Master Watercolor Mountains in 20 Days: A Step-by-Step Painting Challenge

1. Introduction - Mountains in Watercolors: Hi, everyone. Welcome to the watercolor painting challenge. This class is all about painting mountains. I'm so excited to have you here. If you're someone who loves landscapes and wants to paint mountains, but at the same time, you feel they are too complicated, then this class is for you. Mountains can look very detailed and complicated at first, but they don't have to be. In this painting challenge, I'm going to show you how to simplify them, how to approach them in an easy manner, how to create depth and dimension so that painting them looks very effortless. We will learn to break down the composition into simple and easy steps. And we will also learn to create different textures and effects in your painting without overworking on them. Over the next 20 days, we will learn to create different mountains, different textures and learn how to create depth and dimension in them. The goal of this challenge is not to achieve perfect mountain paintings, but to enjoy and build confidence in painting them. You can follow along with me or you can challenge yourself to paint on your own as we go forward in this journey. There is no pressure at all to create perfect pictures. You can just show up for yourself and have fun along this journey. Grab your brushes and let's begin this journey together. 2. Overview of the class: Hi, again, I'm so glad you decided to join my class. I'm going to walk you through all the chapters before we begin the class. So first, I'm going to show you all the art supplies that I am going to use in this class, starting from papers, colors, brushes and each and everything that I am using so that you can find whatever is available with you. And then we will discuss how to approach painting mountains. What are the factors to consider. I'll be showing you some examples. I'll be talking about water control, where we discuss some watercolor techniques and how to control water. And then we have a chapter on brush control. There we will talk about how you can hold your brush and how you can create different textures, and it's mostly about the brush marks. In this brush control chapter, I would want you to practice on a rough paper so that you build a good muscle memory and painting these brush marks would become very easy for you. And next, we have a chapter on layering and depth, how to create multiple layers and what to avoid while you are painting on layering technique and why it is very important in mountains to build that intensity and depth in your painting. Also, I'll be talking about some common mistakes that you need to avoid before painting or gentle mindset shifts that you can adapt in order to create better paintings. I would also want you to feel free while attempting this painting class. Take it as a fun challenge. Do not restrict yourself into creating perfect paintings. Just let go of that control and have fun. And once you're confident with the basics, then you can move on to the class projects. We will begin with a simple and easier project on day one, and slowly and gradually we will level up with each project. Each day, I'll be posting a new class project, and for the next 20 days, we will be painting together. If you have any doubts or queries related to the class projects or art supplies, you can ask me under the discussion section. I would be happy to answer them for you. And as we paint together through this journey, I would really encourage you to be a part of this community, share your work, appreciate what others are creating and support each other. Let's keep it a space where we can learn, grow, and cheer each other on. All right. In the next chapter, let's have a look at all the art supplies. 3. Art supplies: In this chapter, I'm going to talk about all the art supplies that I'm going to use in this whole challenge. Let's begin with papers. For papers, I'm going to use Chitrapat 270 GSM textured paper. This is 100% cotton paper, and hence it will help us retain moisture and wetness as we paint. This is the close up of the paper. It has very rich texture and because it is a extued paper, it will help us create exture as well. So I would recommend you using either rough paper or cold press paper so that you get nice texture in your mountains. If you don't have one, it's totally fine. You can use any paper that's currently available with you. Okay. And the size of this paper is about a five size, and most of them are rectangle in shape. I'll be either painting in a landscape orientation or portrait orientation. And to tape down the paper, I'm using this a glass sheet. You could use any clipboard or any flat surface that you have, and I'll be using masking tape to tape down all the sides. Also one important thing is to tape it down on a flat surface. You would notice I'm mostly turning around the paper like this. I'll keep it in a tilted manner so that the paints flow down. This aspect, of the painting is very important where I'm moving the paper to let the paints flow in different direction. So make sure you're not taping it down on the table itself because I've seen a lot of students, they just tape it down on the table and it doesn't allow them to move the paper. Now let's talk about the colors. I'm using this air tight container for storing my colors, and it really helps me to paint whenever I'm in a mood of painting. It makes the whole process easier. If the paint is dry, I just use a spray bottle and spray some water it re wets the paints instantly. Now for the class projects, I'll be using colors only from this palette and also a white gauche paint, which I'll show you later. Now, let me just walk you through the colors in my palette and I'll also show you the most used colors throughout this journey. Here I have black. This is lamp black. I won't be using black much in the projects. Here is Pains Gray. This I have used literally in every project. This is important. If you don't have Pains gray, then you can use indigo. Then the next most used color is ultramarine blue. You can mix it with pains gray to create a darker blue color as well. Then I have kobar blue, which will be used in some projects, not much. This is erlean blue. Again, not much used. This is aqua blue. I don't think I've used this color in any of the projects. Then shadow green. I really like using this color, but I have not used in the current projects because I feel this is not