Learn to Paint Tranquil Blue Skies with Watercolor - A 21 Day Challenge

1. Welcome to the Class: There's a certain kind of certainty that comes with gazing into the boundless expanse of the blue skies. The blue skies stretch out like a canvas painted by the hand of nature itself. Its cerulean hues seem to hold a promise of peace and calmness. That's hard to find elsewhere. When you stand beneath the vast expanse, you can't help but feel a connection to something greater. Nature's masterpiece, the tranquil blue skies. A reminder that beauty exists in simplicity. Hello everyone. I'm umashree Taparia, a chartered accountant and an artist. You can find me on Instagram under the handle creatingfromtheheart, where you can find all my works with watercolor, gouache, acrylics, as well as journaling. Welcome to my new Skillshare class on painting beautiful and bold blue skies with watercolor's. Welcome to this 21 day journey into the realm of watercolor landscape painting. Focusing on the mesmerizing beauty of blue-themed skies. In this immersive class, you'll learn to master the integrate Art of capturing various moods, textures, and shades of the sky, from tranquil cerulean mornings to vibrant cobalt sunsets. Throughout the 21 days, you'll watch your canvases transform as you infuse them with the magic of boundless skies. Whether you're a novice or seasoned painter, this class promises to elevate your watercolor expertise and unleash your artistic potential. We will begin this class by first diving into the shades of blue, the granulation of the blue colors, the staining properties of the Blues. And then moving ahead further, we'll dive into some basic techniques that you will require to understand before you dive into the class projects. I will also be giving you a detailed insight into the Art materials that you would be Needing for this class and my recommendations to use for some specific Art Supplies. I would love to see you join me into this 21 Day transformative journey of painting, bold and beautiful blue skies. And together, let us gaze upwards and find solace in the ever-present, ever-calm blue skies. And let its tranquility infuse our souls with a sense of peace. So without further ado, I will see you guys into the next lesson of this Class of Painting in bold and beautiful blue skies. 2. Art Supplies You'll Need: Let's quickly have a look at the List of materials or Art Supplies That you will be Needing for this class. So the first and foremost is a set of watercolors. Now, Watercolors can be in the form of tubes which I have squeezed out onto my palette. Or you can even use in pan watercolors. Or you can squeeze out the colors onto a palette and use as per need. Now I have this ready palette of 36 shades, wherein I have all the 36 color from my Magellan mission set squeezed out. The other way is this pan set, which is from the brand White Nights. Not necessarily for you to having both the sets or have any of these sets. You can have your own set of watercolors which you can use. You can simply just rewrite this pan set using a spray bottle. Again, activating your pigments from the dry pan that they are in. You would also be Needing in White Gouache for adding in a lot of details. It's very important to have a Gouache said because bite Watercolors do not give him that effect. What are White Gouache will give in? So it's important to have a set of fight Gouache as well. The next important essential is going to be a watercolor paper. I'm going to use this Canson Heritage 300 GSM, hundred percent Cotton Paper. It is a cold press paper but has a little rough texture to it, giving in a beautiful effect to the watercolor paintings. This is a big Size papers. I'm going to tape it down into two parts for each of the class project and use for two different class projects. Then once the class projects are ready, I will peel them off and have a layout like this for two class projects on one page. So you can use a smallest size Paper or whichever size paper you wish to. You can see the texture of the Paper. I recommend using a minimum of 300 GSM hundred percent Cotton Paper. For this class, we are going to go ahead with a lot of lifting technique and creating in those glowing spaces for which your paper needs to be offer good-quality to support all of these techniques to achieve the desired results. The next important tool is going to be the Brushes you would be Needing in some Round Brushes, some Flat Brush, Flat Brush, forgiving in the first water wash, and then the Round and the Detailer Brushes for going ahead with the Painting. Also, an important essential is going to be a Spray Bottle because we're even going to be using this inner class projects to create some effects into the clouds as well as to, given the re-wetting effect you would need in tissues because a lot of lifting technique as you know, or you can use a clot towel as well. You would need in a jar of clean water for each of your class projects for you're not applying a layer of clean water, wetting your pains. And lastly, you would need some basic stationary. It's going to be some Waterproof Pen of different fine liners. I have 00.5 and I also have a 0.30, 0.1 name or Pencil and an eraser. So these are all the supplies that you need to grab quickly. And as you guys into the T one class project 3. Exploring the Blues: Before we move ahead into the class, It's very important to understand all the blue sheets that are available with different brands. And there would be more possibilities of blue, indifferent brands that you may be using. I am going to swatch out all the Blues that I own from the band, White Nights and Magellan mission. I have to Color Swatch and all the colors of blue in the center lean. So first I will begins watching out all the Blues from the White Nights set. So let's begin swatching them one-by-one. The first color to beginning is going to be the turquoise color. Now with every swatching, we're even going to go and understand each Colors, listing or the steaming or property. Because in this class we are going to be using in a lot of lifting method to create an the highlights into the clouds. As quickly apply the layer of the Color. Now using a clean brush with just little bit of water, I'm going to begin listing in one stroke off the help you understand whether you're Palo is a staining color or whether it's a non staining one. So if you are able to lift up the color and able to see the white paper underneath, then it's a non staining one. Some colors maybe highly staining, some maybe semi staining or some maybe nights stealing off suddenly completely be with zero space. So it's very important to understand whether you're blue, that we're using is a staining pigments, non-sustaining pigments. I'm going to go ahead with this study for each of the Colors for the White Nights, as well as the Magellan mission set. I have eight tones of blue in the white knight set and eat tones of blue in the Magellan mission set. Also the colors in both the set may have seen names, but if you will notice afterwards the comparison, you will get to know that the shades look a little different, the staining properties maybe a little different. So I recommend you to go ahead and do a swatch study and a staining study for all of your Blues before you begin each of the class project. Because it's very important while creating in the clouds for the method that will be following this time, we're going to be working with a lot of the lifting technique as well as creating in Bloom's with the help of water. So it's very important that you know the staining property of the pigment that you use. Before you pick up any blue for your class project, I would recommend to experiment with dilution and layering to create light and dark sheets. You can even do a dark and light study of each of the pigments to understand how light fastness or how dark or a darker shade that you can achieve using in that pigment. Also remember that mixing complimentary colors are adding a touch of warm colors can help you achieve more sheets of the blue. Every shade of blue that you would see or that you own is created through different process to different gem stones or different chemical products or different, or reducing agents or different kind of semi-precious stones. So every color will have its different property as well as will have different reaction to the different techniques that you apply for the watercolor techniques. Like this royal blue color here, you can see it is a very tasty hope because it has a lot of white pigment in it. Because of which you can see it's a little staining pigment. Now, the last one that I have here with the White Nights is a granulating pigment. This is the name aquamarine missed. It has a pigment of blue and a little bit of green. So it's PB 29 MPEG-7. Now, this is a very granulating pigment. So after it dries out, it gives very pretty granulation. So you can experiment with granulating colors as well to understand how they react and give effect into your Skies. I'm going ahead with this lifting study for the granulating color as well. This granulating color, I have a pigment big swatch card shady for you to see. You can see the granulation coming tonight once it dries out completely. So you can use in such Colors, especially for creating in your Seascape, giving in so much texture to your C and so much debt. These are the eighth White Nights color that I currently own in the shade of. It was very important to do this study because going ahead into the future days in the class projects, we are going to be going ahead with a lot of this lifting technique to create an the cloud effect with the help of these loose, you can see the lighter Cloud effects that we've created So it is very important that you know whether your pigment will be leaving in stains after you do the lifting technique, or whether it will give you this glowing white effect into your skies. So if you will not know the staining property of your pigments, it will be very difficult for you to create in the cloud effect using the technique that we are going to be learning in this class. Now, let's quickly swatch out the next set of colors from the brand middle machine and see the difference. Now for this set as well, I own eight different shades of the blue color. One of which is a cobalt green color actually, but it can be used in as a blue tone as well for your Seascape. And a little effect into the skies is I'm going to do the same swatch study and then lift up one strap so as to understand the staining property of the eight tones of the blue that I have in this set. Now, if you will notice the cobalt blue from this set, as well as from the White Nights set, you will see a lot of difference in the shades as well. Once I'm done swatching out the colors from this brand as well, I'll show you a comparison of both the brand as well as the column names which are similar, but the color tones look completely different on the dry paper. I'm quickly going to go ahead and swatch out the rest of the Colors and do this lifting technique for each of them. Now the major reason for the difference of the shades that happen across the same name of colors but across different brands is because of the pigment that every band uses. Every brand uses a different pigments to create an OCI. If you want, you can go ahead and read the pigment details on the tube or the pans of each brand, or it is easily available on their websites as well. For example, major omission may be using of pigment PB 21 for some shades of blue, whereas White Nights may be using baby 27 for the same name pigment. So it's the difference of the pigment that creates the difference in the tonal value of the colors. The process of creating these pigments involved carefully Mixing, heating and chemical reactions to get the desired blue color. The resulting pigments are then finally grounded and mixed with a binder to create watercolor paints. Different pigments offer reading levels of transparency, night fastness, and Mixing properties, allowing parties to achieve a finite range of shades and effect. At this point, the method that I'm using to swatch this Colors and do the lifting technique is the wet on dry method. On a dry people I'm applying in the pet pig. It's very important to understand that Techniques like wet on wet and wet on dry application, can you different effects? The next blue in the middle machine is this compose Lubitsch, like a turquoise blue from other brands. I have this color on my palette and I will quickly switched out for you. It is not necessarily for you to own all of these different shapes for this class, I am just giving you a detailed study on the swatch of the blue tones that I own from these professional said, it's absolutely your choice of colors that you can pick an swatch them out. We can even discuss the color mixing to get these different shades of blue from the Basic shades of blue with the help of some complimentary colors. Shades of blue play a crucial role in watercolor landscapes as they help convey depth, atmosphere, and emotion. That is the reason mustering the use of beta sheets of blue in Watercolor will allow you to create scenes that are not only visually appealing, but also emotionally resonant. We have put the swatch card steady. Now if you see the ultramarine deep color also has a little granulation in the Magellan mission. That is the ultramarine blue color in the White Nights looks completely different, too dark, and does not have any granulation. Also, if you compare the cobalt blue hue in Magellan mission, as well as the cobalt blue in White Nights. They look completely different because of the pigment that it may be has been formed with ultramarine deep off the material mission looks more like the cobalt blue of the White Nights rather than the ultramarine blue. Also the bright blue name here looks more like the cerulean blue in the Magellan mission. So these are different properties and how different colors loop the composed blue and green miss look quite similar. Just the difference that accommodate missed is a granulating tone in the brand White Nights. You will see in each of the class projects will be going ahead with a lot of Technique to create in that clouds peace, to give him that natural effect of this skies undo subtle manipulation of blue to capture the essence of nature and the ever changing qualities of light and atmosphere. So this was a little study of the blue tones that I have from different brands. Now in the next lesson, we will discuss some very basic watercolor techniques and then move on to our class projects 4. Basics of Watercolor: Before you dive into the class project for day one, let's discuss some very basic watercolor techniques. If you are an absolute beginner Joining us for the first time, this will help you understand and begin your watercolor journey into the future days of the class project. First and foremost, I'm painting in with the wet-on-wet technique. I've applied a layer of wet, that is a wet layer of water. Now onto the wet layer, I'm going ahead with wet paint. This is the wet-on-wet technique for building in your base. The other Technique to this is the wet-on-dry technique, wherein you have a dry base on which you apply canvas, we may easily use the wet-on-wet technique while beginning to painting the background or biggest pieces into your landscape. Now onto the wet on wet technique. This time into the class, we are going to be going ahead with a lot of creating in the whitespaces or the staining lifting technique. So I'm just dropping in a drop of photo, you can see it begins to disperse and creating that whitespace. Now, this whitespace will only be created depending onto the staining property of the pigment. That is the reason in the previous lesson we did that staining study of all the blue pig pens. You can see this setting in blue color is very lightly staining. It's giving in that white paper I'm beneath, look as soon as you drop in this water droplet. Now, after dropping in the water droplet, you can just move your brush. Keep on listing the colors to create different cloud shapes. It's very important to do this lifting technique while your paint is still bad. Once it dries out, it will begin staining and it will not lift up the colors easily. Also, after it is dried out, you may get in very rough patches, which we will also be discussing a little later. Now you can even use a smaller brush to create smaller highlights into the Cloud. This is the major techniques that we are going to be using to each of the class project for which it's very important that you do the staining study of all your pigments of blue. Otherwise, it will be very difficult for you to understand whether you're Colors been supporting this lifting technique to create in the Cloud spaces into your sky. Or you may have to switch into some alternative techniques. Or leaving those whitespaces which becomes a little difficult. We are going to just go ahead, drop in water after every stroke. It's very important that you keep cleaning your brush because when you create in strokes like these, to create in that glowing sun space, if you do not clean your brush after every store, you will see that the Color begins to leave that. So now say, I'm not going to clean my brush after listing in a store and going to directly go ahead with the next. You will see as soon as I lay the next to, the Color, begin to get applied again. So you do not have a clean brush to basically you're not lifting up the color. You are just applying the lifted panel. So after every stroke you need to dab your brush onto a tissue or clots so that the paint that will stop is absorbed by the tissue. And again, you have clean brush to begin lifting up the next set of Canada. In this way, through each of the class project we are going to be creating in a lot of Cloud details using indifferent boost. If you have seen this washing off my Blues, you know, my, Most of the Blues are very lightly staining. And plus when you lift it up quickly, violet is still wet. It's very easy to achieve in those green spaces into the clouds. Now once your color is completely dried, and if you go ahead creating in that cloud space or dropping in the water droplet, you will see you get a very rough patch instead of the growing space. Your, you can see I'm trying to grow up in that water droplet. It's not disclosing on its own because the background is completely dried. Plus the lifting becomes very difficult. The color does not get lifted. It becomes very difficult as it has stained the paper completely. You can see how hard I'm trying to lift up the color, but it's not happening in easily. Also wants this will dry out. It will leave a very rough outline patch into the entire Sky, which will not look pleasant into a sky as a cloud, It's very important to have in soft edges to your Cloud blended completely with the blue tones into the sky, giving in that tough transition between the sky clouds and the Blues and the whites. You can see how difficult it was to lift the color and the rough edges that it has less than the paper. So it's very important you need to go ahead wet on wet technique. I'm quickly why your paper is still wet. It's very important to go ahead with the lifting technique. The Paper also plays a very important ruling. This because if your paper will be very, you know, offer lower quality than it made their of your paper when you go ahead with the lifting technique or with a lot of water droplets. So it's very important that you understand that as well. My this piece at the bottom is completely dried. So on the dry space when you apply and Paint, this is the wet on dry technique. Now, when you apply this paint, you can even pull out some glass through which we are going to use in a few of the class projects. Basically, I just wanted to show you the wet on dry technique or solid to dry on wet technique so that paper was completely dried, the paintball completely dried on that. I've just added a layer of paint which is the wet, dry on wet technique. Now from this wet paint, I'm just pulling out these talks into the sky to actin as the grass. So you can see how you can use simple techniques to create an much more details quickly, just giving you a rough look so that it gives a natural effect at the bottom, peace. So these were some very basic techniques of watercolor. That's the wet on wet, wet on dry and most important creating the Cloud species 5. Day 1 - Cerulean Blues: Let's beginning with how class project for day one, we are going to paint a pretty Simple Sky to begin with. And we are going to go ahead with very simple silhouette. I'm going to begin painting onto the left side here first. And then for the class project for D2, I will paint on the right side. I have my paper taped down using in a Florida Masking or washi tape. You can use any Masking tape or a washi tape as you wish. Just like the print of the washi tape and felt like using it to give the acute effect while painting. Now, I'm just going ahead with a little photo onto the entire paper first, there is no Pencil sketch. We are directly going to go with our beautiful blue sky and then move on to the silicate for the painting. Adding in an even layer of water first, before we move on, we are going to go ahead with the wet on wet technique. That is, we have added a layer of wet water onto this wet layer will be going ahead with a wet layer of the pains. You can see, despite using 100% Cotton Paper, I'm running my brush so many times so as to make sure that I have the water spread evenly. I do not have access water collected on the edges and my paper stays wet for enough time. Now makes sure that you lift up the excess water from the edges, as well as make sure that your paper stays wet for enough time. Now I'm going to squeeze out a little bit of this royal blue color on my palette to mix it with a little of the civilian blue to get a little sky blue color, you can directly use this cerulean blue color as well. Or adding a very little white tends to your cerulean blue to get a little lighter sky blue color. Now I'm using my round brush Size eight, and I'm just going to begin adding in very simple strokes here into the sky. For this first-class project, I'm going to leave in a lot of white caps naturally to create in the cloud effect. You can see in-between, I'm just using the tip of the brush to give in very thin strokes. So the major color of the sky is going to be towards the right side and on the left side it's going to be major clouds. I've added very little tinge of the royal blue to my cerulean blue to get this bright blue color. Now beginning on the left side, I'm just going to go in with very small strokes. Make sure you do not have excess water or paint on your brush because your paper is still wet so it will all begin to spread out completely. You can see I'm naturally leaving in white gaps, purposely, a lot of it on the left side because I want to create a very left cloudy sky kind of a moment. And on the right you can see we have the major Blues on the right edge. I'm ready with the phosphate of the sky now I'm going to pick up the cerulean blue, and I'm just going to add in some darker strokes as well into the sky. Now, make sure when you go ahead with this next layer, you do not add an excess water because it will begin to spread and cover up the entire lighter spaces. I just want a little darker highlights and I do not want to cover up the entire lighter spaces. I want different tonal variations of the blue into my sky. From the left you will see I'm pulling up the strokes majorly diagonal and not just simple straight. You need to make and move your strokes in different directions to give him that effect. Because remember the direction of the strokes also make a difference after it dries out. Now just using a damp brush at certain places, I'm blending, creating in some effect, giving in some strokes. But majorly on the left top space, you can still see a lot of fights pieces. Now, I'm just splattering a little of the water using in the brush to create some white blood into the sky to give in that cloud effect natural ones. So you can see just very simple splatter and the effect that it's giving into the sky at the bottom. I do not want this effect, so I'm just going to recolor it with some darker strokes because at the bottom we are going to have in the silhouette at the top space, I have created in little effect with that. Now, you can see, now when I'm adding this blue stroke also am making sure I do not cover up the entire species. Now I'm just going to go ahead with little strokes in the center space because you can see the color has washed off a lot in the center area, so just giving in lithium darker effect. But I do not want it to bold or too dark also so quickly using a damp brush, blending it well into the base layer to give it a perfect blended effect. So all of these you can see I have been doing wet on wet. My paper is still wet and I'm still able to create so much depth into the sky by just using different tonal variations of the blue color. That's what I told you when we was watching the Blues, it's important to do a tonal study to understand how light and dark your blue sheets can be. Now we'll wait for the sky to dry out completely. So now my blue sky is completely dried and I'm going to go ahead with the silicate on this one. I'm going to keep the silicate pretty simple because we are just beginning in with the day one. I do not want to overwhelm you with a lot of details altogether. Let's begin with very simple details and simple layouts to begin with. Using in a reddish brown color. I'm just adding in a small house silicate. You're on to the right side. I've added a little of the brown layouts. Now along with this, I'm going to begin mixing in the Payne's gray. I want very little brown highlight on the right side. And medially it's going to be the Payne's gray, but makes sure that you let that brown highlight be blended well with the brown and be that visible. Now I'll just pick up a little brown again and blend all of these wells. So just picking up a little brown on my brush and adding it over the Payne's gray so that the transition between the brown and the Payne's gray look smooth. We're not going to add much of the details into the silhouettes will just add in little highlighting lines later on, once this layer dries out. Now using in the province, I'm going to go ahead add in little more silicate, the same method. I'm going to add in little brown and then Mixing with a little of Payne's gray. Just a simple cityscape kind of a silicate that I'm adding here. On top of each, I'll just add in little, maybe like a pine tree and a little of the head street light effect that will go ahead with this one as well. You can see I added in the brown and now on the edges, I'm beginning to add in the Payne's gray, making sure that we just have little brown effect in the center well blended with the Payne's gray color on the edges. Now for the rest of the silicate on the left side here, I'm just going to go ahead with a very light tonal value of the Payne's gray color and add in very simple small building silicates suggest creating in blocks of different heights and shapes with a very light grayish tone. You can see it's such a diluted and a light color. It's not an opaque, bold, dark color. So make sure you go ahead with such a light tone. I'm just mixing in a little tint of Brown's as well in between. So basically, these buildings which are lighter in tones look as if they are far off. And the two main celebrates of the houses that we've added on the right and the center space are closer to our view, hence the difference in the shades and effect. Now next I'm going to add in a bold street light of very big one. So I've shifted into a smaller sized round brush which has a pointed tip. I've tilted my papers so that it's easier for me because my browns are still wet. Make sure you either wait for that to dry completely or adjust your hand movement accordingly. So as I told you, I'm adding in a bowl street light here. So the line also you can see is a little thick and bold enough. Now I'm going to add in a smaller light or a smaller pool kind of an effect here that I'm going to add in, in a little thin line as compared to the first line that I've added Next, using in the green color, I will add in one pint sheet before we move on to the other details onto the street light, I want to wait for the black layer to dry out and then add in the poll, delight or the street light details. I've picked up the shade of an olive green color, and I'm going to add in one Fine tree on top of the center. How's that we've added? Now you need not necessarily use the same olive green color. You can go ahead using any green. I'm mixing in a little bit of a lighter green as well to my olive green color. And I'm going to add in a very simple pine tree here. Just make sure that at the end, when you are done adding in the pine tree, your pine tree has a triangular shape. So I'm beginning in with a very thin lens at the top and moving downwards. I'm going to keep broadening up the land. I'm just going to be adding in one pine tree, not much of it for this one. You can see I'm taking a little of the foil, each of the pine tree overlapping onto the pole that we've added for the street light to make it look well binded with each other and well in sync with each other into our silicate and the sky. At the bottom you can see I'm using much darker green tone so as to make it look perfectly in sync going with the top of the houses bell. Now I'm just going to give it a little more pointed edge at the top using in little darker tones. So you can see in the center, I've gone ahead with different tonal variations of the greens and at the top and bottom with much darker tones of the green color. Now shifting to a smaller size brush and begin adding in the details of the street light. I've shifted to a size zero pointed brush because I want very fine line. If you want, you can even use a pen for marking all these thin lines. I'm just going to add a simple street light here. I've given an outline for the street light on top of page I'm filling in the black color completely. And at the bottom of which you can see for the light-speed, I've let it be white there. That is the best color of the is visible. Once it will dry out, you can give no effect if you want or if you want. You can even fill it up completely with the black color. So I'm filling it up completely with the black color for this time. We'll see it by the end. If I want to add in the white effect there. Now onto this small poll, I'm just adding in symbols poll details, not a street light effect. Now using my size two by zero Detailer Brush, I'm just adding in some fine lines on this ball to given the details. If you ever happen to visit a street, you can see these polls with little details and highlights out there. Now using a lighter gray tone, I'm adding one pole in between these buildings that we've added on the left as well. I'm adding this in a lighter tone so as to show that these are also far from our view, that is the reason visible so likely. Now next, using in a fine liner, I'm going to add in some lines into the sky passing through the I'm using a 0.1 nib, which is giving me such fine lines. You can even use the black or a Payne's gray color with a liner brush and add these lines. But using a Waterproof lineup Pen gives in much more detail and fine lines. You can use 0.05 nib or 0.1 nib to get such fine lines easily. And plus they are Waterproof so they will not spread. Or even if you have to add any details on top of it. So just adding in a lot of these at the bottom space and a few at the top that I've added, adding some moving between the pine trees and the houses as well. Now after this, the things that we are left to add into this painting is going to be some highlights on the pole and the houses on the right side. With the black pen itself onto the poll. I'm adding in some small blocks and some small box and by-line details. You can see some very scribbled lines and small boxes to give him the details to the street light. As soon as you add in these small details you can see your painting becomes to look more natural, more realistic, because these are the small little details that make it look like a real-life scenery plus the sky you can see it's such a subtle, Real looking sky with the soft blend between the clouds and the sky blue color. Just adding in the last violating, you're moving towards the top. Now I'll wait for the entire Black details to dry out first and then we'll move on to the last leg of details. Now I'm going to use in Bitcoin and adding the highlights. I've squeezed out and it's just the white course separately on a palette because we will be Needing it for each of the class projects. Now everything is completely dried. I'm just going to give little highlight details onto the house using in the white color. Some of the details. I'm going to blend them again into the houses, turning them lighter. I'm just adding draft lines to mark the distinction into the houses, that is the roof, the mean speeds the front area to creating highlighted effects. Suggest using a damp brush. You can see I've blended it well into the base layer and you can see a dull white layer that is Form creating in the highlighted effect. Now this line also you are, I'm just adding some small lines and I'll blend the top line into the are basically are again, toning it a little lighter and fainted. Suggest using a damp brush. I'm running onto the white color and onto the edges of the white. So you will see it begins to blend into the base Leo CMV going to do it for this line your as well. So you can see how little highlights also act. And given a realistic look to these little details, again, I'm adding a few lines and I will go ahead and blend these as well. Turning them lighter as just the highlighted spot and not to boulder effect. So you can see these looks like light brown tones that we've added, just smaller highlights. And they look so well blended and giving in that highlighted effect. Now onto the roof of the smaller one, I'm just going to go ahead, add in some highlighted lines. Again quickly using a damp brush, just blending a few of these lines back into the base layer so that we'd not have too much of the bold effect visible. We want everything well blended into the peace and have very minimal highlights here. Now using the ball line of the white, I'm going to add a highlight on to the pole of the street light that we've added. Towards the left, I'm adding a white line in such a way that the black line is still visible. I'm just going to add this half off the street light or three-fourths of the street light that we've added, not taking it till the Complete top. The reason of adding it on the black on the left side is to show the effect of the sky that is on the left, you have the white bright clouds falling onto the pole as well, giving it that White effect. That White effect on the poll you can see is giving such a natural look to the entire painting, putting it altogether, trying to show the light of the clouds falling onto the pool giving in that shining effect on the poll space. Just adding in the last highlight a little onto the street light here at the top as well, just a small white line that is Z to be already with our class project for day one are pretty Simple Sky with simple silhouette. I'm not going to remove in the Masking tape now because I'll be painting the D2 class project and then peel it off together. I'll see you guys soon into the D2 class project. Now 6. Day 2 - Simple Sky: Hello everyone. Welcome back to D2 off painting as skies blue. I'm going to paint on the second side of this huge paper that we painted on yesterday. After which I will peel off the masking tape. I already have the Masking tape on, onto the second side as well. So I'm just beginning in with a layer of water onto this entire space. Make sure you add in an even layer of water throughout. Also in case if you are also using one sheet for to Class Projects, be a little careful that you do not make the excess water move into the or side of the first painting or drop-off any water onto that side. You can either cut the paper and then reuse the second side, or you need to be a little careful because otherwise the first painting may get reactivated and it may give you a rough patches. So I've added an even layer of water throughout. I'm just going to run my brush multiple times so that my paper stays wet for enough time until I create the details into the Cloud. There is no Pencil sketch. We are going to go ahead with simple leaf and floral and a roof detail this time. For this class, I'm directly using in this cerulean blue color. I'm not mixing it with the royal blue color, just diluted consistency. You can see it's quiet liquidy that I'm adding it. We are going to rotate our board to get in the movement and flow of the Color. So as of now I'm just adding in color, leaving in white patches in between. And you can see I'm using a very diluted consistency, more of water, less of pigment. I'll quickly add a little of the pains towards the bottom side as well. You can see I've intentionally kept a lot of whitespaces at the top right and top side. And now I'm just going to tilt my board in all directions to make the colors flow and move into each other and have that soft flowing effect into the sky. This is just the first layer that we are working with will be creating in a lot more depth into us Sky later on. Now while you're rotating your board like this, if you have the other painting on the other end, it's very important to be careful that the paints do not move or flow into that painting. Now I'm picking up the same cerulean blue color with a little darker consistency and I've tapped off the excess water onto the towel so that I have very less paint. Now towards the right, I'm going to keep it on the lighter tone, that glowing space that we've created. You can see towards the left, I'm going to keep in the darker clouds. So I'm going to medially be adding in these darker effects towards the left side, keeping a little brighter effect on the right