighter tone. Plus this will help me in getting both the yellow and the orange color easily with each other. Now at the topmost space, I'm going to apply the steel gray kind of a color that we have formed by mixing in the patient blue, black and white board. You can see the perfect gray kind of a color tone that we have gotten. Now I'm applying this at the remaining space offset of chi. Now I'm going to blend this with the orange color using a little white gouache in-between. Or if you want, you can directly blend it as better so as to get little brown shade being formed, then blending it without adding in the white. So you can see a little of the brown color being formed because of this blending. Now to make the blending mode, I'm going to pick up little white gouache. I'm going to blend all of these together again using the white gouache at the points where I feel my blending is in going through that, the yellow, orange point and at Orange tree point, both phases I've used in lethal white and blended both the top and the bottom says, after blending of all of these, we are still going to add in for the clouds, make sure your paper is taped down well enough and hold it carefully for that even your book does not move in like this. Now let's begin adding in the Cloud details into the sky. So for adding in the clouds, I'm going to use in the same red color that we use for this guy. Shifted to my smallest size blender brush. And using the tip of this brush, I'm going to begin adding in simple Cloud details. So as we have been adding clouds in the last class project seem in a similar way. We're going to be adding in clouds in this class project has been. So you can see I'm just using the tip of my brush beginning to add in the clouds quite slowly. At places for blending of these clouds, you can even use in yellow and white gouache if you want to give in soft edges anywhere. First time beginning to Eigen simple cloud effect with this orange color. And then I will see if I need to blend it anywhere. At the moment. If I feel like creating in lighter tones at certain places, I'm running my brush a little harder, so it's automatically blending in with the base name. Make sure when you're adding in these clouds, you are gentle on your hands so that the color in the base New York is not good reactivated because we are walking in with brush. You can see our entire cloud effect for now is created using the same red color that we used in the sky. Now I'm going to begin adding in further detail as this looks incomplete. As for now, I'm going to pick up the gray color. I'm going to begin adding in little clouds and blending with this along with the orange color at certain places where the orange clouds are meeting with this gray color. And that space is, I'm adding in this gray color blending the Cloud with the top layer of the sky, as you can see, running my brush in little circular motion, giving it a little more Cloud details. Now next, as I told you, I'm going to use all of the yellow color and begin blending in the orange clothes. So I'm going to pick up the yellow color and losing in this yellow, I will begin blending it with the orange cloud effects that we have given in. You can see simply in-between the orange cluster, I'm adding in little of the yellow cloud and blending them all together. Now, do these bottom clouds, you can see I'm giving it the soft edge by blending it with the yellow color into the background. So I'm trying to blend this orange color into the background, giving it that soft cloud look as you can see. Again, it's onto you. The mix of clouds that you want to add in if you want to let them be bold enough or if you want to get them little blended, I prefer going ahead with little soft loops and blending these clouds a little. So you can see the shape of the cloud is still visible, but still it is blended having in the soft edge into the sky. Now next for the pathway, I'm just going to add a little more black to this gray color mix that we have and get a darker gray color. I'm going to paint the pathway with this dark color first. Now you can see just about the pathway, that ten line I haven't painted with this dark tree color. And even though thin line space below this pathway, I haven't added this color, but the bottom-most piece out, you're going to fill this as well. So these two are the pathway and in-between we have the dividers or the edges of the road. As you can see, I won't do this role we as where we are going to give him little highlight of this tie colors to be a window using the yellow and the orange yellow meets, I'm going to add little in the center of the pathway and blend it and give the Gutai effects onto the roadway. I'm mixing yellow and orange color together. And now you can see in the center I have added little color and blended it on the edges with the gray color of the roadway. So you can see the effect of the sky that we are trying to show on the pathway that is the light effect of the sky. Although these are little details that will further given more details, beauty of painting in color blending is not good enough. Or if you need to add in little more detail, you can simply pick up the same gray color that we used him and given little highlight. Now I have formed in a darker color mix. That is by adding in more of the black color. And I'm going to paint the center divider of this pathway. Suggests by adding in the black, you can see we've got one bone dapper fellow and now simply just adding it out, you're giving in the divider disease in-between off this pathway using in this darker color. Now with the same color, I'm even going to paint the top side out. Make sure you do not use the black color directly out here. Because the top space of this status, the bush details we are going to be adding in with the black color. So to keep the validity, it shouldn't make sure you're using in this darker tone of three only and not the black color directly for filling in these spaces. I'm almost done filling in this piece as well. And you can see I'm trying to be very careful and going in very slowly so that I do not. And how the propulsion after this, I'm going to shift into the black color and going to fill in the rest of the whitespace of the paper. You can see how beautiful this guy is looking right now with those little blended orange clouds and the blending of the plots using the yellow and the gray color so as to give them the little soft certain loop. Now I'm going to shift into a bigger size brush and pick up the black color in a foot thick consistency and begin adding it at the whitespace just below the sky for the bush and the city light DTLs that we will be adding later on. Make sure you do not add much of water to your black wash. Otherwise it will be into access watercolors, which we do not want. At the bottom of this bush AD. And you can see I'm running in very carefully. The perfect margin so that I do not run into the road details because I'm filling this space quickly, going slowly, fill in the details step-by-step so that you do not ruin or mess up any of the other details that you have already added in. Now using the same black color, I'm going to begin adding in little off the grass and families detail from top of this black color places I'm just going to begin adding in simple palm leaves and bumpy effect. I'm just going to go with very simple. It is not going to add much of the detail view out. You're just simple families closer to each other trying to form an answer to the bark of the tree is not visibility, just the leaves that are visible because the rest of the space is already covered with black. Now make sure about one thing that you do. If your pathway is still wet, you