very commonly available in most palettes. I have avoided this color. Then there is forest green. Again, like a cool green color. I think I've not used this much. There is sad green, which, yes, I have used for some paintings, and we have olive green. Oolive green is one color that I have used a lot in some projects. So if you don't have an olive green color, you can take any regular green in your palette and mix it with maybe a brown color. It could be burnt siana, burnt amber, any brown that is available in your palette, mix it together and you will get a nice olive green. If not, you can simply refer to your color veal. Like the opposite color to green is red. So when you mix red and green, it gives you a brownish green color. An color you don't have with you, you can refer to color veal. For mixing different shades. You can look up for color heel on Internet or YouTube videos and find tutorials on color viel. If you want me to make a color wheel video, let me know I would make that in future and the next color is volet. This is intensively used in most of the projects, and I really love how vibrant this color is. Next is burnt amber and also a little bit of sepia. I'll be using both the colors, mostly burn tumber because I like to mix burn tamber with paint gray. I'll be talking about each shade before using it in my painting project, don't worry. Next color is raw amber, again, rarely used in the project. Then I have, um, one Siena in two wells. I'll be using this color in most of the project. Then I have opera pink. I'll use this color to paint pink skies or pink mountains in the project. If you do not have opera pink, you could choose crimson, rose Madow or any pink that is already there in your palette. Next is red. This is a warmer red, not very important, but yes, you can have it in your palette for color mixing. Like I said, for olive green, you can mix green and red. Then I have permanent yellow. This is actually yellow, but I have mixed red here, so it looks orangish, but it is permanent yellow. This is yellow ochre, here, this is red oxide. I've not used this color, so don't worry. This is cadmium yellow. I have mixed it with sap green, so it looks like light green color, but totally ignore the messy palette. You can use cadmium yellow or any yellow that is there with you, doesn't matter much, and this is lemon yellow rarely used. I think in one or two projects, I've used this Okay. Yeah, and a little bit of gauze I have poured here. So for Gauche, I will be using this Gauche tube. This is by Brustro Gauche color. Why I'm using Gauche is to create an opaque consistency in some of the paintings. Because watercolors are transparent and to block that transparency and make the colors a little opaque, I will be mixing white paint with the existing colors. I'll guide you as and when I'm using it, but just as a heads up, I'm letting you know that I'll be using white gauche paint. Also, it can be used for some detailing work, but I've tried to avoid the detailing work with white gauche paint. That's about the colors. Don't worry. If you don't have any of these shades, don't worry. You can use the basic colors in your palette, refer to a color wheel maybe and try to understand how different colors are formed. Next, let us talk about the brushes. For the entire painting challenge, I have only used three brushes, and most of the painting is done with this brush. And this is a mob brush by Brustro. I have used this just for wetting the area because I'm painting on a smaller sized paper. So I will be using this medium sized brush. If you are painting on a bigger paper, then maybe you can go for a bigger brush. I'll be explaining more about usage of the brushes in the upcoming chapters. But this brush alone has this thick belly and pointed tip, which helps me to create multiple brush strokes. This brush is used for detailing purpose. When it is wet, it creates this pointed tip which helps me create detailing work. Next I'll be using two jars of water. One jar will remain clean because if I would need clean water, I would take from a clean jar. The other jar would be to clean the dirty paints of the brushes. Currently, it is dirty. But when you're starting a painting, make sure you're taking two clean jars of water. Or if you can manage with one, that's totally fine. You can use a pencil and an eraser for the basic sketching and we would need a napkin. And some tissues for wiping off the paints from the brushes and also to lift off some paints when we are painting. Have some tissues and napkin when we are painting. It is going to make the process so much easier for you and you can also have a hair dryer to speed up the drying process. If you are in a humid area, the paints dry very slowly. So it's good to have a hair dryer which helps you to dry the paper faster. So whenever I paint in my hometown, it's a very humid area. The paints take a long time to dry. But when I'm in Bangalore, the paints dry quickly because of the dry climate here. So it depends on wherever you are, you can choose accordingly. Okay, so that's about the art supplies that I'm going. Okay, so that's about the art supplies that I'm going to use in this painting challenge. You can use whatever similar supplies that you already have. You don't have to buy exclusively for this challenge. If you're starting out, maybe you can invest in good papers so that you have a nice painting experience. Papers are the most important thing in a watercolor painting. All right. So that's about the art supplies. 