space. Now after this again, I'm going to begin rotating my board in different directions so as to make the colors flow and have that soft blending. I want the clouds also to have a very soft blended look. Now, after this darker color also blends in, well, I'm going to go ahead drop in some water droplets to create some blooms into the sky. You can see still on the right, I've tried to maintain that glowing effect. Now, just dropping in little water droplet. Even by doing this, be careful if you have your second painting on the side. Again. Now I'm going to go with 1 mol of Taco details, but I'll make sure that the right side glowing effect is still maintain. You can see, even by tilting the board, I tilted it in such a way that I make sure that not of the pains to not move into that right side, I've shifted to my smallest size brush. I'm going to pick up the cerulean blue color to which I'm just going to add in a very little tinge of the Payne's gray color. Now using this darker blue and the smallest size brush, I'm just going to add in little darker cloud effect. Now you can see I do not have access watercolor pigment on my brush. That is the reason the pains or not spreading. They are staying in the position that I'm adding gain, but we're still working wet on wet. You can see my paper is still wet and all the paints that I'm adding is having a soft edge. Towards the right. I will still maintain in that white glowing cloud effect that we've tried to create. It's very important to make sure that you do not have excess water. Otherwise, these darker paints will keep spreading and will not stay in the place that you add them. And you will not achieve the depth effect of the clouds with different shades of the Blues. Yours, how you need to be careful while adding in these details. Now we are ready with the sky almost you can see we've got so many different shades of blue with the glowing effect of the species in the right side as well. Now using a smaller size brush, I'm even going to begin creating in some smaller cloud effects. So I'm using a very small size brush and just dipping it in water. I'm adding smaller droplets and giving it the desired Cloud or the growing space that I've gone to my quickly lifting up the colors. I'm just doing all of these while my paper is still wet. You need to be a little quick with this because you need to be working with a lot of wet-on-wet technique in this class to get in those glowing species and different kind of cloud effects. You can see how I'm adding in one water droplet at a time, creating in the cloud shape. And all of these while my paper is still wet, that is the reason I recommend you to use 100% Cotton Paper, which is 300 GSM so that it can handle all these layover off the wet on wet techniques. Otherwise your paper will begin to crumble up and it may tear off as well. In the same way I'm going to go ahead and just keep on creating in smaller clouds. You can see this time I'm going with very small spaces so that you can get in the shapes, right? Just dropping in water, cleaning my brush, and then giving in the desired shape that I wish to. I will still be going ahead with one more darker layer of the clouds as well so as to create in more depth into the sky. So I'm going to pick up the civilian blue in a darker consistency and begin adding in some darker cloud defect. You can see it's almost beans, almost 7 min that I've been working wet on wet maybe, but it's still wet. That is the reason I'm still able to achieve the light and dark cloud effects, I'm given the depth to the sky. Also, in case if your paper is beginning to try out, you can go ahead with the re-weighting technique as well. But it is a little difficult, especially if you are an absolute beginner. If I think Technique maybe a little tricky to follow. So try using a good-quality Paper which can save it for enough time for you to get in these details. You can see after the darker layer also, I'm creating in some smaller clouds, which is giving in so much depth to the sky. Now I'm almost done with the sky, just some last lighter Cloud details. And then I'll wait for all of this to dry completely. And then we'll move on adding in the detail for the silver heat this time, which is going to be roof and some leaf and some flowers. You can see now the details of the clouds, the darker, lighter clouds, the growing species into the sky, the right side glowing effect of the Cloud. And still you can see I'm creating such small, small clouds using a damp brush and some watery effect while my paper is still wet. Now, let's wait for all of these to dry completely and then move on to the silicate details. Now my sky is completely dried and you can see the different tones 7. Day 3 - Calming Seascape: Hello everyone, Welcome back to day three of the 21 Days Challenge of painting a skies blue. Today we are going to paint a beautiful Seascape with a pretty sunny blue sky thickening in with a very light pencil sketch, just marking out the horizon line and a little of the CSPs. The left is going to be a little greenery patch that we are going to create. And towards the right side it's going to be the entire CSPs. The top is going to be this guy. So almost equal that I have divided the horizon line into the sky and the Sea area. So this patch here on the left will be the greenery space, the sea, and the top side will be the sky. We will first beginning with the sky. So for the sky we're going to go in with the blue sky because that is bought the class is all about, I'm going to begin with a clean layer of water onto the sky. I'm making sure that my Masking tape is perfectly seal so that the water does not move between the Masking tape. Also make sure that your pencil sketch markings are very light. Otherwise, they may stay in there permanently because as soon as you apply a layer of water onto the pencil lines, they become permanent because of the charcoal in the pencil lead. So that is why make sure that your pencil sketches are very light because watercolors are usually transparent, so these dark lines may be visible. Then I'm going ahead with an even layer of water onto the entire sky, running my brush multiple times so that my skies stays wet for enough time for me to add in the details. So far the sky, I'm going to go ahead with this cerulean blue color this time as bad, but I'm going to go ahead with a very light consistency Mixing in a little bit of the royal blue as well. Already have loyal blue on my palette. Now, if you do not have the royal blue color, you can just add in a little tint of white and it's perfectly okay. I'm going to head with a very light wash off the blue color at the top space. As we move closer to the horizon line, I'm going to lighten the color. As you can see. It's a variegated wash that we are going to have beginning in with the darker color at the top, moving downwards, lightening up the color tone of the color that we're using. So we are going to, beginning with the top, that is going to be off the darker color of the sky and moving towards the horizon line, keep lightening up the Color. So every time that I pick up the Color, you can see I'm beginning up from the top and moving towards the bottom. I'm just dying to dilute the color from the top towards the bottom with the help of water. I'm not lifting up any fresh color at the bottom space because I want a beautiful variegated wash off one color. So you can see we have a beautiful wash off the blue with the darker tones at the top and towards the bottom space we have the lighter tonal variation of the same saline blue color. Into this, we are going to create an little cloud highlights, not much of it, but little highlights that will be working on. I've gotten a perfect layer and perfect transition of the blue from the Docker to the lighter colors you can see now I've shifted to my smallest size brush and dipping it in water, I'm going to begin creating in the Cloud spaces. So close it to the horizon line. You can see as I'm dropping the water, the color is turning further lighter. Always remember, these stones will still be trying for afforded tone lighter ones. They are completely dried out while you are adding in these colors at them in such a constancy or know how your colors dry beforehand. Otherwise, it may so happen that you're sky maybe to light. Now you can see just using the simple technique that we discussed that is using a damp brush. We are creating in whitespaces in-between the wet sky to create in the cloud effect, my skies wet and I'm working wet on wet to create in these glowing spaces into the sky to actin as the clouds. Make sure you need to do this while of paper is wet, otherwise the colors will compete least in the paper, and you will be unable to lift up the colors. Now, I've picked up a little of the blue to give him little blue highlight of the clouds as well at the bottom space closer to the horizon line. Because you can see closer to the horizon line, It's a very light color sky that we've kept in using the blue I'm just creating in some highlighted cloud effect as well. You can see how the darker colors are also visible on the light tone, so beautifully giving in that cloud debt. Make sure when you're adding in this layer of the blue on top of the lighter tones, you do not have excess water or pigment. Otherwise it will spread completely and you will not have the cloud effect. Rather, you will get a complete blue patch Now similarly, I'm just going ahead lifting up a little more colors at the top spaces creating in more depth and the lightest space effect you can see I'm moving my brush so much randomly and in different angles, strokes, not moving in justin Simple straight strokes. So that is it for a sky, will wait for it to dry completely and then move on to the see. My skies completely dried. You can see the effect of the whitespaces and the blue highlights at the horizon line, giving in such a subtle cloud effect into the sky. Very simple, very light, with very easy techniques that we created that effect. Now let's go ahead with a layer of water into the entire CSPs. I'm just going to add in a liter of water in the CAD, all the greenery space will be adding at the last. Now, closer to the horizon line, be a little careful that the water does not seep into the sky or else the sky will get reactivated and the colors will flow into each other. Now, very painting the see, I'm going to use the same cerulean blue color. But in case if a little of the colors move into the green spaces, it's completely okay, we'll cover them up with the darker green tones for the sea as well. I'm going to go ahead with a darker tone closer to the horizon line and moving downwards. I mean, heightened up the tones a bit. You can see very carefully I'm defining the horizon line because I want a pretty simple horizon line as we are not going to be adding on any details on top of the horizon line. So you have to go and carefully to define the horizon line. I'm going to keep the entire see space of this darker blue only. I'm not going ahead with a variegated wash here. I want to let the CB or bold one year on into the sea. We are going to go ahead with a little wet on wet wave details and then we'll add in highlights with the white color later on once it dries out completely while it is still wet, Let's go ahead, add in a little depth into the sea. So I'm just lifting up little Colors at certain places to create some lighter effect into the sea as well. So I lift it up little Colors and created some lighter highlights into the sea. You can see I've got a pretty see color now. Let's go ahead add in little wave details with a little darker tint of the same blue color. I'm shifting into my smaller brush so that I can get in smaller details. Now when you begin adding in these wave details, make sure that you do not have access water into your brush or excess of pigment. Otherwise they will spread completely and you will not get that soft wave look. So vitamin C is still wet. I'm going ahead adding in some wet on wet lines, making sure I'd not have access paint or pigment on my brush because the fish I'm getting the soft strokes. So you will notice that these tropes are having a soft blended look into the base, but they are also visible distinctively because of two things. My paper is still wet because of which I'm getting the soft law. Secondly, I'm not adding an excess water or pigment because of which they are retaining the shape in which I'm adding, having a soft blend because of the wet layer underneath. And I had turned the base a little light because I wanted to add in waves with a little darker tints so that they be visible onto this lighter or space of the see that we created. Now further adding in some takeaways, you can see I'm not adding them in simple straight line. I've just added some crisscross lines and some curvy lines to give him the depth into the area. We're ready with the first layer of the see now rest of the details will be wet on dry. Let's wait for the C to dry and then move further. My CE is completely dried and I'm going to go ahead and begin painting in this last green space that we have. And then we'll move on to the final layer of the details with the White Gouache. I'm going ahead with a layer of water, but going ahead very carefully closer to the water line, you can see I've left a little white cap there, which I will directly be filling in with the color. Now for this piece, I'm going to use and mix of greens and browns to creating a kind of a field space or grasp is closer to the sea area. So I'm beginning with the lighter green. You can go ahead using multiple variations of greens you to create in that natural effect. And then just add in little brown highlights to given that little muddy tone as well in-between the grass Just be careful about two things that is closer to the C line. Adding very carefully because if the colors will move into the z-space, then the area may get activated and Watercolors may merge and move into each other across the edges. Go ahead very carefully so as to have that perfect. It. Make sure that your C was completely dried before you begin on with this step. Otherwise also the colors may seep into each other and will ruin your entire half space of the painting. I've added a good patch off the light green color now on top of it and beginning in with the darker green. So for the dark green, I'm using a mix of the sap green and the olive green color. You can go ahead with any darker green, lighter green that's available in your palette. There is no specific greens that you need to have. All you need to use in your, you are absolutely free to you in your choice of the greens and browns. To go ahead with these details here. I've just given in a very rough shape. You can see at the top trying to give in that bush kind of a detail and giving in the perfect blending effect with the sea as well. So using the darker green, I've defined the edge in a very just manner, not keeping it a straight line. Now I'm using a little bit of the light red color. You can use a burnt sienna color or any reddish brown color to add in these highlights. Or you can mix in a little bit of your red and round to get a reddish brown color. So in-between the greens you can see I'm randomly dropping in little browns and especially on the edges, and especially on the edge closer to the sea as well. You will see I will drop in the browns to create in the depth into this paddy space that we are creating. Now for blending the greens and browns, if you need a little bit of the greens again, you can simply pick up the greens and adding again. So you will see that the blending happens more smoothly and swiftly. The colors freely move into each other, giving in that soft blend. Now I'm picking up a little of the Payne's gray color, mixing it to the greens, you're on my palette or directly, you can use a little darker tint of the Payne's gray or black color. I'm going to add in little highlights at the top space, especially on the edges to define the edge. Now, now I'm not going to keep the edges very simple and just that a straight line. So that is the reason using in this darker tint, you can see I'm giving a very rough and natural shape to the edge. Define this paddy space and perfectly blending in with the sea area. We are still going to be going ahead with a white quash detail on these edges to show some crashing wave effect. But first, we need to add this while our green space is still wet. You can see since the green space is still wet, the Payne's gray is perfectly blending in quickly with the greens giving in that soft blended loop. That is the reason I mixed in the Payne's gray with a little tint off the green colors so that it has a perfect blending effect as well. And it looks off the same family tone. You can see, I'm trying to blend in on to the left side with the greens how? And also the rough strokes that I'm taking out with the Payne's gray color to create that perfect effect of a patch onto the z-space. Now quickly, I've just adding in little more highlights with the greens and browns and then we'll wait for this to dry wherever you feel that the blending is not smooth, you can quickly use a damp brush and just blending the colors together as bad and getting a soft transition happening between all the colors. Or you can reuse the base colors, that is the green tones, places to create in the debt. Now randomly I'm dropping in some lighter tones as well at places to create an, a little more of the depth. Quickly, I'll go ahead with little darker green spots as well. All of these I'm still doing while my paper is wet. So make sure that your paper is bad. Otherwise you may just get in random patches instead of this blended soft loop. Now, let's wait for this to dry. And then one with the last details, that's going to be the white highlights, the crashing wave effect Some White waves effect. So let's wait for this to dry. So everything is completely dried. And now beginning in with the White Gouache, I'm going to begin giving in some crashing wave effect at the meeting point of these greens and the Blues. Using in the White Gouache. I'm going to give him some dry brush wave effect. This dry brush wave effect, you have to give him very carefully, you shouldn't have excess pigment or excess water onto your brush. You just need to pick up the White Gouache in a thick consistency onto a damp brush. I'm given these light wave effects, you can see how they're acting in as the crashing water effect towards this field that you've added or the a patch that you've added in-between the see. I'm just beginning in with these bytecodes, strokes from the green point meeting into the blue space. And that taking these strokes towards the right side into the sea to show in as the crashing wave effect, using the same technique we are going to adenylate and highlights into the blue sea as well to show in some of the water ripple or crashing effect of the water. So you can see some that I'm taking these strokes are little taller towards the right side and somewhere I've kept it very small and subtle. Also make sure that you do not have excess water or excess pigment. Also White Watercolors will not give you the same effect as White Gouache will, because White Watercolor will turn up opaque and lighter one stride barrels White Gouache will remain opaque and I'll give you that opaque effect of the white even after it dries out. So at certain places I'm just running the White Gouache wherever I feel that they're drying lighter so that I have that bold White effect. You can see I'm using a very small size brush so that I get the details right. I'm just dragging my brush, getting in the dry brush effect. I'm not adding any water to the white quash, not onto my brush. I'm simply just picking up the White question, a thick consistency to add in these details and get these dry brush kind of wave effect. Now last week, weekly adding in some highlights into the z-space using in the White Gouache. And we'll be ready with our class project for day three. So into the sea as well, you can see I'm adding very light effect and some of them I'm even blending into the sea giving in there, creating in those lighter ripple effect. So very little, not much of it. I want that crashing wave effect to be the highlight in-between the see and that padding area that we've created. So that is it. We are ready with our class project for D3 as well. So you also quick and closer look at our painting of the sky and the see for day three. I hope you guys enjoyed painting this with me today. We'll paint the D4 and then peel off the masking tape tomorrow. See you tomorrow into the day for class project 8. Day 4 - On the Beach: Hello everyone. Welcome back to day four of the 21 tape blue sky Painting Challenge. Today we are going to be Painting another Seascape. It's going to be more of a Beach. For painting. I'm going to begin marketing the horizon line on the same length as the previous one. This time, instead of greenery space, we are going to have in a Beach space at the bottom area, just going to roughly mark out the bottom space as the Beach area. So that is if for the pencil sketch, we are going to beginning with the sky first. Now, again, for the sky, you can experiment with different clues if you wish to. I'm going to first go ahead with a layer of water into the entire sky. I will be using this cerulean blue color for this guy has been. Make sure you have an even layer of water throughout so that your paper does not dry or quickly. Also that no edges are left without water. Also makes sure that you run your brush multiple times so that your paper will stay ahead far enough time for you to work wet on wet and given the details into the sky, I'm beginning with this cerulean blue color with a little mix of the royal blue. Now again, if you do not have the royal blue, you can simply mixing a little tent off-white. I am beginning in with a very rough layout, leaving in some random white caps. And I've just created a small circle because that's peace. We are going to create a glowing effect. So we are going to go ahead with a lot of lifting technique there. So that's just a small are roughly out for you to know where we're going to go ahead with lifting technique. So at that spot you can keep your colors a little towards the lighter side or leaving white patch. I've gone ahead with an even layer of the Color throughout because the glowing space you can see I've left in that white cat. Well, I'm just giving you in a very light layer of the blue tone because we will go ahead with the lifting technique so that we have little lighter blue effects. Before that, I'm just going ahead with her little darker tint off the blue onto the entire space so that after the color dries, it stays bold enough. We'll go ahead creating a glowing sun space this time. That is, we're not going to add in the sun, but we are going to show as if the sunlight is peaking between the clouds creating in that White effect. To my smaller sized round brush. And using the damp brush I'm beginning to create in the spots you can see my colors non-sustaining. Hence I'm able to lift it up quickly while my paper is still wet. I'm creating in draft cloud shapes at the bottom space you can see how easily I'm able to lift up the color with the help of photo. But after every stock you can see I have a rough towel in my hand so that I can quickly dab off the planes that I've lifted. Otherwise it will get lead back to the next piece where I tried to lift up the Color. I'm going to create a low lying cloud effect majorly at the bottom space. At certain times that glowing space may require two to three times of lifting up because, you know, since your paper is wet, the paints from the sides may flow back into that glowing space and cover that space again. So in those cases, you can quickly lift up the colors again. But the important thing is you need to do this entire lifting technique, why your paper is wet. Otherwise the colors will dry out and then you won't be able to lift up to get in these light soft effect. Now at the top here I'm beginning to create in that glowing sun space, I first created a so-called from this, I'm going to keep pulling out a lot of leaves now. For that I've shifted to afford the smallest size brush which has a pointed tip. And I will keep lifting one stroke at a time, cleaning my brush, and then going ahead for the next TO Make sure after every stroke you keep cleaning your brush. Now, these strokes you may require two to three or run it rounds off the same or Technique because you can see where I began lifting up the stalks there. Again, the blue color from the sides of the strokes is speaking in. So you need to go ahead with two to three layers of this lifting technique to get in that desired effect. Now in the second layer, some of the strokes I'm pulling out much bigger and much long as you can see. You can see how it's creating like an effect of the sun rays peeking out from between the clouds in the sky. So I'm just going to go ahead and lift up a little more strokes before we let the sky to dry completely. Also, you can see since my paper is taped down on a movable surface, it becomes so easy to just tell the Paper according to the hand movement or according to the hand convenience. So I always recommend taping down your paper on a movable so phase so that you can rotate any time anyhow as you wish to. Now at random species you can see I'm going ahead with little more off the Color lifting to create a little more Cloud effects at the top space as well. My paper is still wet, so you can see when you use 100% Cotton Paper offer good-quality of paper, stays wet for enough time. If you've read your paper well enough before you begin adding on the Queen's. Also, you need to be a little quick as well, so that you know, you do not have any sharp edges anywhere. Now at certain places, I've just added little lighter blue tint as well, Mixing it well along with the white. Now you can see the rays that I pulled out are completely hidden again. So now I'll go ahead quickly with another layer. I'm doing this while my paper is still wet. Again, I'm repeating this point. It's very important for your paper to be wet to achieve the effect of the lifting technique that we are trying to. Now, I will quickly pick up a little of the blue because you're, you can see it's a little messy. So since my paper is wet, I can just correct this space with the help of the blue quickly so that, that messy or lifting race can be hidden quickly. So you can see how easily you can correct your mistakes while the things are still wet and still in your control. So that is it. I will wait for my sky to try and then move on to the Beach area. My sky is completely dry now and I'm going to begin painting Beach area for the Beach also am going to go ahead with the blue tone first. And then for the sand area, I'm going to use a very light brownish, creamish kind of a tone from White Nights. I will share the details of the pains as well. Once we begin adding in first-time, going ahead with a layer of water onto the entire bottom space, that is the C and the Beach area, both. Now for the water area of the Beach, I'm going to use in the composed blue color from the brand Mitchell emission. You can use in turquoise blue or you can Mixing a little tent of your emeralds or viridian green along with the city didn't blue to get a turquoise are composed blue. So this is basically a mix of pigment blue and pigment green together, giving in this beautiful turquoise blue kind of a tone to which I've just added a little drop blue color to make it a little more pasted. Closer to the horizon line, I'm going to run in very carefully so that I do not run into the sky. In the center. I'm going to keep in little lighter species. So first I'm beginning to add in the color from the edges. So on the edges, I've added the composed blue and the royal blue color in the center space that we've kept white and light there, I'm going to add in the city didn't blue color to give a little reflection of the sky falling onto the Beach. That is the reason adding in a little hint of the cerulean blue color Given that effect of the sky. So just in the center space you can see I've added in the blue tone, blending it well with the composed Blue Palo with very loose strokes, making sure that both the colors are blended yet visible distinctively. Now, I'm going to begin adding in some wet on wet strokes as well. So for this, I'm going to make sure I do not have excess water. I'm adding in some darker use in between and blending these well, again. Now picking up a little of the composed blue and the royal blue again, because the edges are looking a little lighter as compared to the cerulean blue color from the edge. Pulling out the mix of these colors, again, you can see how smoothly they are blending into each other, as well as still standing out distinctively for both the colors that we've used. Now for the bottoms and space I'm using in this dun color from the set White Knight. This is a pistol color from their set. I have it in the tube form. You can see it's a very tasteful yellow ocher color. To create this color, you can simply mixing yellow ocher, a little tinge of yellow and white to get a beautiful light sand color. I'm adding it exactly below the blue tones, blending it well with the blue, but making sure that both the colors do not seep into each other. We want that soft edge because we are trying to show in the overlapping of the Beach and the see spaceport. Now my see still wet. I'm going to go ahead add in some wet on wet strokes just as in the last class project, we went ahead with little strokes. You can see it's soft strokes in the third class project. We're going to go ahead with some soft looking strokes here as well. So I'm shifting from my smallest size brush picking up the salient blue color, beginning to add enforced at the horizon line to make the horizon line prominent. Now into this space where we've added the composed blue. You can see I'm pulling out very fine strokes of this cerulean blue color so as to show both those color spaces of the Beach blended well into each other. We're not going to go ahead with much of the wet on wet wet on dry strokes. That is the reason I'm going ahead with those lighter wet strokes only in the subspace, adding in a little splatter of the brown color to blend into giving little effect of into the sand as well. Make sure you cover up your Sky and the water space. If you're not confident about these plateaus, or you can drop them using the tip of your brush. I've just added in some brown patches here to create a footprint detail if it works out well. So while this is still wet, I've just given in these few footprint effects onto the beach. Let's wait for it to dry and then we'll add on the details on top of it as well. Till then I'm going to go ahead with some darker blue strokes into the system. You can see I'm walking very much or patiently into the sea details. I'm adding in a few details waiting for it to settle in till then working on other details of the painting and then coming back to the sea. But still I'm doing all of it while my seat is still wet. That is the reason I'm still having in the soft blends and strokes between the C. So that is it for the base layer of the sea and the Beach. We'll wait for these to dry completely and then we'll move on to the next layer of details. The most important thing while working wet on wet is the water control onto your brush? And the water control on the paper, your paper shouldn't be too wet nor dry. Your brush shouldn't have access pigment or very less pigment. So it's about the water control and the brush controls that you need to learn to master the technique of wet on wet. I'm just defining the horizon line straight and prominent with the cerulean blue color. Now that is, it will wait for this to dry and then adding the final layer of details before we peel off the masking tape for this class project. Now we have water and the Beach and the sun space. Everything is completely dried, so I'm going to go ahead with the White Gouache and begin adding in some wave details using in the white color. I'm using the right cost separately on my palette. I'm just going to pick up a little water and re-wet this and activate it again. If you want, you can even use and fresh squash. Now, just like in the last class project, we went ahead with a little dry brush strokes. Similarly, we are going to go ahead with some dry brush strokes this time as well. So let's begin adding in. This time it's going to be at the meeting point of the sand and the water to create in that crashing wave effect or the foaming effect when the water and the sun merge together. Last time we had it onto the green space showing in the crashing wave effect. So very rough lines that I've added in now, I'm going to go ahead using this spoilt Round brush and using the White Gouache. I'm just trying to create in some foaming effect. So I'm just using the tip of the brush. The bristles of features spoiled because of fish. I'm getting this dry brush kind of an effect. I've not dip my brush into water, hence it is very dry and I'm picking up very thick paint, so I'm getting in these dry brush kind of further ripple effect. I'm to the entire space quickly using in that brush I created in little ripple effect. Now using in again the smallest size brush, I'll go ahead with a bowl layer of the white at the bottom space. Because you can see, because of the dry brush dabbing that we did, the bold line is hidden. So I'm going to go ahead with this, a very rough line. You can see it's very coffee and I'm trying to move it in a very rough and random manner. Now into the sea as well, giving in little details with the White Gouache. I'm not going to give much of it. I'll just give it a little and blend a few of these into the base layer quickly using a damp brush as well. Again, you are also, you can see I'm going ahead with very dry brush. My brush does not have access water nor excess pigment. It has very little pigment just on the tip and that also in a very thick consistency because of page I'm getting in these dry brush strokes easily. That's going ahead with little more of the dry brush effect, trying to show in some more crashing or foaming effect into the water. So I'm going ahead very carefully. I'm making sure I do not overdo these white details. You can see I'm moving in very slowly to create in this byte effect into the sea. Make sure you do not overdo this. Otherwise, it may look very uneven. I'm trying to create in a lot of pre-fill effect into the water because the fish, I'm going ahead with a lot of fight details to show the thrashing effect or the foaming effect of the water? Now I've picked up a little bit of the yellow ocher color and I will add in a shadow line to the crashing wave you're using in the yellow ocher color. I'm giving in a very fine line just exactly below the white line that we added. And quickly using a damp brush, I will blend it into the base layer after the orange tone that we added in the science piece. So now just dipping the brush in water, I'm going to begin blending this at the edge in the base layer. I'm just adding in a little tinge of brown as well, and then I'm beginning to blend in. So just at random places I added little brown effect. You can use the light red color or you can even use in the bunt sienna color to add in this little brown effect along with the yellow ocher tone. Now just using a damp brush, you can see I'm blending it into the base you're giving in that soft edge. We are done adding in the shadow effect as well. Now let's go ahead adding little more brown detail onto the shadow. So just using a darker brown now, I'm giving a very fine line underneath the white that is between this blended look that we've created and the white tone that we added. So you can see the blend is at the bottom of this darker brown that we've added. At certain places. I'm again blending it the into the base as well, the darker brown you can see as soon as you add in this shadow effect, it looks so realistic as if after crashing wave is happening in real in front of your eyes. Now the last thing is these footprints that we've added, I'm not satisfied with these. I'm going to quickly hide them out. So I'm going to pick up a slot, the burnt sienna color added on top of it and quickly using a damp brush, creating some shadow effect onto the sand space with the dune and the urban sienna color quickly added in the dark brown. And you can see I'm blending it into the base layer of the sea to create a little darker patch on the Science-based to get rid of the footprint, the effect that we were trying to create. And because most of it got hidden and it was not turning out as I wanted it. So now let's removing the masking tape and see your final painting. Make sure you remove the masking tape once your edges are completely dry. And also always pull the masking tape against your papers so that you do not lift up the color or tear off the edges. You can see both the paintings look so beautiful together side-by-side with the blue skies and different kind of sees. You also look at the painting from D3 and D4 together without the masking tape, I hope you guys enjoy painting these blue skies, creating in that glowing space, but just one color and using in water. I will see you guys soon into the day five class project. Thank you so much for joining me into this class. I'm painting along with me 9. Day 5 - Onto the Roads: Hello everyone. Welcome back to day five of the 21 day challenge of painting the sky blue. Today we are going to go ahead with a pretty roadside view with a blue sky. So I'm first marking out the roadway. I'm going head tonally from top left to the bottom right On top of the pathway, we are going to have in a little of a greenery space, so I'm giving a rough outline for the greenery space. So basically we have three parts, the sky, the greenery space, and the pathway. We'll first begin with the sky, so let's go ahead with a clean layer of water onto the entire sky. If a little of the colors move into the green spaces, it's okay. We'll be able to cover them up with the darker green tones. But as far as possible, try