Master Class - Draw & Paint - Boats & reflection.

1. Introduction: If I have thought about heaven, it can be only water, beautiful beaches, boat and evening sunlight. Hi, guys, I am through the Coran art an artist, instructor, mother, Skillshare teacher, and brand owner of vibrant parcels where we manufacture handmade, sketchbooks, artists, weight paints, and much more. Today we are going to learn everything about painting boat, water, reflection, and we are starting out by knowing all the materials. Once we are done with the materials, we will move on to understanding how to paint wet on Water with two different kinds of strokes. One is a straight strokes and another one would be a curve stroke. Moving on to how to make a boat, that is a drawing. As well as I have also given cheat sheets of how to deco stepwise in making these boats. Every painting is real time. We are starting out with the drawing, then moving to the final painting. Painting is, of course, in layers, but mostly it is done in two, two, three layers that actually serves the purpose of any Wigner who is working with watercolors. I have also added the masking fluid as one of the tools for this watercolor boat reflection series, as this is a master class. Hence, adding all kinds of tools is something that would help you to understand the paintings in a better way. There are various sketchbook exercises and then a final painting which is done edge to edge. Each of the project and exercise is exclusive of each other, which gives you a lot of opportunity to play around. Let's start with our first lesson now. 2. Materials Required: Let us discuss the materials that I'm going to use for this painting. First is the color. This is one of the important colors, Horizon blue, or you can also take Kobalt green. These are two shades that I'm going to use. This is the Kobal green, which I was talking about and this is the Horizon blue. For the water areas, most of our water would be somewhere in between green and blue. Hence, we have to keep in mind that these shades are available. You can use HWC or any of the other colors for your watercolors. I would be using whole been watercolors. There is a masking fluid. This is Pb drawing masking fluid. There is an eraser. There is a pencil, then we have different kind of brushes. Let's just go ahead. This is basically the brush which I would be using for masking. This is my wash brush. This is about 1 " from the brand Princeton. I would be using even a size two, the Vince brush. You can use size two or size one. Size zero, whatever is available with you, I would leave that decision up to you depending on the size of the paper, we will decide this. You have a size three brush from the brand, again, the Vinci there is a silver velvet, size four brush, size six brush, as well as a three by zero pile brush. You can use many of the other brushes like a liner brush or maybe another thin brush. Either you can use the same brush like the zero brush which you use for the masking, even for other things in your painting or housekeeper rele thin brush, like a liner brush which you would be seeing me using in my painting. Let's go ahead and see this is tissue has a very, very important role in all of our paintings for taking out all the extra fluid or even taking out all the extra water paints from our brushes. I will be using two sketchbooks. One is an A five size sketchbook and one is a real big A four size sketchbook. These are the sketchbooks which I'm going to use. There are two major paintings which I have on this A five sketchbook and there will be three major paintings we would be doing on an A four size sketchbook. Another full project we are going to do on a single A four size paper, and that would be placing on an acrylic board and using. The paper is basically your arches, 300 GSM, 100% cotton, cold press paper. I have a block of this available with me. You can have a look at it the kind of paper that I am using for all my paintings. If you are someone who wants to go for a cheaper option, I think fabriano artistico, which is 100% cotton or Bahng, 100% cotton academy level paper. These are great options on a cheaper side compared to the arches paper. Keep two jars of water, one for fresh supply and another for washing the brushes. 3. Two ways of painting water: Hi, guys. Today we are going to learn how to paint wet on wet, and I'm taking only two colors. One is my co Bar blue and another is indigo. We are going to start out with our wet wash on top of the paper. This is basically applying water, and then we are going to add some koba blue plus indigo on top of it. One of the ways of adding the waves or you can say currents into the water is just going ahead and adding simply darker lines with the help of darker values of blue like indigo plus Kobal blue to create that and another way is to add curve or more slanting and moving kind of lines to create the waves. Now, these are mostly the two ways in which we are going to paint the wave even in all the paintings that you are going to do today. This is just a rough idea of how we are going to draw water. Water is really tough, and if you are someone who is looking to paint water exceptionally, I have two other classes, which is watercolor ocean waves, 1.2, watercolor seascapes, as well as watercolor ocean waves, two p two. So there are various different classes available, so you can go ahead and watch them. This one is not only focused on water, it's also focused on boats and reflection into the water. Hence, you will have mix of all of them coming in. I have created a gradient wash that is moving from a darker value from the bottom area till the top area which becomes lighter in value. As I move around, you will see that the kobarblu is on the top and some darker value of indigo plus kbarblu in the bottom. I do clean out the edges so that there is no backrun. Bachrun is a very important concept which I always talk about this is basically leaving out your water or paints on the edges. And then they again move back into the painting, creating cauliflower like effect. I'm going ahead with a thinner brush now. This is basically a size four brush and I'm using from the brand, the Vince, you have seen me using even other brands like silver velvet, the Vince, et cetera. They hold a lot of water and it becomes easier for me. I'm going with some straight lines, if you see, the bottom one is more broader. As I go towards the top, it would become lighter and thinner. That's how we are going to approach it. Yes, they may move a bit as the paper is still wet because of which we might have to go ahead and go over it once more. It all depends how the whole of this painting is coming together. I really can't predict at this moment how it is going to come together, but all I can say is I'm moving with a darker value on top of the lighter value to create these movements of water. Your waves will become thinner and thinner as you go towards the top compared to the bottom area where it is more broader. Keep this in mind because whatever goes away from your eyes, you cannot really see it well. Hence, you might have to pick up the colors with the help of your broader brush if you have painted it really, really broad while you're going to the top. I've just used simply just straight lines straight strokes. If you are someone who knows how to make straight strokes, I think this is one of the very easy ways of creating movement in your water. That's how I always go about it. You can leave it at this stage, not touch it much. If there are any places where you think you have to retouch, make sure that it is with the darkest of the values as you see me doing it over here. Some of the places you can also join as you observe, then it would make more of wave like structures that are more continuous in nature and pick up the colors wherever it is moving a lot more than what we need. The first one be there absolute wet on wet. The second one will also be wet on wet. But my first layer would be basically micro ball blue that I would be using for creating the base layer rather than water. In that way, I can control my movement of the colors a bit better way. Though, when you are using papers like arches, fabriano, 300 GSM, et cetera, what happens is you get a very, very nice sheen on top of your paper, as well as the water states for really long periods so that you can work through it very easily. I will add some more darker values. I will start from the bottom area, which is with the darker value of indigo and take it till the middle part of this painting. A maybe some more co baarblu towards the top area. Oh. Pick up the round size four brush and then mix it with some more of arco ball blue, start from the bottom area at the darkest value towards the bottom area, make it a bit broader, and then move along till the top, as you see in a curve manner. Now, this is more curvy compared to what we did include in our last tight lines. Though you can choose how you want to paint it. I wanted to show you both the ways as I don't want you to miss out on any one of them. Both of them have their own pros and cons. The left side, it is easy to paint, whereas on the right hand side, it would give you more opportunity to play with the movement of the water compared to the left side, which has less opportunity to offer you in terms of the movement of the water. Some of the places you can make darker, you can make the waves move or join in some places, and not be joint in some just ended in few areas, not thinking much about how it would look in the final love, you focusing more on the movement and making some thinner lines as you go towards the top. I'm going to add some more of my darker values. As you see in the bottom area, there is less of darker colors that we have added, and I'm going to use it. Some of the areas I have joined in a curve manner. That's how we go about it. I'm pretty happy with how it has turned out altogether right now. You can also leave it at this stage or continue to play around as I also continue to play around with it. The top area, of course, has become way more lighter, or you can say it has become way more drier, and that's one of the reasons you might have to go ahead with some of your cobalt blue or just maybe water and then blend it I the area where you find that the water is good or in the area where you see that there is moisture still on the paper. This is a bit of a rework, but that's okay because anyways, we are painting water, which is one of the toughest subjects to attempt. Believe me or not, when I started out with watercolors, I was always dreaded about painting water. I never attempt water, and now water always attracts me. I have been painting water for years now, and every time I paint water, I learn something new. Hence, watercolor has a lot to offer if you are thinking about painting any of the subjects. As you progress, you see your style changing to a greater extent, and hence the final outcome also changes to a higher level where you get to realize that you can paint different subjects in various styles. One can be done wet on wet. One can be done wet on Troy. Some can be done in wet on wet street lines. So can be in curved manner lines. So it is all very different than you are at the final painting, you will have lots of options to explore, and how you use it to your own benefit is something that you have to decide and work upon. Let this dry completely and then move on to our first painting. 4. Practice Exercise - Red Boat: Colors are ultramarine purple, naples, yellow, red, orange, olive green, or sap green indigo. This is another sketchbook exercise, and it is e four sized paper, which we are going to use for this particular painting. I'm going ahead and taking about eight to 9 centimeters from the top and then marking a line. This is basically my horizon line, which would be differentiating between the water and the sky area. There will be a small lighthouse that would be at a distance, which we will also make along with this painting. It's going to be a very easy and simple painting where we don't have much in terms of the waves, et cetera. It would be less number of waves or ripples that we are going to add onto the water and a simple small drawing of the boat. Now, the boat is the most simplest, I would say till now, whatever we have done. First, let's go ahead and draw the structure of the house or the structure of the area which has your lighthouse part. I will go ahead and make a few lines that are parallel to each other. Then start with the whole of this house and the lighthouse part. Okay. I think this is a good way to always go ahead and throw anything, draw a very, like, outline of it, and then add any kind of other details to it. Just to keep you informed about my watercolors, you can see my palette on the left, and all the colors that I would be using, I will name each one of them. In the beginning of the video, you have already understood the colors that we are going to use for whole of painting. Two parallel landing lines, as you can see over here, more of a triangular kind of structure and then extend it as you see in this portion. I would go ahead and add that line and once we have added the line, we will mark out the areas which has to be in darker values and the areas which would be in lighter values. Now, darker values and lighter values have a great role to play, even in this particular painting as we are going to add the light and shade into into this house or the lighthouse, as well as you will see a great amount of reflection of the boat into the water area, too. Continue with the drawing. It's easy simple drawing. Don't think much go with the house kind of structures as you see over here. And it's a simple, simple structure. Nothing much to explain. Just see how I'm going about it. It's on top