4. How to approach painting Mountains.: To help you understand mountains better, I have created this small three D model. I have made it using simple household materials and note that it is fully white. There is no color variation. It is only to understand how things actually appear in real life. So sometimes when we look at reference images, it is two D. So we don't really understand form and depth in the images. That is why I have created this three D model to help you understand and visualize the form and depth of the mountains. Currently, the light is from all the sides. Now I'll change the direction of the light and you will pay close attention to the screen. Observe the changes carefully. So what was your observation here? Let me explain it again. Here, I'm keeping the light source on the right side. Right side of the mountain is illuminated and the other side looks darker. But the initial color of the mountain was purely white. And now we are seeing this change in color. So why is this happening? This change in color is mainly because of the presence and absence of light. Presence of light makes the area brighter, and you can also see some creases and the area where there is a separation that is called the ridge of the mountain where the two planes get divided. Now I'm slowly changing the direction of light, and you can see the light is on the top, and the shadows are falling on the bottom part. Now I'm moving the light to the left side of the mountain and you can slowly see the shadows changing. Now, the left side of the mountain looks luminous and the right side looks darker because of the shadows. And also notice the cast shadows. This usually falls on the other mountains. That is why we have different shadows, lights and variation in the mountain ranges. Next, let me show you another case where the light is diagonal side. The shadow is also diagonal and only a part of the mountain will have shadow and rest of the area will look illuminated. Like only 25% is shadow and 75% of the mountain area will look bright and illuminated. I hope you're understanding this. Similarly, if the light is hitting diagonally from backside, then only around 20, 25% of the mountain will look bright and illuminated and rest of the mountain will look darker. So basically, it's all about visualization, how you can visualize light and shadows. Okay, so with this three D demonstration, I hope you have got a better idea and visualization about mountains. Now, let's talk about the texture of mountains. Mountains don't always need to be very detailed. Yes, they can be, but you don't have to copy everything you see from a reference picture. Whenever you have some idea, you can simplify them in a way that makes sense to you. For example, in this painting, the mountain could have had a lot of details, but I chose to break it down into simple two parts, the shadow and the highlight, and then some basic brush marks. That's it. You can always simplify based on what feels doable for you. In this painting as well, I've tried to kept everything minimal with one background element and one actual focus mountain. In this painting, we have multiple layers, but we have also used the negative area of the painting to suggest the mist. So here, this painting might look a bit complicated. But during the painting process, I'm going to simplify each and every step, so you will feel confident with that. And the details that you see here are all brush marks. So don't get scared when you see something or when you have a reference image. Whenever we pick a reference image or a clicked photograph, the image might have 100 elements in it, but you choose the focal element. For example, here, I have tried to keep this as my focal element. This mountain has some details. Was the rest of the mountains here, it's very loosely done. So you choose your level of painting. Here I'll be guiding you through each and every step as I paint. But if at any point you feel it's complicated, then maybe you can watch the entire video and try to understand it in your way in a way that's easy and digestible for you. You don't have to get disappointed and make a meaning out of it. Sometimes we see something is difficult and our brain tries to pull us down by saying all kind of negative things about our skills, about how we are not good enough, how we don't have talent and all of that. Try not to fall for such trap. Keep practicing and you will get better at your art. There might be complicated shapes. So you can try to simplify it. For example, in this mountain, this looks a little bit tough. I know, I agree. We will be painting some easier mountains first, and then we will go for this. But if you feel this is stuff, then you can maybe simplify it into two parts. One is darker and other one lighter and only add some brush marks and do not worry about creating perfect shapes. We are not machines here, we are humans, so we should learn to embrace our imperfection. Here, even here, I have made mistakes. If I had worried so much about creating perfect artworks, I'd have been stuck. All these brush marks are imperfect. Some birds are also imperfect, but that doesn't mean I will stop painting. Give it a try and be kind to yourself. Most importantly, trust the process. The middle part of the painting might look messy. You might want to stop painting and give up the process. But it's very important to embrace that messy middle and towards the end, you'll be really happy with your painting. 5. Water control | Techniques: So before we start painting, I want to quickly talk about water control because this is really the foundation of watercolors. We are not just painting with colors. We are actually painting with water. So water is the crucial element in watercolor painting. And depending upon how much water you use, your paints will behave very differently. So there are different approaches with watercolors. I'm going to show you one by one. Let's demonstrate some techniques one by one. I'm wetting the paper. When the paper is wet, the paint spread very easily. And you can see the colors creating a nice bloom. So in this condition, the paper is fully wet. That's why the colors are flowing easily. So this technique here is called wet on wet where we are applying wet paints on wet paper. This is the foundation. Most of you might be familiar with it. This technique is widely used to create soft edges and sort of diffused effect in the paintings. Now let's say we want to create a soft mountain. I'm going to extend the same area and show you the example here itself. The paper is wet. Now I'm going to create a mountain. Apply wet paints on this wet area and see how the colors are spreading. So this technique can be approached for the entire painting. But I approach it for the background or the midground elements. And for the foreground, I mix it with some other techniques as well because foreground needs some detailing work, right? You'll understand more about it as we paint different class projects. And also remember the direction of the flow of water decides the texture of the painting of the color applied. So here, if I apply the paints and just leave it as it is, the paints run in this direction. But if I'm keeping my paper like this at an angle of about 80 to 90 or at least 60 degrees, it flows down and I can guide the paints to come in lower direction. A you see that? This is how you dide and not control the paints. You can