avoiding to add in the colors there. Now, this time into the sky, we are even going to use in a little orange highlight to create a little sunset effect along with the blue tones. So, so far for all the four class projects, we have only been working with a single blue tone. But now onwards, we'll try incorporating some more complimentary and some harmonious colors along with it, such as pinks, oranges, yellows, and the violet tones to create beautiful evening blue sky effects. I'm done adding in a layer of water. I'm mixing in a little bit of the Selin blue along with a little tint of the royal blue color you can mix in or white. And I'm pinning in with the blue color first at the top. As I move towards the bottom side, I will keep little space at the bottom for the orange space in between. I'm using a little bit of the white quash as well. Because remember orange and blue mixed together, we'll give you muddy tone. I'm going to mix in a little tint of orange along with the white quash so that it does not create in muddy tones. And it will give you a pretty blend between the blue and the orange without having informed any muddy tones. That is the reason, in the blue as well, I used in a little tint of the royal blue, which gives a pastel hint or a white tint effect. I've picked up the orange mixed in with a little bit of the white quash. I'm going to create a light highlight here. I'm just laying down the color. The top and bottom you can see is white between the orange. Now very carefully across this orange space, I'm going to go ahead and add in the blue tones. I'm beginning with the top again so that I get the blends from the top till the bottom perfectly, closer to the orange. I will leave a very fine line between the blue and the orange so that the colors bleed and blend into each other naturally. If you want to blend these two, you can even use in a little bit of white and blend them naturally. I'm going to just tilt my board in little different directions so that the colors flow into each other. That is, the blue and the orange blending easily with each other. With a little light hand, you can see I'm even giving some overlaying strokes over the orange. I'm quickly lifting up my hand as soon as I add in that little pigment effect. Now, I'm just going to go ahead with some darker highlights as well into the sky. We are going to create a lot of cloud effects as well into the sky before we let the sky to dry out. So I'm just going ahead with a little more bowl consistency of the blue. Because I know when it will dry out, it will turn a tone lighter and I want a bold sky to given that evening effect. Now I've shifted to a smaller size brush and to my blue, I'm just adding in a little tint of the indigo. Or you can use in the paints gray color to create a little darker blue color, but not too dark. And using a smaller size brush, I'm just pining to drop in some colors like these. Usually how we have been creating in that glowing space effect with the help of water. This time we're creating some darker spots into the sky with the help of paint. The technique is same, you need to drop the color, blend it into the shape and the space that you want in. Basically, since we are going ahead with an evening sky look, I wanted it to make sure that we have these darker tones instead of those white cloud details. That is the reason we are going ahead with a darker blue tone to create in the cloud effects this time very carefully, closer to the orange. Also, you can see I'm going ahead carefully. I'm just mixing in a little tint of paints gray to my erred in blue color. Now I have created one further tone, darker. You can see from the previous tone that we used and going ahead with the next layer of clouds. Basically into the clouds, you can see different tonal variations of the blue. We began with a pistol layer, went ahead with Pete darker. And now a further to when I'm going ahead with this wet on wet technique, I'm making sure my brush does not have excess water or excess pigment. Otherwise, they will spread out completely and will not eat in the space in which I add them now to my orange Again, I'm adding in a little more white to create little orange highlights in between the blue sky as well at the top, but that's going to be very little, so I'm using my smaller size brush and just going to drop in very tiny highlights. Just add it in a little of Fate now, I'm just going to go ahead with a little more of the white along with the orange. Because you can see it's not that clearly visible. It looks a little D. Now I'm going to create a little high light onto this orange space as well, closer to the greenery space. But here, when you add in, make sure that the blue color does not get lifted on your brush or else clean your brush after every stroke. Otherwise, you will not get the clean effect of the orange color onto these orange highlights. As I told you they were darker, I'm just going ahead with this lighter tint of the orange again so as to create that highlighted space. Now I'll just quickly create in a little more highlight before we let the sky to dry out completely. And then move on to the pathway and the greenery spaces. So you can see how with the help of white quash, you can even add two complimentary colors into the sky and get the highlighted effect. You can see with such a bold mix of the orange and the white quash, I could create in such highlighted space onto the blue color as well. And get them visible into the sky perfectly. Now I'll just use a little of the blue and give some highlighting covering strokes over the orange so that both the colors look well blended and, you know, perfectly merged into each other. Just two to three strokes over the orange color. With the blue, with a soft hand, we're done with a sky. Now we'll paint the first layer of the pathway as well. We can't paint the green spaces now because the sky is still wet. But the pathway and the sky are not connected. I'm going to go ahead with the paints gray color. You can go ahead with a black color or a grayish tone. I'm going to mix in a little bit of the violet and blue to this to create a grayish tone. I'm mixing the violet and the crucian blue color to my black to get a gray tint. So this great tint I'm adding in into the entire pathway. I'm further going to create in darker depths into this as well. I added one more layer and blended all of it well together so that after it dries out. Also I have the perfect dark effect for the pathway. In case, if this dries lighter, I may go ahead with one more layer. Let's wait for this to dry, and then we'll move on to the further details into this painting. Now everything is completely tried and I'm going to begin with the first layer of this green space which is completely white. So I'm going ahead with the wet on dry technique here, because wetting this area may be a little difficult. But I'm going to go ahead with little extra wet panes. First, I'm beginning in with this yellowish green color. You can see it's a bright green color at the top. I'm adding in layer of this green. You can see the underneath blue sky still stands visible, so we'll be using some darker tints there to hide. And you get the shape of the green tones or the bush space perfectly right, with different tones of the greens for the first layer I've given in this lighter tone. Now on top of this, while this is still wet, we are going to go ahead with different tones of green. I'm defining the straight line for the roadway that we've added so that we have that perfect straight line for the pathway. Now I'm picking up a little of the darker tint you can see and beginning to add in at the top. Now this time when I'm adding in, you can see I'm creating in rough patches at the top to act in as the leaves at the top space. So I'm just tapping in the tip of my brush, blending it with the base Leo, lighter green color. So we are still going to go ahead with a lot of greens into this space and create in this space. So this is just the second green detail that we are adding in here. Now I'm picking up a further darker green color and beginning to add in a little more darker effect into the bottom space, closer to the pathway. You can see I'm just trying to blend in with the greens. My green space is still bed. That is the reason you can see the soft blend happening. I'm trying to maintain the light green color as well at spaces and get in the darker green tones as well. At the bottom, I'm going to go ahead and give a bold line of the darker green color. Now to my sap green. I've mixed in a little bit of the paints gray color to get one more layer of the darker green tint. And I'll begin creating in some details at the bottom space as well. Remember, my green space is still, but still I have not picked up excess water or excess pigment. That is the reason I'm able to have this soft look to my bush and still the colors are not spreading. And retaining the space in which I'm adding them closer to the line of the pathway. Be a little careful so that you do not ruin the straight look. Otherwise, it will be very difficult to get in or you may have to go ahead with one more layer onto the pathway to get that line straight again. This is how you can create so much depth into these little little spaces and get your entire painting to life. We're still going to add in little more darker tints and effects here and there before we let this dry out. Now, for a few minutes, I'll wait for these greens to settle before I add the next layer. Until then, I'm going to add in little dry brush effect with the pains gray color onto the pathway. I'm going to pick up the pains gray color. I have a damp brush. I'm going to still dab my brush, picking up the pigment. And technically as the movement of the pathway, I'm going to add in little of this dry brush effect. Some of the dry brush effect, I will blend in into the base layer using a dam brush as well. But first, let's add in the first layer of the dry brush technique. Now the important thing with dry brush technique is that your brush shouldn't have excess pigment or excess water, otherwise you will not get this effect. I'm going to go ahead and blend in these darker spots that I'm adding. That is the reason I'm adding some darker spots so that I can blend in and get in some shadow and light effect onto the pathway as well. Now, quickly using in this flat brush, I just tipped it into water, dabbed off the excess water, and I'm going to run it softly onto this pathway. And you can see how the darker tones are blending, creating in that darker death. And the dry brush also, at certain places, creating in that darker and light shadow and light effect closer to the greenery space. Be a little careful because the greens are still wet and the colors flow into each other. Be a little careful there. Now you can see the light and shadow effect into the gray space as well. Now let's wait for all of this to dry and then we'll move on to the next layer of details. Now my green space is also completely dried and the pathway also. I'm going to go ahead first with the details onto the greenery space. I'm picking up, again, a taco green tint. I'm mixing in various greens. You are free to experiment with whatever green colors are available in your palette. But just a little tip, if you want to create in some darker greens, you can add in pain scrape brown or blue to your greens. And if you want to create in lighter greens, you can use yellow and white tones to create the lighter effect. Now using this darker tint, I'm going ahead with the wet on dry technique. That is, my green space is completely dried on top of which I'm going ahead with wet color to create in little of the bush effect. So now you can see I'm creating in just dabbing in the tip of the brush and creating in different bushes and leaf branches. You can see I'm using a mix of different techniques somewhere, I'm just having the tip of my brush Somewhere in between, I'm giving in little detail one stroke leaf as well. In this way, I'm going to go ahead with this layer and create in the death. Now closer to the orange space, be a little careful that you do not cover that entire orange line that you've created with this bush effect. So you can see how quickly I'm going ahead with these green bush detail at the bottom space here as well. I'm just going to go ahead fill in this entire space. And then lastly, we'll be left to add in the details onto the pathway with the white tones. So this bottom space here, you can see I'm simply just filling it up completely with the darker tone just at the top. I've created that bushy effect. Now to make the transition between the lighter green and this darker green patch perfect, I'm going to go ahead with some lighter green color so as to have in a little blend with this darker green strokes that we've added. Now this is also wet dry. My paper is dry. On top of which, I'm going ahead with these Bet colors to create. In the depth you can see just simple dabbing that I've done to create in the details, and now it looks more blended with the paste layer. I'll still go ahead with a little more green. I shifted to a smaller size brush so that I can get in some fine details. This is a size two brush, but it has a pointed tape on top of the dark green. Now, I'm sorry, on top of the light green, I'm going ahead with some dark green pine tree in effect so as to have that perfect transition happening between the light and the darker tones randomly. In between pulling out some simple bushes or branches as you can see, so as to make everything look blended and seamless. Now you can see into a bush space, we have so many variations of green, yet everything is so blended and well coordinated with each other and looking in perfect sync as a perfect bush area. So to get in these details, you need to work wet on wet. You can see I'm still going ahead with little darker greens on top of the lighter greens so as to blend them all. And at the bottom, we have that darker green depth space perfectly showing in the light and the shadows even on the darker green. I'm just going to dab in little lighter green so that the blend and the transitions look smooth. Now using in the white quash, I'm going to add in the detail on the pathway if you want. You can use in a white gel pen or a white marker. I'm going to use in white quash with my fine tip brush. Make sure you use the white portion of bold consistency with less of water and thick of pigment. So that you get that bold effect even after it dries out into the center way. You can see I'm creating in the pathway lines. I'm going to add in these white lines leaving gaps in between. Go ahead with the next white line so you can see how in between I've left in those little gaps and added in these details. We're still going to go ahead with a white line in between the pathway and the bush area For that I'm going to use in my white shell pen so that I get a very fine line there. Using this wide el pen, you can see I'm able to get in this fine line here just below the bush line to create in the depth into the bush space and between the pathway as well. I'm just going ahead with one more layer of this white Chellpen line so that it stands out bold. You can see how easy it is for me to just rotate my board and quickly adjust. As for my hand movements, that is why it's always preferable to tape down your paper on a movable surface. Now, ing in my 2.0 liner, you can see the fine tape and the black color or the paints gray color. I'm just going to add in some bird silhouettes into the sky. So it's going to be very tiny ones. Now again, for these silhouettes, you can go ahead with different kind of silhouettes or bird movements, or their flight movements as you wish to. You can see I'm going ahead with different movements or different flying angles of the birds. Very simple strokes, but just make sure that you use a very fine tip brush. Or if you want you can even use a pointed tip black pen. But make sure it's a waterproof pen so that if you ever have to overdo some details of watercolor, it does not spread out. I will just quickly add in one or two more of these. You can see I've taken them below till the bush space as well. Here's a final painting for day five of this 21 day sky painting class. I hope you guys enjoyed painting This Beautiful View with me today I will see you guys into the day six class project and then we'll peel off these masking tape. 10. Day 6 - Pastel Sky: Hello everyone. Welcome back to day six. Today we are going to paint the other half of this page. For today's painting as well, we are going to go ahead with a green field look so as to complement the left side of the painting along with the right side. I'm just going to begin with a very light pencil sketch. Since I'm painting two paintings on one sheet, I'll remove the masking tape for both these paintings. Once I'm done painting the other side here as well, on top of the green field space, I've just added a small mountain range towards the right. You can see I've marked out two ******. The top is going to be the sky. We are going to go with beautiful pastel, blue violet sky. And then we'll add in some pole and line details as well later on. I'm not going to put in the pencil marks for that too much in detail because I really do not want any charcoal marks to be visible. So I'm just lightening up these lines so that I'm not fixed in to add in details at this spot itself. I can add it according to the need of the painting, beginning in with a layer of water into the entire sky. First, I will just add the layer of water marking very well, the field and the mountain ******. Make sure you add in an even layer of water in case if you are also painting on a single page for two paintings, make sure that your water does not seep into your left side painting or else your left side painting will get reactivated because these are water colors. I'm going ahead with an even layer of water. As you can see, I'm running my brush multiple times. I've very carefully marked out that mountain and the field space so that I do not run my sky colors in there. Even if a little color seeps in there, we'll be easily able to heighten as far as possible. Try avoid adding in the colors there. I'm just running my brush multiple times so that my paper stays wet for enough time until I work on all the details into the sky. This time in the sky, we are going to use in a lot of pastel tones of blue and the violet color. First I'm beginning in with the picco blue color. The pico blue color from this set is more towards, like a turquoise blue color to which I'm just adding in little tint of the white. You can mix in a little is cereal in blue to get a similar peco blue color along with a little tint of white. Because as I told you, we are going to create pastel gradients of blue and violet into a sky. Now I'm just picking in with the first layer that's going to be a layer of this pico blue color to which I'm just going to add in roughly whites in between to create that pastel effect. So I've got a very light gradient sky situation. I'm just going ahead with single base layer color for now. On top of this, we are going to build in the entire pastel depth of the sky. Believe me, this is just the beginning of the sky and you have no idea how and where this is going to go with all the pastel details that we are going to add forward into this. Before that I'm just darkening up a little tint of the pickup. Blue color here. Just took up the color and running it again but making sure it's not too bold because I want a pretty pastel effect once I add in more of the white and the violet effects to these. Now for the first layer of clouds, I'll begin with a water technique that we have been following since the previous class project. Just using water on the tip of my brush, beginning to create in some cloud effects. And I'm going to go in very carefully. You can see my color is not staining because of which I'm able to lift up the pigment quickly. Make sure you lift up the excess water that, that gets collected on the edges. Otherwise, it will set back into the painting and you will lose that white effect. I'm beginning to create a big white space towards the right side where I'm going to add in more of the violet cloud effects. Moving ahead further, even closer to the field space, I'm creating a big white patch in a straight way and giving in that rough cloud shape because they also, we are going to have in a lot of the violet effects coming in. Now at times the lifting may not happen in just one stroke. You may have to run two to three strokes to get in that glowing space. Be a little quick because if your paper is something that dries out quickly, then it would be difficult for you to achieve those ******. You can see I'm running onto a second layer of the pick up of the color so as to get in that glowing effect. Because while it was still wet, the blue color again begins to spread into the white space at times. You may need two to three times of this lifting technique to get in the depth of that glowing space. I've shifted to a smaller size brush so that I can lift up more in shape outline that I need in make sure your paper is wet enough. Because we still have to go ahead with a lot of details into the sky in case if your paper is beginning to dry Again, I would recommend you to use a spray bottle, spray in some water and try to keep it a little wet. We are going to discuss this technique as well in one of the coming projects. But for this project, my paper is wet enough and I've made sure that I use 100% cotton paper so that I can work so much wet on wet to create in the depths into my sky and the natural effect and that beautiful cloudy effects into my sky. With the same technique, creating in some small cloud effects here and there. Before we move on to the violet details into the sky. Now I'll move on to the violet color. I'm going to pick up the violet color on my palette and I'm going to mix it with a little tint of the blue, that's the Picco blue mixed in with white. So then I get a bluish violet tone first. And I'll just begin adding in little highlights into the space where we've created in the white ******. Just dropping a little tint of the color and creating in that cloud effect into the white ******. I'm still doing all of this while my sky space is still, you can see it's a beautiful violet blue color which is going well in sync with a blue color that we've used in, in between. I'll even keep on using white to create a little more highlighted space at certain ****** where I feel that the water is not giving in that lowing effect. I'll just drop in or tip off the white quash so that I'll get a more bold white space. Now when you begin adding in this violet color highlights, make sure that you do not have excess water or excess pigment because we want to make sure that it does not spread out a lot. If you will have excess water, it will spread completely and you will not retain in the cloud or the shape that you're trying to add in. In case if you have excess of pigment, you'll get in two darker tones, which won't set in well with the colors that we're trying to get in. You need to have pigment and water control. Now, at the bottom here again, you can see I'm just picking up a little white to dilute the violet tones as well and get in different tonal variations for the violet color as well, with the help of the white color. Now in the sky, you can see so far we have little blue ******, we have little white ******, we have violet ******, and a little of the blue violet tones as well. So so many different colors into one simple sky, creating in so much depth and the pastel effect, evening sky effect to the sky. Now using in the white, I'm dropping in just at the edges to create in that cloud shape. You can see my paper is wet, so the white is also having a soft edge. It's spreading just as like the water, but it's more bold because it is an opaque consistency color that I've used in here. Now in the same way, I'm just going to create a little of the violet effects into the rest of the sky. Before we move on to the other details, you can see I'm using the color in such a light consistency. I'm making sure from time to time I do not have excess pigment on my brush. I'm altering between a little of a darker tint of a violet and a lighter violet blue mix. So that I have different tonal variations and that natural effect of b***ding of the colors into the sky. Now again, picking up a little of the white quash and I'll just begin adding in little at the bottom ****** here to create a little more highlight in between the violet tones as well. And given the depth you can see, again, you get one more tonal variation of the color just by adding in these little highlighted spots. At the top here. I'm not satisfied with the cloud shapes. I'm just adding in little more white patches. My paper is still wet, hence I'm able to do all of this yet and create in all of the glowing ****** and depth into my sky. Now, at ******, if you feel that you need a little more tints of the da, bluish violet or a violet tint, you can go ahead with a little more highlights. But again, the most important key here is your paper needs to be wet. You need to have water control. You need to have pigment control. Only then will you be able to work wet on, wet with water colors. And achieve in the effect and depth into your sky in such a way that all the colors, layers, and details are visible. That is it now I'll wait for my sky to dry and then we'll move on to the next layer of details. My sky is completely dried and I'm going to go ahead with the first layer of details onto my mountains. It's basically going to be a green, bushy mountain effect that I'm going to go ahead with. I've mixed in various greens, yellowish green, olive green, and a little of the sap green. And I'm beginning with the first layer. I've shifted to a smaller size brush so that I can define the details well enough. Now on the right you can see I had marked out two mountain ranges. First for the base layer of the color, I'm just going to go ahead add in the colors there. Once this dry out, using the wet on dry technique, I will distinguish both the mountains into different color tones and different highlighted effects. Now for the first layer, you can just add in the same layer color for the base layer detail. I'm just going to lift up little color and create little lighter effect because I'm going to add in details with a darker tint. Make sure for the base layer of this mount, you do not go ahead with a lot of darker tint just on the edges. You can give in a little darker tint so that if a little of the blue color has seeped in here, it will get covered up easily. But make sure to b***d it well, again into the base layer. Now, while this is wet, using in a little darker tint, I'm going to mark out the space for that second mountain range that we added, but I'm making sure I do not have an extra liquidity color. We are still going to define in the details once this dry out. For now, I'm just giving in a very light layer of a darker tint. I'm making sure this retains the shapes. I'm just lifting up the excess water or pigment line across from here so that it does not see or flow completely into the top mountain range. But even if it b***ds in, we're going to define in the details once these dry out completely. Now we'll have to wait for these mountain ranges to dry out completely and then move on to the field space. I'll wait for these to dry now, and then we'll move on to the next layer of details into this painting. Now my sky and my mountains all are completely dried. We'll go ahead with the first layer of paints into the field space. You can see both the mountain ranges has a soft edge in between, but both the colors are eating in the space that I added them because of the water control. But we'll still define those mountain ranges. Well, I'm beginning with a light green layer first, into the bottom space of the field. This is just the base layer that we are creating. I'm going with the wet on dry technique because on top of this, I'm going to add in a lot of details later on. Wet on dry, closer to the mountain range. I'm going ahead very carefully so that I do not run into the mountain range and define the details well enough here. Now I'm picking up a little of the yellow occa color, and while my paster green is still wet, I'm going to drop in little yellow acco highlights as well to create a little more natural effect into the field here. So you can see a smoothly b***ded in the yellow occa color, along with greens having in that little yellow occa highlights in the center space. Let's go ahead with the next layer of details onto this mountain range using the wet on dry technique and a little darker tin. I'm just adding in little dry brush technique onto this smaller mountain range that we have in the forefront space. You can see as soon as I added that outline, it's standing out distinctively from the back layer mountain. And that soft edge is easily covered up, giving in that perfect effect. Now with the dry brush technique also, you need to make sure your brush does not have excess pigment or water. Only then you'll be able to achieve that dry brush effect and get in the details into that green space. Similarly, I'm going to add in little dry brush effect onto this back mountain range as well. But I'll make sure that I do not cover it up completely. Because I want the lighter green highlights also to be visible so that both the mountain ranges are visible distinctively and do not look as just one mountain range. Now, let's wait for all of this to dry again. Now, my field, my mountain, everything is completely dried. Let's begin with the last layer of detail onto the field space. We are going to go ahead with a lot of leaf, grass, bush details with taco green tones onto this bottom field space that we have created. Now again, for these details that I'm adding at the top, I'm adding in very small tiny pine trees on the borderline so that I have that soft transition from the sky to the field space. You can go ahead with just grass strokes there as well if you do not want to go ahead with these tiny pine trees effect. Also, again, here you are free to use in any tone of greens that you wish to. Now along with that, I'm just going to begin adding in very rough strokes into this field space. I'm going to add all of these in such a way that in between I have a little of a green patch visible of the base layer color that we've added. And the rest of the space we covered up with pine trees, grass strokes, leaves. So very randomly, I'm going to go ahead, you are free to go ahead with your own layout. You can just use in a lot of green leaves, you can just use in grass strokes, you can just use in an entire patch of pine trees to give a little depth into your field. It's absolutely your choice or you can go ahead with a mix like I am going ahead with also with the green tones. You will notice different tonal variations into the greens as well. Now some of the grass strokes as well. I'm going to pull them a little taller into the sky. To given that natural effect and ***gth effect. Now these pieces, I'm going to go ahead with more layer as well, but I'm just going ahead with the first layer. And then I'll begin building in the deck. Now, in the center here, almost the center, I'm adding in a small pine tree as well. As I told you, I'm going ahead with a mix of grass leaves and pine tree details to create in the dead. I'm using a very dark tone for the pine tree you can see, so it's standing out more distinctively. I just added one more pine tree towards the left of that pine tree that I added so that I have a little more filling space. You can see with the help of pine trees, I'm able to fill up the ****** So well quickly, in between detail of the pine trees, I'm having that background light green effects coming in. I'm adding one more pine tree so that now from behind the pine trees I just have a little grass strokes visible in between the pine trees creating in more of a natural effect. Now towards the right. I'm just going to go ahead, keep on dabbing my brush and create a little bush effect. I'm going to make sure towards the right, I let a little of the lighter green space be visible as it is. So I'm not going to cover up the entire light green space. So you can see I'm adding in pine tree kind of structures here as well. I added in some grass talks and then covered it up with the help of pine trees In the background, you have a little grass talks visible on the left. And then at the bottom you have an entire patch of pine trees. Now the bottom space of this, I'm just going to go ahead fill in with colors, but just leaving in little highlighted spots of the background color. On the right, you can see between the mountain range and the pine tree, I have that green field space visible, distinctively having in that dimension of field to this painting at the bottom here on the left side as well, I'm just going ahead with a little more daco tins of the greens to create in more depth because I find these a little lighter. So just adding in more variations of the greens here. Now, randomly at the top as well, I will quickly go ahead with some darker green highlights. As I told you, the entire play of this field is playing along with different tones of light greens, yellow greens, darker greens, so as to create in the depth and natural effects of the field, you just need to keep on playing with the greens and different kind of elements of the field as you wish to. Now to this mountain range, I added a line of green. And using a dam brush, I'm going to create a soft edge so as to show a b***ded look of the mountain range into the field space. We could have done that by painting the field alarm. But now after adding in all of these details, I feel like b***ding in the mountain with the base here of the field. Just giving a soft b***d in a dam brush and one stroke of the color. It's showing in like a little shadow effect of the mountain range falling onto the field space, giving in that little effect. Now using these fine liners, I'm going to add in the details. I'm going to use my 0.05 n, which is a very fine, those small poles that I told you will be adding into the field space background. So you can see with the fine, fine the lines are. You can even use a brush and pigment if you want. You can use in pens like these so that you get in the details more precise and more crisp. But in case if you're using in color, make sure you use a very fine liner brush and not too bold color consistency. In case if you're wishing to use in these micron pens, make sure you use in waterproof pens now using a 0.3 nip pen, I'm going to add in one electric pole in between the field space. Before you begin to do this, make sure that your green ****** are dried. Otherwise the colors will get lifted onto your scale and it may lay to the sky and other ******. It's very important that you make sure that your paints are completely dry. I added one tigon stroke with a thinner pen, now using 0.5 nape. I'm adding in the second stroke towards the right side. I'm just building in a small electric pole towards the right. I've added two lines, one thin and one thick. Now I'm going to go ahead with the pen and just add on quick details. And then later on using the white shell pen, I will just create little highlights on top of this electricity pole as well. Now in the center of these lines, I'm going ahead with diagonal lines again and again. I'm going to go ahead with diagonal lines in the opposite direction and create such diamond shapes in between. In between these diamond shapes, I'm going to add in little highlights with the white shell pen that we were talking about. Now, certain details at the top. I'm just giving in and high light to defect, making sure we have that perfect highlight element happening onto this. Now using the white shell pen, I'm going to go ahead adding some highlights onto these black lines in the center, onto some of the black lines. I'm going to create the highlighted effects like these, that it gives a more natural effect trying to show in the effect of the sky that is closer to the falling onto these poles as well. Closer to this mountain range, you can see our sky is a lot white and light, trying to show in that color falling out here, peering in that shadow and light effect. Just some simple effects with the white hell pen. And you can see how realistic look it gives into the entire detail. Now using the black pen, I will again give in a bold line closer to the white one, because my white line was overlaying the black ones a bit. So I just wanted to give in a little depth to that. No, one last thing, I'm just going to go ahead with the pain screen color. Add in a few birds into the sky and then we'll peel off the masking tape to see a final painting. Just some tiny birds here and there in different flight angles. Just as we added in the previous class project. But this time I'm going to add them much more tiny as you can see. Again, the angles and the movements are the same as the previous one. Just the placement and the way of adding them may differ a bit. Just a few more. And then we are ready with this class project for day six as well. Let's quickly add in a few more and peel off the masking tape. Now we are ready with the painting. Let's begin peeling off the masking tape. Make sure you begin peeling off the masking tape once your details are completely died. Before that, I'll just quickly add in a little more highlight of the black color at certain ****** so that along with the white, the blacks are also visible perfectly. Now, always peel off your masking tape against the paper so that it does not tear off your paper nor lift up the pines. Make sure if your paints are dry or wet anywhere, you do not lay your hands over the wet pines, otherwise it may get laid onto your hands. Here's the final look at our paintings from D five and D six to beautiful pastel skies with greenery effect. I hope you guys enjoy painting these with me. I will see you guys soon into the Day seven project. 