of the last applied marks of the graphite. I'm going ahead and adding some more of my slanting lines. The right side, of course, is my lighthouse, which I'm going to detail. Again, as you see here, we continue to detail our lighthouses. You really don't need to focus much on the lighthouse, frankly speaking, since this is a very, very small part that I have added to the painting, the major part is the boat which will appear in the bottom part of our painting, and there will be a reflection of the boat that will happen in the water. A I'm adding the darkest value for the roof area as it would be in brown or maybe in darker value of red, pink, whatever you think is good for you, you can go ahead and use it for this part of the painting. Once this part is done, we will go ahead and start adding the boat area. The boat is going to be very simple if you are not or if you are just starting out with watercolors, I think you can go ahead refer to the cheat sheet that's already uploaded in the resources section. I have told you exactly how to add your boat, how to sketch stepwise in that manner. Though over here, it's again explained in a step byse manner, but still if you are someone who is having a bit of difficulty in sketching your boats, et cetera, I think it's a good place to start out with your sketching. Great. I guess this is what we wanted. The one that I have added is only two dimensional. Here, it looks, of course. Oh sorry. This one is particularly two dimensional. Over there, it's mostly one dimensional. You are seeing it from the side, but you can get an idea about how to start out with your boat paintings. It's very simple, easy. Do not worry with the sketching part. The only mindset which you need when you are doing watercolors is to think that you can do it. Any painting that you feel that you can do it, I think you will be in a position to nail it for sure. It's only our mental strength that we need for completing a painting. And in fact, for any kind of work, whether you are running your errands, whether you are going for your work, whether you have a hobby, you have a side hustle, everything just needs a mindset and your willpower to perform. Watercolors is never something that is exceptional and someone can do it and someone cannot do it. You have a step by process available over here. If you just follow the step, you can really make a beautiful outcome that you would be super proud of. Mm hmm. I've added a rectangle and then started adding more of a slanting line, as you can see, which looks more like a triangular structure. And then we are going to add one more line from the left to the right. You will see how we continue to work this out. As I did tell you even earlier, it's easy, simple. I keep iterating this again and again in many of the videos so that you can feel it and you just know it. It is very simple. Yes, anyone can do it. Even Avigno can do it. There is nothing that is difficult in this painting. It would be simple, wet on wet. We are not going ahead and adding any kind of masking fluid. That part also you can just ignore, go ahead and start applying your whatever colors into the water area. It would be mostly wet on wet, as I did tell you earlier, and I would be adding only straight ripples, which gives you a lot more opportunity to not think much and just try to add some straight lines. If you are someone who is not very well to do with the straight lines and you get a bit of wavy lines, that's absolutely okay. Don't think much. Go ahead with howsoever the whole painting is turning out. Now it's time to add the reflection, which would be just below the boat where you see over here, it will be a red boat, and I am so happy to add this red boat in our painting. Believe me or not, red boats just add so much beauty to any kind of painting that you want to do red brown. Yes, we are going to do a lot of lighter value boats, too, mostly lighter value boats, less of these nicer and vibrant boats. But since I am a lover of vibrant colors, and that's one of the reasons I really wanted to go ahead with something more vibrant, and red is one of my always options to go ahead with. Let us go ahead with the last part of this reflection into the water area, as you can see that I'm making the exact reflection of the boat into the water. I'm not changing anything as of here. We are going to keep the same structure. It's basically a mirror image of the boat into the water area. I'm going to add another small boat in the background, as you can see over here. This is the basic sketch. It takes about ten to 15 minutes, and once your sketch is done, we are good to start out with our watercolors. Watercolors majorly will be the water part where we are going to focus majorly on our boat. Now, if you really don't want to mask out the area of the boat, that's also absolutely fine. You really don't need to. If you want to keep your things a bit more simpler and easier, you can mask out the boat. You can also use a masking tape for masking any of these areas. I'm going ahead with my ultramarine blue on the top part of the sky, and then you can go ahead with some amount of your naples yellow for the bottom part of the sky area and just blend it with clear water in the middle. We will have an exact reflection of our sky into the water area, which means that naples yellow will be directly reflected from the sky into the water. Water doesn't have any color of its own, and hence the color of the sky will get reflected into the water part. We are going to go ahead and use even the tram for the waters and some amount of purple I really like to mix for the darker values. This is going to be simple, easy, very, very, I would say, amazing. As I know that this is one of the paintings that I'm in love with. Always note that less is more in watercolors, which means that this particular painting will be a true example of my words, as I say, you have less to do over here and more will be the outcome that you see. We are using A four size paper, as I did tell you earlier. You know why I use A four size paper. It's very easy to work around with even the larger brushes, pollo brushes. And it's quite sizable kind of a paper which can help you to ease through your watercolors very quickly as a medium. We are going to cover quite a lot of area with the help of our ultramarine, as you see over here, I have switched on to the size four brush of silver velvet. You can also use size four or size six. Whatever is available with you, you really do not need to own these brushes for doing all this complete painting. But yes, having a good brush is always an add on to your painting skills. I have mixed some amount of purple into my ultramarine and then blended it towards the bottom. The right side looks really, really, like, light. And hence I went ahead with my darker value of ultramarine to create the darker values. We will go ahead and make some amount of our ultramarine into the purple and create the ripples. Now, ripples are something that I always always create in a boat painting, and these ripples add a lot more, I would say depth into a painting and it looks more like real like real time painting, it comes across as a painting which is like a photograph rather than only being a painting, which S, painting are of various kinds. Sometimes, it's only your expression of showing whatever you have seen. And there is something that you also create. As you see in a photograph, you try to replicate the same to an extent, including the style that you um, imbibed date of watercolors. So all of that combined together also comes up as a painting. And I would say I like to do the second part more compared to what you usually see as your own. Though there are various paintings where I only paint whatever I see from my end rather than it being an exact copy of nature. This is somewhere in between, which means that it has an element of nature to a greater extent, and it has an element of mind too that I add into this painting. As we go towards the top, the ripples become way more thinner and lighter. You can see that I have some of the naples yellow, smaller lines coming up towards the top. My paper has started drying up. That's one of the reasons I cannot work through my paper very easily as I was doing earlier. Hence, I need to go ahead and wet my paper or else leave it as is, let your paper dry off completely, and then go ahead with one more layer of water, add the ripples that you need. Now, this is all dependent on how you want to work it out. If you have good ripples that have come up, no need to go ahead and again do it as I feel that this is good enough for anyone who works with water ripples, et cetera. Do clear out some of the areas wherever I think it is necessary with the help of a damp brush. This is very helpful for any watercolor painting, and again, apply a clear layer of water so that further ripples can be added. I think that the last part was fantastic and phenomenal. If there was some problem that occurred as I did retouch some of the areas, yeah, in a way that was not so I mean, it was not so acceptable to me. And hence, I had to go ahead and again apply the colors. It all depends, you know, it's all dependent on how an artist sees it or how a painter observes it. It's not that everyone will like to again go over the colors, et cetera. I always love to paint once and then move on, but sometimes that is really not possible. Hence, we have to go over it once, twice, thrice. It all depends. Like, this is a real big paper, and my paper is 185 GSM because of which the paper is drying up before I could work around. Now, this happens if you are working with a lesser GSM paper, while lesser GSM paper is better, AFive size. Because that really stays wet for good amount of time that you need, whereas a AFO size paper stays wet for lesser amount of time. And sometimes in few of the paintings, it comes out as a challenge. Though I love to work around with this paper as it is a bit more cheaper compared to the 300 GSM and works fine for me. I basically work out of baglaw and it has a weather which is not very dry and not so wet. And hence it gives me a good combination of Uh, I would say the good combination of timing in terms of how much the water stays on top of the paper. And hence, I guess I'm good with this kind. There might be a few challenges here and there, but if you're using 300 GSM, I'm pretty sure about it, you are not facing it. So let's not go over the color again and again and let it be as is what we have created at the first go. I would go ahead and apply some yellow, then some brown. It can be red brown. It can be normal brown, whatever is available with you. We are trying to create the reflection of this house, as well as the lighthouse into the water area. This once created, we will go ahead with the top part to see how you will add the green, as well as some amount of the browns and your lightest value of blue for creating those shadow parts. I would again go over the bottom area as the lines are really hard and I really don't like it. Some of the areas have become really patchy and dry. If you haven't got this kind of an outcome, please do not try to go ahead and again add water, et cetera. This is only for people who are struggling with watercolors like me. Yes, we do also struggle. In some of the paintings, you will see that struggle, and I really want to keep it real. I did not want to only show you the good parts of my painting. There are times where I do struggle a lot with watercolors and I wanted to keep that struggle to show you that, yes, there are times where we don't get the expected outcome, and we have to rework on top of it again and again, which might come as a surprise and which might many of you feel like, Okay, this looks this doesn't look like they are actually going over and again doing it. But yes, there's lots and lots of rework happening at many stages of my painting. Sometimes you see it, sometimes you don't see it. Few of the paintings are just brilliant. They come out once and they just happen to be one of my best works. But there are times where I have lots of struggle, also in creating many of my paintings. Going ahead and applying some yellow Ochre, as you can see over here, this is basically for the land area, which you see, and this land area is going to be in my yellow ocher and some amount of browns. On top of it, we are going to add our greens. The reflection of the greens will also happen into the water area. We are going to work around with the reflection to a large extent. So just stay along with me and observe the colors that I'm using, see the techniques and those are the basic learnings. You can always create a painting of your own. Nothing to actually think much about whenever you are creating or painting. It's just a few techniques that every person uses. I really like to fix my paintings sometimes if I get a hard edge. So those are the learnings that you can also take along with you and not think that every painting is so so perfect. Once I remove my masking fluid, some of the areas will become lighter as the masking fluid has taken the graphite marks along with it, and I might have to go over with my graphite pencil to add the lines. Once we have added the graphite marks, it's time to just pick up your red colour. I have mixed my red colour with some amount of your opera because that gives me a real bright red kind of a sheet that I am wanting for this particular painting, going ahead and adding it for my boat area, as you see, I'm using my size four or size six brush Silko velvet. Any of it you can use for painting your boat. Make sure that your boat is really not very big as it is closer to us. So there is a perspective which you can also, but still it should not be so big that the whole point of painting the boat more closer