create misty mountains or anything soft using this technique. The next technique is where the paper will be fully dry and we will be using wet paints. If I have to create this mountain again, When the paper is fully dry, it creates sharp edges. It is used to create defined lines and details in the painting. I will be using this technique for most of my foreground elements where I want to add details in the painting. So you can clearly see the difference here. This has sharp edges and this has soft edges. So based on what kind of effect you want in your painting, you can choose the technique accordingly. Now, another technique is where your paper is damp, which means we apply water and let it soak for some time. We will let the paper sit for about two or 3 minutes. In this, you will see mild sheen on the paper. When you observe, the light is being reflected on the paper. Or you could also use tissue paper and lift off excess water. Now if you apply the pins, you will see that we are not getting that hard edges as that of this technique, and it's not as flowy as the wet on wet. Here, you can use the damp brush if you want further softer edges. And the next technique would be dry on dry. Here, the paper would be dry and the paints will also be in dry, which means your brush will have very minimal amount of paints. Which helps you to create texture. The texture is mainly because of the texture of the paper. If you're using a hot press or a flat paper without any texture, you won't be able to achieve this kind of texture. Yeah. So yeah, these are the basic techniques that depends on the water control. So which is basically wet on wet wet on dry, wet on damp, and dry on dry. Now, listen to me very carefully. If at any point you feel that your paints are running too fast and you're not able to control any shape, I'm going to show you why that happens. Now let me demonstrate you with a small example. So here if you notice, the paints are running very fast and not able to retain any shape. The reason for this to happen is because there is a lot of water on the paper. This is a reason why water control is very important. This can be used in certain cases, but in our painting in our mountain painting, we will not be using this kind of technique. See, you can clearly see that the paints are running here and there. You can use a tissue paper and lift off the excess pains if this happens at any point. Pybe Now let's talk about the brush control. 6. Brush control | Brush Marks for texture: Let's talk about brush control. Like I said earlier, I'll mostly be using this brush for most of the projects. Here, this one brush has multiple use cases. In some cases, you will see me using this brush at an angle about this 45 to 50 degree angle where I'm using the belly of the brush. I'm painting this normal brush strokes. I will be painting to create texture. And if I use the tip of the brush, I can use this for creating details. So the dry brush technique that we learned earlier can be used to create textures on mountain. Another technique is to create these kind of brush marks. These brush marks are very necessary for painting the mountains because it helps us create layers and texture in the mountain. You'll be creating textures like these. I'll show you the paintings. So in this painting, we have these tiny brush marks like this or some patches. With darker color like this. No complicate it. You are just creating the impression of textures and creases. We have some other textures as well. Here I will be using my fine liner brush. So here you can see some lines. You just have to use the tip of the brush. By applying less pressure, you create thin lines and by applying more pressure on the brush, you will get thicker lines. You will vary the pressure accordingly to get different thickness. We will not be using any fixed pattern or rules as such, don't worry. You don't have to get it exactly the same. Here, if you see, I have applied textures like this, somewhat round shape. You can practice some textures. Here in this painting, I have created some light colored textures using similar brush marks. You could also use splattering technique and also maybe use your fingertips to smudge the colors. Creating texture on mountains is all about different brush marks. You can see the brush marks. This is a little bigger. All are very random and doesn't have a fixed pattern as such because in nature, if we try to create fixed uniform pattern, it will start looking inorganic. Let's practice few brush marks. Let's say we have a mountain. We'll paint a triangular shape, something like this. Now, apply some darker color. Let's say this is our shadow side. This is the mountain. Now, on the wet surface, we will paint one layer of details, randomly adding some brush marks. On the shadow side, a little darker brush marks. We will let this dry. See the paper is not fully dry. This is what happens when you apply paints on semi dry area. We will wait for the paper to dry. Meanwhile, let us practice the brush marks. Okay. Now listen to me carefully. When you are painting these lines, do not try to paint it in same length or same angle. Try to bring in a variety, maybe some shorter lines, some longer, some thicker, some thinner. Keep it very irregular. Basically, avoiding uniformity, right? Now the paper is dry. Now let's go ahead and add some textures. So here you can see how I'm changing the size. You could even add some dots in between You can vary the pressure on the brush to create different sizes or I'm going to apply darker pans to create a sense of separation, to create the rich in between. You could also glide your brush creating the texture. There is no hard and fast rule that mountains have to be painted like this. You can take your own creative liberty and explore something of your own style. Moving on, let us paint another style of textures on the mountain. I'm taking brownish color and with this, I'll paint a mountain. Use diluted color and then gradually build the layers. This is the base of our mountain. I'll drop in some shadows with a darker color. This is the brighter part, luminous side of the mountain, considering the sun is from the side. Now let us allow it to dry. The paper is dry. Now let's add some details using wet on dry and a fine line of brush. Here I am creating some creases on the lighter areas. Some are thin, some are thick. You can vary the pressure on the brush. Here I'm using diluted color. You can wipe off the excess paints of the brush to get a nice precision. It creates the impression of freezers and different texture on the mountain. You can create bigger creases as well. Like I said earlier, there is no fixed pattern or shape that you have to keep in mind while you are painting. You just apply some random brush strokes that depicts the texture in the mountain. Maybe you can try practicing on a rough paper before moving on to the actual project. 