11. Day 7 - Desert View - 1: Hello everyone. Welcome back to day seven of the 21 day painting a sky blue chal***ge. Today we are going to go ahead with a little deserted view with a blue sky. I'm going to go ahead with the pencil sketch. At the bottom area, I'm going to mark out the roadway that we're going to show along with a little deserted mountain. Look very much at the bottom. You can see I've marked out a line on top of which I'm going ahead with a random Rocky Mountain look to act in like a desert space. Now at this bottom space here, I'm going to have a pathway which is leading towards the desert, kind of a view. It's going to be tanal both on the left and the right side. In the center you can see it's meeting and going in very thin and going into the infinite view. This top is going to be a sky. And then the bottom details, we'll first begin with the sky. We'll go ahead with a layer of water onto our entire sky. Make sure that you add in an even layer of water so that you can go ahead and paint wet on wet. This time we are going to be playing along with the cobalt blue color and creating in a lot of lifting technique, clearing in the depth, and then adding in some purple high lights. Make sure you add in an even layer of water closer to the mountain space or the desert space. You can see I'm going ahead very carefully, making sure that I do not add the water into the desert area. But even if, again, a little of the pigment goes in there, we can easily cover it up because that space is going to be of dark brown tones. A sky is going to be of pretty blue tones. But as far as possible, a white adding in the colors so that it's easy to then add in the details in the other ****** as well. You can say, despite I'm using 100% cotton paper, I run my brush multiple times so that my paper stays wet for enough time. And I have an even layer of water throughout, everywhere. I'm beginning in with the cobalt blue color. Now I'm going to mix in a little tint of the ultramarine blue color to this if needed. Otherwise, I'll just go ahead with the simple layout of the cobalt blue color. Or if you want, you can mix in a little tint of the Celine blue color as well. Now, first I'm going ahead with a very light layer of the entire color. After which, I'll go ahead with the lifting technique to create in the depths as I move towards the bottom space. I've further lightened the tone a bit. Now you can see my paints are going a little into the mountain range towards the right side. And that's okay, because I want so that the blue color has an even layer throughout. Now using a little of the erlian blue color, I'm going ahead with a darker layer at the top and b***ding it again till the bottom ******. This is the second layer which I'm going ahead with. Now to this, I'm going to pick up a little of the violet color and create a little violet gradiation into our sky. Simply picking up the violet color directly from my palette. Mixing it with a very light tint of the blue from the bottom space. I'm giving a gradiation of the violet color into the sky. This will create a violet blue color because in the base layer we already have a blue tone. And then on top of which we've b***ded it along with a little tint of violet. You can see I've not taken it too much towards the top. Just a little space now I'm going to shift into my smaller size brush and begin creating in the cloud depths by dropping in water, lifting up the colors. So I'm just pinning in to drop in the water. You can see slowly as the water is beginning to spread out. It's beginning to create in that ******. Along with that, I'm going to just keep swiping my brush. Lift up the colors you need to do all of this while your paper is still wet. And also make sure that you have tested your pigments, whether they are staining or non staining. Because if your pigments will be too highly staining, then it will be very difficult for you to lift up the colors and create these glowing spots. In that case, you will have to originally only leave these spots empty so as to create the G radiations. Now I'm going ahead with a lifting technique. I'm creating a big cloud at the top space, dropping in water, lifting up the color. Making sure I clean my brush after every lifting so that I do not lay over the color again. And I'm still doing all of this while my paper is still wet. Because this technique will only be able to achieve once your paper is wet and the pigments haven't stained your paper completely at certain ******. You can see you may have to run two to three times to lift up the colors. Because at once it may not lift up the color and it may still be leaving in some stains. You need to run two to three rounds with your brush and water to get in those glowing ******. Now, this time into the sky, I'm creating a lot of bigger cloud effect and we'll let very little blue effect be there. So at the bottom here as well, you can see I've created a big cloud effect. Making sure I have different variations, but still making sure in between I have a little color tones as well visible now next, trying to lift in some smaller clouds in the center ****** and creating some smaller highlights. Now at the bottom space here, where I've gone ahead with a lot of lifting there, I'm going to add in little violet highlights using in my smaller size brush and using in the color in, you know, medium consistency, not too dark and not too light, and making sure I do not even have excess water. I'm just going to create in strokes and b***d it into this white ******, creating in some highlight of the color of the violets as well in between these cloud space. So towards the left I added in the violet color, and towards the right I added in the blue color. You can go with a mix of both colors on both sides as well. That's absolutely our choice. And these both colors go well in harmony with each other, so they won't create in any effect. That would be difficult for you to maintain or create in any third color, or muddy tones, which may react with each other. It's very safe to play along with these colors and let these colors b***d naturally into each other. Now at the top as well, I'm just going ahead with a little lifting technique more because I want some more brighter ****** at certain ******. I'm just lifting in a little more and then we'll wait for the sky to dry out. You can see we've created very big spots of clouds this time, but all of them have a soft b***d with the remaining blues on the edges of the highlighting space that you've created. Because of the wet on wet technique that we have been working, it, my paper is still wet and hence I'm able to do all of this still. But in case if your paper is something that has begun to try and you are satisfied with your sky, you need to leave it there and there. Because otherwise you may begin to get patches of the color instead of the soft b***d between the clouds and the sky. So it's very important to understand how the wet paper plays an important role in the lifting technique as well as in achieving in those soft b***ds between the clouds and the sky tones. Now at the top space as well, I'm just adding in little violet highlights randomly. And I'm going to add in little smaller highlights again using in the smaller size brush. So I'm still doing all of this wet on wet. I'm repeating this multiple times because it's very important to add all of these details while your paper is still wet. In case if you want to add in violet highlights and if your paper has dried out completely, you can wait for it to dry out completely and then go ahead with the retting technique, and then you can add in these violet highlights. After the vetting technique, it's difficult to lift up the colors, but it's easy to add the colors. Try lifting up the colors first before it dries out. Because for adding different layer of colors, you can still go ahead with the re, wetting technique and add in the depth that you wish to. That is it. We are ready with the sky now. I'm going to go ahead with the details on the bottom space of the pathway, and then we'll paint the mountain range once the sky is dried. Beginning for the pathway, I'm first going to begin with the right ****** which is again going to be a very deserted, muddy space. For that I'm going to use in the yellow occur color. I'm beginning in with the base of the yellow occur to which I will begin adding in little highlights with the browns as well. I'm going to mark the pathway lines so that in the pathway space, we are going to be going ahead with the black color or paints gray color later on. Now here I'm going ahead with the wet on dry technique because it's a very small space you can see and not much detail or much time to work more wet on wet, we can quickly add in these ****** and then go ahead add in the wet on wet details and wait for these to dry completely. So I'm done adding the yellow ocher color as a base on both the edges. Now I'm going to begin with the brown color using a smaller size brush and begin adding in some detail. Now you can either use a light tone or you can use in a raw umber color mixed in with a little tint of the Bonn Sienna. I'm mixing in my raw umber with a little tint of the Bonn sienna to begin adding in these details. Now I will add these in such a way that the yellow occur color is still visible. And I'm adding these all wet on wet. That is my yellow occur ****** wet on top of which. I'm going ahead with these wet highlights to create internal variations into the sand space as well. Now in the same way, quickly, I'm going to go ahead onto the left side as well. And then we'll add in a little more yellow highlights. That's the yellow ocher highlights in between these brown ******. Again, now I'm just lifting up a little of the yellow occur color in a little liquidity consistency at certain spots. I'm just dropping them in between the brown tones. So that this also spreads just as we were doing the water technique, Same way this yellow color will spread and create little highlights in between the browns again. Now let's wait for this much to dry out and then we can move ahead with the next leg of details into this painting. So I'll quickly wait for these to dry completely, and then we'll move on to the deserted space and the pathway that we have in now, my sky and the bottom space is completely dried, so I'm going to begin adding the details at the bottom here in the pathway first. So I'm going to go ahead with the paints. Gray color, you can use in black color, but not in a too bold consistency. I'm going to lighten this upper bit so that we have that little grayish effect for the pathway. Now on the sides, I'm marking out that straight line effect so as to get that beautiful look. Now in between this black color as well, I'm going to add in a little of the yellow ocher color to create a little highlight trying to show in a little sand as well onto the pathway. I'm just quickly picking up the yellow ocher color and adding it onto the edges. And now I'll clean my brush and b***d it into the paints gray color. You can see how you have caught that little yellowish golden effect trying to show that sand which comes through the wind onto the pathway. I'm just going to add a little more yellow occur. And then again, lift up a little more of the pain screen and b***d it again because I felt that the yellow occur turned too dark. So just now going to pick up a little of the pain screen again and b***d it again with the yellow occur color here. Now, quickly using a damp brush, I'll try to b***d these in and get that goldens effect. Now in the center, you can see we have that golden effect. Now I'll wait for all of this to dry again, and then we'll move on to that top deserted space that we're going to add in. Let's wait for this to dry now. Everything is completely dried and I'm going to begin adding in the first layer for the mountains at the top or the deserted mountain. Look for that, I'm picking up the light red color. You can either use a Bca color or mix in a little of your red along with the brown tones to get this reddish brown tone. Now I'm first marking the outline that I want. It is completely hidden because of the sky line that's come into that mountain space. It's a deserted mountain look that I'm trying to create in here. Then I'm going to begin adding in some dry brush technique on top of this as well. Once this dries out now closer to the horizon line, I'm going to go in carefully so that I do not ruin up the look at the bottom that we've created for the first layer, I fill this entire space with this reddish brown tone. Now again, I'm going to lift up this color a bit and add it at the bottom space so that the sky line that is visible underneath this brown gets covered up completely. That is the reason, as far as possible, tria void adding in the colors because you will get that distinctive line color shade because of one layer underneath. Now on the left, I'm just giving in a little more heighted space to this deserted mountain look. Now to begin adding in the details on top of this mountain, we need to wait for this to dry and then add in the dry brush details. Let's wait again. Now my mountain range is almost ri, but before that, let's begin adding in the rest of the details at the bottom space. Using the fine tip brush and the black color. I'm defining the edge line your will, so as to get it distinctive from the sand space line and the pathway line. Now using a damp brush. I'm b***ding this into the edge so that it does not have that sharp look at ****** wherever I feel like, so that it looks well b***ded in the bottom space. Now next let's squeeze out a bit of a fresh white quash so as to add details on the pathway. I'm going to be adding in those lines to show the pathway runway details. Let's begin. Make sure you use the white quash in a thick consistency. Do not add much of potter. I'm mixing in a light tint of the yellow color to this and making it a pastel yellow color. Because if I will directly use in the yellow water color, it will not stand out bright onto the darker tones of the paints gray that we already have added. So in order to make this yellow opaque, I have mixed it with a little tint of the white re, so that now after it dries also it will be visible perfectly on the darker pathway that we have already created. Beginning with this yellow color in the center, I'm beginning to add in very small lines, leaving small gaps in between. So you can see as I move towards the bottom space, I have increased the ***gth of these yellow lines. Trying to show in that these bigger lines are closer to our view. And as the view is going far off, the lines are looking shorter to our view. Now next I'm using in a little more of a white consistency. You can see it's more of white and very little tint of the yellow that I've added in here. And with this I'm going to give in lines on both of the edges as well. Now in case if you want for this, you can even use in a white pen if you're not too confident about adding in the detail with a white color. So I'm first using a white shell pen to mark out the outline. And then if needed, I'll go ahead with the white quash. Now on top of this white line that we created with the help of the white shell pen, I'm going to run in with the white quash so that it becomes easier for me to get in that straight line. That is the reason that white line with the white hell pen help. Now as I'm moving towards the center space, I'll make this line go very slim. You can see just as we added the center detail, that is the yellow lines were shorter towards the center space. Same way even the white line will turn thinner as we move towards the center space. That's because of the perspective that the center space is far from your view and the bottom space is closer to your view. And that is the reason the things closer to you are visible more distinctively. Now let's begin adding the details onto this mountain range that we've added. So for that I'm going to pick up a darker brown tint you can use in ndeg brown burned timber. Or mix in your browns with a little tint of paints gray. Now using a smaller size brush, this is my size four round brush from silver black velvet. I've not dipped this brush into water. I've directly lifted up the dark brown paint. I'm going to dab it up onto this style so that the excess paint and pigment is out. And now I'll begin giving in the dry brush technique. You need to go in very slowly to give in these details, only then you will get the texture onto these rocky deserted mountain look. It's very important to go in slowly and not rush with these details out here onto the entire mount. I'm going ahead with the first layer of details with this darker brown tint. Then later on if you want, you can even give in further darker tint with the help of paints, gray color that is creating in some darker strokes or dry brush technique with the help of the paints, gray color. Now here in that center, bigger mountain, I'm going ahead with some vertical strokes as well. At the bottom, I gave in the diagonal effect. Now with a closer view, you can see how this dry brush technique is adding onto the details of this deserted mountain look that we are trying to create. In same way, I'm going to go ahead with some horizontal diagonal details onto this bigger mountain range here as well. You can see that dry brush technique is very important to add in textures to your mountains. And you need to make sure that you do not have excess water onto your brush nor access pigment. After every time you pick up the pigment, make sure to it onto the tissue or the cloth that you're using so that even if excess pigment is lifted on your brush, it gets absorbed by the tile or the tissue and you have very less pigment which gives you the dry brush technique. I'm just adding in some darker strokes with the paint screen color as well at certain ****** if you want. You can even use a damp brush and b***d in some darker spots into your mountain ranges. Now using the paints gray color, I will quickly add in little dry brush technique onto the roadway as well. Not much of it. You can see I'm going with a very light hand so that I do not have access and make sure you do not have excess water and pigment. Otherwise you will begin getting in patches of the color instead of the dry brush look that you try to achieve in Now. Lastly, using a fine line, a pen, and a scale, I'm going to add in little details of some poles into the painting. It's so easy to just tilt your paper according to your hand movement and you get in these details. I'm using a 0.01 nib and getting in these fine lines, I'm going to add two to three of these and then some lines into the sky. I added two on the left, one on the right, and now I'm going to add in some violines connecting in these lines that we added in using the scale. So I'm just randomly going in Chris Cross and just giving in a lot of line details from behind of this mountain range that we've created. Now to these polls that we added, I'm just going to quickly add in some details and highlights into the polls and then we'll be ready with this project for days seven of our 21 day sky painting class. You can see how quickly using in the pen you can add in such fine details which gives in so much more depth and realistic look to your skies or the other silo hit Details that you try adding in into the painting. Since you're using a very fine tip pen, you can see how the details stand out so clearly and a crisp. Also, make sure you use a waterproof pen in case if you have to do in any correction, and if the pen was not waterproof, the black ink will begin to spread, ruining your entire ******. I'm using a waterproof pen, even if water drops on top of this, it won't fade out, it won't spread out now. Lastly, adding in a few birds using in the pen only directly. And we are ready with our class project for day seven. We'll quickly have a closer look to this as well. I'm not going to be removing in the masking tape now because we'll remove the masking tape after we are ready with the painting of day eight. Here's our final painting for day seven. I hope you guys enjoyed painting this deserted look. I will see you guys soon into the day eight class project. Thank you so much for joining me into this class and painting along with me. 12. Day 8 - Desert View - 2: Hello everyone. Welcome back to day eight of Painting a Sky Blue. Today we are going to paint another desert sky look. So I'm going to go ahead with a pencil sketch. First, I'm going to mark out a desert kind a rocky space. Again, this time in the previous class project we had a pathway in between. But this time we're going to just in kind of sand and rock details at the bottom and the sky at the top. This time we're going to have a rather dark sky look. I'm just going ahead marking out a rough rocky mountain range to act in like a deserted a look on the left. I've kept it a little low lying and moving towards the right. I've taken it a little towards the top space. Now just defining some more rough edges randomly. We are going to give in the details at the bottom later on. First, we'll begin with the sky. Now, depending on the size of your paper or the layout of your paper, you can vary your mountain range or the shape of the mountain as per your need. It need not exactly be like mine. I'm going to go ahead with a layer of water into the entire sky. Now, if a little of the water runs into the mountain range, it's okay. We are going to be going ahead with the Taka brown tones later on there. But as much as possible, try avoid adding in the blue tones there. I'm going to go ahead with a layer of water. I'm just going to give it a straight line until the mountain range line so that it's easier for me because there are very small curves for the mountain range lines that we've created in for the sky. I'm going to begin in with the Prussian blue color. I'm going to pick up the Prussian blue color and begin adding in a layer to this. We'll later on be creating a lot of depth using in the white guash. First, picking in with a bold layer of the Brucian blue color at the top until half of the sky. You can see I've added a bowl layer of the Crucian blue color. Now to this, I'm just going to add in a little light consistency. You can use a cobalt blue color, or you can use a Celine blue color, just adding in little light tint at the bottom space. Now this is just the base layer that we've built in for the sky. We are going to go ahead with a lot more details onto the sky to build in the depth in the sky. We have a little gradient look as you can see towards the top, we have a bold blue. And moving downwards to the mountain range or the desert area. We've lightened it up now using a little tint of the indigo color. I'm further beginning to darken up at the top. You can see I'm moving my brush very randomly and letting the random shapes be in there. I'm not worried about getting in a lot of details because we're going to create a very beautiful evening kind of sky. Look more moving towards a night view kind of a look. So we are going to have in that beautiful sky. Now this time I'm going to use in this white quash, in a liquidity consistency and begin dropping in in between the blues to create in those glowing ****** and to create in the depth you can see. I'm just using the tip of the brush, the white into the blue. You can see when the white and the blue mix together, they are forming a lighter blue shade automatically. At certain ******, I'm the color and creating a rough shape as well. Before moving on to the next layer of detail at other ******, keep on adding the color and blending it and creating in the shape that you want to get in. I'm using a dam brush and the white color to create in these cloudy ******. In the same way. Quickly, I'm going to go ahead creating a lot of details like this. So I'm just dropping in the white paints first and now I'm going to use in a dam rash and create it and give it an outline shape as I wish to. While doing this, you can use a little water or a further diluted white paint to get in these details. Right. Major. You will see on the edges, I run my dam rash so as to have that soft blended look off the white along with the blues. You can see how swiftly they create in those beautiful cloud effects. But you need to make sure that the edges are well blended into the sky. Only then it will give in that perfect blended effect. Now I'm going ahead with the next layer of white dots onto the top of the sky. And then I will blend these. I'm doing all of this while my sky is still wet and onto the wet sky, I'm adding in these white details, blending in step by step. So you need to work wet on wet. So make sure that your paper stays wet for enough time for you to get in all of these details, blends and the highlights right now. In the same way, even at the bottom space here, I'm going ahead with a big bad white space cloud in between the blues to create in that cloudy effect. Now again, at certain ******, if you feel you need a little bit of the blues to blend in the white and get in the details, you can even lift up the blues and blend in. It depends on you whether you want to blend in just with the help of white or at any spot you feel that the white is overpowering and you need a little blue blend in. You can quickly use in a little blue and blend in again because we are working wet on it. So at this point in time, whatever colors you want to add in all lift up again. You can easily do it while it is wet, so that you do not have sharp edges or a uneven look at the end. Now at the top here, again, I'm going ahead with little more details into the clouds. Just as the water technique, you will see that these white ****** also at times get covered up with the neighboring blue colors. Again, you may have to go ahead with a layering of the white again as well. Now I'm lifting up a little of the blue so as to blend in at certain ****** at the bottom, space between the whites and creating little blue highlights. Because at the bottom you will notice that there is a lot of white space that we've created. So to given that blue effect, I'm just using the Erlin blue color and blending in in between whites so that we have both blues and the whites visible re. I'm just going to be repeating in the same process that is altering between the blues and the whites to get in the clouds. The moment you feel you are satisfied with your sky, you can stop it there and wait for it to dry. But I still want to create a lot of more drama into my sky. So I'm going ahead with some more darker tones in the center of the sky. And then again, I will shift on to a little bit of white to create in little more highlighted ****** at the bottom here as well. I'm still adding in a little more of the details here with the blue tone. Then you will still notice that I still have the white spots visible completely. Now, again, using in white at the top, in between the darker spots that we added. As I told you, it's a lot of layering to build in the depth into the sky. I'm still doing all of this wet, wet now to make sure I do not have sharp edges. I'm using a little tint of the blue along with the help of a damp brush. You will see that the blues and the whites both blend together easily and given that perfect blended effect. So I'm almost through the sky, I'm just going to go ahead with these last layer of white details At the top, in the center, you can still see there's not much of the white highlights that's visible. So now I'm going to quickly go ahead adding some bold white highlights at the top. Moving towards a little at the bottom as well. In the bottom center, you will see there's a lot of blue which has covered up the white ******. Just go ahead with a little more layer there as well. And we'll be ready with the sky. Then we'll wait for the sky to dry and then move on to the desert space. This sky was pretty different, but it's fun to play along with just the blues and the whites. Every sky every other student may have created would look different because of your laying off the white at the spots, as well as your style of blending in with the whites and the blues as well. That is it. I'm done adding in the whites, the blues, into the sky. Now we'll wait for the sky to dry completely and then move on to the bottom space. My sky is completely dried and now I'm going to go head paint in this bottom desert space. For that, I'm going to head with the bold red brown color. I'm going to pick up this red brown color and begin marking the top space. Now a lot of fate is covered up with the blues of the sky, but I can see the pencil marks for my painting at least. So I'm sure you would be able to see it out on your papers. You can roughly go ahead, mark out a Rocky Mountain, kind of a range for the deserted look that we're going to create. So I'm first going ahead with an outline and then I'm going to fill in all of the details in here. Now in case if you do not have a red brown color, you can simply mix in a little tint of red to your bon sienna color. To get this bold, reddish brown color, it gives a purify rocky effect. And the color gives you a lot of abilities to work with darker colors on top of it to give in the details of the dry brush and the texture details to the rock. Now the entire bottom space, I'm not going to be filling in with this color. I'm going to use in a little more different tints, the half bottom space that I've left empty. I'm going to go ahead with the yellow ocher color there. So make sure you do not fill the entire space with this red brown color. Only I've given one more bowl layer of the red brown color so that all the blues are hidden. Now at the bottom, I'm going ahead with the yellow occur color and I will blend it perfectly with the red brown color so that they have a perfect blending and transition happening in now, we're going to do a little over layering of the red browns over the yellow occur and given little depths of the darker colors on the yellow occur as well on the edges you can see I've got that highlight to blend in. The red brown along with the yellow occur, creating in that perfect, sandy and a desert effect at the top, closer to the sky. You need to make sure you may have to run two layers on the mountain if the blue color tones are visible. Or you'll have to very carefully and smartly hide any blue tints with the help of the textures that we'll be adding on top of the mountain range later on. For now, I'm just adding in one more layer. You can see wherever I felt that the blue is visible. So I just added a little tint of the browns. Now on the yellow occur as well as I told you, I'm going to create little highlights of the red brown color. So very swiftly on the edges, you will notice I'm creating the highlights, but making sure that the blend from the mountain till the bottom is perfectly smooth. In between, at times it may take two to three strokes to and fro to get in the blends and the transition happening smooth. Now my mountain range is still wet onto that. I'm going to go ahead with a little tint of brown at the top to create a little only at the top, I'm dropping in little browns so as to show the blends happening in. We are going to go ahead with a little dry brush and wet on dry details. Once all of these dry out as well, but wet on wet also, let's create in little depths into these Rocky mountains or rocks that we've created into this deserted look just on the top edges you can see and a little at the center of the rocks, I've added in the darker tints, but in such a way that the lighter tints are still visible. So you need to make sure you do not hide up the lighter tints completely now using the same brown, adding a little effects at the bottom as well, but I'll make sure that little yellow occa and little red brown color tints are still visible here as well. You need to add every detail in such a way that every layer of the color that you've been trying to add is visible in some way or the other. Now when I'm adding this wet on wet, you can see I'm having in the water control and the paint control so that I do not drop in the excess paint. I've just given in simple lines so that they are visible, yet having in a soft blend. Now let's wait for this base layer to dry completely and then we'll go ahead with the dry brush details onto this as well. Now the base layer of the Rocky Mountains are completely dried in. And now we are going to go ahead with the next layer of details. For that, I'm shifting into this size four round brush. This is from the brand silver black velvet and it helps in giving in smooth dry brush textures very easily and swiftly. Now I'm going to pick up the paints gray color, but I'll make sure I do not pick it up with excess water or excess pigment. I have just picked up a damp brush with a little pigment. And just as the last class project we gave in little diagonal and horizontal dry brush strokes. We are going to go ahead into this one as well. So this one I'm going majorly with some more diagonal strokes first, so I'm giving in some simple random lines and little dry brush effects. I'm sure wherever I feel that the brush is having excess water, I'm dabbing it onto the cloth so that the excess water and pigment is absorbed in there. Now, again, you can see since my paper is taped on a movable surface, it's so easy for me to just tilt it and adjust it as per my hand movement. I'm very carefully picking up very thick pigment with very limited water and making sure that my brush is not wet. That is the reason I'm able to achieve these dry brush strokes so easily in just one goal. Now onto the left side, I'm going to go ahead with a little of the horizontal strokes as well. So you can see I've been altering between horizontal and the vertical strokes now at the bottom as well. I'm going to go ahead add in little bra strokes to look, make it look as the sand space. Now I'm not going to add a lot of dry towards more of the bottom side there. We'll be adding in with a little lighter tint because pains gray will be too. At that bottom space, I've given first clear with a little darker tint of brown. And now giving in a little more highlights. With the pains gray color, you will automatically see two to three variations of colors onto your mountain ranges as well. At the background, this darker highlight of the dry brush. I'm just going to give it till this line, that's the mountain line that we are drawing out indirectly. At the bottom, I'm going to use in lighter brown, yellow ocher tones to give in little dry brush. Make sure you do not give the dry brush strokes at the bottom completely with this darker tint. We need to create little lighter highlights to make it look like this sand space. I'm going to shift into the lighter tints now. First, I'm using in this little bit of the yellow ocher color to give in this dry brush technique here. Now make sure you do not go ahead again with a lot bold color and dab off the excess paint and pigment. Otherwise, you will just get in a patch of color instead of getting in this dry brush. Highlighted look also in case if you feel that your yellow occur is not visible, you can simply add in a little tint of white to it. So it will be visible, perfectly white wash, because it will make the color opaque. You can see after every time that I pick up the paint, I'm dabbing it onto the cloth towel, that excess pigment, and the excess water is absorbed in. Now next I'm going to cover up the sky and I'm going to add in brown platters at the bottom space. Now make sure that you cover up your sky. Otherwise, these platters may go into the top space and may ruin up your sky. Also, if you're painting two paintings on one pages, be careful that these platters do not go onto the left side of your painting as well. Now I'm going to go ahead with little rocky effects, with a little bit of a brownish tint at the bottom space, creating in some rough rocky ******. So you can see I'm just using some random shades of brown. And altering gate with the help of the paints, gray color to create in little darker muddy ****** and some rocky ****** as well. And just adding in these tints to create in the depth. Now using a medium tone brown, I'm adding a little dry brass stroke in the center. Over the yellow occur color, you can see it's not as dark as we used at the top of the mountain ranges. It's a little lighter tint as compared to that that the sand look stays in there. Now using the pain screen color, I will quickly just add in some random grass in effect. Or you can say some dry bush effect very. You can add, you can use in a dark brown tint or paints gray mix in a little paint spray with your brown so that the colors go well in with each other. I'm giving in very random highlights. You can see not much details but very simple. And wherever I feel the need to blend it at the bottom quickly, using in a damp brush. Blending this well in now using in a little tint of the white quash. I'm going to add in a little dry brush on the mountain range as well, but very little. Now make sure you use the white quash in a bold consistency and dab off the excess pigment. Otherwise, you may get in a bold white patch of the color. But I just want to create in some highlighting strokes here, just going to add in little highlights at the bottom as well, trying to show in little of the sky effect falling in here. Now wherever I feel that the white has gone too bold, I'm quickly using a damn rush, blending in so as to create it lighter and go well in harmony with the pros that we've been using in. Now. You are free to use in whichever brown shades you wish to. You need not stick to the exact same with brown shades that I have used. In the white, you can see I've blended it all well and just created some lighter highlight, kind of a spot. Now I'm just quickly going to go ahead with a little white and add in a moon into the sky. And we'll be ready with our class project for day eight as well. I'm first creating in a glowing space for the moon. By now, if you've been following me into my classes, you would know how much I love creating in the glowing ****** for the moon. I added a small white dot, blending it into the background, giving it a soft blend on the edge with the background that it looks like a dull white patch. Now to the center of this dull white patch, once it