to us was for a toss. The land area is pretty far away from us, and hence we can see everything really in a small manner. I'm going ahead and adding some red brown on a few of the areas. I love to blend my colors. Now, these colors add so much of depth into the painting, as well as the variation of the shades and values create a great illusion that over the time, there has been a lot of wear and tear in the boat. As you will never have a single color being similar in all the spaces, the boat rides in water, and if you ride it in boat and water, you will see that because of these water, there will be some marks in the boat you will get or the whole of the boat, I would say painting has gone for a wear and tear. Keeping all of it constant, you continue to paint your boat and have a look at it once it is done. I am super excited to bring you this painting for sure because it gives me so much of love and beauty as well as the vibrancy, which I have been looking forward to in any painting like those of books. Let us mix some yellow with the reds and the browns that we have added. Again, the reason remains same, which is basically the wear and tear of the boat. I continue to really enjoy painting slow at this moment. You will see that there is the whole of the video, not only the sketching, even the painting is real time. I wanted to keep it real for all of you so that you can follow and paint along with me. There should not be an occasion where you think that, Okay, this comes out very quickly or easily, it takes time. For me, it takes time. Even for you, it would take time. But all I can say as a good I would say it's always good to go ahead and observe how I'm painting. You can also see it at a to speed to hold off the video and then again, get back to the painting. Start painting along with me after that. So it basically gives you an idea of how I have sketched, how much time I have taken for the sketching. Take a break after this sketching, if you need. And then start with the painting. You usually get some of the other breaks when you are working with watercolors as the first layer goes with the sky, then with the water and slowly steadily, you have to allow the water to dry off before you come back to the boat. All of this keeping constant. You will get good amount of time for the boat for short. But yes, after sketching, it might be a bit exhausted, and you may need a small break. It can be a coffee break or a water break. Whatever you want to take, please go ahead, take that break and get back to the final painting. I'm adding a very light value of naples yellow, and then the brown just to blend it. This is a very thin brush. Again, this is a calligraphy brush, if you see, but I'm using it for this part of the painting, which is absolutely okay. You can have your calligraphy brushes being used as size one size two brush. Everything is cool till the time you get the result which you. I always say, do not think about the brushes. Do not think about the colors. Only and only focus that has always been to me is basically your paper. If your paper is 100% cotton, 300 GSM, I'm damn sure about it. You are going to nam most of your paintings. There should not be any problem in your final painting as an out. But if you have lesser GSM paper 185, you might be struggling a bit like I did. That's also okay. It all depends what you want to create and how you want to create. For me, sketchbook exercises is something that I always always look forward to. They come very handy to me if I have to even work out on something. I still feel that a sketchbook exercise can be helpful to anyone who is working with watercolors. This time, most of the paintings are done on the sketchbook and hence it becomes very easy for you to also have any sketchbook of your own, but make sure that the sketchbook is, of course, made out of 100% cotton paper. I have all my sketchbooks coming from vibrant parcels. It's a brand that I own. And if you are also looking for those perfect sketchbooks, where you will get an outcome, which is 100% cotton and the papers are great, we do keep all these kind of sketchbooks with us 300 GSM, 100% cotton, fabriano paper or arches paper, 185 GSM, arches paper, 300 GSM, everything that we keep can come very handy to you if you're looking for that perfect sketchbook. If you already have it from Ba Hong or any of the other particular companies, please go ahead and use it. If you don't have a sketchbook, you can also use a normal paper for doing these exercises. Adding a few drops or few lines shorter and smaller in the brown color as you see over here, and then finishing the book. I'm going ahead with my brown. Now, this brown is basically to show the darker values of the boats in some of the areas. To highlight the bottom part of my boat, I will add my green. Now, this can be a dark green or a lighter value of green. Whatever green is available with you, please go ahead and apply it to get this lighter value of green even in the bottom area. I'm very happy with how this is turning out to be frank, and mostly the important aspects of watercolor are considered and taken well is all I want in this particular painting. A simple, easy, mostly wet on dry method that we are going to apply. Even the reflection would be wet on dry, though we can do wet on wet also, but this particular painting is reflecting wet on dry. Most of my paintings have wet on dry only. We have not come to any painting which has wet on wet, I guess. And hence, you would be learning the rapid water and the reflection in wet on driveway. Wet on wet is very easy. You have to just go ahead, apply some water and then just apply the colors. It would be done, whereas wet on dry reflection is a bit tough compared to the wet on wet. I just wanted to touch upon wet on dry as I know that is more tougher compared to wet on wet. You can easily do wet on wet, but in wet or dry, you might face some problems. Hence my intention to work upon the wet on wet or, like, wet on wet lesser and wet on dry more is coming from that angle. Going ahead and applying some brown, as you can see along the line, you can use a size three brush, size four brush, whatever is available with you. I'm using a size three brush from the brand, the Vinci. I have been using this Casaneo series for quite some time now, and I am really enjoying this series to a great extent. Once we are done with the greens of the highlighted area, you have to understand that the green will also get reflected in the water and then only the red part will come. I have done this small mistake of first applying the red, taking off that extra color of red, and then again going ahead with the green. Please do not commit this mistake at all. You will see that I have to pick up my color again and then go ahead with my green first for the reflection part, then move ahead with my red. These are small, small things which should be considered. Or else the whole painting will not come together very nicely as the reflection is not a mirror image of what your boat shows. So you have to add that green even in the bottom area. Like the way you see over here, there is a dark line that comes in, and then there is a green which is there. So these kind of smaller smaller details you need to keep in your mind when you are working with watercolors. A I'm applying the red, yellow mix along with it. We'll also mix some amount of brown in it to show basically the wear and tear that has happened in the boat, which we did show even in our top part of the boat. Adding some amount of brown into those pieces as you see over here, I have already added the red and the yellow. Now it's time for the brown. The top area isn't white, but you really can't actually paint white over this place. Hence, we are going ahead with the brown that gets exactly reflected from the top part of the boat into the water. Water doesn't have any color of its own, and hence it reflects whatever is there, like a boat or sky. The colors of the sky are getting reflected in the water. Hence, we will go ahead and take the same colours as you see from the sky and the boat into the water area. Let's go ahead with some red brown for the top area of the roof in the faraway part, which is basically your smaller stuff. But, you know, every detail matters in a painting, and hence detailing your houses and detailing a lighthouse is equally important compared to what you are doing for your fgrops. Though backgrounds are not greatly important, but to an extent, you should also focus on your backgrounds compared to not only focusing on your foregrounds. We have detailed our boat in a great way. And some of the areas where I think there is a problem, I still keep on, um changing it if the place is wet or if the blending is not nice, something or the other, you continue to do it for your foregrounds, then why not focus a bit on your background. Okay, great. I guess I'm good with how this is turning out. Let's continue to again work on our background. There would be some greens also that we would be adding. And now we are left with only about five to 7 minutes more. You will see that the whole painting is done within that time. Most of the important areas are already covered. It's some of the simplest of the stuff that we continue to work on and add our of colors into which it's blue, brown or some shadows for some of the areas. Rest. I guess I'm great with how this painting is looking all together. I wanted to keep it simple. For each one of you, we wanted to explore more about the reflection part, which we did. We will be further going into more and more reflections too. So be around. There are about five paintings that we are doing five to six paintings actually around six paintings that we are going to do. One would be a final painting on a large sheet. And that I am really, really proud of. I hope that you also like that painting altogether, and it's something which is very close to my heart. There are two other paintings on a smaller sketchbook, which you must have done and or will do, because if you move in and around the lessons, I don't know which one you are going ahead as first attempt and which one you're going ahead and the second attempt. But every painting is almost at a similar level. I haven't tried to change the level much. It's just a very simple, simple attribute that keeps adding onto our painting and we are done. You will see that the shadows are kept in blue for my lighthouse and the house around it. I'm adding some greens. I did apply a very light value of green now, but once I've applied that, I realized it's becoming wet on dry, which I wanted wet on wet. And hence, I went ahead with a flat brush, applying some clear water on top of the paper, and then started applying my green. I would be mixing some amount of darker value of green. You can go ahead with olive green or sapreen whatever green is available with you. Once you have added the green for the land area, there is some amount of greens that you also need to add for the water area because the reflection of the land comes into the water, and this is mostly wet on wet as this is a faraway land and I did not want to go ahead and apply absolute wet on dry method in this case, but I did apply wet on dry for my foregrounds. The backgrounds will be more wet on wet. I did add a rope, as you can see over here, and then the reflection of the rope into the water, which is absolutely brown. Let's work on a very small boat that appears on the left side of the painting, and it is far away. We don't need to add much, just a few lines and a bit of reflection. Smaller details, as you can see, I'm using my size three brush to work this upon. You can also use any other brush that's available with you. Ultramarine color for the bottom part of the boat and then the reflection of the same into the water area. You don't need to work upon it much. It's very simple, and there will be a small line that we would be adding over here. I'm blending the color with some clear water. The blue that we already add. I have taken a very thin brush or you can see it has got a very nice tip. I will be using the tip of the brush to add the brown. The reflection of the same will be a bit distorted and it would be a bit wavy into the water if you want to add it that way, or if you want to keep it even straight, that's also absolutely okay. We are not here to go ahead and detail everything that we see even in the far away parts of the painting. We are here to only detail and focus on the foregrounds to a greater extent. I will not deny that the whole painting has to come together, well, and hence it's important to focus and understand each and every part of the painting. Having said that, there is less that needs to be done at this stage, only a few things which we would be touching upon understanding and enjoying the process altogether is what is there in my mind. Oh adding the green reflection into the water area, and then I guess it's done. We are done with this painting. I hope you have enjoyed it completely, and you really do upload this project also in the project gallery, as I'm waiting to watch each one of them, how you do it and all. It's just that this gives me a lot of enjoyment when I see my students project. It helps me to understand where I have also I can also make some amendments or which project might have gone really well with you guys, which project you might have found easy, or feedback will be very helpful even for my future projects or future classes too. I see my sky is very empty and hence, coming up with some birds really is important. I add these birds so that they make the painting come together very quickly and nicely small small birds. Keep on adding for the top part of the sky. And then you can see the total painting, how it is there, and how the whole painting. You don't need those birds, frankly, but my whole sky was so empty that I wanted to do it. Let's peel off the tape. Once your paper is dry and have a fine look at your painting, I am very sure you would be super proud of yourself once you are done with the painting as it is very vibrant and beautiful. 