7. Layering and Depth : Now let us talk about layering in watercolors. Layering is nothing but you're applying paints one over the other, you apply one layer, then you wait and then apply another layer. Likewise, you'll apply multiple layers. This helps in building a sense of depth and dimension in your painting. If your painting doesn't have layer, it will look flat. For example, here I have painted my first layer and then I'll wait for it to dry. Working with layers and letting the paints dry is very important in watercolors. If you try to apply on wet layer, it will look paint might spread a little bit here and there. You can apply the layer when it is damp but not when fully wet. We will wait for the paints to dry. Now the paints have dried, we will take slightly darker color and apply second layer. With wet on dry, you get sharp edges, whereas if you apply paint on a damp layer, you get a softer layer. Then we let it dry again for some time. Okay, so the paints have dried. Now let us paint another layer. I'm using slightly darker color so that we can clearly see the transition from lighter to darker. This was our layering technique. So for layering, it doesn't necessarily have to be wet on dry. You could use wet on wet for background areas like I mentioned earlier in the initial chapters. The most important thing is to dry the previous layer before approaching the next one. Like in most of my paintings, I use wet on wet for background layers. Like in this painting, here I have used wet on wet to create this blurry effect. And here, it's wet on dry for the detailing effect. And in this painting, the background area is very blood, diffuse and out of focus. All our attention goes to the foreground element, which is why I prefer wet on wet or wet on damp for most of my backgrounds. And for this painting, you can see the background is not very focused, and the foreground gets all the attention. Here as well. Distant mountain, which is not seeking much attention and have not given the focus. Here we have used wet on wet for this technique. Here, it's a combination of wet on wet and wet on dry. These details are wet on dry. And for the base colors, I have used wet on wet for blending the colors. And here I have used wet on wet for both background and the main mountain as well. That's why we have got this granulated texture defect. It's really beautiful. But for the foreground area, I have added some details using wet on dry. Now, let us discuss the technique that is used to soften the hard edges. Let's say we have painted something with sharp edges and we don't like how it is looking. I'll show you how that is achieved. So now you clean your brush, wipe off excess water. Then we have a damp brush. Now with this damp brush, we will lift off the paints trying to soften the hard edges. So our brush is damp and has some water in it because of this dampness, it will lift off some paints. This is really good to make the corners or the edges softer and make it look seamless. You can keep cleaning your brush in order to get nice and clean results. You can clearly notice the difference here. Here, we still have sharp edge, and the other side is slightly softer. Next useful technique is pulling technique where you apply paints in desired manner. Then you take clean wet brush and pull the paints down. Keep it in a tilted manner. This creates a soft graded effect from dark to light. We'll keep it for some more time so that the paints flow down seamlessly. Now again, if you want, you can soften the hard edges. Grab some paints while the paints are flowing down. This creates a nice soft mist and foggy effect. That's about layering and creating depth in watercolors. 8. Common Mistakes to Avoid: In this chapter, I'm going to discuss the most common mistakes that most beginners do. Let's talk about it. The first one is overworking on your elements. Let's say this is one area let's say this is another area. Here I am overworking, applying multiple colors, going over and over on the same area. Maybe you're not satisfied with what you have painted, so you're trying to fix it, trying to make sense of it. You're basically painting like an acrylic art work. Whereas in the first one, you have kept it very minimal and limited brush strokes. Which one looks pleasant to the eyes? This one, right? This looks overworked and it looks mostly like gauche or acrylics. It doesn't have the beauty of watercolors. So please try to avoid painting multiple brush strokes. Keep it minimal and simple. Trusting the process is very important. We need to build layers but not overwork on them. Another thing is not letting the layers dry. We talked about layers. If you are not letting the layers dry, what happens is, if I'm painting like this, it will not hold the shape. This kind of approach is usually good for the background where we want to achieve diffused effects. But for foreground areas, I would always prefer clearer and distinct layers. In some cases, you can paint on damp paper, but try to avoid painting on a very wet paper. Again, it depends from person to person. You can paint an entire painting with wet on wet if you have mastered the techniques. In watercolors, usually beginners try to control everything. They approach the medium as acrylics or any other painting medium. Watercolors don't work that way. You need to let them flow and be okay with making mistakes. Sometimes you need to just let go and wait for the magic to happen. You cannot control each and everything. So try to let go of that control and paint freely. The next common mistake would be to focus on detailing in the early stages of painting. We all have done that mistake where even though we are in the beginning stage of the painting, the base layer itself is not done and we are all set to create the details. Let's say I want to paint a mountain. I have painted a background wash. Now I'm painting a mountain. This is my base stage. At this point, if I try to add details like adding the brush marks, texture and small tiny trees. If I try to paint