is dry, I'm going to add in a bold white circle. Only in the center space. You will notice automatically the edges begin to look in as the glowing space of the moon. The center is the bold, white moon. That is it. Now let's remove in the masking tape and see a final painting. Make sure you remove the masking tape once your edges are completely dried. And always remove the masking tape against your paper so that you do not tear off the edges. As well as you do not lift up the paints and tear off your paintings from the edges. So here's the final look of the two desert painting from day seven and day eight of our sky paintings. I hope you guys enjoy painting both of these beautiful blue skies with the desert views. I will see you guys soon into the day nine class project. Thank you so much for joining me. 13. Day 9 - Thunder Sky: Hello everyone. Welcome back to day nine of the 21 days challenge of painting a skies blue. Today we are going to go with a pretty simple painting. I've just marked the horizon line. The bottom will be a simple field and the top will be a sky. We are going to paint a little thunder effect of sky this time. I'm going ahead with a layer of water into the sky. First, make sure you run your brush multiple times so that your paper remains wet for enough time. And make sure all your edges are perfectly wet and you have an even layer of water throughout and no extra water collected, especially on the edges. So make sure to run your brush multiple times and in case if you're using a paper which is not 100% cotton, you can wait for the first layer of water to dry a bit and then go ahead with a second layer of water that will help keeping your paper wet for a little extra time. Now I'm going ahead with the Erlin blue color. Now I'm going ahead with a bold consistency of the color, but I'm going to keep on leaving gaps in between a lot of white ******. This time in the previous class projects, we've majorly been going ahead with the lifting technique. This time I'm going ahead keeping in a lot of white ****** naturally on the paper, and we'll create little thunder like effect into the white ****** that we add in. You can see I'm going ahead very randomly, I have kept a very big space onto the top right side. I'm then keeping for the smaller ****** in between and bigger ****** on the left side as well. Now this is just the first layer of the color layout that I'm adding in. At the bottom, you can see I've left two white big patches in between the blues in between this, I'm going to go ahead create in the soft blend with the white patches in the white ******. I'm going to go ahead with little violet tints as well as very little tints of the blue tones. But first, I'm darkening up this color. You can see I'm going ahead with the same color, but in such a way that we have little lighter tones and little darker tones both visible. Now, I'm just tilting my paper a bit so that onto the edges, the blue colors seep into the white ****** and have a little spreading effect, giving in that soft, light blue tint spreading around. Now, while my paper is still wet, I'm going to go ahead with a lot more details onto the edges of the blue, closer to the white. You can see I'm running a dam brush so that a very light blue tint begins to spread into the lighter ******. Now picking up a little tint of the paints gray color, I will begin adding in little highlights here. Now when you're adding in this pains gray color highlight, you need to make sure that you do not go ahead with a very dark tint. You can see I add a very light tint and then using a damp brush, I'm quickly blending it now at the left space here, I feel that the blue tints are a little extra at certain ******. I'm going ahead with a little lifting technique as well to create furthermore highlights into the sky. You can see randomly, I'm going ahead lifting in the darker tones at certain ******. At the bottom here, you can see the blue color has covered up the white space. That is the reason I'm going ahead with a little lifting technique here as well. Now I'm just mixing in a little of the pain along with the blues and trying to blend them in. I'm just going to keep on adding the panes and rotating them so that I can easily blend them and have the color moving between each other. Now, using a spray bottle, I've just diluted the color again and you can see the entire paper has got the cereal in blue spread. The reason is I guess this paper was beginning to dry in quickly and I was not ready with my Sky. That is the reason I used a spray bottle, sprayed it all over so that my paper can stay wet. And now from the edges, I'm just collecting in all the excess color that is getting collected because of the extra water that I've added in. And now I'll go ahead again with the lifting technique. At times, it does not go as per your plan. I had planned on keeping in the white ****** and adding in the details. But because my paper acted faulty and began to dry too quickly than expected, that is the reason I had to use a spray bottle. And now you can see major ****** covered up with the blue tones. So I'm going to go with the same technique that we followed so far in the previous class projects. And creating in the glowing cloud ****** and lift up the color. I already know my color is a non staining one. So since my paper is wet, I can easily lift up the paints and create in the depths. Even now, there's always an alternate way to get out of a mess that happens unknowingly or if an unexpected fault happens with the paper, the pins. So it's quite easy to go ahead and go ahead with an alternative technique. So now you can see it's looking much better because all the white ****** are having a beautiful soft edge. Plus the lifting is happening in easily. And I'm having in various color variations into my sky, giving in that thunder kind of a look that I wanted to create into my sky. Now following the same step I'm quickly creating in the depth into the sky. I'm almost through the sky and you can see a little granulation as well happening in between the sky this time. It's because I guess on my palette, I had a little granulating color mix because of which I've caught the granulation. Now let's wait for the sky to dry and then move on to the field space. Now my sky is completely dried and I'm going to go ahead with the next layer of details for the field space. I'm first picking up the yellow ocher color. Beginning with that color, I will begin adding in a base layer to which we'll add in little greens and browns as needed. I'm going ahead with the wet on dry detailer. I'm directly adding in a wet layer of the paints onto the dry space, into the entire field space. I've first given in a layer of the yellow occur color. Now, while this yellow color layer is still going to be wet, I'm going to go ahead with little darker brown tints onto this. So I'm going to make sure that, you know, the highlights of the blue that is visible get covered up completely. I've just laid a masking tape below so that I get a little tilt to my paper so that these colors do not flow into the sky. Make sure that your sky is completely dried before you move on with this. Now, in case if your paper is something that happens to dry out quickly, then you can first cohad with a layer of water as well. And then move on to the darker tints. So that you get enough time to work wet on wet. But I'm directly going ahead with a wet layer of the yellow Acco. And now I'm picking up the ndegrown color and I'll begin adding in strokes with the ndegrown color onto this. Now when I'm going to add in this wet on wet details, I'll make sure I do not have excess water or pigment onto my brush so that it stays into the place that I add in and not cover up the yellow acco color by spreading in. Now after adding in the brown wherever I feel the need to again, pick up a little yellow occa for blending, I'm picking up a little yellow occur as well and blending in easily. Now similarly I'm just going to go ahead creating little darker depths of this brown color into the yellow occur field space on the horizon line. We are going to be going ahead with very tiny mini pine trees once this also dries completely the field space. Now you can see very randomly I've created in the darker patches into the field, I have mixed in a little yellow occur along with the Wende brown at certain ******. Now you can use any darker brown tint and just try to blend these in easily with each other. Now again, let's wait for the base layer of the field to dry completely, and then we'll move on to the details on the horizon line. Let's wait for this to dry now. My base layer of the field is also completely dried and now I'm going to begin adding in the pine trees on the horizon line for which I'm picking up the pain spray color. I've shifted into a smaller size brush. This is a size two round brush from the brand Princeton velvet series. Along with the pain scra, I'm mixing in a little tint of green, creating in a very dark green tint. You can simply pick up a very dark green and green or any talk of green that's available with you. Or you can simply mix in your sap green with a little tint of paint. Stray to get in a darker tint. Now I'm going to add very tiny pine trees on the horizon line. Now, with every pine tree that I keep adding, I'm going to keep fading the heights of these pine tree. I'm not going to keep them off the same height throughout. You'll see smaller, bigger again, in between, you'll see smaller ones and bigger ones. So, I'll just go ahead with a very variated height throughout the horizon line so that we have in the natural look to the pine trees. Along with altering the heights if you want, you can even alter the shades of green asper need. You can somewhere use in some lighter tones, somewhere some darker tones so as to create the depth in between. Here, I'm even creating just a little bush space in between the pine trees so as to give in a little more variations on the horizon line. At the top you will see I've given in the tabbing effect and closer to the horizon line, I've given in a straight line. Same way I'm going to go ahead throughout the horizon line. Now I'm picking up a little lighter green. As I told you, you can keep on wearing the greens as well, along with the heights of the pine trees. Now I'm picking up a little lighter green tint and I'm going to begin adding in the rest of the pine trees as well on the horizon line. Now again also you will see I'm trying to vary the heights and not keeping them same. So make sure that you vary them. Otherwise it will look like a monotonous thing. Try varying in the heights and the shapes in between. I'm just adding in some spiky strokes so as to act in as some pine trees which are very far hence just a spiky visible thing in the center. You'll see we have a little bush space, a little spiky area, same way on the left edge. I'm just adding in the spikes at the top and going to fill in completely with the pine screak, green tint at the bottom till the horizon line. Now in between here again going ahead with a big pine tree. As you can see, this is the biggest of all the pine trees, so we've added so far so you can see how the varying heights of the pine trees creates in the depth into the painting as well. Now, on this side, in between here, I feel that I needed a little more height in between. Just added a little more height closer to the bush space. Now I'm just going to add in some dry grass detail at the bottom field space for which I've just squeezed out a little bit of the fresh white quash onto my palette to this white quash. Now I'm going to mix in a little tint of the yellow so that we get an opaque color which be visible on the yellow occur and the brown tints that we have at the bottom space mixing in a little yellow occur, a little yellow and white quash so that you get that bold color. It's easy to get an opaque color with the help of white quash, which is visible even on the darker tones. Now using in the fine tape, I'm just going to add in some fine dry grass strokes. So these are kind of those grass which are dried out, hence in this color. Just going to add in a little of it at the bottom space here in the field area. In the same way, I'm just adding a few of these onto the right side as well. You can see I'm going ahead with random angles and movements of these grass strokes. I'm not keeping them the straight or the same movement for all of them. I'm trying to vary them so that they have a natural effect. Now to some of these strokes, I'm giving in this kind of a leaf effect, coming out from this dried grass. So just a simple dabbing in the tip of my brush, pulling it and pressing the belly and lifting it up and giving in this leaf kind of effect in between this dry bush detail that we're trying to add in. Now in the same way, I'm going to pick up a little darker tint and add in some darker brown strokes in between these so as to give in a little more debt. Just very little, not much. Make sure that the lighter strokes are still visible. We are almost through this class project, just these last details. And we, with this class project, I'm going to add a few birds into the sky after this. And then we'll be ready with the class project to the leaves as well. You can see I'm just adding in a little darker highlight, but in such a way that the lighter is still visible. And I've not added it to all of them, now I'm adding in a little splatter at the bottom space. I've covered up the top area, that is the sky, so that these platters do not go into the sky. These will act in as small rock ******. Make sure that you cover up the sky and then add in these platters. Now I'm just going to blend in a little of these platters using in a dam brush so that we have that little dry brush effect. Now lastly, using in the pain screen color, I'm going to quickly add in four to five bold birds. This time in the previous class projects, we've been adding very tiny bird. Look. This time you'll see I'm adding in very bold, very thick bird effect, trying to show in very close to our view. The board shape and the movements are the same as the previous ones, just that these are bold and thick, trying to show in very close to our view. So that is it. We are ready with our class project for day nine. Here's a closer look at the class project. I hope you guys enjoyed painting this with me. I will see you guys tomorrow into the day ten class project. 14. Day 10 - Field: Hello everyone. Welcome back to day ten of the 21 day challenge of painting a skies blue Today. If we are going to paint another simple field with a blue sky, I'm directly going ahead with a layer of water first. It's going to be a pretty simple one. And it would just take about 20 minutes to complete this painting, so I'm going ahead with an even layer of water throughout. Now. I'm going to begin with the cereal in blue color, to which I'm just adding in a little tint of the royal blue which is on my palette. And I'm picking in with a layer of this color and I'm going to dilute and lighten up the shade as I move towards the bottom side. Towards the bottom, I'm going to add in a little blurry field effect. Wet on wet while the sky is wet. Now next I've picked up a little of the purple color, mixing in with the blue to get a bluish violet sky tone on top of this violet as well. I'm going to add in little blue tints so that we have that little blue effect blended in with the violets at the top. Again, I'm going ahead with little darker tints because remember, water colors will dry. A tone lighter, whatever tone you need. Make sure that you go ahead with a tone darker than that on the paper while it is wet, even to the violet color have given in a little darker layer. Now at the I'm going to go ahead with the yellow ocher color. While the sky is still wet, I'm going to give in this soft blend look on top of this. Once this will dry out, we are going to go ahead add in little bold grass detail for now, wet on wet, giving in a little blurry effect. So you can see I'm randomly pulling out random strokes at the bottom, moving into the sky to get in that soft, blended look. Now remember, when you're doing this step, you need to make sure that you do not add in a lot of water. Otherwise, the yellow occur and the greens will begin to spread and move into the sky violet and the blue tones, which will make it very difficult for you to control. And then you may lose the shape of these. You can see these grass strokes that I've added, they're retaining their shape despite having a soft edged look. So make sure that you add these with perfect water control. And a little bit of the paint control, I blended a little tint of green as well at the bottom. Now I'm going to pick up a little more bold green and add little green strokes as well into this. While this is still wet, but making sure that I do not have excess water. Otherwise the greens will spread completely and cover up the blues and the violets in the sky and will not have the defined shape that we've added them. Now let's wait for the sky to dry completely on the field as well. Then we'll go ahead with the detail of grass on top of this blurry field. Now my first layer is completely dried and I'm going to shift to a smaller size liner brush. I'm going to use this size two liner brush. You can see the pointed tip once tipped in water. And I'm going to begin with the green and brown tones. Now I'm first picking up the yellow ocher. I will mix it with little of the browns on my palette and begin adding in the bold grass strokes on top of these blurry strokes that we've created. So I'm going with very thin strokes randomly. First, I'm adding in some low lying strokes. I'm going to keep altering between greens and browns. You can keep altering between the choice of your colors. You can use lighter tone, darker tones, different tones of green browns as per your choice. You need not stick to the exact same color theory that I'm following here. You just need to follow a grass field color theory so it can have multiple choices of colors as per your wish. So you can see I'm altering between yellow, ocher greens and I'm going to use in a little tins of browns as well. I'm even going to be going ahead with some bigger strokes of grass as well, after this. Now on top of this, I'm going to go ahead with some darker greens. Now in case if you are not confident about adding them directly while your first layer of the grass strokes is still wet, you can wait for this first layer of grass strokes to dry and then go ahead with darker tones so that they do not mix into each other and stand out separately, the ****** which have dried out. I'm going to go ahead with the darker green strokes there. Now, after the dark green stroke, I'm going to move on to a dark brown color, trying to make it look a natural field. So I'm going ahead with all different kind of field colors possible, the same strokes. Now I'm going ahead with the brown color so as to add in little dry grass effect as well in between. Now from in between these grasses, I'm going to pull out some bigger grass strokes. And to those I'm going to add in little foliage effect as well, the wheat field effect, if you've seen in. I'm going ahead with the yellow occa color. I've added a big stem to the top of which I'm going to add in little foliage which will act in a wheat field. Look, I'm going to go ahead and add in a few of these. Now the stem is going to be thin at the top. Just going to add in the foliage and create in the depth for these as well. You can keep alternating between different tones of yellow occur, browns and greens. Now you can see since the bottom grass layer is wet, I have easily tilted up my paper so that I can get my hand movements running and up easy So that I can add in the details in a simple manner without laying my hands over the darker green strokes for this foliage as well. You can see I'm softly altering between different tones of browns, with little variations with each stow plus some of the grass weeds moving in some other direction. Some of them in the left, in the right, some of them just towards one's side. I'm just altering and adding in some natural kind of details here. Now you can see in between these as well, I've kept enough space so that we have the background sky, purple highlights as well visible. Now, this is just the first layer again that I'm adding in. I will wait for this to then. On top of these wheat fields only, I'm going to use darker tints and add in little highlights once it's dried completely. Right now I'm just adding a little wet on wet highlights as you can see. But once it dries, I'm going to go ahead with a bold Daca layer as well, to give in further highlights. So I'll wait for this to dry after adding in this first layer. Now, now the first layer is completely dried, and on top of this, I'm going to go ahead with the darker color and begin creating in the highlights on top of the same field grass strokes that I've added. I'm going to run on top of that with the color in such a way that we have lighter color visible and little darker color visible as well creating in the highlights. Now these highlights, I'm going to go more precise, more thinner strokes, more bold colors. You can see these strokes will be more precise and much thinner and will look more detail than the first layer of strokes that we've added in. I'm going to run with this tint almost on all of it. You can see in the bottom stroke, I run only halfway at the top. In the foliage space, I run with very fine strokes in the background. You can see the lighter color as well, but on top you get some detailed view of some detailed fine strokes that we are adding in. In this way, you can build in layer on layer and create the depth into your painting and the silo head details. Now make sure that you add these details only when it is completely dried. Because if your first layer will be wet, then these colors will begin to blend in with the first layer and you will not get this bold effect. And the bold strokes that you're trying to add in, it's very important that your first layer of the grass strokes has to be completely dried before you move on with this second layer of the strokes. Now next at the bottom, I'm going to go ahead with some darker strokes of grasses as well. So for that I'm going to use in the nd, green color. You can mix in your sap green along with browns or black color to get in a little darker green tint to my wende green. I've added a little tint of the brown as well. And using just the tip of a fine brush, I'm going to add in some darker strokes. At the bottom, my bottom layer is completely dried. So now I'm going to add this strokes so that it does not blend in and cover up the earlier strokes that we've added in. Make sure you use a pointed tip brush for adding in these details. You can see now in the background of these darker strokes, I have the lighter strokes as well visible, giving in so much color variation to the field and creating in the natural effect into the field as well. I'm almost done adding in the details. Now we have such a dark bold field effect at the bottom. But in the background we have those beautiful greens visible, covered up with these darker green strokes. And now you can see some of the strokes have even taken overlapping the wheat fields, creating it a natural effect. Now I'm mixing in white quash along with the yellow to create a little sunset effect into the sky. Using white quash, it will give us an opaque of the color in the center. Here, I'm going to create a glowing space first with the yellow color, and then create a setting sun kind of effect. So I've added a small yellow circle now using a dam brush, I'm going to blend this into the background and create a dull yellow patch. Now make sure that you soften up the edges so that you do not have the sharp edged look. So using a damp brush, I'm blending it into, into the sky and you can see how it is slowly getting in that soft edged look. Now I'll wait for this first layer of the background for the sunset effect to dry. And then on top of this, we'll go ahead with a beautiful sunset effect. Now the first layer has tried, Now I'm going to pick up bold white color and add in a small.in the center of this that is a small circle, just in the center of this yellow patch that we've created to create the kind of a sunset effect that we're trying to basically, you have that glowing effect of the sun showing in the yellow colors popping out. So now let's remove in the masking tape and see both our final painting for day nine and day 82. Very simple field painting in just under 20 minutes. Here's our final painting for day nine and day ten. I hope you guys enjoyed painting this with me. If you'd like this class, make sure to drop me a review so that it can help me reach maximum students. And I would love to see your class projects into the project section of the class. I will see you guys soon into the day 11 class project. 15. Day 11 - Seascape - 1: Hello everyone, and welcome back. Today, 11 of the 21 days challenge. Today we are going to paint a beautiful seascape in an ultramarine color. I'm marking off the horizon line at the top. It's going to be the sky on top of the horizon line. We are going to have a small mountain range, so I'm just making roughly an area for the mountains as well. I've added in three mountains on, a very small one in the background and a bigger in the front. The top is going to be the sky. So let's begin painting in the sky first. So I'm going to go ahead with a layer of water into the entire sky. If a little of the paints run into the mountain range, it's okay. We'll hide them up with the darker tones that we'll be painting the mountain ranges. But as far as possible, a white adding in the colors there. So you can see while adding in the layer of water. I'm going ahead very carefully and marked out the line for the mountain ranges very swiftly. This time I'm going to go ahead with little diagonal strokes and in the center of the sky, I'm going to create in a glowing space. I'm going to use in the ultramarine blue mixed in with a very little tint of the erlian blue, more of ultramarine, and very little tint of the erlian blue. Now as I told you, I'm going to add diagonally both from the left and right. I'm going to pull out strokes in the center space. In the center, I'm going to keep it light glowing space, a light glowing up in between. Very carefully, I'm pulling out these strokes into the center area, closer to the mountain range. I'm further being careful so that I do not run into the mountain range as much as possible, closer to the mountain range. I've covered up the space just in the center, you can see I have that glowing space kept. Now I'm going to go ahead with another layer of the panes. It's a Celine Blue, mixed in with a little bit of the ultramarine. And I'm going ahead on the same way that I went ahead, the first layer in the center. You can see right now we have a very unfinished look. We'll give it a perfect look. Once we've done adding in the tones of the blue, now I'm going with further, one more darker tone layer. So you can see I'm building up the sky in multiple layers so that we have that radiation coming in at certain spots. We have those lighter tints as well. Make sure you do not go ahead with one layer of the bold color altogether with every layer of the stroke. You can see that in the center as well. Most of the ****** is getting covered up. We'll be creating in that glowing space in the center as well. Now from the center, you can see I've quickly lifted up the color in the strokes, moving towards the outer side. Now after every stroke, make sure you clean your brush and then go with the next stroke. Otherwise, you can see the colors come back again onto the stroke layer just in the center, creating in that little glowing effect. So again, pulled out strokes from the outside to the inside to cover up and give it a finished patch look. So now you can see an illuminating light, kind of an effect, coming in from the center space. Now further going ahead with more darker tints, you will see that the space is getting covered up. We'll again, go ahead with a little lifting technique there. Now to top of this, I'm going to add in little violet as well, just a little violet highlight to given that little color variation, we'll still be creating in more of the glowing effect in the center. Once we are done adding in the color tints here, that is it. We are ready with the sky. You can see in the center, I have those glowing strokes trying to show in that light illuminating from the center. In the race format. Now we are going to go ahead with the same colors into the sky as well. I'm going to go with the same ultramarine mixed in with a little tint of the serialan blue, the little highlights of the violet color into the sea. For the sea, I'm going ahead directly wet on dry, because at this moment I'm just going to add in the base layer on top of which we'll create a little details with the white as later on to, given the glowing effect of the light of the sky falling into the sea as well. Just going ahead with a bold layer, now you can see my sky and the sea is not connected because of the mountain range. That is the reason I can paint my sea while my sky is still wet. I'm going with the same color tones, flat layer here. Now in the sea as well. Using in the violet color, adding in little high lights to create in the depth you can see, I'm adding it in such a way that it gives in a little wave effect as well. Now I've shifted into a smaller size brush and using in the Celine blue color, in a little bold consistency, I'm going to add in little darker wet on wet waves. For this, you need to make sure you do not have excess water or excess pigment on your brush as well as your paper does not have excess water. That is the reason I went ahead with the ton dry layer first layer so that it is not too wet. While I add in this ton wet waves effect, this will have a little soft blended look into the base layer. While adding in these details, wet on wet, you need to have the water control on your brush. Otherwise, if you will have excess water because of the wet layer, the colors will begin to spread out completely. Now at the horizon line, I'm giving a perfect definition to the horizon line as well. In the sky, you can still see that glowing rays coming in from the center space. So make sure that in case while drying, if you notice that those rays are getting covered up, you quickly go ahead with a lifting technique if needed, which we've been following since the past few class projects. Now I'm just going to add in a few more wet on wet waves. And then we'll wait for the sky and see both to dry, and then we'll move on to the mountain ranges once these dry out completely. So now my sky and sea both are completely right into my sky. You can see the glowing space and into my sea you can see those wet on wet waves that we've added in. Now let's go ahead into the mountain range. So I'm going to go ahead with the green color. I'm going to create kind of, you know, the bushy mountain kind of a detail. That is the reason running in with the greens, I first picked up the olive green color. Now the greens are absolutely your choice. You can go ahead with your choice of greens on the edges. I'm going to give in darker hints of the greens with the help of little paints gray so that if any of the sky blue color from the sky has seeped into the mountain range, we can cover it up easily now using the darker green mix, which is the mix of brown, green and a little tint of paints gray. I'm adding little darker tints in the center. As you can see now on the edge. Again, I'm running so that the darker tints of the sky get hidden completely ground mountain ranges, we'll paint once this one dries out. So we need to work layer on layer so that we have those distinctive look. Now, just creating in a blend of the greens here, trying to, given that effect of a little darker shade in front of this bigger mountain range and in the background a lighter mountain range. Now this edge mountain also I'm painting with a very dark green color, just the center mountain range. We'll paint once both of these dry till then, we'll given the details of highlights into the sky with some glowing stars as well as a little highlight of the shining effect of the glowing effect of the sky falling into the sea area. For that, now I'm shifting into my white quash. I'm going to give in very fine dotted lines in the center of the sea to create those gluing beams falling onto the water. Because of that gluing gray in the sky that we have very tiny dry brush effect that I'm trying to give in. I've not added much water to my white quash so that I get in bold effect. Plus I'm using a smaller size brush and in a bold consistency, the white quash, so that I get an opaque look white. Water color will not give you that opaque look as in white quash or white. You can see very carefully. I'm just adding this glowing space in the center because we have those glowing rays in the center of the sky. You need to go very carefully and given these little dry brush kind of effect so that you do not get in patches of white color, you need a little dry brush effect. You can even add little small glowing dots trying to show in water droplets glowing because of the top sky. On the edges here you can see I'm adding these three tiny droplets to act in as the glowing droplets of Potter onto the sea space. Now into the remaining C space, I'm going to add in little white waves effect. And I'm going to blend these into the base layer trying to create a little glowing effect as well. So I'm not queuing to keep them bold. I'm going to blend them using in a damp brush quickly that we just have a little glowing effect and not much bold wave effect quickly. In the same way you can see on both sides. I'm adding in these and trying to create in that effect of the little glowing effect of the light in the sky falling onto the waves as well. Now into this background mountain range, I'm going ahead with the yellowish green color. It's a very light green but it's a little opaque as well. Both the mountain ranges in the front are dry. That is the reason I'm going ahead with this next layer here. Now. I'll wait for these all to dry and then onto the mountain range, I'll give in little dry brush effect and we'll be ready with our class project. Now my mountain ranges are completely dried. I'm going to go ahead with a little darker green tint and go ahead and add in little dry brush effect onto the mountain ranges, trying to create in the depth on the mountains as well. First, I'm just going ahead giving in a little outline to the front, bigger mountain range. And from this itself, I'm going to pull out the dry bra straw. I'm just going to blend this a little on the edge first and try to create a little patchy effect as well. So quickly I've separated it from the background mountain range and blended it well into the base layer. Now into the remaining space I'm going to give in very small strokes, just using in the tip of the brush, giving in that dry bra straw in the center. I blended it the darker line so as to separate the background mountain range from the front mountain range. And quickly blended the Taco color so that we do not have a patch kind of a color. Now in the remaining space, you can see I'm just using the tip of my brush and giving in small, small strokes to create the foliage effect onto this mountain range. You can see very simple detail, but it creates so much more depth onto this mountain range that we've added in, just very simple dry brush strokes and patches of the green trying to create in so much depth onto the mountain range. Same way, I'm going to add in little of the depth onto the remaining two mountain ranges. And then we'll be ready with this class project for day 11 as well. On this background one as well, you can see I've added the foliage in such a way that the lighter green is visible. Now the background mountain, I've kept it light so as to show that little effect of the sky glow falling onto the mountain as well. Now lastly using in the white quash, I'm going to splatter little stars into the sky. Make sure you cover up your sea and the mountain range completely before you splatter onto the sky. I'm just going to keep my cloth quickly. I'm going to splatter in little stars using in the white quash. Now I'm just going to pick up a little of the blue tint again and I'm just going to blend in a little of these white patches of the sea. Wherever I feel that the white is looking a little extra or too bold or a patch, just going to quickly add in a little blue highlight on top of it so as to cover it up and given that a blended effect. Lastly adding in another layer of the stars as well, because after drying, the stars were hardly visible. Just adding in a little more. Now adding a few bold stars using in the tip of the brush so that we have little bigger stars as well in between the tiny platters that we have in quickly, closer to the mountain range. And at the top as well, you can see I'm just using the tip and added in some bold white stars. Here's a final painting for day 11. I hope you guys enjoyed painting this glowing blue sky today, along with the seascape. I will see you guys soon into the day 12 class project with another seascape painting with a blue sky. 16. Day 12 - Seascape - 2 : Hello everyone. Welcome back to day 12 of the 21 day painting, a sky blue. Today we are going to be painting yet another simple seascape with a blue sky. I'm just going ahead with a very basic pencil sketch. We are going to have a beautiful greenery zone out there, which I've marked out. On top of which we'll be having a mountain on the left side on the bottom, we'll see if we just want to go with the sea or given some greenery details. First, we'll begin with the sky. For the sky I'm going to use in Naples yellow and the royal blue color. Now in case if you do not have an naples yellow color, it's easy. You can just mix in your light yellow along with a little tint of white. It's kind of a pastel yellow. That's the Naple yellow color. For the royal blue, I'm going to mix in a little bit of Erlin blue to