5. Practice Exercise - Sailing Boat: The colors for this painting are Bernsiena Cobaltren, ultramarine, cobarbu, Prussian blue, white quash. If there are any further colors, I will mention it as we go. Sketchbook exercises is always the key before you go ahead with any final painting, and that's one of the reasons we will have these two sketchbook exercises before we go ahead with a final painting, though. This is on A five size paper, and you will have sketchbook exercises, even on an A four size paper. There is a lot that we would be covering, as well as a final painting that we are going to do. Feel free if you want to actually go ahead and have any kind of questions posted in the discussion section, I would be more than happy to address it. You can see that I have added a slanting line, and then I am adding cross kind of lines. They're almost equal to each other. The parallel lines that you see in the middle. And the other lines, of course, are not equal. They are in a circular kind of shape, and then it becomes more deeper as we go towards the bottom area. Though, for many of the other exercises, I have also included some cheat cheat, you can say, that is basically telling you how exactly you can go ahead and draw your boats. You will get all of this in the resources section. If you are someone who is following me over here and wants to actually go from an absolute scratch and learn how to make your boats, then this is a great way to start your overall work of adding boats and painting S then, painting the reflection of the boat into the water, painting some kind of ruples or you can say reflection. All of this you can literally learn very easily. Watching this boat from an angle because of which one side of the boat is very much visible. That is the left and the back part of this boat. Once you see these boat structures are visible, you go ahead and start adding some more line on the right side. Of course, there is a bit of understanding that is needed. When you are adding the boats, you can always go ahead and refer back to the cheat sheet, as I did tell you eardio. Now, those cheat sheets are for more simpler boats, as I say, it is a red boat and there is more of two boats that are seen from the top every boat is seen from a different angle, and what we are trying to learn over here is to understand if we have boats from different angles and how we can draw or paint them. Either you can say it is a boat or if you want to also add some ship cruisers, et cetera, in your painting, this is a starting point that you can learn everything. Every part of this painting is real time, which gives you an ample opportunity to go ahead, sketch and paint along with me. The whole of the sketching part will take around eight to 10 minutes, and then we will move ahead with the final part of the painting. I'm just drawing a small line along the shape of the boat. This is basically, if you see any boat from an angle, you'll see that there is a side line that appears as the boats are made out of wood, and the wood also has some kind of thickness, and that thickness needs to be shown. All the parts of the boat will not be same, and you might have to go ahead and erase various parts of the boat to arrive at the final structure. I will not always go ahead and keep editing my board to a greater extent. It would be only in fewer radios that I would be going ahead and editing. I'm working on a 185 GSM, 100% cotton arches paper. It can take multiple washes, two, two, three, at least, even more than that, I have tried and it can easily take it. Always make sure the colors that you are using should not have a lot of stainness in it. That is something which you need to take care of whenever you are working with any boat or any structure initially. We have this tendency to repeatedly go ahead and add refit marks on our paper that would really leave the paper not so good in a condition where you can go ahead and paint. If you are someone who doesn't know boat, I would ask you to work on a simple paper, any paper that's available with you, try this structure once and then go ahead on the final painting or the final sketchbook that you have for painting this part of the boat. We have painted a lot of ocean or ocean waves, and there are different kind of water paintings that has been done till date. And I have four classes already available for you guys. It is watercolor ocean waves, one boat, watercolor ocean waves, two, watercolor, waterscapes, 1.2. There are even more of them, if you want to try them. Go ahead and try it, but all I can say is this particular class is focused majorly on the boats. Though we are going to cover a few parts of water and its reflection, but majority of the time, we are going to focus on the boat area. In case you are just starting out with watercolors and have less idea about painting boats or drawing boats, though this is a stepwise process, still, you do not want to take a risk at adding the boats, go ahead and just download the photo that's there in the resources section. And trace it with the help of a tracing paper. I think that's a great way to go about painting any of your boats. This particular paper is A five size. As I tell you do, you can also work it around on A four size. I would leave that decision up to you. But for me, since this is more of a sketchbook exercise, hence, I wanted to go ahead with A five Size itself. Time to add the reflection of the boat into the water area. We will just do a side reflection, and it would be on the left side. As you can see the boat on the left side more compared to on the right side, the angle is very, very important when you are adding any kind of reflection for your boats. So many of you have always requested me for boats water reflection, though I did tell you the water reflection we have covered in great depth earlier. Boats is one of the topics that I did not cover earlier in so much as I was very unsure of the fact that can I really explain it well or not, after many years of learning myself and understanding the structure and the drawing of bots, I now can say that, yes, I am very happy to bring out a class where you can really learn or talk view or side view or a view that is just from the front Uh, every kind of a view I have tried to cover in this boats class, and it can be of real help to anyone who is struggling to paint boats, as this is not a very, very easy subject to start out with. I have struggled a lot during my whole of the journey. I don't want that struggle for you. And hence, this class might come as a great help even for your future projects. Whenever I'm adding my graphite marks, I always go ahead with HB pencil. Why is an HB pencil important? Now? The HB pencil doesn't actually leave a lot of dark graphite marks on the paper, and it's easy to erase, et cetera. But anything that is like two HB, or even I think those are the pencils which you can always use for any kind of sketching. There would be an area where there would be shadows and there would be an area where there will be light. So this is how I'm going to mark my area and then go ahead with my pencil to add the shadows and the light. I'm almost done with the sketching. It's time to start with our water area. The water area, I will do wet on wet method. Wet on Wet method means I would go ahead and add water on the entire part of the people. But before that, I did mask out my boat, and this is with the help of a masking fluid. I would be using my masking fluid for many of these painting parts, and I hope that you also get a hang of how to use your masking fluid. If you want someone who doesn't want to use masking fluid, that is absolutely okay. You can go ahead with any kind of masking tape and try to just align it along the edges. That's also a way to avoid water to get into your painting. Now, why I use a masking fluid, it's easier for me to work around with the colors. I'm adding some amount of my cobard green mixed with some co bar blue. This is a color that I have always loved. Some of you have some aqua colors or some other shades also available with Feel free to go ahead with it in case you have cob green. Go ahead with bar green. All the colors are suitable for the water area. I have usually kept the colors in more of greenish blue shade rather than just being flat, green or flat blue kind of shades. Now, flat, uh blue kind of shades would be basically koba, green, dontrine green, ultramarine, all of these shades, which I really did not want. I love this particular color a lot when I'm painting waters. And similarly, I have kept the colors as I did tell you what I like what is up to my liking. In case you don't have the colors, no problem. Go ahead with the blue sheets that is available in your palette. The top area, I would be keeping more lighter. While I am coming to the bottom, it would be more darker. I will continue to add some more of my shades and color as I go towards the bottom area. This darker color is nothing but adding some amount of my cobalt blue into the shade of cobalt green or if you have any kind of aqua shade, you can use that shade. Let's just mix some amount of our darkest blue, which can be your Prussian blue or any of the other shades that's available even dontne can work. I am just adding a few lines, as you can see. These are more flat lines. Though this particular painting, it's only about flat lines that you would see me adding, whereas the painting that we are doing on the left, you will see how I add these waves. I will show you two ways of painting the waves. One is when, like, we went straight in a line and went ahead and added the waves, and the other one is altering a few of the lines and not going absolutely straight, trying to add the waves in a bit of manner that is wavy. Of course, it's not straight kind of lines that we are going to add. It's all wet on wet, and I love it for that purpose. Wet on Wet gives me so much, I would say, energy in a painting that I really can't tell you. There is so much magic that a wet on wet technique adds to your painting. It is simply amazing. I will continue to work wet on wet. As you can see over here, I have switched on to size four brush, and we will even go ahead with some splattering of water. Just follow how I am going ahead right now, adding all the colors. Simply just don't think much and add a few lines when you go towards the top and more darker lines as you are in the bottom part of the painting. That's all you need to keep in your mind when the whole of the painting is coming together. I go ahead and clean up in few of the areas where I think it is necessary to just take out all the extra paints. And some of the areas, as you can see, I also add a few lines. I'm using the tip of my brush to even add these lines. You can choose your darkest value now to add all the lines. I will go ahead with my darkest value at the last, as I am never sure of coming back to a lighter value when I want to in watercolors, and it is really difficult to come back to lighter values where it is It is very easy to move from lighter to darker values. You exactly know where you want to place your darker values. You don't want to place darker values everywhere. It's only one few of the areas where it is important to place the darker values rest. And remain as is. I will go ahead with some clear water and sprinkle it in some of the areas. The paper is still wet and the water will move here and there, which means that your colors will also move accordingly. There will be some spot like structures with the help of the clear water that you see. I'm even adding the line and then just picking up the colors with the help of my flat brush where it is necessary. Once this is done, we will allow our paper to dry off and then go ahead with all the other parts of the boat painting, which means that various areas of the boat, then some of the areas that will come as the shadow of the boat, you will always observe that the colors will dry up one or two shade lighter. It all depends on the kind of paints that you are using. If you are using a color that is of artist grade, you will get one shade lighter or maximum two shade lighter. If you are using a student g paint, it might be three shade or two shade lighter. I will go ahead with the help of my yellow ocher color and apply it with the help of my size four brush. You can see there is more of water in the brush and less of colors. I will continue to work with more of water and less of colors whenever I'm painting a board. Only in the shadow area, we will work more with the colors and less with the water. Watercolor means that there is water in the front and colors later on. And hence playing with water becomes a very, very important component of watercolors. Let's go ahead with the darkest value of brown in some of the areas where we have the shadows and then apply our yellow ochre. And this yellow ochre blends very well with brown that we have already added onto the parts of the boat painting. The colors do move into each other and blend completely so that there is no way that you make any mistakes at this stage. Mostly the colors are lighter. We are not going to make any dark shades at this moment. I am going ahead with the same greenish blue color that I did use even for my water area. This is basically my bard green. I've mixed it with a bit of blue, and now I'm applying it on the boat area. Some blue for the parts of the boat. That is the area which is seen for the boat and rest of, of course, the shadows will be done later on. But