do not rest your hand on that. Otherwise, the fellows will get lifted from there and it will get to win by any chance that it's still wet, then wait for it to dry completely and then begin adding in these leafy spurge shifted to a size 0 brush so that I can add much fine leaves instead of adding them with the round brush. You can see how simply I'm adding in the families. And just with that black color, it is giving him the perfect cityscape view that we need. The perfect pathway view that you can call it. Now just closer to this families that I've added in-between, I'm just adding simple Bush detail using the black color dabbing in the tip of my brush, meeting very rough and loose Bush details out there. Now Father left side detail. I'm going to shift into my spoil round brush. I'm going to using the black color just with this round brush. I'm going to begin adding in the bush details on the left side. Now make sure if you're using an ACE pointed round brush, you would not dip the brush in water, otherwise you will not get this dry brush. For detail. You can see how simply you can add in details using one's pointed round brush as well. If you want, you can add such detail across the entire line. Or if you want, you can add in the family details as well completely on the entire line. I'm just going to tend to my paper and across the pathway, the divider details that we added in not clearly visible on my paper. This way we're given one more layer of the detail, dark gray color, that they are visible, perfect leaps. So that's the benefit of having a paper tape down on a movable surface. You can simply just tell your paper while adding in the details to suit and adjust as per your hand. Now shifting, it was quite round brush again, I'm just going to add a little more bush detail on the left side and take it a little towards the top of this type. You can first have a look how I'm adding it and then add according to your placement or your of creation that you have created. And if you have followed only the palm leaves, then you can add in some families dropping out from the left side is the lifted left corner only. Or if you've gone ahead with the Bush didn't like me, then you can simply add little taller book details like this as well. Let's begin adding in the street light details for that, I've picked up the orange color. So as to get it a highlighted view on the black color. On the black color part of the bush space, though all steep light pole will be with the orange color. And in the spice piece, I even add the connecting phone with the black color. You can see how the audience palette swapping out on the black color. So that's the best thing about gouache that even the lighter colors stand out on the darker tones. Now out from your, I'm going to connect it with the black follow-up because in the sky the orange color will not be visible. So that is how you have to go ahead with defend, you know, follows so as to make them look for FAPE and given the highlight is better. So the reason of adding the fall with the orange follow is so as to give the effect of this guy colors on the fall as bell. Now in the same way, I'm going to add improves smaller poles out. You're on the center divider liners that and adding with the black color directly the light effect we will be giving in-between the black Bush space, which will make this look as the street life. Then. For now you may seem all that just a simple black line in-between, but when we add the details, it will give you the perfect mute that we are trying to create it. Now again, at the top side using in the orange color, I'm adding in three more poles. Now it may seem to you that this ball is connected to the bottom Blackpool that we added PVC, but note they are not connected, they are separated from each other. At the bottom board, we will be adding different light is. Now when we will begin adding in the light effect, all of these will stand out separately. Now to these, I'm just swapping out the handle for adding in the light details. So you can see whenever it is in the sky space, you have to use the black color. When it isn't in space, you have to use the highlight color that is going to be the sky color that is in this case the orange color. That will be easier for you to understand where you need to use which color while joining the pools or adding in the hand effect for the street lights as well. Now let's begin adding in the light details and temperate all of these. First using in the orange color I'm creating in the background light effect to these bottom two poles. You can see now that these are separated and they were not in one straight line at all. Now on top of this, I'm just going to add in little white color and blend it well and lighten this up, then we will be adding in the final light effect once this background light effect grazing. Now using the white color, Let's begin adding in the light effects through these tough Leo street lights as well. This very simply, I'm going to add in the light now to one of the pole. That's the code poll. I'm going to add in four to five light effect times a shortcoming barred from this same street light area out here. Then we are going to even be adding few of the Lights peeking out from the bush space that our tours a small steep nights across the bottom of his teeth that we have in the full light kind of DBS using in the white quash itself. I'm going to add in those details as well. The bottom disk adding in four to five of the white circle. Now I'm going to force blend all of these white patches as well and we add them as a blurry background. Then once this dries, I will add the light he did so automatically you will have little glowing light effect in the background of this as well. So using a damp brush now I'm just going to blend all of these lights into the background. Those dries, I'm going to pick up the orange color again. I'm going to add the light effects at the bottom falls out there. We already added in the patch all you're going to add too wide, too orange dots in the center of the circles that we did at the bottom space. Now these night DBAs out your I'm adding in using in the yellow gouache. Consistency makes sure you add this software only in the center of the white patch. And make sure that your yellow gouache isn't a good thick consistency so that it stands out right and OB, creating it, that light effect out there. To the top folders when you can see I'm adding in little of the yellow effect, but very little letting the white, It's please be visible more because if you add lots of yellow, it will get mixed with the sky and not sand out, right? So make sure you add more of white light at the top space out there. Now, before removing the masking tape, I'm just going to add in little more detail using in the black point. It depends so as to give little of the divider details onto the road. Now if you want, you can add these details using in a fine liner brush and the black color as well. But adding them with a black pen is quite easier at the top area as well, just giving a little black details on the dark blue color line that we have added it. That is it. We are ready with our last class project for this class. As you can see, how pretty the sky looks with those lovely sunset colors giving in the night sky. So let's remove the masking tape, make sure your edges are completely dry them before you begin to remove the masking tape. It is a final painting for the ten of these trendy paint expresses sky and clouds. I hope you guys enjoyed painting this final class project with me today. I will see you guys very soon in my next class. Till then, thank you so much to eat. Let us know for joining me into this class.