get a pretty pastel sky blue kind of a tone. You can simply add in a little tint of white to your Celine blue color as well, to get a equivalent tone. Now I'm going ahead with a layer of water into the sky. First, we'll begin with the sky. The sea is going to be a reflection of the sky colors itself. I'm going ahead with an even layer of water now, make sure that you have an even layer throughout, especially on the edges. You do not have water collected because this water may see back into your painting and may ruin up your edges and give a very, you know, pache finish. Now I'm beginning in by mixing in the royal blue color along with a little tint of the ceilian blue. You can see it's giving a pretty pastel sky blue kind of a tone. I'm going to begin with this color at the top. The yellow color will be towards the bottom side. I'm just starting in a layer of color and moving downwards. You can see I've diluted the color to a little lighter tone. I've left the bottom space empty, wherein we'll now go ahead with the Naples yellow color. I already told you the mix for the Naples yellow. If you want, you can just add in white to your yellow. Now, before moving to the yellow, I added a little of the white quash below the blue, because yellow and blue mix together may give you green tones. But with the help of a little tint of white, you can simply prevent that and get a smooth transition into your sky, from the blue to the yellow color, without forming in any green tones. Now again at the bottom, I'm just adding in little blue highlight closer to the mountain ranges. I'm going ahead very carefully and soft handedly over the yellow color so that we do not have any green tones form. Now I'm going to mix in the yellow, along with a little tint of orange to begin creating in some highlights into the sky. So you can see, very simply, I've just created in those highlights into the sky, making sure that I still have the yellow as well visible and not covered it up completely. Now further going ahead with little daco values of the orange color, I'm using the same brush. But you can see I'm able to get in the finest strokes because of the pointed tip of the brush that I'm using in this brush has a pointed tip with which I can get in fine details as well as bold details by just adjusting the angle of the brush so that is it for the sky. Now I'm going to go ahead and add in a layer of water into the entire sea space as well. Now I'm adding a little water into the mountain space that we've left empty while painting the sea. Even if a little color goes in there, it's okay because there we are going to be using in bold paints. Gray color. It's okay if little color goes in there and makes your blending process easy. In the sea as well as I told you, it's going to be a reflection of the sky color. I began with the blue a little closer to the horizon line because closer to the mountain, you can see we have little blue Tens in the center. Went ahead with the yellow, and at the bottom space, going ahead with the blue color. Now here, also with the wave details, I'll play with both colors on each other trying to get in that wave effect. So I'm going to pick up the orange color and begin creating in the waves using in the tip of the brush. So I'm following the same process that we followed into the sky. Just creating in blends, this time in the sea area, it's just a wave effect that we're trying to build in in the sky. It was beautiful cloud strokes that we were trying to build in. Now at the bottom, I'm giving in little darker tones. Now, while the sea area is still there, I'm going to go ahead and paint in the right side space that we've kept in because I want a little blended look into the sky to create a little reflection to that space as well. I'm going to go ahead with the paints gray color here. You can go ahead with either the paints gray color or you can go ahead with black color, whichever is available. Now when you begin adding in this, make sure you do not have excess water below the line that we added. I'm going ahead with this color below that line to create a reflection of the top space into the sea. Very carefully you can see I'm creating the reflection. I'm making sure I do not have excess water. Otherwise, the pain scray color will spread completely into the sea space and you will not have that look. Rather it will cover up your sea space and give you darker spots into the sea very carefully. At the bottom line, you can see I've given in this reflection effect of the pain scray color because for the reflection I wanted it to have a soft edge. Now I'm just going to go ahead with one more layer so that we have little darker tints. Again, I'm making sure that in this layer also, I do not have excess water on the right most side. You can see I've increased the length of the reflection that we are adding in with the paints gray color. And now quickly using a dam brush, I'm just trying to blend in well with the base layer color so that we have a beautiful soft reflection effect. Now let's wait for this to dry and then move ahead further. Now everything is dried and now we are going to go ahead with the mountain range on the left side. First you can see the reflection has tried one tone lighter. That is the reason I had gone ahead with a little darker tint. Remember watercolors dry or tone. So make sure you go ahead with the tint accordingly so that after drying you get the effect that you're looking in. For now, I'm first going ahead with this mountain range. On the left side here, I'm using in a brown tint. You can go ahead with burnt umber or CPA color, or you can just mix in a little tint of paints gray to your brown color to get in a little darker brown effect on this. I'll still be adding in little darker spots now until the first mountain range tries at the bottom here. I'm going to add in a few pine trees, so I'm going to use in the pines, gray color. I've shifted to a smaller size so that I can get in a detailed look to the pine trees. And I'm going to go ahead with varied heights of the pine trees at the bottom space here and quickly add in a bunch of these here. Now you can see I'm making sure that not all the pine trees are of the same height. I'm going ahead with different heights and I'm going to add them at the bottom space here quickly. You can go ahead add them in different layer color tunes as well. You can create two layers of the pine trees, one with a lighter color first and then going ahead with a darker tint. Now in the center here, again, you can see I'm going ahead with a bigger one. In the center, we went with smaller, smaller, and now again, shifted to a bigger height. That is how I'm trying to vary the heights throughout so that we have a natural effect and natural look to all of the pine trees that we're trying to add in. Now in the center, more space you can see I've taken up a very big one here to give in that detailed look in the center area. So I'm almost done adding in the pine trees. Just a few more towards the right side, and we'll be done adding in the pine trees as well. Then we'll just be left to add in the details into the white space on the right side. In the center area, you can notice towards the end of the pine trees, I'm just filling in with the black color to create kind of a patch from which the pine trees are standing out. Now let's go ahead into the last detail here on the right side, in the center space for that, I'm going to use in the pinscrey color and add in a bold mountain kind of an effect. So you can see how bold the pain scray color that I'm using in now we've already created in the reflection. I'm just going to create in a bold line above the reflection so that the reflection still stays there. And now this rest of the top space also I'm going to fill in with this taker tint. Now in the center of this as well, I'll create a little highlight effect towards the bottom. You can see I've taken up a little smaller strokes as well to give it a finished effect. Now in the center, I'm just trying to lift up a little of the colors and create a little highlight in the center area, trying to show in a little space in between. So this lifting technique you need to do while your paint is still wet. Otherwise, the colors will stain the paper and then you will not be able to lift up the paint. So you need to go ahead with this lifting while your paint is still wet. I'm doing this while my paints gray color is wet. I'm using a damp brush after every stroke you can see I'm cleaning my brush so that, you know, with every fresh stroke I can lift up the colors again. Now at the bottom, you're just giving in a little detailed blend effect till the bottom space. And we are almost through the painting. We'll quickly remove in the masking tape from both our paintings, and we'll be ready with the paintings for day 11.12 Two simple escapes with blue sky in different formats. So that is it, we are done. Now let's remove in the masking tape. Make sure you remove the masking tape once your edges of both the paintings are completely tried, or else it may lift up the paper and tear off your edges. As well as lifting up your paints, always remove the masking tape against the paper so that you do not tear off the edges. It's an important technique to remember. Do not ruin up those white edges that you maintain. Here's a final spread for day 11 and day 12. I hope you guys enjoy painting this with me. I will see you guys soon into the day 13 class project. Thank you so much for joining me. 17. Day 13 - Heart in the Sky: Hello, Ivan. Welcome back to day 13 of the 21 day challenge of Painting a Sky Blues. Today we're going to paint a blue sky with a heart shaped cloud. I'm just parking out a heart shape in the center of the page so that we have that space for the cloud. Now rest of the details are going to be the blue sky just at the bottom. I'll keep a little lighter clouds as well. Now in the remaining area, we'll begin painting the blue sky. I'll just lighten up the pencil sketch a bit so that these marks do not be visible once we are done painting. Now, the heart is clearly visible to me. It may be very lightened up for you now. First, I'm going ahead with a clean layer of water onto the entire surface. I'm not going to leave the heart space also blank, but while adding in the colors, I'll make sure that I do not add the colors there. After adding in the layer of water, I'll try lifting up little of the water from there with the help of a tissue or a damp cloth so that most of the heart shape becomes dried completely. I first added in a layer of water from the edges. You can see I'm lifting up all of the excess water so that the excess water does not set pack while you're painting and then ruin up your edges. You can see I'm running my brush 2.4 multiple times because I want my paper to stay wet for enough time for me. Now using in the white color, I'll first begin dropping in the white into the center space of the heart so that we have the heart covered up with the white color completely, just marking out the heart shape. Now beginning in with a little tint of the cobalt blue mixed in with a little bit of the royal and the serreline blue that's already on my palette. Again, getting in a pastel, I'll begin adding in the rest of the details into the blue sky. Now while adding in this detail also, I will make sure I leave little white caps randomly here and there, so that we can have a lot of color variations into a sky as well. Now, going closer to the heart space, be a little careful that you do not add in a lot of water or paint closer to the heart directly. Otherwise, you will lose the heart shape. While you're adding in these pins, you even need to keep on maintaining the heart shape. Now closer to the heart shape, you can see I'm going ahead in the shape of the heart, trying to maintain in the shape. So I've given a rough outline to the heart and rest of the spaces. I've just covered up blue simply. We're still going to cope with a lot of blue layer details as well on top of it to create in the details. Now, going ahead with one darker layer of the blue here. Now again, I'm trying to maintain in that heart shape, but you can see on the left side, a little of the blue is seeping into the heart. I'll quickly lift up the colors from there so that we do not ruin up the heart shaped cloud. Now in the heart shaped cloud as well, I want a soft blended look with the blues. That is the reason I have not left the heart space without water. Because I do not want a bold edged heart shape, A soft blended heart shaped cloud. Well infused and blended with the sky. Now I'm quickly lifting up the colors on the inside. You can see just making my brush damp and from everywhere I will just quickly lift up the color from the edges and create in a heart shape again. Now after I've lifted up the color, you can see the heart shape is beginning to have in a bold edge because of the dry details. I'm quickly going to use this spray bottle and going to spray little water in a tilted direction that, closer to the heart. The paints again have a soft edge and the heart also has a little moisture water content to it so that the blue space and the white space of the heart blends well into each other. In the heart space, we'll be adding in little gray cloud details as well. Now, very gently, just on the edges, you can see I'm softly blending in those blue shades but trying to maintain in the heart shape. Now I'm going to pick up a little of a paints gray color mixed in with a little bit of blue. I'm going to pick up in a very diluted consistency that is mesurely water and very pigment'm going to add in little in the center of the heart to create that detail into the heart shape. Now again, wherever you feel if the paint, the water is flowing too much, you can quickly go ahead with the lifting technique and maintain the heart shape. In this class project, it can be a little tricky for you to maintain the heart shape as well as getting in the soft edges. But with practice, it will be quite easy. Now, again, since I went ahead with a lot of lifting, I'm just going ahead with very little spray effect. You can see this time I've not gone ahead with because previously when I went ahead with a lot of fight, then the water was too much and the heart shape was lost. Now again, just adding in little details into the heart shape of the cloud. Now using in a little bit of the white quash, I'm adding little white effect onto the blues, closer to the heart, trying to show the effect of the cloud color onto the rest of the sky space as well. Now using the white quash, I'm randomly adding in little cloud details here and there. Especially at the bottom space here where we've left in that white space, blending in the white along with a little tint of blue to get in different tonal variations as well. Now again, just creating in a little hard detail at the top, giving in that perfect edged effect with the help of that little great tint. You can see it is a lot of wet on wet technique that you need to play. And you may not get the heart shape and the details right in one try itself, you may have to re, wet your paper or keep your paper wet for a little extra time to get in the details straight. Now randomly I'm beginning to drop in little white tints here and there. And you can see they're blending and spreading into the wet paper and creating in those different cloud effects as well as little tonal variations into the sky. Naturally you can see even I have been running to and fro around the heart shape after a few seconds, every time when I see accordingly how the paints are spreading, because once you add in, it begins to spread and reacts in a different way Every time after a few seconds, you get to know whether you need to add in for the layer or it's settling in. Perfect. Now, quickly into the rest of the sky, I'm going to add in little tints I'm going to use in the royal blue color as well as a little bit of the paints gray color. Or you can use a darker blue color to create little highlights into the sky as well. I'm just going to mix in a little of the paints gray with my blue. So I've added white spaces into the sky as you can already see. Now, to give in a little more color complement, I'm going to use a Daker tint that is going to be with the help of the pain scray color, almost like an Indico color. You can see I've just mixed in pain scray along with my Celine Blue. You can even directly use in a Indico color, in a little lighter consistency, to begin adding in these daker depths into the cloud space. I'm still working wet on wet. You can see all my edges and the colors are having a soft blend with each other. My paper is, I'm able to walk wet on wet. It is also because we use the spray bottle technique twice to keep our paper moist and wet, that has also helped in keeping the paper. We now again, you can see as we were painting the rest of the parts, a little of the bottom of the heart shape was getting lost. I quickly went ahead with dam brush there and got in the details there as well as to get in the heart shape intact again. Now again, I've just added in little of the high light effect with the paints gray color into the heart shape. Now lastly, closer to the heart, I'm just adding in little darker tints of the blue. And now I'll just tilt my paper a little so that the heart shaped is maintained. And now I'll let the paper dry completely before we go ahead with the rest of details into this painting, let's wait for this to dry completely. I'll let it dry at a little angle so that the paints do not flow into the heart. Now as you can see, while drying, the heart shaped is almost lost, so we are going to go ahead with the rewetting technique. I'm using a damp brush. I'm just going to go ahead with quick strokes of water. After every layer of water, make sure you clean your brush because you may have lifted up some pigment and then pick up fresh water again. Go ahead with the next stop. While rewetting, you need to go very light handedly onto your paper. Otherwise, you may activate the base layer and the paints may begin to blend and flow into each other. Right now, you just have caught a soft layer of the water again onto the paints without activating the colors. Much to lose their space and the look. Now I'm going to go ahead with white gash and going to create in that hot effect again, now wet. So remember to not too much liquidity paint, otherwise it will spread out completely just using in the white. I'm going to create in a heart shape in the center. Again, I'm going to give in little details as I told you it various layers. Or it may also take a rewetting technique. Like we did it like while trying. I thought I may not need a re wetting effect, but after it dried I needed a re wetting layer so as to get in the heart shape. Correct. Again, I'm just going ahead with the layer again so as to get in the detail. Right. So I've got a hard shape as you can see, but I do not want it as a separately looking effect. So I'm going to add in little randomly onto the edges so that it blends in with the blue on the edge and looks as a perfectly inscribed cloud into the sky space. Now at the top here as well, I'm just adding in one bold white cloud effect. A little giving in little lighter tints randomly. Now after a minute or so while my white is still wet, I'm just going to add in those highlight effects into the heart. Now the edges of the heart will let them be white in the center. I'm trying to add in the details of different color combinations of blue and paint Screy in different tonal variations. Now again, in the center of the dark spaces creating little highlights. As I told you, it's a work of layers on layers to get in those different tonal altogether. Now randomly in the remaining spaces, creating in some lighter spaces into the clouds as you can see with the help of the white quash itself now at the top, adding in darker spots as well, blending in with the lighter spaces that we've created. All of this I'm still doing while my paper is still there, I'm just adding in little darker highlights on the edges and blending it with the help of a damp brush. My paper is bad, so you can see all the soft blends happening with the help of the retting technique. You can create in details again and get in those details and color shades. Right now, let's wait for all of this to dry completely. Now everything is completely tried and this time we have the perfect hardship cloud with the soft edges and all the detail. Look. Now I'm going to go ahead with a mix of greens and add in little foliage detail at the bottom space. You can go ahead with greens of your choice. There's no specific greens. You can go ahead with a multi mix of different greens so as to create in the depth into the foliage space. At the top you can see I'm just having the tip of my brush giving in random details At the bottom, I'm going to fill in the spaces with different tonal variations of the greens. So you can see I've got in lighter dacotones of greens. I'll even be adding in further more dacotones of the greens into this. Now shifting to a smaller size brush, I'll shift into a darker green tint and begin adding in some darker green highlights onto these lighter green tones that we've added so far. I'm just using the tip of the brush to create in the detailed kind of foliage. Look at the top. And as we move towards the bottom space, we'll go ahead with bigger patches of the same tones. You can see first, I'm going ahead only at the top space where the paints have tried, so that we get in the detailed look at the bottom. The green path space is still wet. So if we add in the darker green color, we'll not get in the foliage effect. We'll wait for this to dry and then on top of it we'll add in little darker green foliage. Now the bottom green is also completely tried and onto that now I'm going to go ahead with the darker green details and create in little foliage details there as well, using the same technique that we used at the top, but just a little darker tin than the previous layer as well, so as to get in those different tonal variations of greens into our foliage. Now as I move towards more of the bottom side, I'm going to increase the patch size of this color, but I'll make sure that we still have the lighter greens visible in between. So that we have the total variations of the greens as we needed, because of which we went ahead with the layering. So we are almost through this class, just a little more details and then we'll be ready with this class project for day 13. Now I'm using in a scale and a pointed tip pen. I'm using a 0.1 pen to add in some while lines into the sky, in between the foliage, into the sky, make sure that your greens are completely dried or if your green is still wet, then you do not lay your scale onto the greens, or else it may lift up the green and lay it onto your blue sky. Ruining up the spaces, you can see just some random lines into the sky overpassing the cloud as well. Now using the same pen, I've quickly added in a few birds as well, just at the bottom space. Now using a little thicker nib pen, I'm going ahead with two bowl lines. And rest of those was 0.1. This was 0.5 nip that I used. We are ready with a class project for day 13. I hope you guys enjoy painting this beautiful heart shaped cloud with me today. I will see you guys tomorrow into the day 14 C project. 18. Day 14 - Palm Trees: Hello everyone. Welcome back to day 14 of the 21 day challenge. Today we are going to go ahead with a simple blue sky for the silo height. We'll be adding in some coconut or palm trees. So I've squeezed out the composed blue color. You can go ahead in any tones of blue here or you can simply mix in a little of your turquoise blue or your cobalt blue along with a little of the erlian blue to get a composed blue color. I'm going ahead with a layer of water onto the entire paper. We are going to paint the entire space as the sky first. And after that dries out, we'll be adding in the silo het on top of it. So I'm done adding in the layer of water. Now I'm mixing in the royal blue along with a little bit of the composed blue color. And I'm going to begin adding in drops of these paints, creating in different color variations into the sky. I'm just going ahead with a layer of water again before I begin adding in the paint so that my paper does not dry in between. Because we'll be working with a lot of wet on wet technique. So leaving in random white gaps. I'm just pinning to drop in this color mix. Now as I told you, you can mix in a little bit of your turquoise blue, with a little of a pastel blue color to get a similar tone. Or you can even mix in your cobalt green along with a little tint of the blue to get a similar tone. Now to make these paints spread, I'm going to use in this play bottle, I'm going to spray it over the paints. Be careful that the painting on left side does not get reactivated, so cover it up completely. Now, I'm just going to keep on tilting my board so as to make the colors flow and get a smooth sky with different tonal variations of the color. Now from the edges you can see the excess water. I'm just going to dab it off with the help of a cloth or a tissue you can use in and pick up all the excess water from the edges. This is just the first layer of the sky on top of it. We are going to be going ahead with a lot of tonal variations now going ahead with a little darker tint of the composed blue color on top of it. And now also I'm just picking in and dropping in the color. You can see I'm just randomly dropping in colors here and there, Not worried about anything, not even in the shape, just that I'm playing wet on wet with the paints. Again, we lose a little of the spray bottle technique and create a flow into this color. I've just tilted my board a bit and adding in two to three spray of the water and make sure again that the left side painting does not get re wet again. Now again, just tilting my board in all directions so as to make the colors flow. Wherever I feel that the colors are not flowing easily, I'm using my brush or bit so as to make the colors flow with the help of the water that we've sprayed so far. Now on top of this, I'm going to use in water droplets to create little cloud effects. So I'm just going to drop water at random spots so as to create that glowing effect of the cloud just using in clean water, dropping in between the panes and creating in those cloud effects as well. This technique we have been following since day one of this class. And you can see how easily you can create in the lighter cloud effects in between your blue tones by just lifting up the color. With the help of the water from the edges, I have again lifted up all of the excess water because otherwise it may set back into the painting and create a lot of mess. So I'm just going ahead with the same technique of using clean water to create lighter spaces into the cloud and to create in the effect after every lifting technique, I'm cleaning my brush so that all the pigment that is lifted up is cleaned and then I go ahead with clean layer. Lastly, at the bottom as well, I'm going to create in little lighter cloud effects and we'll be ready with the base of a sky. On top of this. Once it dries out, we'll be adding in a silhouette of the palm trees quickly. So I'm just going to add in a little more lighter details at the bottom side before we move on and let it dry. I'm almost done creating in the cloud effects. You can see we are still working wet on wet and my paper is still wet to lift up the colors and create in the depth I've majorly created in the lighter spaces. Now I'm quickly going to go ahead with little darker clouds again so as to blend the lighter effects with the ones. Again, all of this I'm still doing wet on wear that we have the soft blend between the and the lighter clouds. Now when you go ahead with these darker tones, make sure you do not have excess water. But also make sure that you do not have a very dry paint, otherwise you may get in patches of the color. You need to make sure that your paper is still wet so that you can get in these details. And the soft blend you can see we first created a bigger darker patch on the entire sheet. We lifted up the colors. Now again, going ahead with darker tones, creating in the blends between the darker and the lighter tints. Now let's wait for all of this to try, and then we'll move ahead further. My sky is completely dried. You can see the play of colors of blues into the sky with those white cloud effects. I'm absolutely loving the sky just like this and feel like leaving the painting here itself. But let's just quickly go ahead with two silhouette of the palm trees. I'm just going to go first using the yellow ocher color, adding the mean stem for the tree, adding another one on the left side here you can see I'm beginning with a thinner length, and as I'm moving towards the bottom side, I'm broadening up the thickness of this stem. Now, while this yellow ocher color is still wet, I'm going to go ahead with little darker brown tins and blend it along with the yellow ocher tones. So I'm picking up the burn timber and the darker brown a color and I'm just going ahead on the edges and adding it on the edge line, blending the browns along with the yellow ocher tins. Same way. I'm going to go ahead onto this stem as well, with the darker tines creating in the blends between the darker and the lighter tones. Now for the foliage of the palm trees, I'm going to go ahead with this line and I'm going to begin picking up various tones of greens and begin adding in very simple foliage on top of fate. Now you can go ahead with any tones of greens of your choice. You can go ahead with various multiple tones so as to create in the depth. I'm going ahead with simple strokes. I'm using a liner brush so that I can get in these fine details. You can even use a little tint of the yellow occur, lighter greens or brown tones in between. For a little foliage like for this one, I'm using a little of the yellow occur tint to create little variation in the foliage so as to give a little dried foliage effect as well in between. Now you can see since my paper is taped down on a movable surface, it's so easy for me to just rotate my paper block easily as per my hand convenience, so that I can get the hand angle right. It's easy to just tilt my paper and swiftly add in the details without worrying much about my hand movements or being uncomfortable. That is why I always recommend to try to tape down your paper on a movable surface so that it's easy to adjust as per your hand convenience. Now I'm going ahead with major strokes of the yellow occur color for the first layer on top of it. Once this dries out, I'll go ahead with green tones so that we have a blend of both colors, the lighter and the darker tints. Now in between the yellow ocher tints, you can see I'm going ahead with the green color foliage. I'm going to go ahead with the overlapping as well. That is a little of the green foliage will be overlapping onto the yellow occur foliage so as to create the blend and the effect into the palm trees. You can go ahead with any choice of green brown of your choice for the foliage. As I told you, it's absolutely your choice. I'm using in green yellow occur lighter greens, a little darker greens as well. Whatever is available on my palette and just mixing in different greens together to get in more variation into the foliage to make it look natural. Now you can see the different tones into the foliage effect and randomly are just added in some more strokes. Same way. I'm going to quickly go ahead with the foliage onto the next palm tree as well. Again, you can see since my paper is taped down on a movable surface, how easily I could just tilt my board and get in the details for this one. I'm going to go ahead with little smaller foliage in length. I'm not going to increase the length m, because it may cover up the entire space at the top then. So for this one, I've first gone ahead with a layer of the same green tone for the entire foliage of the first layer. And for the previous one, you could see we went ahead with a lot of yellow ocher tints as well. Again, it's absolutely your choice how you want to vary the tonal variations and get in the details or the depth to make it look natural. Now a little of the foliage you can see. I'm pulling over the stem as well so as to make it look perfectly blended into the stem space. Now, everything is completely dried and I'm going to go ahead with the next layer onto the stem and going to add in little texture there as well. I'm simply using in the darker brown tint and adding in little dry brush effect towards the other side where we had kept the stem color lighter with the yellow occer tint. This is creating in the texture and the natural effect. I'm just giving in random line details to make it look like the natural texture on the stem of the trees. Same way quickly here. Also, I'm giving in a little dry brush effect first and now I'm just going to add in little darker patches to give in that wooden effect on the trees. I'm just using in the tip of the brush and all of this is wet on dry. So that is it. We are ready with our class project for day 13.14 Let's quickly remove in the masking tape and see a final painting with those clean edges. I hope you guys enjoyed painting these two beautiful and different blue sky landscapes with me. We use pretty different methods to keep our sky ing in the spray bottle in both of these class projects. I'll see you kay soon into the day 15 class project. Thank you so much for joining me into this class and painting along with me. 19. Day 15 - Misty Mountains: Hello everyone. Welcome back to day 15 of the 21 day challenge of painting a sky blue. Today we are going to paint a beautiful, misty mountain range with just a blue color and trying to create a monochrome painting. So I'm going ahead with a layer of water onto the entire paper. There is no pencil sketch. We are going to add in all of the mountain details directly with the paints. Go slowly with this class project. I would recommend, or rather I would say, I would recommend you to first watch one part and then go ahead paint it. Wait for it to dry. Watch the second part until your first part is drying so that you know how you need to go ahead with. Because if you will go ahead while watching in, you may create in a little errors. I'm going ahead with a mix of the erreine blue with a little of the royal blue color just at the top space. And now using in water and a flat brush, I'm just going to dilute this color and blend it towards the bottom space in a very light tone. Almost like a white color with just a little hint of the blue tones. So basically, we are first painting the sky, which is just going to be the top space. The entire bottom space is going to be a range of misty mountains with some pine trees at the bottomost layer. I'm just going to go ahead with little darker tins again at the top space, creating in little depths into the cloud as well, giving in those little strokes of the sky. Now, again, moving towards the bottom side, I'm just going to blend this color and create in the lighter effect, moving downwards, diluting the color of completely with the help of water. Again, at the top, I'm just going to go ahead with little darker tints, add in little darker highlights after every layer. We need to wait for things to dry in this class project. Again, I recommend, while your first layer will be trying. Watch in the second part so that you can understand how you have to go ahead with the next layer. And it will be easier for you to then create in the misty effect that we'll be working on. Now majorly at the top space, I'm creating little effects into the clouds using in just the tip of my brush. This brush has a pointed tip which makes it very easy to get in all the details together even with a size a brush. Because of the pointed tip that it has. We are ready with the sky part. Let's wait for this to dry and then we'll move on to the first layer of the mountains. My sky is completely dried and now I'm going to go ahead paint in the first layer of the misty mountain. I'm going to use the same color, that's the Erlin blue, but in a very diluted consistency. Now I'm marking out the first mountain range. I'm just going ahead adding in a line at the top. It's just majorly towards the right side. Towards the left. We are going to create in the misty effect. Now using in water, I'm going to dilute this again till the bottom space. After every layer of mountain, it's important to blend in and create a transition of the lighter tint towards the bottom. Otherwise, you may get in patches in between. And when you go ahead with the next layer of the mountain, it may be difficult to hide those patches and get in that smooth flow. Now, even on the left ear, you can see that we are having in a very rough patch so quickly. Using, in a dam brush, I'm going to just use water and blend it in a little towards the top space of the sky where we have the white effect. After all of these tries, it will look well blended into each other without any harsh patch of the color. You can already see with the help of a damp brush, we've been able to blend the left blank space into the sky easily by just with the help of water. Going ahead with damp blending technique here. Now you can see that mountain range having that misty effect. We'll wait for this to dry, then move to the next layer. The first layer of mountain is dried after drying. You can see on the left, it is perfectly blended with the sky. We do not have any water marks or sharp edges. Same way, we are going to go ahead with the next layer a little below the first layer. Again, we'll go ahead with a layer of water till the bottom space, blending in, creating in the lighter effect. If you will not do that, it will be very difficult to hide any sharp edges that will stay in between after adding in the layer of color, I'm just going ahead with water. Now, with every layer of the mountain that we go ahead with, I will increase the color depthness of the mountain. The first mountain layer was very light. The second layer, you will see we've gone ahead with a little darker blue as