first, let's focus on the area of the boat which needs to be painted. Let's go ahead with the darkest value of blue now. Now, the darkest value of blue will help you to just ace through this painting completely. This is basically the shadow of the boat area. Where the light is not falling directly, I always like to add depth and even light on smaller areas. See, it's not important, but if you do it, I know that there will be an extra I would say you walk an extra mile for your painting. That's what I feel very strongly for this painting. For sure. I'm doing it, and I hope you will also love painting this whole of the boat series. There is so much to learn. There is so much to work upon. There are a few very easy techniques that we are going to learn. There are a few tough techniques also we are going to learn. Most of it, the sketching is made really easy with step by se process. There are cheat sheets you can take help from anywhere possible. All the materials are uploaded in the resources section, which gives you an edge. To decide how you want to go about it, whether you want to do a tracing or you want to do sketching. If you even want to do sketching, the step bye process of how to sketch all the points is really given or laid very clearly, whether it be you are watching your each and every video of your painting or you're going ahead with the final upload of these parts of the painting, that is the final videos that you see mostly each and every painting is divided into two parts. One of the parts is, of course, the sketching and the initial washes and the next is your final edition of, um, different different pants onto the paper for analyzing the painting. Working wet on wet added some darker value of brown into the yellow ocher that we did or the add onto the paper. Once this is done, we will go ahead with the darkest value of brown as you see. There are some of the areas which are in the shade and we need to also add that area with the shadows. Some of the areas will be lighter in value that would stay as is. There is not much that we are doing as of over here. It's some bits and parts here and there, that's it. Go ahead and move on to the other part. I would say it's important to just go ahead and blend the colors, take off all the extra pinks from the places where we want to keep it very light yellow ocher. Rest all the other spaces can always be in the darker or the lighter values as decided. Of course, the shadow area would be darker and the other areas where there is light, it would be lighter. At many of these different points, I might sound a bit iterative, but that is to make sure that you are applying the correct colors at the correct places. This does happen to me very often when I want to make my point and want to make it very, very clear. So just pardon me for that, continue to work with the darkest value of the brown and add it. Let's continue to add the lighter value. This can be your lighter shade of brown or it can be also your yellow Oca shade. Okay, I guess this looks great. We might have to let it dry off a bit before we remove our white masking area and then have a look at it, apply some of the other colors to refine it a bit. We are in the final stages of our painting, and you have already nailed it. I'm pretty sure about it. The water looks amazing. If you can get a good reflection of the board, I can tell you this painting you are going to nail. Let's add some more of our darker values into the blue area that we have painted for our boat and blend it with some clear water. I'm loading my brush with a mix of darker value of color and trying to define, I would say, my boat to a greater extent. This is the time where we are just uh adding our finer touches. This is not the time where we are adding a lot of colors. It's just a few touches here and there. You may also avoid doing it. I would ask you if you think that your boat looks stunning, just leave it as and don't go ahead with a lot of lines, et cetera. Now, this is basically the area where I'm adding the lines or the wooden planks that you usually see. We want to show that even for the bottom area of our boat. Hence I'm adding those lines. You can also go ahead with one more layer of darker value of colors for the shadow area as you see me adding Of hue. Loading my brush with the darkest value of blue. This is basically my in Danthroneblue or Prussian blue. Whatever blue is available with you to add to the bottom side of the boat wherever it is necessary because our shadows would be a way more lighter than the boat area, whichever you observe in the blue color over here. Blending my colors and let it dry, then go ahead and remove the masking fluid. Now, if you don't allow the colors to dry off, the masking fluid will come out and the colors will also move into the masking fluid area. So make sure that your area is completely dried off wherever you have added the paints. I would go ahead and just pick up the masking fluid with the help of any eraser that's available with you. This is the Pebo masking fluid, which I'm using for this painting, though there is sennelia and other brands too available in the market, but this is one of the good brands, and I have come across this brand very recently. I am liking the outcome. It is easy to apply and very quick to apply transparent. And there is a very light blue color which you see in the painting or whenever you have applied that masking fluid, you will see that very light shade over there. That really helps to differentiate the paper and the masking fluid well from any normalize or even if you were applying it, it becomes easier for you to go ahead with it. I'm just applying some of the darker values with very thin brush. This is basically my Escoda brush which I'm using. The series is optimal. It has a nice tip, and this tip really helps me to redefine or refine all the areas of the painting very well. You can go ahead with size one or size zero brush for doing the similar process. You really don't need this particular brush with you. The colors, brushes, et cetera, everything is optional. I would say only the paper is most important if you are someone who is starting out with watercolors and doesn't want to spend a lot. The masking fluid can only be applied on mold made papers. As per my experience, I'm not sure if you are using the handmade paper. Will it be very helpful or not? I'm going ahead with fabriano paper or Bao hung paper or even your Arches paper. These are my own favorite. In case you're also going ahead with other papers like cellulose, et cetera. Make sure that you apply the masking fluid on top of it and see for yourself if it works or not. In case it works, go ahead with it. In case it doesn't work, please do not try to go ahead with those kind of papers. Strictly go with 300 GSM or 185 GSM. Whatever works great for you. For me, I can control my 185 GSM also very well. Hence I like to go ahead with those similar kind of paper for my paintings. I'm going ahead with the lighter value of blue, as you can see over here. Now, this particular blue is basically a mix of cobalt green and cobar blue that we did use for our water area. I like to use the same colors. I always, always try to use very limited palette kind of painting series. Now, why I go ahead with limited palette I really don't want to get confused with the colors that you use in a painting. It's mostly the skill set of applying the different kind of techniques, whether it be flattering, whether it be grating the waves, whether it be only blending your colors. Where it should be light, where it should be dark. All of these smaller aspects of painting are most important, and that should be kept in mind rather than only thinking about all the colors and shades which you want to use in your painting. And I'm almost done with my shadow area and blending a bit with the help of my flat brush. This flat brush is amazing, and it is from the brand silver Velvet. You can go ahead with any brushes of this kind. This is Ruby Satin brush from silver velvet. Uh I'm creating some line like structures on the left and extending it a bit. On the left, you can see, I'm continuously extending it one or two lines here and there. Even on the right, one or two lines I have added. You can go ahead with a string up to this or you can say a rope. Of course, it's never a string. It has to be a rope or else you cannot really hold your boat to this short. Adding some darker values of blue as lines to show our weaves in a better way. Some of the areas would be darker and some of the areas would be lighter. That's how we go about it. Let the area dry off completely before you apply any of your white color. Now, the white is my titanium white. You can take. It is an opaque shade or you can go ahead with a white shade of pH martin. So that also is a great shade to go ahead and apply. Do not do not go with acrylic colors. Acrylic is a different medium. You go ahead with uh or pH martin water soluble, opaque white color that is fine, or even you go ahead with titanium white, which is opaque watercolor. All of this opaque colors, which has a same medium that is water is good to go ahead with. Rest, I would ask you not to use any different medium as this is not a mixed media painting. I'm just adding the white of the rope and then blending it towards the end so that it looks like it goes into the water area. Let the paper dry off completely and then remove the tape at an angle, have a final look at your painting. I am pretty sure that you are totally amazed with how it has turned out. The left part of the painting is also very pretty. I will show you how to work with this sketchbook excise next. H 6. Practice Exercise - The Reflection: Colors are naples, yellow, ultramarine, cobard green, cobar blue, or portion blue, burnt sienna, burnt umber, sabreen and forestry. This is an A four size painting which we are going to do now. The sketch of the boat is already available, as well as you can also go ahead with a basic understanding of this from one of the other exercises that we are going to do that starts from the sketch and ends at the final painting. So most of the boats are almost done in a similar way, and there is step byse process also that's given for most of these exercises, as well as the final project, which we are going to do. I'm starting out with the mint color from the brand that is your white knights orals. You can also go ahead with cobalt green. From the brand, uh Michello mission coat. So these are two greenish blue shades that can be used for painting this part of the sea. I really love the way this color comes together, and something that I have always, always liked and worked with is this cobardGreen shade or you can say the mint shade. Both of them has got a greenish tinge in it, and with the blue, this makes it very, very interesting. I have covered the bottom area that is basically the sea or the lake area, whatever you want to refer back to. Once this part is done, we are going to go ahead with any of the darker value of this green or the blue shed that's available with us. You can use an ultramarine cobalt blue or any of the other shades of blue that's available with you. I always say, do not go ahead with any of the blues that I am particularly using. This is basically another shade of cobal blue. I really love it. This is from the brand Windsor and Newton. I have been using it for quite some time, and the more I use it, the more I fall in love with it. Kobal blue is a beautiful color. They usually appear in two shades. One is a deep color and one is the light color. This is most probably the deepest color which I had with myself. You can go ahead with any shades that's available with you and have a darker value of bart green at this stage and start applying it towards the top part. As we go more towards the top, it would become lighter and lighter near the horizon line. What is exactly the horizon line? The horizon line is going to separate the sky from the water area or the sky or the land and the water area separately? Now, this particular horizon line is of much use when we are working with any of the other paintings that has more of urban sketching into it, or it has some elements of urban sketching and maybe some parts of landscapes into it. It becomes easier for us to visualize and understand at that moment right now, I don't think that a horizon line has got a much usage of understanding rather than just knowing the fact that, yes, it just separates the sky area from the water area or the land area from the water area. I'm going ahead with some of my darkest value at this stage. You can mix some amount of your paints gray or else some of you might also want to use yellow green. I would leave that decision up to you what color you want to mix, what color you want to add and get a shade that is darker in value as you go towards the bottom. We can work on this paper. This is 185 GSM, 100% cotton, arches paper, though this is 185 GSM, but still I could work with it in a much, much good way. That is because I feel this paper can take four to five washers pretty quickly and easily we do not need to think much when we are adding, any of our shades or colors on top of it, the washes or the water stays on the paper for pretty long period of time, compared to other papers that I've worked around with. And hence, this is still a good option for me and pretty cheaper compared to 300 GSM, which I usually get for arches. Though if you are a beginner, I would ask you to go ahead with only 300 GSM, because that way you can always have a better blending, as well as there can be water on top of your paper for longer period of time. As we are quite confused with the color, shades, et cetera, when we are starting out, and if we lose out with the mixing part of the colors, et cetera more