everything at this stage, it will not look good. You will not succeed in this. It is going to spread and you will only waste your time in adding the details. What's the ideal scenario is to wait for the layers to dry. Like in this painting here, I had only initially painted some layers and all the detailing work was done towards the end. In most of the paintings here, you can see the first few layers are just meant to create the structure. You know to lay the foundation. But once you are almost done, once you are almost 70, 80% complete, then you go for tiny details. You do not add details in the starting stage. So if you are focused on adding details in the early stage of the painting, you will only waste your time and energy and it will result in a muddy and messy painting. I avoid that. All right. And the other common mistake is comparing your artwork strictly with the reference image. So when you are trying to control each and every aspect of your reference image, you are restricting yourself and trying to control everything, which is never possible with watercolors. Watercolors are meant to flow. Watercolors have their own mind because we are playing around with water, right? So never fully try to control everything in your painting. Just have a basic guideline for yourself, simplify the composition and allow the paints to just flow and create their own magic. And also, the most important thing is to embrace whatever output you have achieved. Don't fall for the comparison trap. If you are stuck with the idea of achieving perfect results, then you would be stuck forever. So allow yourself to play, have fun and be open to make mistakes. It's fine. Sometimes you will discover some happy accidents happening in your painting. Make more space for that. So these are some of the common mistakes that most beginners do. And I hope you have learned your lesson. We are going to paint and explore some mountains. Feel free to do it in your own way. 9. Day 1 - Mountain & Reflection: Okay, so let's begin with our day one project. Today, we are going to create this beautiful mountain artwork. Let's begin. Okay. Let us tape down the paper. This is in a portrait orientation. If you are using a square paper, then maybe you can ape it down in a way that it looks rectangle. Just giving a thin border to the painting. When you are giving border or taping it down, it secures the paper well and the paper remains intact during the painting. For our first project, we are going to keep it very simple. Divide the paper into two half. This is the horizon line, and we are going to paint just one mountain today. Below the horizon, we have a lake, the reflection of mountain will fall on the lake. Let's draw the reflection as well. Try to create a replica of what you have drawn above the horizon and on the horizon, we will draw some grasses or some trees, whatever you want to create in your artwork. Now, it looks very symmetrical, maybe to break the symmetry. I'll add a tree on one of the sides. Just one tree or maybe another wet tree or like that. Okay. So the approach for this painting would be to paint the sky first and the reflection of the sky. And then as the layer dries, we will paint first wash for the mountain. Then we will leave it for drying. And once the paper is entirely dried, we will add some details on the mountain and some trees here. We'll try to keep it as simple as we can. So now let's wet the paper completely. Apply multiple coats of water. The reason to apply multiple coats of water is to retain the water and let the paper absorb good amount of moisture, which then lets us paint for multiple layers. Now let us mix the colors. For the sky, I will be using ultramarine blue. I don't want the sky to be this bright blue since I'm going to paint evening sunset view. Maybe I will add a little bit of red to this. This looks a little laty. I think that's okay. I don't have to overthink so much. Now, just start applying the colors. Applying simple horizontal brush strokes to paint the sky. I'll try to create a sort of gradation. And around the mountain area, I'm just applying some thin brush strokes. The tiny white gaps in the sky are intentional. Similarly, let's paint the reflection. Try to create a graded effect from darker to light and darker to light. Around the horizon, we have almost a whitish sky. Since we are trying to paint a very simple painting, so I'm keeping the sky simple as well. Now, let's take pink. I'm using opera pink. You could also take crimson rose mato or any pink you like and a little bit of permanent yellow, mixing it together to form peachy pink color. I like this color, so I mix this in most of my paintings. Now, let's imagine we have this mountain and we are dividing it into two parts. I'm going to apply this color only on the left side of the mountain. And slowly towards the bottom side of the right. Now let's take Burn Siana or any brown color and apply it along the horizon line. This is to create a base for the tree line. Again, take pink and yellow. This time, a little darker consistency. Wipe off the excess pains and apply some paints over the first layer. Apply some simple brush marks like slant angular lines. Now, some brush marks on the empty side as well. Trying to break the symmetry by increasing the height of the trees here. Next, it paints gray in thicker consistency and applied along the horizon line. This should be thick. If it is watery, it will run into all the areas. And apply vertical brush strokes like this. Now, you may want to add some trees so you can use paints gray and green or Ole pains gray is also good enough. And the bare trees, we can paint the details once the paints are dry. But for now, I'll use the back of my brush, creating the impression of the trunk of the tree. Maybe I'll add few other trees as well. The details like tiny branches can be added once the paints are dry. All right. Now we will let this dry. I'm using my head dryer to speed up the drying process. Okay, so the paints have dried. Now I'll take the pink mix again, which is basically a mix of opera pink and permanent yellow. Now I'm going to paint some brush marks only on the left side of the mountain, creating some details. Wipe off the excess paints from the brush using a tissue paper. Just dab the tissue or napkin on the area where you have applied more paints. It's easy to lift off the paints that way. Now I'll paint on the reflection area as well. For now, our focus is only on the left side of the