compared to the first layer. I would recommend you to do a color study of the blue that you're using in different tonal variations so that you understand how they react after drying, so that you use the perfect consistency while adding in here. So just at the top edges you can see a top ten. A little bit of the blues again and again, I'm just going to go ahead with water and get a diluted tone towards the end. Now again, we'll wait for the second layer as well to dry. You can see just at the top line of the mountain range, we have the darker tint. And towards moving at the bottom space, we are trying to create a diluted look because we need a very diluted effect and the mystic effect. Now on the left side, I'm just taking the mountain range towards the top space a bit because I feel it was looking a little empty quickly while it was still wet. I just corrected out that point where I felt it was looking a little uneven. Now, again, I'll just lift up the excess water so that this dries out quickly. But you can see the color is darker than the first layer of the mountain that we've added. Now we've got an even diluted and a color tone phase. Now let's wait for this to dry as well. My second layer of the mountain is dried. You can see it's acker than the first layer. Now again, we are going to go in the same method for the third layer, just that the third layer tone will be further darker than the first two layers. With every layer of the mountain, you need to keep increasing in the tonal value of the color so as to get in that misty effect as well as that monochrome effect. Now the same process that we are going to follow, Just a little darker tint creating in the mountain line first and now going to dilute it. Now the same method that we used for the first mountain range I'm using here, that is, but on the right side this time I'm going to keep it as the misty effect first diluting the color. And then, sorry, on the right, I will just use water and dilute it till the top space so that we do not have any sharp edge. Now here using water, you can see I've blended it into the second layer of the mountain range so that I do not have any sharp edge there now. Just adding in little darker tints so that after drying, it dries darker than the second layer of the mountain range. But again, here you can see if I leave it here like this, it will look very uneven, diluting it getting in that total variation of the blue till the bottom space. After this, we'll let this layer also dry out completely and then move on to the next layer. Now towards the right side, I have to go in carefully again because I have to show it perfectly blended with the second mountain range, creating in that foggy effect. I do not want any sharp edges there very carefully. I've lifted the color from the right side wherever I felt excess. Now I'm just blending in again till the right space. Now let's wait for this mountain range to dry as well. So my third layer is also dry. Now we are going to go ahead with the fourth layer. For the fourth layer, the color will be further darker. So you can add in a little of the pain scrayor, indico color to your blue tones to get in darker tins. Or you can use in pain skray along with blue or any darker tones of blue if you wish to directly. Now for the fourth mountain range, I'm going ahead with the mountain range towards the right side on the left. I'm keeping a little smaller gap this time. You can see it's darker than the third mountain range as well. A little more bold actually you can see I'm going to dilute it till the bottom space. And on the left side, we'll blend it again, just as we did for the third and the first time. So very carefully. First I've got in a layer completely till the bottom side. We are going to go ahead with further darker tones as we move towards the bottom space. And just on the line of the mountain, I've given in the darker tines again. Now on the left side going to blend it just with the help of water so that it creates that misty effect and has a blended look with the top layer mountain and not having any sharp lines in between. With every layer you can see we've got into darker tints one by one. Now let's wait for this to dry again. Now, the fourth layer is also dried. I'm going to go ahead with the last layer of the mountain. So I'm going to mix in a little more of the indigo to the blue and create in a darker tint. Because this is going to be the last mountain range. But do not take it completely into a paints gray color because we are going to be adding in a lot of pine trees at the bottom space. If you'll go ahead with a very darker tint now, then the pine trees will not be visible. So you can see the blue color that I'm going ahead with it, but not completely or paints gray again. This time I covered up the left side and took this mountain range towards, moving towards the third mountain range. And same way, just going to dilute it till the bottom space at the top on the mountain line. I'm going to create an uneven edge and given little detail and drop in little darker tints now, just creating in an even blend and an even layer of the color and trying to create a little lighter effect in the center spaces. That is it. We are ready with the last layer as well. Now let's wait for this last layer to dry, and then quickly add in the pine trees, and we'll be ready with our misty mountain ranges for day 15. Let's wait for this to dry now. Now, the last layer of mountains is also dry. Now let's begin with a very dark, bold blue color. You can add in a lot of indigo or paints gray. And now I'm going to go ahead with the last layer of the mountain range. First I thought to directly take in the pine trees. But I thought, let's give in one more bold layer first. So I'm going ahead with a bold indigo color. And towards the bottom space, I'm adding in much taco tint of the blue. Now again, for this last layer, make sure you do not add in a lot of paints gray directly. Keep it a little towards the lighter side. Now to this mountain range itself, what I'll do is on the top, I'll add in the pine tree effect so we won't have to go ahead with one more layer. So this will basically be our last layer. So while this mountain range is wet, I'm shifting into my smaller size brush. And now on top of this, I'll quickly create little pine trees effect. So basically at the bottom, you will have, as in the pine trees are coming out from this mountain range and have a blended look. And at the top, you'll clearly have in this pine tree effect. For the pine trees, I'm using the same dark blue color that we've used for the last mountain range. Now as I go along the entire, um, length from left to right, I'm going to keep on wearing in the heights of the pine trees somewhere. I'll even take it taller. Moving towards the top mountain ranges here you can see the center pine tree is moving towards the fourth layer of the mountain ranges that we've added in between, you can take in a few taller pine trees as well so as to give it a natural effect. Make sure you're doing this while the last layer of the mountain is still wet. Only then you'll get in that blended effect look off the pine trees along with the mountains, just a few more towards the right side. And then we'll be ready with our class project for day 15 as well. Since towards the right side already, the mountain range is towards the taller edge. I'm just keeping in the pine trees smaller in height and not taking them too much taller on the right side, I majorly added the taller ones on the left side because the mountain range was low lying at that space. Now lastly, using in the technical pens, I'm going to go ahead and quickly add in a few birds into the sky. You can use in pain screen color as well, but since I want very minute details, I'm going to go ahead with the pen so that I can get in the details. Right before that, I'm just adding in a little layer of the same color here again, so that it has a perfect blended look with the pine trees. Now I'm using a 0.1 nib pen and getting in these fine bird details into the sky, you can see such simple silo het of the birds creating in so much more depth into the sky. To some of the birds I've given in little bold effect by just darkening them up and some of them have kept them very light. I've gone ahead with different flying angles of the birds. You can see very randomly, just created a flock of them together. And that is it. We are ready with her class project for day 15, a pretty misty mountain range with just the blue color. I hope you guys enjoyed creating this misty mountain range with me today. I'll see you guys into the day 16 and then peel off the masking tape together. 20. Day 16 - Country Side Field: Hello everyone. Welcome back to day 16 of the 21 day challenge. Today we are going to be painting a beautiful and simple, subtle countryside field. I've marked the horizon line a little below the center line on top of page. We are going to have in two mountain ranges. The top is going to be the sky, the center is going to be the mountains. The bottom of space is going to be that little simple countryside field. Let's begin with the sky. I'm done with a pencil sketch and we're going to go ahead with a layer of water into the sky first in the field space, we'll add in grass and flowers directly without any pencil sketch, because it's difficult to maintain those pencil sketches for smaller details. Let's go ahead with a layer of water onto the entire sky. First, I'm not going to go into the mountain ranges for now. Our sky is going to be a combination of blue and purple tones. This time, our field is going to be a combination of greens and browns. Then we'll see the mountain ranges, which colors to go ahead with. I've done adding in the layer of water into the sky. Now I'm going ahead with the ultramarine blue color. This time I'm being in with simple strokes of the ultramarine blue color. I'm not going ahead with a lot of a darker consistency, just going ahead with a medium tone. Along with that, going ahead with a little celan blue tone. And now I'm going to blend this paint and lift it up and turn it lighter, blend it well. Along with the ultramarine blue. Now the ultramarine blue, as you can see, already has a little violet touch to eight because of which you already get in that violet hand. In case, if you do not have the ultramarine blue, you can simply use in a purple or violet color, mixed in with a little bit of your blue and the Celine blue color to get in the details into the sky. Now, simply using in the tip of the brush and the Celine blue color, I'm going ahead adding in some strokes into the sky. Now, when I'm adding this, I'm making sure I do not have either excess water or excess pigment onto my brush. I'm going ahead with very minimal light strokes now into the sky. I'm going to go ahead with some violet color strokes. You can either use the ultramarine blue colors I'm using, or you can go ahead with the violet or purple color and add in little strokes into your sky to give in little dramatic and variations into your sky. Now closer to the mountain range, I'm going to keep the sky a very light tone. I'm just going to quickly lift up little colors closer to the mountain range And blend the top strokes perfectly so that we have a smooth transition and have the lighter effects towards the bottom side. For this, you can use help of a damp brush after every stroke, you can see I'm dabbing my brush onto the cloth so that the paints that are lifted are absorbed by the cloth. Now we'll go ahead and paint in the layer of the field. Since we have the mountain range in between the sky and the field, we can simply paint the field quickly. I'm going ahead with the sap green color. You can go ahead with any tones of greens that you wish to, not necessary to follow in the same greens. Now since for the first layer, I'm just going ahead with the wet on dry technique because there's not much details to add in wet on wet. But in case if you're not confident about directly going wet on dry, you can go ahead with a layer of water into the field as well and then go ahead with the colors. Now next I'm picking up a little bit of the yellowish green color, which is a very pretty light green and adding it at the bottom space. You can see into my field space. I've got in so many variations of the greens with darker towards the top, lighter towards the bottom, and medium tones towards the center space. Now towards the top space, I'm going to go head with little more darker tints, mixing in the greens with a little tint of browns at the top here. I'm just giving in the darker strokes, I'm doing olive while my field is still wet. So that we have smooth and soft transitions happening between the colored tones. Now I'm just adding in very simple strokes here. You can see with the daco green tint as well, to give it a little more depth into the field space. As I told you, the field is going to be pretty simple. We'll just be adding in very simple florals in the center bottom space at the end. And the rest of the field is going to be a simple green field that we are going to have. Let's wait for all of this to now. Everything is complete right in. And we are going to go ahead and paint in the first layer of the mountain ranges now. And then move on to the details into the field space for the mountain. I'm going to use in a bold consistency of the blue color. You can see it's a beautiful indico kind of color. So I've mixed in a little of the paint scray along with the blues on my palette. To this, we're still going to add in little darker tints. The mountain on the left is of this color. You can see I'm marking the outline for the mountain on the right side and leaving it blank. We need to wait for the first mountain range to dry and then we can add in the details in the second mountain range later on. Now onto this, I'm going ahead with little tints of the pinscrey, along with a little tints of greens to create in little more darker depths into the mountain range at the back. Now using in the dabbing technique, I'm going to lift up little pains in the center space and create little more highlighted spaces on the mountain. You can see very randomly, I'm lifting up the colors. You can see so many different tins showing up onto the mountain range altogether because of the different tins of green paints, gray and blue that we use so far onto our mountain range Now until the first layer of the mountain range dries out, I'm going to use in the color. I'm going to add in simple strokes at the bottom space here for the grass strokes. And then on top of it, we'll go ahead with very simple floral details as well. You can see very randomly, I'm going ahead with very simple foliage detail and adding in the details here. Now a few of the grass strokes. I'm taking them a little more taller. Now, for these grass strokes as well, you can go ahead with various tones of greens and browns. You can play with the colors of your choice and create in the depths here. I'm going ahead with a bold consistency of the green for now. And we'll see if I need to add in any other color variations as well. I've gone ahead with a lot of these strokes. As you can see, I'm almost done adding in the layer of grass strokes now till the crass strokes dries out. After that, we'll add in a little floral detail as well. For the floral detail I'm going to use in white quash, I'm going to squeeze out a little tint of the fresh white quash as well. To this, we are going to be mixing in some yellow, orange, and pink tones to create different tonal variations for the flowers. First to my vermilion color, I'm mixing in the white quash. Now the reason of adding in white quash along with the paints is one to get pastel colors for the florals. Secondly, these colors will stand out opaquely even on the darker green background that we've added. I'm adding in very simple floral layout. As you can see. I'm just going to go ahead and quickly add in few flowers, not with the same color, because we're going to go ahead and add in a few with the yellow color tints as well. Again, for the florala as well, you are free to use the colors of your choice. You just need to make sure that they are opaque enough so that they are visible even after they dry out on the dark green background that we've added so far. Now I'm mixing in a little of the yellow here separately, along with a white quash to get an opaque pastel yellow tint. And I'm going to go ahead with a few of the yellow florals here and there, randomly, some small wild flower details. As you can see, you can even use white pinks, violets, blues, any tone of flowers of your choice into the field space To add more variations along with the frass strokes, you can even go ahead with some leaf strokes as well. Now onto the orange, I'm just adding in little darker orange highlights to add in little highlight to the florals as well. Now to create a little highlight in between the florals, I'm going to use in the royal blue color. This royal blue color is already pastel as you can see, so it will stand out opaque because it already has white paint in it. So I'm directly using it without mixing it with white quash. You can simply mix in your Altmarine along with a little tint of erlian to your white quash. And get a similar looking tone for adding in this royal blue floral details. Main flowers are the orange flowers that we've added. And rest of them are very simple bile flow in detail. Now for the next mountain range, I'm first going ahead with a layer of yellow occur color. The first mountain range is completely dried out. After which, I'm going ahead with the second mountain range. Make sure that your first layer is dried. Otherwise the colors will begin to sep into each other and you may lose the look of two different ranges. Now in the green color, I'm going to begin adding in little highlights over the yellow Occa Mountain range. I'll make sure that the yellow occa color is also visible. But I'll create in those green paddy kind of patches onto the mountain range Now using the greens, adding in little taker tins at the bottom of the mountain range to create little shadow of the mountain falling in here. Simply using in the darker tints I'm creating in little patches of the darker green color. If you need, you can use a damp rash on the edges and blend in a pit. Now using in little tints of brown, I'm going to give in little brown patches as well. Onto the second mountain range that we've painted in here now onto the first mountain range as well. Going to go ahead with little d brash strokes with the paints, gray color, very simple. And then we'll add in little patches as well to create a little more depth onto this mountain range as well. You can use in a darker brown tint or a paint scray color as you wish to to add in these dry brush and those little patch details. Now using in the darker brown, you can see I'm adding in little strokes and darker patches to create the depth onto this mountain range as well and creating the textures for the mountain range. Now lastly, using a very light tint of the orange that is more of white, less of orange, I'm going to create little highlights onto these florals again and give a little more depth. That is it. We are ready with our class project for day 16 as well. It's time to remove in the masking tape and see our final painting. Let's peel off the masking tape. Make sure you begin peeling off the masking tape. Once your edges are completely dry. Also, always peel off the masking tape against your paper so that you will not lift up the colors nor tear off your edges. And we have our clean edges painting for day 15 and day 16 with those clear blue skies, here's a closer and final look at are spread from day 15.16 I hope you guys enjoy painting these two beautiful paintings with me. I will see you guys soon into the day 17 class project. Thank you so much for joining me into this class. If you like this class, for whatsoever reason, help me drop a review so that it can help me reach maximum students. 21. Day 17 - Evening Sky: Hello everyone. Welcome back to day 17 of the 21 day challenge to painting A Sky's Blue. Today we are going to go ahead with a bold, dark evening, blue sky with very simple pine tree silo het. It's going to be a pretty simple small class, yet a beautiful outcome of the painting. I'm going ahead with a layer of poo onto the entire paper. We're going to be painting in the entire sky with a great blue color. It's going to be a dark blue. Then at the bottom, we are going to go ahead with a lot of pine trees in details. Now when we're painting the sky, we're going with a gradient sky. That is the top is going to be quite dark and as we move towards the bottom side, we are going to lighten up the little blue tones to create highlighted glowing effect coming in from behind the pine trees. I'm then adding in a layer of water. I've made sure I do not have any excess water on the edges. Now I'm lifting up the crucian blue color and mixing it on my palette. I can add in a little bit of indigo if you want, or you can add in a little tint of your paints, gray, if you feel that your crucian blue color may be too light. Now, as I move towards the bottom side, I told you I'm going to be going ahead with a gradient sky. First you can see I'm going ahead with a very medium tone. Then I'll go ahead with darker tones at the top. And just using in water, I'm going to keep on blending the colors towards the bottom side, creating in the lighter gradients. So I just added a little more color and now again, I'm just going to dilute it towards the bottom side. So you can see as I'm moving towards the bottom space, I'm keeping the color quite light. I'm mixing in a little tint of indigo along with the crucian blue color so as to get a little darker tint. And I'm still going to add in further, more darker tints towards the top side. This is just in the center space that I'm creating in some wet on wet effects as well. Going along now towards the bottom side on the lighter spots, I'm just going to create in some darker highlighted effect using in the tip of the brush. Now I'm just going ahead making sure that my paper is still wet because you need to still be working a little wet on wet to get in the details into the sky till the bottom I've taken up the gradient effect as you can see. Now we're going to add in little details given little radiations and variations into the sky, you can see as well. I've kept little lighter strokes so as to create the depth of color and the strokes into the sky to give in those cloud effects. Now using in the darker tint, just using the tip of the brush, I'm beginning to add in these darker, high light effects into the sky. Moving towards the bottom side, you will see I'm still keeping the color gradient light. I'm making sure that towards the Ed end of the paper we have a little glowing space so as to have that glowing effect from behind the pine trees in between. A, you will see I lift up the colors to create some highlighting strokes. And at spaces I'm adding in the darker tins. Just using, in the tip of this same brush, I'm using the size eight brush. And you can see with this one brush itself, I'm able to add in smaller strokes as well. Because of the pointed tip that this brush has to offer, I've shifted to a very small size brush towards the bottom space, because at the bottom where we have the light effect, I'm just going to go ahead with some darker strokes and blend it well to the top space. I've just added it now using in a damp brush. I'm going to blend this with the top layer so that it does not look out of proportion. Make sure you're still doing all of this wet on wet. That is, your paper is still wet on which you're adding in these strokes. Now I'm using only the indigo color. I'm going to add in. Furthermore, darker tins, You can see we'll be adding these strokes in so many layers so as to create the depth and detail into the sky. As I told you, this class project is going to be a pretty small one. But you can see these little details will make in the class project look so pretty detailed and purifulow using this acer tin, adding in some highlights towards the bottom space as well. And it's going to be a pretty dark evening, blue lit sky from which we're going to add in just the pine tree silhouettes at the bottom from behind the pine trees as well. We'll have that little light glowing effect coming in because of the lighter tones that we've kept towards the bottom side of the sky. Now, at this point here where the lighter tones are beginning to come in. I'm just going ahead with little light blue effect again, because once it's beginning to dry, I can see that the colors are turning to light. Remember what colors dry or tone lighter. Make sure that you put in your layer of colors accordingly, so that after drying they have an effect. I didn't want that. After drying, that space has a complete white look. That is the reason I'm going ahead with a little washed off the blues. And then again, adding in the highlights here so that we have that little blue glowing effect and some strokes coming in. That is it for a sky now. I'll wait for the sky to dry completely and then we'll move ahead with the pine tree silhouettes. One, this is dried completely, my sky is completely dried. And now I'm going to go ahead with the siluet pine trees at the bottom space. Now I'm going to use in the pine spray color for adding in the pine trees. You can go ahead with a darker tone of indigo color as well if you want to, or you can mix in both the colors and create a little dark bluish tone. Now first at the bottom, I'm just giving in the filling space completely, which is going to be filled up. Then this I'm going to add in the pine trees. Now you can see I've added a little hint of the indigo. I've added a little hint of indigo along with the pine screen color, so that we have that monotone effect coming in again with the tones that we are going ahead with now shifting into a smaller size brush. I'm going to begin adding in the pine trees on top of this patch. Now I'm going to go ahead with the pine trees of different sizes throughout so that we have a variation to the pine trees. Now in between, you will see I'm just going ahead filling in the spaces with simple stroke, simple technique to fill in the spaces faster. In between, I'll keep adding in detailed pine tree as well. In this way you'll have a balance of both as well as it will make your work a little faster. And given little variation as well, I added a small patch of just some strokes to act in as a very distant pine tree effect. And then again, going ahead with some detailed pine tree, you can see throughout I'm wearing the height of all of these pine trees and the strokes that we have, that natural looking effect go slowly with the foliage of the pine trees so as to make them look detailed. Now in the center, I'm going to go ahead with a little more of the stroky effect that we had gone ahead with. Now also you can vary the height accordingly and take them a little as to cover up that white patch that we have. You need to accordingly take the height of your pine trees so as to make sure you do not have any white patches in between. You need to reach till that light blue sky effect. Again, going ahead with a pine tree as well. Now make sure that you do not take them completely till the top as well. You can take one or two pine trees, a very tall one as well, if you wish to, but not all of them too tall. We are almost halfway through adding in the pine trees just a little more to go towards the left side and we'll be ready with the silo het of the pine trees as well. Then into the sky we'll just add in a little star animon effect if needed. First, let's go ahead quickly add in all of the pine trees and then move ahead further. You can see because of that little indigo tint that we added to the pines, gray color, the effect that it's giving in to the pine trees with that little blue tint that's coming in after dying, it will have that very dark blue effect because of the indigo that we mix along with the pins gray color. Now here again, I'm going ahead with little strokes in between. And then towards the leftmost side, I'm going to go ahead with just some more detailed pine tree. You can see it settles in so well in between the pine trees and makes it look as pine trees only. But such simple process to add in and fill in the spaces quickly. So, I've almost reached the end of the pine tree details. Just one last one here to add in towards the left side, and then we'll move on to the other details into the sky. So now using in the white quash, I'm going to begin adding in the details into the sky. I'm quickly re wetting this white quash which is already on my palette. You can use fresh squash or you can just use a spray bottle and re wet the same quash paint, make sure it's not too liquidy. Otherwise it will not give you an opaque look. So you need to rewet it in such a way that it does not lose its opacity. First, I'm going to splatter in some stars into the sky. For this, if you want, you can cover up your pine trees so that these platters do not go into the pine trees, or you can simply give a retouch to your pine trees if you have a little of the platters going in there. I've just given in a little retouch again to the pine trees as well. Now, I'm going to go ahead add in some glowing star details as well. So, I'm going to add in some bigger white patches and turn them into some glowing stars. First adding in the white patches. Not too big. Not too small. I've white dots. Now using in a damp brush, I'm going to go ahead blend these and create a dull white layer. And then in the center of these, I'm going to add in bold white color. Again, you can see once these dry out, they will look as dull white patch which will act in as the glowing spaces of the stars. In the center of these, we are going to add in bold white color, which will act in as the star glowing from within. Now in the center of these, you can see I'm adding in bold white patch just in the center space of this glowing space that we created. Not adding it completely and covering up the glowing spaces, you can see from the border of this white dots, the glowing space, the dull color patch that we created in. So here's a final painting for day 17. A pretty simple silo hat, You can see the blue effects in the pine trees. I hope you guys enjoyed painting this beautiful blue evening sky with that glowing effect into the sky at the bottom space. I will see you guys soon into the day 18 class project. Thank you so much for joining me. 22. Day 18 - Night Sky: Hello everyone. Welcome back to day 18 of the 21 day challenge. Today, we are going to be painting yet another beautiful evening, blue sky. I'm going ahead with the pencil sketch. So I've marked out two mountains at the bottomost pace and towards the bottom side, I'm just going to have a very small sea area or water body, the two mountains. And on top of it we are going to be having in the sky. We'll begin with the sky first, so let's go ahead with a clean layer of water. It's going to be a dark evening blue kind of a sky turning into a night sky. I'm adding the layer of water only into the sky first. And then we'll move on to the other elements. We're just going to be painting the sky first. You can see I'm running my brush on the edges multiple times so that there is no excess water on the edges, as well as making sure we do not have a uneven layer of water. Now, picking with the crucian blue color, I'm beginning to add into the sky roughly the blue tones in between. I'm trying to create a little galaxy glow in a situation because of which you can see, I've marked out that space in the center where I'm not going to add in the blue tones. Also, you will notice this time I'm playing along with a very liquid consistency of the paints, because I want the paints to flow well into each other easily. Now on the edges as well, I'm going to go on adding darker depths using in darker values step by step. Marking out the mountain ranges carefully so that we do not go into the mountain range. Now in the center where we've left that space there, I'm going to use in this white quash and add in there so that we have that glowing effect coming in there. Just dropping in the white paint, you can see a little tint of blue that gets added because of the little blue on my brush automatically. Now this you can see is a very unfinished stage. We'll begin with darker depths of the blue on the edges. I'm using a little mix of the indigo along with the Prucian blue to get in these darker colors. I'm going to be adding in these darker tones on the edges in the center. We are going to keep it light from the edge dark towards moving center space. We are going to go dark to light. You can see I've added a lot of different tonal variations of the blue. Now I'm splattering in little water. So that we can just go ahead and play along with the flowing consistency. You can see how the pains are flowing, but in the center, I have to make sure that I maintaining that glowing space. As soon as the colors begin to move a lot into the center space, I'm tilting my boat quickly so that the colors do not flow in there. Make sure you use in different tonal variations of the blue, just like I did, so that you get in those colors light to dark and creating in that galaxy kind of an effect. Just adding in a little more white highlights. Because after tilting, you can see a little of the blue overpowering the whites. Now again, after adding in the whites, I'm adding in little blues in between the whites and going to go ahead and blend it again with the help of little splatters, make sure you do not add a lot of splatters. Because if there will be excess water at any specific spot, it may later on develop a patch so you need to make sure that you rotate your boat accordingly and get all the water evenly spread. We are ready with our sky. A pretty beautiful galaxy with blue tones. Now for painting the mountains, we'll have to wait for the sky to dry. Until then, we'll just quickly go ahead and add in a very simple sea. The sea is going to be a reflection of the sky colors itself. Just going to go ahead with simple blue tones given that little sea effect. Then we'll wait for all of this to dry and then move ahead to the mountains once everything is tried completely. Now, before letting this to dry, I still feel to add in little more white into my sky. Because I feel after drying, the blues may still overpower just going ahead with more whites and little splatters of white, as well as to create that glowing spaces. You will see automatically, these spaces will glow and create those beautiful glowing spots into the sky, giving in that glowing effect into the galaxy again. After adding in the pans, make sure to rotate in so that you have that soft blend happening in easily. Now let's wait for the sky and the sea to dry completely, and then we'll move on to the mountains. Now my sky is completely dried and I'm first going to go ahead splatter it in some stars into the sky. Before we move on to the mountains, I'm using the white as in a very thick consistency and using a smaller size brush. I'm going to go ahead with splatters here. Make sure if you are painting two paintings in one page, then you have a control over the second space and where the platters are going. Now into the mountain. I'm first going to add in some highlighted spaces for the mountain. We are directly going ahead with the wet on dry technique. I'm going to add in some light space of yellow and orange to create in some glowing light effect into the mountains. Adding in these colors already and now I will use in a little tint and little tint of paint screen mixed in with indicoes to get in little blue highlights. You can see used tones of orange and yellow to create in that light space roughly now, while adding in the blue and the brown tones, we'll add it accordingly in such a way that we still have these glowing spaces there. For the first mountain range, you can see in between the glowing space, I've given that blue brown line cut and now I'm going ahead adding in the brown color with a little mix of paint, scray, and a little mix of blue as you can see so as to keep everything in harmony with each other. For the background mountain range, I'm going ahead with a very deep blue color. You can see indigo mixed in with paint screen, not adding in any brown tints there. Now, I've just marked a small line in between both the glowing spaces to have those two glowing spaces coming in on different mountain ranges. We'll add the depth to these once they dry out as well. For now, we're just creating in the space, having in that glowing element in the second mountain range, you can see that space is getting covered up completely. So I'm going to quickly go ahead and use the damp brush and try to maintain that glowing effect space. And add in little tints again, with the yellow color there. But make sure you use a clean brush to add in the paints there. Otherwise, you may get in very muddy tones. So you need to go ahead very carefully to add in the colors again there, because you already have in blue added there. And blue mixed in with yellow may give you green tones. Otherwise, you have to go a little carefully with very clean brush strokes. Now I've added further darker tones of the blue onto Got the mountain changes. Because once these dry out, they may turn a tone as watercolors dry a lighter. Now again, into the bottom space, I'm going to add in a little more yellow highlight. Because again, with the blues, it has got covered up. So you need to go again, very carefully in such a way that both the colors do not blend and have that highlighted glowing effect. Now let's wait for this first layer of the mountain ranges to dry out and then we'll work on details on top of it. Now using in some fresh white quash, I'm going to go ahead and add the trail stars into the galaxy sky as well. I'm using the white quash in a bold, white consistency. And using a smaller size brush, I'm just adding in some bigger star spaces first and then we'll create in those glowing spaces out of these white dots that we've added using in the damp brush. Just going to soften up these edges and create in that soft looking white patch. Now to the center of these white patches, we are going to add in bold white color again to create in that glowing star effect into our galaxy blue sky. Now my mountain ranges are completely dried. And I'm going to go ahead add in little dry brush technique on top of these mountain ranges as well. Till then our white patches into the sky will also dry out and then we'll add in the glowing star effect. So here you can see I'm just using a little of the white quash and adding in these Ty brush strokes to create a little snow cape look on top of this mountains. You can go ahead and first test your paint consistency on a rough sheet of paper so that you get the perfect dry brush effect. Make sure you do not have excess water. Neither excess paint. Otherwise you'll get in patches of the white color instead of getting in these try brush effect. Now using the white paint in a little bold consistency, you can see I'm creating in some bold white patches to give in a very snow collected kind of effect on certain spots. Now using in this soil round brush, which has the bristles separated from each other, I'm going to use in the paints gray color and create a little foliage in front of the mountain spaces on the right side here. I'm just dabbing in the tip of the brush and you can see getting in that foliage effect. I'm the bold consistency of the paints gray color, so it's standing out separately from the color of the mountain. That is the reason on the right side, I hadn't added any of the snow effect with the white. Now, while this stage, as you make sure that you do not have excess water on your, neither do you use the paint in a very liquid consistency. You need to use it in a bold consistency. Now going ahead with a little detailed effect on the bottom space to create in that finished line effect separating it from the sea. On the top, you can see I'm just tapping in the tip of my brush and giving in that bold effect. Same way, going to give in a little effect towards the left side as well, but it's going to be smaller as compared to the right side. Details that we've added in, again, giving in a bold distinction to the sea line and filling in the rest of the space with the bold paints gray color. Now on the top here as well, on the left, I'm just going to dab in a little and create a little bush effect at the top as well, giving in that dabbing effect and giving in that natural bush effect easily. You can see how simply we can get in the natural looking effect for the bushes or trees just using in a spoiled. Now, quickly going to add in a litle more detail into the sea. First, I'm going to add in little reflection of these bushes that we've added using in the pinscray color, just giving in rough lines on the right side, I'm going to fill in with the Painscray color, roughly on the edges. And in the center we're going to let the C be visible in the blue tones that we've added in now using a light consistency of the blue color. Adding in little water strokes in the center space so as to show some water movements happening in Now. Lastly, adding in the detail of stars into the glowing spaces that we've created. And we are ready with our class project for day 18 as well. Let's remove in the masking tape after this and get in that beautiful view of both the paintings together to this one. You can see I'm just adding in some shooting star effect as well. Giving in very fine white lines. Using in the white quash, just a few of them, not much. You can even give in some glowing or a shining star effect like these, giving it in the star shaped effect. So let's remove in the masking tape. Make sure your edges are completely dried before you begin removing in the masking tape. Or else you may tear off your edges and the paints may get lifted off. So here's the final look of our painting from day 17 and day 18. I hope you guys enjoy painting these two beautiful, dark evening, blue skies with me. I will see you guys soon into the day 19 project. 