time, then we have less time in hand to work on the paper. The paper might dry up and it might become tough for you to work at that moment. I'm going ahead with the darker value at this time and then starting out with some of the wavelight structure. Now, since there's wavelight structure, that's one of the reasons. I'm not going to have any reflection of the land that usually you will see in most of my paintings that I get now, each and every photograph, painting, et cetera, is very different from each other's. In some of them, you may have the reflection, and in some of them, you might not have the reflection. So it all depends. In some of the areas I'm joining these lines and some of the areas I'm keeping it as is. For this kind of a structure, you have to wait for some time so that you can control your colors that you apply on top of the paper. Now, this really doesn't come very quickly or easily. It takes a while to understand how better you can apply your colors. Though there are exercises that we have done earlier, which can really help you to understand how to apply your colors. There are two to three different ways in which I do wet on wet. One of them is just adding straight lines. One of them is adding some wavy lines, and another is connecting smaller, smaller waves with each other. So these are the three exact ways in which I usually paint my waves. You may have various different ways of painting waves, and it's absolutely okay. These are my particular ways, and I always always refer back to them whenever I need to go ahead and paint out any of my wave like structure. Uh, you know, that all of us have a particular way of painting, and each of us are different from each other because of the ways that we have adapted to or we have absorbed and how we paint. And hence, mine may differ from the others that you might have actually taken or gone ahead with any classes with. Um, this is another way. If you learn it, you can use it even in your future paintings, and it might be very helpful at that time. Whole of this painting is real time, which makes it very easy for any of you to follow. There is no need to think about the drawing. You get the drawing. You can always go ahead and just trace it back on your paper and use it for all your future paintings, too. Tracing is never a bad idea because tracing helps you to continue with your painting rather than thinking much about how to draw, et cetera, though they are step byse process of our final painting drawings, et cetera those all things can also stay intact. Overall, this is going to be a painting or a class where you enjoy the most rather than thinking about all the smaller aspects of sketching, et cetera. Let's go ahead and add some more lines towards the top, near the boat, I have kept that place empty as I would be going ahead with the reflection. You want to add some lines, absolutely, you're welcome to do it. But I just feel that that would be taken care of well when I am adding the reflection of the boat into the water area. When we go far away from our eyesight, that is just near the horizon line, you will see less of waves and less of lines or smaller lines appearing, which gives you a wave like structure, whereas when it is closer to your eyes, that is just towards the bottom area, it would be bigger in size, shape, et cetera. I would go ahead and just pick up some of the colors in few of the areas where I think it is necessary. Let's supply a clear layer of water on the top part of my sky, and then we will go ahead with very light wash for our sky area. The major part is the water, and I really want to focus on that rather than focusing on the sky. You can always go ahead with a very light wash of yellow and maybe blue or else just leave it as very light blue. I would leave that decision up to you the color that you want to add. I'm going ahead with my yellow shade, as I did tell you Audio, I would go ahead with very light shade of yellow. You can take naples yellow or blue for this part of your sky area. From the bottom, I have applied blue, and towards the top, I have applied yellow. That's how this will remain, and I will just blend my colors well so that once it dries up, I will get a very light shade of these blended shade of blue and yellow together. That's all I have in my mind when I'm working through the sky part. Rest, I guess, everything looks pretty much in sync with each other. I don't have much to think about when I see the bottom part of the water. I started applying green for my reflection. This is the color that I would be using for the reflection. You can always see different kind of colors that gets reflected. If your water is clear blue, sometimes you will get a darker value of blue reflection. Since my color has mixed of green and blue, I am getting more of a greener shade of a reflection. You can go ahead with many photos that have different kind of reflections. So have the exact reflection of the boat into the water, which we have also done as a red boat. The reflection is also absolutely red, and some of them have, clear reflection of the boat into the water with less of, I would say, colors being added that you can see with the lighthouse and the boat painting. The third is the way we are adding here, like the lighter value of green and then adding some of the deeper tones here and there. You can mix your yellow into the blue to get a shade that looks similar to the one which I'm using at this moment. Uh painting the reflection will take some good amount of time. That's one of the reasons I always say go slow at this moment. You will be in a position to nail the painting because many of the things have already been done, including the water, waves, et cetera. But this remains as the highlight of this whole painting, and hence, we have to go slow when we are working on the highlights or the major important portion of my painting. I always love to alter the sheets of the greenish blue color that I add for the reflection part while I go towards the bottom, some of the lines that I continue to add. Some of them will be pretty loose along with the waves that we usually see. I'm not trying to do a lot at this moment, just extending a bit somewhere, making it darker, lighter, the tone values of my the reflection part. That's it. No need to do much. Go slow, go easy on this painting. You will be happy with how it has turned out. Still, we have masked out the areas which were there earlier. We will keep it as is. Once the reflection is also dried up, then we will go ahead with the boat part. Boat will be also very light and value. You don't need to think much when you are working with the boat structure to lighter colors, lighter values, nothing much to think of when you are working through the entire part of the painting. Let's go ahead and add some more of our darker values towards the bottom part of this reflection area and then observe it a bit. So I always say observe whatever you are painting. Do not just get into it and think that I need to finish it and move on. That's something which should not be there in your mind. Go slow. I'm pretty sure about it. You are going to nail any painting that you do. It just needs some amount of patience for watercolor, but I would say that this is one of the fastest mediums that I have worked with compared to Gach or acrylics or any of the oil mediums. It takes a lot, many number of days to finish those whereas this is within a few minutes or hour you can just finish off an AO size kind of painting. You can take either bun umber, bun Siena, CPR, any color that's available with you and start adding some of the green towards the top part, blend it with the bunt umber that you see, and then get a shade that looks somewhere like this shape that you get is something similar to the one that I have over here. That should be the den because then the whole painting comes together in a similar way. If you are choosing different colors, then your painting might look different than what I have over here. I'm going ahead with some of the bottom area first, adding the darker values, then mixing some of my greens towards the top, some of burn sienna. You can also add some of your ultramarine to get the darkest of the values. These are how you mix your color and how you get the different kind of shades that you want to achieve in any kind of painting. You can only add this land area once your paper is completely dry. Before that, you cannot do this. If you are even trying to achieve this, it would be difficult for you as the sky will be still wet and your colors might move into each other. That is even into the sky, it may move, which we don't want at this moment. I don't want soft, I would say land. I want land that looks similar to the one which I have with the hard edges that you absorb. You would see me using a dirty purple, blue, brown kind of sheade towards the bottom part. This is just for the darker area of the rocks or for the areas which are basically in shade compared to the ones that are littered up because of the sunlight or the light that's there in the sky. U I have added some of my green and plented it with the burn Siena or the brown, which you have used for your painting. Whatever brown you're going to use, burnt umber is a great choice for this pot. I love to use burt umber for many of my rocky terrains or rocky mountains that I go ahead and add. This is mostly wet on wet that I kept. I'm not going to do any of the wet on dry method at this moment. Some of the shade areas, as I did tell you, would be in darker value, and maybe some of the splatters I can add once I'm done with this part, so splatters just help you to create texture. Into this part of the rocky terrain, which is also important. So yes, that's how we go about it. I to add the darkest of the value for our land area, as you can see, but I'm going to add it just towards the bottom, extend it a bit as we go towards the top, but only in some of the areas, just a few dots, just a few smaller lines, and that's it. We are going to come down after that. Some of the darker shades of green, and then I feel that we have to move ahead and concentrate on our boat area. Each of these areas have taken about ten, 10 minutes. As you can see, the initial part was all about the water, then creating the waves. Then it was about creating the reflection and this part of our line area. Once this part is done, we will focus only on our boat. That's it. This painting comes together very quickly, as I tell you, only only part is just to replicate this boat structure. If you can replicate it with rest or can be taken care of. I'm going ahead with the same cobar blue or an ultrame kind of a shade that I have used ado, and then I am adding the colour on a particular area of the boat. You can continue to add the color as you observe me adding it over here. Will go really slow for the entire painting of my port. It would be a step by se process where I start out with a simple area that I'm filling up with a solid color, and slowly I go ahead with my browns. Then some of my lighter value of cobal green, I would be using almost similar shades that I have used for my land or for my bottom area of the water. I'm not going to use any different shades. I like to stick to my basics. I do not want to get lost in the color shades, values, et cetera. It's most about enjoying or living the current moment. If I can enjoy the journey, believe me, whatever be the final outcome, it really doesn't matter. All that matters is enjoying whatever we are doing right now. Creating the illusion of spaces that is some of the areas are lighter in value, which shows that, yes, there is a deep vault or that particular space is in white, and it moves into the boat, whereas some of the areas are in darker values, which shows that this is more of the areas which are in shade. So shade and the light will play a great role when you are working with the depth or you want to showcase any kind of a structure that is not one dimensional, that is either two or three dimensional. Like, for my dimensions, my colors play a great role with the lighter darker and all these values which you observe me adding it for this port area. This is a great study for anyone who wants to even work with your future landscape paintings, boat paintings, ship painting, water, anything that you urge to paint, this can be a great starting point for each one of you. I'm going ahead with my co baarreen and some amount of burned Humber or burnt sienna, whatever is available with you and then just use the water to add or blend the colors into the whiter s pieces that's there for the boat with us. Towards the edge of the boat, I would be mixing some of my bar green, as well as the burnt umber just to create a darker value on this particular part. And while it is in the middle area, it will become more and more lighter, as you see over here. Most of the baths are usually lighter in value compared to the parts that are in value. For me, I love to keep the colors light that gives me so much more energy, I would say, and the whole painting comes together very quickly without you doing much. It's just about adding some lines into the softest areas or it makes the whole boat look really soft. And so there is some weathering also that has happened for the boat, because of which you see these brown kind of color. You can go ahead with some of your other browns too, like your red brown or any other brown that's available with you. I'm not in particular thinking about the browns that you have. Just use it for these simple areas. And most of the parts are usually in the white sheade. So yes, less is more. That's all I can tell you. The whole painting comes together with the same idea Less is more. If you remember this poem that ss is more, I think all the paintings will come