mountain and its reflection. Next, for the brush marks on the right side of the mountain, we will use diluted paint. Add some water to the existing paints, or you could use a tissue paper to lift off the excess paints. Some simple brush marks. Now Pains gray. Next, we would need a darker version of the pink color. So I'm going to take a little bit of pains gray and some pink. This will create a darker pink color. Now, use this color mix to create darker brush marks on the shadow side of the mountain. Whatever you do here, you need to create the same brush marks on the lower reflection as well. Do not get very fixated with the exact positioning. It's fine if it is a little bit here and there. I'll also add some brush marks on the other side as well, the lighter side. Okay. I'm going to create some textures now. Just simply glide the belly of your brush, creating the texture. I just noticed that the reflection looks slightly bigger than the actual mountain, but it's fine. Sometimes when we see reflections, it looks bigger. So nothing to worry about that. I'm mixing some more darker pink color by adding pink gray. So textures on the right side as well. Glide to create dry brush effect or dry on dry technique. Defining the peak area of the mountain. Now, let's take this bluish violet color mix. Using this color, we will create some ripples in the water. So you just have to create these tiny impression. Even though this is a mountain painting class, we would also need some other elements to bring out the essence and create a sense of balance in the painting. Some ripples suggesting movement in the water. And with this color, again, some movement around the mountain reflection. Keep it very subtle. No big brush strokes. Adding some pink brush marks in the water as well to create a sort of distorted reflection. U towards the foreground area, apply some bigger brush strokes to suggest a sense of perspective. Next, I'll take a fine line or brush and pinch gray or black or whatever dark color you have, let's paint the trees. Here you just add some tiny branches defining the shape of the tree. No fixed shape as such. Go with your intuition. T. Initially, I had only planned to paint one tree, but now we have these tree trees and some little lines here and there. These little lines will act as the filler elements. Now take paint's gray and create some brush marks on the shadow side of the mountain. I'm adding simple brush marks, no complicated shapes. Also, you can glide your brush, creating a sort of texture on the mountain, which also brings a sense of contrast. Now, let's paint some birds. If you have watched my previous classes, you would know how much I love adding birds in my paintings. So add as many birds you like, roughly marking the reflection of birds. Okay, so we are done with our first project. Now let us spin off the masking tape. Okay, so this is what we have created today. I hope you like this artwork. If you found this difficult, maybe you can try it again with a simple approach. You don't have to add all these multiple layers if you are not confident with your painting skills. Do give it a try. We have a long way to go. I'm sure you will improve over time in the coming days. Do share your projects as you paint along with me. I'll see you in the next chapter until then bye bye. 10. Day 2 - Soft Mountains with Pink Sky : Hi. Welcome back. Today is day two of the painting challenge, and we are going to paint this lovely snowy mountain with soft pink sky. Okay, so I have already taped down the paper using masking tape. You can take your time if you want to tape down the paper. Now let us begin by sketching the composition of the artwork. Take a pencil and we will start sketching. I'm drawing a small triangle like shape to depict the mountain. This side is shorter and the left side is slightly longer. Now I will divide this area into two parts, one for the brighter side, and other one for the darker shadow. Next, I will draw another mountain a little behind this foreground mountain. Again, dividing it into two half and then connecting it with the foreground mountain. Erasing the darker pencil marks. These two are the brighter areas and these are the darker areas in the painting. Easing darker pencil marks will give us a seamless painting because once you have painted, you won't be able to erase the darker pencil marks. This is going to be a very simple painting. We will be painting this artwork using the techniques that we learned earlier. Now let us mix the colors. Mix ultramarine blue, take 30% of paints and 70% water. It should be a runny water consistency. Now using my mob brush, I'm applying the paints on the shadow part. Carefully apply the paints on the marked areas. Do not brush through the process. Have fun and enjoy the process. Clean your brush, and we will soften the edges. Don't want the edges to be this sharp. Have a tissue paper handy so that you can wipe off the paints as you lift off the paints from the hard edges. Now, take diluted ultramarine blue and let's create some brush marks on the white area. These are some creases on the snowy part. There is no fixed pattern or definite shape. You can simply move your brush in repeated manner, creating different kinds of brush marks. You can observe how I'm varying the size of the brush strokes. Next, let us paint the sky. I'm going to make pink. This is opera pink. I'm going to add a little bit of yellow. When you make pink and yellow, it gives you a nice peachy pink color. I have mixed the color in mid tone consistency. Now let us apply it around the boundaries of the mountain, paint it very carefully. You can use any pink color that is already there with you. I'm going to apply flatwh on the sky. Okay, so I have fully applied the pink paint on the sky. Now, rotate your paper and tilt it in this angle, about 60 to 70 degrees. Clean your brush, load it with clean water, and you can drop some water like this. Here, when you are applying or dropping water, it creates a nice flowy effect in the sky. You can see the paints flowing down oh Again, softening the hard edges using clean brush. Let the paints flow. I have kept it in a tilted manner so that the paints keep flowing. When you're adding water, the paints will fade a little bit. It's fine. I can drop some paints in between like this. I'm dropping in some more pink paints because I felt I need a little vibrant sky. It's a really fun activity. You can play around and have fun with water and