23. Day 19 - Green Lush - 1: Hello everyone. Welcome back to day 19 of the 21 day challenge. Today we are going to go ahead and paint a beautiful sunny sky view with very simple foliage effect. It's going to take hardly 15 to 18 minutes to create this beautiful landscape out there together. I'm going ahead with a layer of photo onto the entire paper I have already taped on my paper and onto one side which we are painting for today. I'm going with an even layer of photo throughout. Make sure to run your brush on the edges perfectly so that you do not have excess water collected out there. And if you will have excess water, it will see back and may ruin up your edges as well. Now moving ahead with the color, I'm going to mix in a little of the royal blue along with the Erlin blue color. And using this pretty sky blue color, I'm just going to begin dropping it lightly. So with the help of water, you can see the colors are beginning to spread. For now, I'm just dropping the colors and later on using a little more water effect. I'm going to make these colors flow and spread naturally while adding in these blue spots. You can see I'm deliberately leaving in white caps in between to create the cloud effect and the natural variations of colors into the sky. Now in between, I'm going ahead with more of the Erlin blue color. You can see. Again, I'm using so much of water onto my brush to make these colors flow and spread into each other. But still making sure that I have initial white gaps in between so as to make those cloud effects come to life. Now, if you feel that your paper is beginning to dry anywhere, make sure you somehow try to keep your paper wet by adding in layers of water or using in a spray bottle that will help you in working out this sky. You can see I'm just leaving and dropping in blue panes, leaving in white random shapes of the white caps to create the cloud effect. Also, I'm wearing the tonal variations of the blue color. With the help of Cerelian blue and the royal blue color, I'm even using a little tint of the turquoise blue color at the bottom space here, which was already on my palette. You can skip it if you do not have a turquoise blue color. So I'm just done adding in a base layer of the blue tones. Now I'm just going to tilt my paper in all directions so that you can see the colors are flowing naturally wherever I feel that It's not a moving flow or having in that smooth flow, I'll just drop in a little more water and make the colors bleed and blend into each other, but making sure that I still have the white caps intact. Now while my paper is still wet, I'm going to go ahead with another layer of blues. You can see I'm using the blues in a little watery consistency, just dropping it with the help of the tip of my brush. You're also playing along with different variations of the blue color. You can see a little of turquoise, Celine Blue, putting it out on the edges very softly. And blending it right there so that we do not have any sharp color tones. My paper is still wet enough, but that is the reason I'm able to get in all of the soft blend between the colors and having this subtle look into the sky. In this way, working layer one layer, we can add in depth into a sky. Moving ahead slowly, I'm further going to go ahead add in little more depth into the sky Using different tonal variations of the blues. You can go ahead use in as many colors of blues as you wish to. You need not specifically stick to the same color palette that I have followed. You can go ahead with the ultramarine blue, erlian blue, cobalt blue. The blues of your choice to create in the depth into your sky, that all of them blend naturally into each other. Now again, I'm going to go ahead with one more layer of the blues. You can see the paper is still wet. It's been almost around five to 7 minutes and my paper has still remained wet. And I'm able to still work wet on wet. That is the reason it's very important to work in with a good quality paper that will help it stay wet for a longer time. For you to work wet on wet, to get the details right. In case if your paper is beginning to dry, try using in this spray water technique so as to get in the effect of the paper and making it stay wet. You can see how slowly I've add in the darker depth. So many variations of the blues, but still making sure we have a lot of those white cloud effect in the center spaces and on the left side majorly. Now, once we'll wait for this to dry completely after that, we'll add in the foliage effect to this. So now my sky is completely dried and using the soil round brush, I'm going to begin first creating in the first layer for the foliage. With this dry, spoiled brush, I've just picked up a dark green color. It is a mix of saprene and the olive green color. Just using the brush perpendicular, I'm dabbing in the tip of the brush to create a lot of foliage on the top left corner. I'm not going to take it a lot towards the center, just a little on the edges. Onto this, we'll still be adding a little of the detailed leave effect later on. You can see with this technique, it's so easy to create the foliage quickly. The important tip to remember here is that your brush has to be dry. Your paint doesn't have to be too wet. Try using a brush of which the bristles are a little hard and spoiled so that you get this dry brush effect. Now, next one, I'm just going to go ahead add in little darker layers. As you can see, we've got two to three variations of the greens for the foliage. I'm going to be adding in this foliage towards the bottom side as well towards the bottom right side. I'm beginning to add in and create the foliage effect the same technique, holding the brush perpendicular. I haven't dipped my brush into water, so my brush is technically dried with just a little wet paint. And that also, I've made sure not to pick up a lot of paint altogether, otherwise you will just get simple patches of color instead of getting in this dry brush effect for the leaves. Now at certain spaces at the top you can see I've tried to give a flow to the foliage that we're trying to add in somewhere. I've taken out those bigger leaf effect, trying to show leaves falling in from certain spaces. On this, we are going to go ahead with detailed leaves. Now I'm using in a smaller size round brush and using same green tones. I'm just going to begin in the tip of this brush and creating some detailed leaf effect randomly on this foliage. You can see I'm just having in the tip, creating in the foliage to give in more depth. Now while you're doing this, make sure you do not pick up excess of water onto the paints. Try to use the paint in a little pole consistency so that you have that bold effect of the leaves even after they dry out. Go ahead very slowly. Now, when you're trying to add in these leaves, try giving shape to the entire foliage effect. Whatever shape I want or whatever flow of the leaves and foliage I am looking for. I'm trying to move and add the leaves in that direction. While adding in these as well, you can go ahead and play with different tonal variations of the green color so as to create the natural effect into the foliage. You can see I'm randomly mixing in greens from my palette. That is the reason I'm not specifying the colors of greens that I'm using in here, because I want you to go ahead with your own color palette and in different variations as per your mood and choice. Now, randomly at spaces you will see I'm taking out bigger branches of the leaves, trying to create a flow and giving in a direction. And I mentioned to this foliage that we've added with the help of the dry, the technique that we used earlier helps us to fill in the space completely. And then with just little detail effect, we can get in beautiful effect of the foliage which looks in more natural and realistic. Now here also, you can see I'm going ahead adding in the leaves very randomly, moving in all different directions and creating in the depth for the foliage. Now in the same way we are going to go ahead adding a little detail leaf on top of this dry foliage onto the right side here as well. After this we'll just be using in a black pen, adding in some Vio lines into the sky and a few birds if needed. You can see as soon as you begin adding in this detailed foliage effect, everything begins to look a little more detailed and realistic. As well as giving in another time mention to your sky and the foliage as well. I'm almost done adding in the foliage effect. You can see I've gone ahead with different variations of the green color. You will see some lighter tones, medium tones, and some darker tones of the greens, as well as you will see the leaves moving in all different direction, left, right, bottom. That will make it look natural and realistic. Now in the center here, I'm pulling out a bigger branch falling towards the bottom side, trying to create in more depth and variation randomly. I'm just pulling out just some raw branches without leaves. So you can see I'm just pulling out small strokes and adding in the branch effect in between this leaves so as to create more of a natural effect. You can use in brown tones as well for this if you wish to, or you can use in the green color itself as I'm using. In same way, I'm going to add in little more foliage and branch effect towards the top side as well so as to make it look natural. I'm just going ahead with some darker effects onto the lighter leaves so as to create more tonal variations of the greens and giving in more of the natural effect. Now you need to make sure that you go ahead with the second layer of colors only when your first layer is dry. Otherwise, all the colors will just randomly begin to mix into each other. And you may not get in that detailed effect towards the edges. You can see I'm just having in the tip again to create some loose petal effect. Now quickly using in the pen, I'm going to add in a few random birds, very simple shapes and style. I'm using a zero point nib pen so that I can get in these fine details. You can even use a finer tip, 0.2 or 0.1 to get in more fine details. Now randomly some re lines as I told you, you can use in pain screy or black color as well for this, but using a pen makes it more clear and gives in that very fine detail effect yours. A final painting for day 19, we'll paint for day 20, and then remove the masking tape With a closer look, you can see all the foliage effect of the green tones, the different variations. Simple sky for today and I will see you in day 20 soon. 24. Day 20 - Green Lush - 2: Hello everyone. Welcome back to day 20 of the 21 day challenge. Today we are going to be painting another beautiful sky with a lot of green foliage effect. But the variation this time is going to be that we're going to add in a little color to our sky. Along with the blue tones. Along with the blues, we're going to add in little hints of yellow, pink, and violet to create a beautiful evening sky effect. First, moving ahead with a layer of water onto the entire space. If you're working with two paintings on one sheet, make sure you do, let the water flow into the previous painting. Also on the edges, make sure you do not have excess water. Otherwise, it will see back into your painting and may ruin up your edges as well. I'm making sure that I have an even layer of water throughout. So I've run my brush multiple times now. First, picking in with a little bit of the Naples yellow color. If you do not have a Naples yellow, you can simply use in a little pastel yellow color by mixing in a little bit of white along with your light yellow color. Very randomly you can see I've added in little yellow spots. Mark them out into my sky. While adding in the blues, be a little careful that you do not add them near to the yellow, or you may get in green tones. Now, mixing in a little bit of pink and orange to get a little orangish pink tone. And I'm going to add it closer to the yellow. I'm even going to add in a little hint of white so that it remains past still. And when we add in the blues here as well, we will not get in any muddy tones despite of the orange and the blue mixing in together. So just going to use this also in a very light consistency. These colors have to be very light and soft, and subtle. Do not use the colors, that's the yellow, pink and violet in bold consistencies. We need just very light effect of these into the sky across the yellow where we've added in, I've added in little hints of pink mixed in with orange and white and randomly adding it at other spots. Now next we're going to move on to the royal blue color and begin adding it into the sky with a little mix of the celan blue color. Now this color also I'm just first adding it onto the white spots. I'm going to leave in little white caps in between so as to have more dimensions and colors to a sky very carefully, almost into the entire space have added in the blue effect. You can see the colors have blended in so well into each other. The pink and the blue mixing in together will give you a little violet ins. We made sure that the yellow is past, so automatically, do not give you any green tones despite blending in a little wit with the blue naturally. Let the yellows and the blues blend in naturally. And do not try to blend them with a brush or layer on layer. Now again, going in with little pink tones, because you can see we've used it in such lighter consistencies, we're still going to go ahead with a little more of the blue, darker tones as well, because once all of this dries out, you know, it will turn out lighter. I've just dropped in little pink mixed in with white, in a little liquidy consistency so that I can have the flow of the colors and create the magic with just the flowing consistency of hot coolors. This is the best part of hot colors that you can just tilt it and let it flow naturally. Create those natural blends. Those natural, you know, harmony between the colors and, you know, giving in those smooth, soft blends. Now I'm picking up a little bit of purple mixing in with blue to get a bluish purple tone. I'm going to use this also in a very light, liquidy consistency with very pigment and little more of water. I'm going to begin dropping in this, along the blue spaces and create in tonal variations of the blue with the help of this blue violet color. Very carefully, I'm again beginning to add in these little strokes as you can see, with the blue violet color. Again, you can see I'm using the color in a very medium tone consistency, more of fat or less of paqment. But making sure that it's not so much excess water that it spreads out completely. I want to make sure that the remains in the strokes that I'm trying to add in so that they retain the shape and given the depth to the cloud. Now quickly we'll add a little towards the bottom side as well. And then we'll wait for the sky to dry completely and then move on to the foliage. Once it's dry completely, let's wait for the sky to dry. You can see the different variations that we have into our sky already. Now, once this will dry out completely, we'll add in the foliage. I'm just adding in a little more tints here and there because once this dries out, it will turn a little lighter. So at certain spaces, just making it dark, that is it. I'm ready with the simple sky. Let's wait for this to dry first and then move ahead further. So now my sky is completely dried and you can see how light the colors into the sky have turned, giving in that beautiful effect. Now, the same technique that we use for the 19th class project, the dry brush technique for adding in the base layer of foliage. Going ahead with that same technique and adding in the foliage quickly. This time I'm going to add in the foliage towards the bottom, left and right side and create an entire space of the foliage. And then we'll be adding in a street light effect in between to this first, quickly going ahead, adding in the drybrush effect. The same tips to remember here as well. Firstly, use a brush of which the bristles are hard so that you can get in the drybrush effect easily. Secondly, do not dip your brush into water. Just pick up little thick paint onto the tip of your brush and hold it perpendicular. And keep dabbing it so as to get in this foliage effect. As you're adding in the foliage, try giving in shape to the foliage taller somewhere, taking it in different shapes of semicircles, or moving in topwards, creating in a branch to the foliage. Try using in different tonal variations of the greens while adding in the foliage as well, so that you can get in the variations and the natural effect as well. Now in the same way, I'm going ahead onto the right side as well. I'm going to quickly add, you can see how I'm moving ahead in different shapes towards the center space. Some we're taking it more towards the center. We're just keeping it towards the edge of the paper. This is again just the first layer of the foliage that we're adding, like the previous class project. And then using again, a smaller size down brush, we'll add in little detailed foliage here as well. And then add in a silhouette to this painting as well. Now quickly using in the brush, I'm going to dab in the tip of my brush and create a little detailed leaf effect while adding in these detailed leaves as well. I'm going to go ahead with different tonal variations of the greens I'm using in mix of green, dark green, olive green, light green. So that I keep on getting in different variations to my greens. I'm mixing these colors randomly so as to get in that random effect to the foliage here and there. Now as I'm beginning to add in the detail leaves, you can see I'm trying to define the shape towards the center spaces with the help of the leaves giving in that effect to the foliage. This is by far one of my most favorite spread that we've created into this With very simple skies, but so much depth with the help of the foliage. And such quick and easy painting with just under 20 minutes to create in such realistic effect with simple blue skies. In between here you can see I'm just stabbing in the tip of my brush as well to create little depth to the foliage. Again, towards the right here you can see how I'm pulling it towards the outside and creating in the shape and the branch effect with the help of the leaves using in the smaller sized round brush so that we get in that natural effect in the center of this foliage, we'll be adding a street light effect using in the black color. You can use in black color paints, gray color. Or you can even use in a black pen so that you can get in more sharp and fine details. I'm almost done adding in the foliage here as well, Quickly filling up the spaces at the bottom to create in more depth. Now let's shift and begin adding in the details of the leaves, a little more, a little towards the right side here, before we move on to adding in the rest of the details. Here I'm taking one branch moving towards the sky. At the top you can see how beautiful everything is turning out with such simple details, such simple techniques, but yet such a beautiful creation and outcome At the end, Even if you are a big ner, you can follow simple techniques and trips to create in details. Now at random spaces, I'm pulling out some branches, adding in some detailed leaves. You can even pull out just simple strokes to add as dry branch effect as well. Now using in a black pen, I'm going to quickly add in the detail for the street light that we are going to be adding in. Adding in a straight line first. Now I'm just going to add in a simple light effect. I've marked a line with the help of a black pen so that I can get in a straight line. Now I'm going to make this bold with the help of the brush I'm using in the paints gray color, in a bold consistency. And adding it on top of that line that I added. This will help me in getting in the straight line effect out of this. Pulling out the hand for the street light, I'm going to simply add in the street light effect here. Now the light space as well. I'm just adding in simply with the black color, trying to show just the outside part, since the street light is not lit up for now because it's a day light effect that we're trying to paint in. Now. In between these as well, if you want, you can simply go ahead with a little more of the lines as well. First, I'm using in a dark green color and blending in the bottom of the street light pole with the foliage that we've added at the bottom so that it looks well merged and coming out from this foliage space that we've created. Now my street pole is completely dried and using in the white quash, I'm just going to add in a small high light to this pole, make sure that your black color of the pole has to be completely dried. Before you begin adding in this, I'm just going to use the tip of my brush. I'm going to add in a fine line towards the backside to create a depth and shadow falling onto this street light. Just adding a little light effect towards the light space as well. Just a small curve to add in the depth and showing in that light space that is there using in the pen. Again, adding in simple birds, just as we added in for the day, 19 very simple tiny silohtes which are hardly visible, and very fine details to make it look more delicate and realistic and trying to show them with a far off view. You can use a smaller size brush and the black color as well to add in these. But I wanted to add in fine details using in the pen directly. So that is it. We are ready with our painting. Let's remove in the masking tape and see our final spread for day 19.20 I hope you guys enjoyed painting both these beautiful paintings with me. I'm in love with how the spread looks. The greenery effect has my heart. I hope you guys learned a simple technique to create in the foliage quickly. Here's a quick close up look of the spread. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the last class project of this class. I hope to see your class projects into the project section and do drop a review if you like this class. 25. Day 21 - Pastel Sky: Hello everyone. Welcome back to the last day of this 21 day challenge. Today, we are going to be painting our last blue sky, which is going to be a sea sky. I'm going ahead with a rough pencil sketch. The bottom area is going to be the sea. On top of each, we're going to have a small mountain or a field space, and the topmost area is going to be the sky area. Along with the mountains, we'll be adding a little greenery. I'm not going in with detailed pencil sketch, we'll directly go in with the paints. So I'll first begin in with a layer of photo onto the entire sky and then we'll move on to the rest of the details. So beginning in with even layer of photo throughout on the sky, while adding it closer to the mountain range, I will try defining the shape of the mountain range with the help of the brush. Going ahead slowly, make sure you have an even layer of water throughout and no excess water on the edges so that your paper stays wet for enough time for you to work wet on, wet to build in the sky. As well as if there will be excess water on the edges, it will seep back into your painting and may ruin up your edges as well. So make sure you have an even layer throughout. Now, we're going to begin with the colors into the sky, so I'm going to mix in the royal blue along with a little bit of the Cerelian blue. We're going to go ahead at the top with the blue first. And then closer to the mountain range, we'll go ahead with a little hints of yellow if needed. So I'm beginning in with very light tones first, as you can see, just trying to go ahead with a very light wash. You can see moving towards the center, I've further gradiated the color and got it to a light consistency. Now using a little bit of the Naples yellow, I'm going to begin from towards the bottom side of the mountain range and blending well till the light blue tones. Now remember, blue and yellow mixing together may give you greens. So it's very important to blend them, leaving in some white cap so that they naturally have in that soft color. I'm even going ahead with a little of the pink closer to the mountain range. So it's a pretty beautiful sunset color sky with different tones of pinks, blues, and yellows. We just gave a basic wash for now and now I'm going to begin with taker tint. So I'm mixing in a little tint of indigo along with my cereal in blue. And I'm going to begin adding it towards the blue building in the sky. But when you begin adding in these, make sure you do not have excess water or pigment on your brush. Otherwise, it will begin to spread completely and cover up the spaces very carefully. You can see I'm going ahead slowly, step by step to build in the sky. Now, layering this very light handedly over the pinks and the yellow so that we do not have any greens. The blue and the pink mix together. I give you a little violet tones, which will be perfectly okay, as it will be a color which will go in harmony with your sky. Rest of the spaces go a little carefully. You can see how slowly I'm building in different cloud shapes with this stone. Again, this is not much of a darker tint as you can see. We'll still be working with much darker tints as we move ahead further, very carefully, you can see across the mountain range as well. I'm defining in details with the blue. I'm further going to go with one more darker tint. So just going to add in a little more of the indigo to the silent blue color and begin adding in some darker hints. You can see I'm still working wet on wet. My paper is still wet on which I'm going ahead with these wet pints to get in the details right. So make sure your paper is still wet so that you can get in the soft blend between the colors happening in. And you will not get in sharp edges in case if your paper dries in between. You can use in spray bottle to keep your paper wet as well as you can wait for it to dry completely and then go ahead with the re, vetting technique if your paper is drying a lot quickly. That is why I recommend using a paper or test your papers before using them so that you know whether they're going to stay wet for enough time for you to work wet on wet. Now at the top as well, just going ahead with some blue cloud highlights. Now at certain spaces where I feel that the blending is not moving smoothly, I'll just go ahead and use a tambrush and blend them. Now at certain spots, I'm adding in little pink highlights to create some violet tints as well into the sky. So you can see the blue and the pink mixing in together automatically, creating in those beautiful violet highlights. That is it for a sky. Now, we'll paint the bottom space first and then go ahead with the mountain range. So the bottom area is going to be a field space. I'm going ahead with a layer of water first into the field area. And then on top of this wet layer, we're going to go ahead and add in the colors quickly. Now for the field space, I'm going to go ahead with the colors of green. Randomly, I always say you can go ahead and play with your greens of your choice. And you try having in variations of greens into your field space so that it has a natural effect to it. So first I'm beginning in with this light yellow green color towards the horizon line and filling in the entire space with this light green color. Now on top of this, I'm going to go ahead with little darker hens to create little depth into the field space. I'm in a little of the sap green as well as a little dark green color that I will be using to create little highlights. But I'll make sure we have little light to green highlights as well. Staying in so that we have those variations of greens into our field space. Now shifting into a smaller size, I'll pick up a little of the olive green color. You can use olive green, creen, or Hookers green. And just add in little darker highlights on the edges in the center. I'm going to use in a little of the yellow ococlor as well to create a little highlighted space. I'm just going to drop it at the bottom center of the field. You can see we've swiftly created in some highlighted spaces. Now using in the browns, I'm going to give in little depth at the bottom space. I'm still doing all of this, wet on wet. So you can see the soft blends happening in between the color towards the bottom space, just dropping in little browns and creating in little taco patch into the field, trying to show some muddy areas in between the greens that we're trying to add in. Now before we let the field to try just some last detail, I'm going to use darker green tint. And just going to add in little lines into the field space you can use in any green of your choice to do this. Now I'm going to add in three to four lines and see some moving left and some moving right diagonally. And then we'll see whether we need to keep all of them or we need to remove a few of them, just diagonal creating sections into the field. Basically, I'm doing this while my base layer of the field is around 50% wet so that I get that soft edge to this diagonal sections that we're trying to create in now towards the right. I'm going to go ahead and try doing in the same, very swiftly, doing the same towards the right as you can see. But I feel towards the right. It's looking a little weird. So what I'm going to do is I'm going to quickly pick up a bigger size brush and using it in a damp consistency. I will blend this screen into the field again, since my base is wet, I can simply blend this again and not having these lines here. So you can see how swiftly I blended it back into the base of the field. And we just have those two lines on the left side. And again, I'm just dropping a little lighter greens here towards the right. Because you can see because of the darker green, the entire space looks of a similar tone. Now let's wait for all of this to try completely. So now everything is completely tried and we're going to begin painting in the mountain range. So I'm going to use in the light red color, you can use burn sienna or mix in a little tint of red to your brown to get this very vibrant. Reddish brown tint and begin adding it as a base layer to the entire mountain range. Now you can see as I'm beginning to add in, I'm trying to define the top of the mountain range, giving in that rough edge and that beautiful shape to the mountain. Now the bottom space, we are going to add in darker green bush effect. So I'm letting that be for now. I'm just going to pick up little darker tints of the brown and add it on the mountain range that we've added while the lighter layer of the mountain is still wet. So you can see how gently the color is spreading on its own. By just adding it towards the tip of the mountain, it's blending it into the lighter shade, creating in that perfect radiation for the mountains as well. So I've just started in a little more of the Kats now, defining the top of the mountain quickly. And then we'll go ahead with the further details Now until the first layer of the mountain dries out, we'll quickly go ahead add in some grass details into the field space. I'm going to use in random greens which are on my palette. And I'm going to add in very simple grass strokes, masurely towards the right side. You can see very randomly, I'm going ahead with very rough strokes or moving towards all directions and just swiftly adding them. I'm going to use in little brotas as well to add in a few so as to create that detailed look of some dry grasses as well. In between the green grasses that we're trying to add in, you can see from the grasses itself, I'm trying to pull out smaller grasses coming in. I just defined the diagonal line well, again, because it had blended into the base layer. Now I'm just going to go ahead with some splatters of the creen. When you begin splattering, make sure you cover up your sky or have a controlled splatter. Otherwise, it will go onto your sky. Just going with some very random splatters. Now randomly using, in darker browns, I'm just adding in some rock spaces, some muddy patches like this randomly into the field to create in little depth at the bottom. Adding in little bold brown patch to create some muddy mountains are formed into the field spaces, or you can consider them as rock spaces as well. Now let's wait for this to dry completely. So now our first mountain range is completely dried. And I'm going to quickly go ahead add in the second Bush detail in front of the mountain range using in a very dark green color. I'm going to begin adding in the Bush space, the top of the bush. I'm just going to begin dabbing in the tip of my brush and create random shapes and then bottom tilt the horizon line. I'm just going to fill it with this dark green color quickly. Now you can see since I have my paper taped down on a movable surface, it's so easy to just tilt my board and quickly add in the greens. So I'm first defining the straight horizon line quickly and there on top of it, I'm going to go ahead and just dab in and define it in a random shape in between. You can see I'm just pulling out simple strokes like this and just taking it like a spiky pine tree in effect, but not to the detailed one, just a far off view in between. Again, dabbing in the tip to create some details. Using both of these detailed variations to create in the depth I've almost reached the end of this painting, you can see just such a simple field effect, the beautiful, colorful, subtle pastel looking sky. That is it. Let's remove in the masking tape now and see our final painting. Since we have this last painting on one sheet, I'm going to remove in the masking tape now itself. I hope you guys enjoy painting these beautiful 21 blue them sky with me with different variation elements such as fields, water, simple silo heads. I hope this pastel sky at the end was beautiful creation to end this 21 day challenge. I hope if you've paint along with me, you will upload all your class projects into the project section as well as if you love this class, do not forget to drop me a review. I would love to improve as well as read all of your reviews. Thank you so much once again for joining me into this class Painting along with me. I hope to see you guys soon into my next skillshare class.