together very quickly. It's just that some good amount of time we need four hour sketching, and then only we can move to our painting part. That's the reason. All these paintings of board takes some time. Otherwise, I feel that one of the best subjects to paint Epo is boats. You have to do so much less compared to any of the other subjects that you have to paint. Or, like, either it be monuments, either it be your water, either it be your skis, et cetera, everything needs so much more time, whereas this needs really less time. You have to paint less. You have to just think about the depths where you want to add the lighter darker values. That's it. You are done. I love to play with lighter and darker values. Therefore, I'm using my CPR or bun tumba and some of your either you can also use yellow ocher if you don't have any lighter value of brown like bunsena, et cetera. This way, they will bleed into each other, and the whole part, even the smaller areas of the boat will look nice. I would ask you guys to work this out on a bigger size paper like an A four size so that you have a lot of time to work around on the boat rather than thinking much you will see that we have two smaller sketchbook exercises in this whole of the series, but that also took some good amount of time. It doesn't come very quickly or very handy. You have to do less work, even on A four size paper. You can do more work, even on a smaller size paper. It all depends on the subject that you are approaching. If the subject is easy to approach, you have to work less. If it's a bit difficult, of course, it will take some more time. I'm adding some darker values towards the bottom part of this boat and then blending it with the help of my blending brush. Repeating the same process of adding the darker values towards the bottom and then planning it. This remains true for two, three spaces. Let's continue to do that. And once we are done, we will like to add some ropes, et cetera, into the boat area and then have a fine look at our painting. Our painting is almost done. This painting comes together very quickly. You can add a few birds into the sky if you want, or you want to keep it as is. You can also go ahead with the same as it is. You don't need to do much from here. This rope that we have added with the white gouache will also have a reflection and that we are going to add with a darker value into the water. It is basically the same green colour that we did take earlier. I am just adding some final touches to my boat area. You can do this or you can also leave it as is. I love to add these final touches because it makes my boat come together very, very quickly and nicely. The whole painting, I'm super proud of BelgiT is one of the best paintings from the entire series. I hope you are also enjoying it and you are enjoying this series. There is a lot to understand. There is a lot that I have to explain, and I hope this step fise process with real time videos is helping you to achieve the final beautiful outcome that you are also supposed to get in your paintings. So birds that I would add for my soul. Yes, it is just so satisfying to add a few birds into your painting. I always do this in some of my paintings where I think the painting looks a bit, um complete. Let's do something into the sky, and this is what I'm doing over here, too. I will move on to the next painting and hope you have enjoyed this particular one very well. There's a lot to understand. There's a lot to explain. Let's go ahead and move on to our next one. 7. Final Project - Sailing Together: Clozar cobalrinePruscian, blue, ultramarine, burn sienna, naps, yellow, red, white, ph, paints gray. If there are any other colors which can be used as a replacement, I will surely mention it as we progress in this project. We are starting out with a basic sketch of two boats. Now, this is a EFO size paper which I have taken. And this particular painting, I will do edge to edge, which means that you just need an acrylic board, and on top of it, you can place your 300 GSM paper. We will apply the water on top of the paper, as well as on the backside of the paper and then start with our painting. Right now, I'm trying to draw a straight line and then go ahead and divide those lines into two parts, top part, I will make one line and the bottom part also, I will make another line. Similarly, I will make another boat on the right side, which is a bit slanting way. If you do not know how to do this, please go ahead and check out one of my other cheat sheets that I've provided in the resources section. Everything is very clearly mentioned step wise so that there is no confusion. If you are someone who is not so good with the sketching, you can also go ahead, use that cheat sheet just uh, draw the final outcome from there. Most of the paintings are uploaded in the resources section. Trace it back if you are not so confident. I just want you guys to enjoy watercolors rather than thinking much about the sketching part. I will go ahead and make some lines now. You will see they are almost parallel to the lines that I have already drawn for my boat area and even deepen it a bit more. The view is top view so that you can really see how the boats are placed and how I am drawing. If you are someone who is watching it on a mobile, I would request you guys to please switch to either an iPad or go ahead with a computer screen because that will really help you to watch it on a bigger platform and exactly know how all the sketching and minute details are being done. This particular part, specially is something that I would ask you to watch on a bigger screen for sure because it has two smaller boats, which is usually not there in any of the other paintings. They are usually single boat or maybe one big boat in the foreground and a small float in the background. So those kind of things are there. We have also done small sketchbook exercises. So you guys may be starting from any point in this old class. That's one of the reasons I'm always telling you and guiding you about all the other projects that we are done with. You can go ahead and try them out. There are sketchbook exercises and final paintings, too, like this are available. All of this mostly are done on A four size paper. At least four paintings are done on A four size paper, and two of the paintings are done on a five size paper. A five size is smaller and can be easily handled. There is less to do in A five size paper, whereas over here, in A four size, we have to focus also on the water area and a lot of other smaller inclusions of details that is being done. You can see a rectangular structure in the middle part of the boat, and there will be some seating places which basically looks like ledges in the boat will be added on. I will do the second boat also in a similar way, and the whole of the sketching will take about ten to 12 minutes. So bear along with me on this part, there will be some time that we would be spending on the boat structure. If we don't spend this time on the boat structure and it is not real time, it might be difficult for you to follow along in case you plan to sketch and paint. Both of that together. I have made around three ledges for this particular part. There is one that is in the bottom, then there is second and then there is third. So these three ledges basically form the part where the people will sit or the fishermen will sit. These are the smaller boat, and you know now that we are observing it from top down. So it's more of an aerial view that we are having compared to it being just placed from the sides, et cetera. So this particular class, I did tell you or I mentioned you even earlier that we are going to have a look at the boats from all the angles, whether it be from the top, whether it be from the side, whether it be from any side angle altogether, all of it would be covered so that you can get an understanding about it, the structure of it, and use it even in any of your other final projects. Use the knowledge of sketching in your other final projects, use the shadows, how I make these shadows, how the reflections come up, how is a wet on dry reflection work? All of this can really help you to ace through your final paintings. Many of you might be even picners. Please go ahead. Feel free to trace down the photographs because I feel that it's okay to trace. You are learning, it's an understanding of how to work with watercolors, wrap that focusing completely on the sketching only. Would ask you to at least try with the sketching. If you are not satisfied. If you're not happy, then move on to the tracing part. But I would leave the decision up to you. It's how you want to carve out your own hobby or if you are taking it as a hobby, if you are a full time artist, whatever it is, I would leave that decision up to you. This is something that you can only do for yourself. I've made the darker areas to show the shadows in the boat. I will also do these darker areas for this boat, and then we will see how the whole of the shadow works for us. Uh, usually, there are two concepts which you come across in a boat painting. One is a shadow of the boat that falls on the water. That is very mildly seen, and it would be again on the right hand side. And another part is a reflection. Now, reflection happens from an angle where you are watching, okay? So your reflection may be very different than your shadows that fall from a boat. And hence what I observe as a reflection is on the left side rather than it being on the right side. Though if you want to show it on the same side of the shadow, it's absolutely okay. You can also take the reflection on the right hand side. I would ask you to just think about it or just see in different photographs, how it appears and then decide for yourself. Most of the time we do the reflection just below the boat. Usually, it falls just below the boat or from the angle that you are watching it. For me, or it falls on the left hand side as I am watching from the left hand side, and hence, I can see the reflection on the left, whereas the shadows, of course, is dependent on the sun and hence the shadow will always be placed in a way where the sun falls. Once you are done with the sketching, just add a few more details as I am doing. And then once the detail is done, we will go ahead with a masking fluid and mask out some of the areas. Though if you are someone who doesn't have a masking fluid, please go ahead and just start with your painting. Only thing that you need to keep in your mind is you cannot go inside the boat with your paints. So being a bit careful with your watercolors is all you have to always always think about. I'm just adding the reflection as I did tell you even audio. This is the same thing that I'm adding over here. The next part that I would be doing is your masking. I am going with my PBO masking fluid for masking out the areas. And this PBO masking fluid I have been using very recently, as I also mentioned about it in one of the other painting videos, it is great. It is way more cheaper compared to Senglo or Windsor and Newton. And the outcome is really amazing. Uh, it stays very light. They don't coagulate or become harder on the surface as you continue to use it over the months, it stays the same as you continue to use it over and over again and again. So yes, this is one of the good masking fluids that I have come across, and I'm using it for quite some time. If you're someone who is planning to look out for a masking fluid, please go ahead and purchase this masking fluid. It is cheaper and great to work around with. Using my rosemary thin brush liner brush to basically mask out all the area. Pouring some water in the outer surface, you can only start pouring the water once your painting of the masking fluid is completely dried off. You cannot do anything before that. I will also apply water on the back side of my paper as well as on the front side of my paper. Cover the entire paper with your water, except the boat area. We will start out with our cobalt green or aqua green or maybe any other shade that looks more like cobalt green. It is, like, having a greenish blue kind of a shade. And I think it's some mint or some other shade name, particularly in white knights. This is coming from yellow Mission gold. Every company has similar kind of colors available. Whatever color that you see is available with yourself, the closest one, please go ahead and use that shade. It can be aqua. It can be something like palo green. Palo green will be a bit darker. But yeah, if you mix a bit of your Chinese white into it or maybe even titanium white, it would give you a shade that looks quite similar to the one which I'm using over here. There is less to explain at this stage. Only I am loading my brush with lots of colors and applying it on the entire part of the paper. My paper is stretched out because of the water that I have applied on the back side of this paper. I have switched on to a larger brush, and now I'm covering the entire part of the paper. It is easier to use a large brush like one or 1.5 inch. You can also go ahead with two inch whatever works best for you. For me, I love to go ahead with 1 " brushes. This one is also, in particular, 1 " brush, which I'm using. Mixing some of my ultramarin color into this shade of cobalt green. You see that I start from the top and go till the bottom. I'm mixing the color again. I want to make it more and more darker, though this has a lot of water on the surface, and hence it would take me some repeated number of times to apply the colors and slowly add the Brucian blue, which I intend to add in the painting in darker value. So three to four sheets that I'm using for the blue, though I know this is a lot compared to what I usually use in my paintings, but all the paintings are never a limited palette exercise. And in some of them, we do use more than three to four paints, which is also a good exercise to follow. I feel very strongly because all my boats will be more vibrant. One would be in the same shade of the sea, that would be blue, whereas I would be making another boat that would be more contrasting using the red and yellow shades and creating something that looks more wooden like, but not exactly wooden. Let's go ahead and start adding or just start adding the darker value of our shade, which is ultramarine. I love to add ultramarine everywhere possible. So just bear along with me. If you are someone who doesn't like ultramine, please go ahead with cobarblue deep. That's a great alternative for tramine because ultramine gives a kind of a granulation, which many of you might not like, and that's one of the reason I have given you another option of cobarblue which might be something that is up to your liking. Mixing some amount of my Prussian blue and applying on the left side of the paper, I will apply it on the bottom, I will apply it on the top and slowly take it towards the middle. Mostly, I will not apply a lot of Prussian blue in the middle part. I will go ahead and just apply the ultramarine and the cobarm more in the middle part of the paper where there is the boat, et cetera. And only on the sides, I would go ahead with this shade altogether. I think the blending is not even because of my smaller brush, I would go ahead and use my larger or thicker brush just to keep the blending, which really now looks amazing compared to what I was working along with with my smaller brush. So larger brush always gives a good blending. And if you have something like a flat brush, it would work even better with a flat brush. So go ahead, use your flat brushes for all your blending purposes. Loading my brush with some amount of green, Prussian blue, ultramarine, whatever you have available and start applying it on the top part of the paper as you see me applying from the left and then blending it with the colors. I think I must use, again, my flat brush to make the blending look even. We would be also going ahead with splattering. Splattering is a great technique that I have been using for long and it really helps to create that illusion of the sea in a good way. And there is some amount of sea life, which can be seen from the bottom area, and it also goes to the top. So that kind of good and amazing thing you can also watch in this case. I continue to add some more darker values with the help of my flat brush, as you see over here. This is a simple process. Believe me, if these colors are not available, you can go ahead with the lightest value like irelum blue and then add ultramarine over that, you can work around with Prussian blue. These three shades are actually good enough to work through the water. Since I had all of these shades available with me, I went ahead with the colors like cobalt green, et cetera. The next would be blending your colors with the help of your acrylic sheet. Now, how acrylic sheet works in these cases, we will move around the acrylic sheet with our hand so that the colors move into each other. You see how the whole water works, the water flows, and the color also flows along with it. There is less to explain over here. You have to only understand the color will flow and hence your water water, basically your color flows because there's water. Of course, when the water flows, the color flows and overall the painting comes to a great point. I am very happy with how it looks. You see the granulation. You see the perfect color blending. What else we need in a painting. Some splatters, just see that your boat is covered. I am covering my boat with the help of my hand and then going with the splatters. This is a wet on wet technique. I'm not going ahead with any wet on dry at this stage. This platters will be also there on the top part. We will go ahead with the splatters on the top. Since it is wet on wet, the colors may move a lot, and that's absolutely okay. I wanted to cover my boat, but I saw that the paper is so wet that I really can't cover my boat. If you're someone who doesn't like splatter and wants to only go ahead with flat colors, absolutely welcome. You can go ahead with flat colors, too, now splattering some clear water. But these kind of textures always add a lot of depth and beauty to your painting, which I always, always love in my own paintings, and I wanted to share all these techniques with you guys, too. Once the paper is dry, we will take a mix of cob green or aqua shade that you have and then mix it with the Prussian blue. Get a color that looks similar to the one which I'm using. You can also take a lighter value of ultramarine and walk around with the reflection part. I will go ahead and add a wet on dry reflection. That is my paper is oddly dry. I'm going over with the wet colour to make it a wet on dry reflection. I would go ahead with a second boat reflection on the left side again once my first boot reflection is done. I'm extremely happy with how it has turned out. It would be similar to the one that you see over now. The second boot reflection also will be similar to that. So do not think much when you do it. Go with any kind of shape and size that you can create. Believe me or not, this is not a brick like I would say it's not like a breaking kind of thing for your painting, like make or break kind of situation. It's just something that you should watch out for. You should add in your painting, and it looks great. I will add a few of the darker and lighter values even in my reflection. Some of the portions would be darker and some of the portions would be lighter as there can't be an equal shade of reflection everywhere in the water. Some parts may look a bit more darker as it is nature and nature will never allow you to have a single shade which looks absolutely symmetrical in all the parts. I did allow my paper to dry off completely, and once it is dried off, I am going ahead and just picking up my masking fluid. Now masking fluid is something that I have applied initially, and now I'm going ahead and picking it up before I go with my painting of boats or painting of both the boats, et cetera. Et's go ahead with a mix of lavender color or something that looks in between the lavendo and the blue sheet, which you want to apply. It's a very, very light mix, and hence we are going with a very, very watery mix is all you can say. The colors from my reflection is also pulling into the boat area. I will take it out later on by just using my flat brush. So don't worry much if you have to also fix a few things. We will be fixing out those things for sure. I am covering the entire area of the boat with this color that is lavender plus you can say, the blue shade. I will also go ahead and apply it in between, as well as on the whole of the other slowly, we go ahead. I'm using my size four brush from the brand silver Velvet. You can use any brush that's available with you. You really do not need to have a similar brushes which I'm using. All brushes are good to go. Having a good brush always gives you an edge as it can really hold a lot of water, which is important for a watercolor painting. Adding another layer of lavender and blue mix on the area of the boat, I will continue to add it into smaller spaces. Some of the places I have left it as white. Now that is basically the area which I will paint in my yellow ocher and brown. These are some of the beautiful areas which has the look and feel of usually the wooden planks, like structure, and we usually use either yellow ochre or you can go ahead with even your naples yellow and brown for covering this area. Hanging the values of your color is always a good thing to do, and I'm going ahead and changing the color of my area of this plank. You can see that some of the areas is basically in yellow ocher or naples yellow, and some of the area has more of brown in it. Over the time, you can see there is a lot of wear and tear for any boat or any structures that has been made because of the water or you may say of the rain. And there can be a lot of other factors involved in it, the changing weather conditions. So having taken all of that together, you have to understand that this part of your dark and light value changes is good when you are working with watercolors, that gives it a greater intent or that gives you a better understanding of how you should paint each and every subject of watercolors. Et's go ahead and add some darker values. As you see over here. This is more to just show the darker and lighter values of the boat. There is some area which is more in the shadow, and there is some area which is more in the darker side. That's all we have to show, and that is how the whole painting is coming together. The shadow, of course, falls over here, as you can see, and I'm covering that area with a bit darker value of the blue. Uh I will take a thin liner brush and start applying some thin lines of the darkest value of blue, as you see here, and then just extending it a bit towards the right side. It applies as a very thin line of brown or the darkest value of brown. Keep adding some more lines in the middle as well as on the left side. There were two small circular like structures, which I did add even on the two ends of the boat. You will see that I will go ahead with some darker value of brown and even highlight a bit of a part over there. This is how I continue to add my darker lighter values to create some highlights here and there. I think that, finally, my boat looks seriously beautiful and I have to move on to my next boat or else I will overwork on this particular boat, which makes no sense at all, we have this tendency of overworking. Believe me, you are not the first person who is overworking as an artist. I do overwork on many of my paintings, and then later, I think that, Okay, why did I even overwork on this painting? It was really not required. Still, I did overwork on uh, these kind of feelings always come and go if you are an artist. So don't think much whenever these kind of feelings are coming even in your mind. It's all about the fact that you have to ace through your paintings whatever best is possible. You can use white gouache or white opaque color as you see over here, and then I'm using my liner brush. This is from the brand afile. Rafael is pretty cheap in India as a good brush. If you plan to add any, I think this is one of the brushes that you can think of I am using the same brush to add a few lines. This is basically the rope that attaches this boat to the shore area. It is a bit far away from the shore area, and hence, you can see that the rope is on top of the water, somewhere it is mildly seen, somewhere it is seen very well. So these kind of things do happen, and I continue to add line even from the top. The whole of the water can be clearly seen. That's one of the reasons this white rope can also be seen very well from the top view. You can create a mix of your naples, yellow, red, or even your brown to add as a lighter value for another boat. Two contrasting boats we are going to create. We are never going to create only one single kind of a boat or one type of boat itself. There are two different kind of boats that we are adding to our painting with two different colors. Contrasting colours really look amazing together, that's one of the reasons. I usually pick up colours from two different ends of my watercolor. If you have gone through color theory, you have an understanding of the color wheel, you will understand that blue actually falls at the cool side of the color, whereas the yellow and the red falls on the warm side of the colors. Hence, I'm picking up two opposite shades, creating that contrast and then adding these pots. This kind of contrast always helps you to frankly show that there are there is a beautiful outcome that can be created, even with simply just understanding things like you can how you can alter just the simple colors and have a contrasting outcome that looks amazing. And it pops up from your painting. That's something which I really like about adding the contrasting colors. I'm adding the darkest value of brown now formed by shadows, as well as I will create some lines which basically act like the planks. For this boat area, highlighting the circles that I done earlier, and it remains the work for this boat remains in a similar way like we have done for the other boat. If you just simply follow, I think you will be in a position to have a better or really similar outcome that I have. It is easy to do just that the sketch might take some time, but it has again been broken into very simple steps. You have a cheat sheet available with you guys. You can also go ahead and trace it I would leave all that decision up to you. It's just to understand watercolors and how to create contrast, how to work with your water, what different techniques like splattering, then water splattering. All of this can be used to create sea. Overall, I guess you will enjoy painting this particular this particular final project, for sure, as this is one of my own favorites from the entire series. Hence, I'm just expecting you guys also to like it in a similar way. Once the painting is done and all the finer details are added, have a look at it after the whole paper dries up. I'm very sure about it. This is one of her top few paintings that you might also like creating for any of your boat or ocean skips. We have already highlighted with the white. I want to just add a bit of darker value in and around it so that the highlight looks more organic and the final painting comes out even better. If you are liking this series, please, please go ahead and leave me a feedback. I am excited to read all your feedbacks that you put in.