paints. I really enjoy doing this. You can change the direction of the paints flowing. If you move it in the opposite direction, the paints will also flow in opposite direction. It depends on you, whatever direction you guide the paints to flow, it will flow in that direction. The paints have fallen on the table, so I'm just wiping it off using tissue paper. Okay, so here you can see we have got a very soft sky using the flowing method. Now let's take Pains gray and there is something on the palette. I'm mixing it with that, it will have a pink thunderton maybe. You can take pains gray alone. Now, let's apply this paints gray on the darker side of the mountain. I'm not fully applying it, partially adding a layer on the damp area. This creates a separation from the background mountain. I'm repeating the same step for the background mountain as well. Now mix ultramarine glue and pins gray. We'll create some brush marks on the brighter luminous side of the mountain. Very the brush strokes, the pressure on the brush, that will create different textures. I'll glide the belly of the brush to create this texture defect on the dry area. It creates a nice transition from darker to light. Around the peak area, the paper has not dried because we applied water for the sky, I'm using a dry tissue and lifting of the paints around that area. Now going back and creating more texture and some more brush marks, we will create the brush marks only on the lighter side as of now because for the darker side, we will be painting once the layers are dry. Defining the peak area using bluish colors. So we sometimes enjoy painting something so much that we keep adding them more and more. Same is happening here. I'm enjoying painting these tiny textures. So I'm going back and forth again and again applying these tiny textures. Now, you can either wait for the paper to completely dry or you can add the details while the paper is damp. My paper is almost 60, 70% dry, so it can hold the shape. That's why I'm adding the brush marks and textures on the shadow side. You could use any darker color. I'm using some paint gray and black to create these brush marks. Paint these brush marks in different sizes, try to break the uniformity and have an irregular size of textures. I'll also add some textures with darker color on the brighter side of the mountain. A few of them, not much. You don't have to follow the fixed pattern or position where I'm adding these markings. You know the drill by now. We have practiced it in the brush control chapter. I will resist myself from painting birds in this painting. Let's keep it neat and clean. Okay, so we are done. All right, so we are done with this painting, and this is how it looks. We have created nice sharp contrast with white and blue colour and a contrasting pink sky. I hope you enjoyed painting this with me. Do share your projects under the projects gallery. And if you have any questions, feel free to ask. Okay, bye. I'll see you in the next chapter. 11. Day 3 - Hazy Mountains: Hi. Today is day three of the mountain painting challenge, and we are going to paint the soft mountain. For this class project, we are not going to do any sketching. We will directly be painting using our brush. Okay, so let's wet the paper. I'm using my mob brush. H apply multiple coats of water so that the paper absorbs good amount of moisture. So for this painting, we are approaching it in a slightly different manner, which is to apply thick paints first. I'll show you how it is done. For this painting, I'll be using my mom brush. We will be using the paper in landscape orientation in rectangle mold. For the next step, we would need thick paints so you can grab your fresh paints and keep it ready. Here I'm taking paints gray first in thicker consistency. Start applying from the bottom area. Apply very thick paint in the bottom. Next I'm taking olive green in thicker consistency. So if you don't have olive green, you could mix sap green with tiny bit of red. This will make olive green color. Applying very thick consistency. Apply thick paints in angular motion, making sure to apply only around the lower half of the paper. You could also use black. Any very thick dark color, okay? I If I applied the paints like this, now, clean your brush. Keep your paper in a tilted manner. I'm using two masking tapes to create about two inch of elevation making the paper stand in a tilted angle and letting the paints flow. Now take a clean brush, apply water on the white area. Not exactly near the panes, leave some gap, and then apply water so that it flows and then creates nice texture defect. So you can see the colors are flowing down, creating nice textures. Just look at them how beautifully they're creating this runny effect. And now take a smaller regular brush, and you will take paints gray and ultramarine blue. Me ultramarine blue, okay? And we will be painting a distant mountain here, another mountain, blend it well into the background, leave a tiny white gap so that it doesn't look overlap. Oh now if you feel the water is only flowing in one direction, you can tilt the board, try to guide the paints in different direction. Maybe you can splatter some water. If the paints fall down like this, don't worry. It's normal. Now again, I'm keeping it in a tilted manner. Let it sit and create the textures naturally. I'm using this tissue paper to wipe off the paint so that the paints don't flow back when we keep it straight. I'll keep the sky white and not add any colors here. I'm just looking at the textures being formed. It's very satisfying. The paper has fully dried and we can see that the color looks dull, but it's fine. Now, let's take pink gray and bon tamber mixing it together. This will give us a darker brown color. Use darker brown color or even black works to paint the trees. Here I'll be painting some were trees. You could use a fine line of brush or the tip of your existing brush. Just quickly move the brush in upward direction and then loosely paint the tree trunks. If you're not confident with the loose brush strokes, you can maybe practice it on a rough paper. It is mostly to do with practice and muscle memory. The more you practice, the more confident your brush folks will be. Now, taking a thin, fine line of brush and adding some tiny branches. That is it. This is a very simple painting. Here, this is the slope of the mountain. It's covered with haze and a little bit of mist around in the atmosphere. I'm lifting off some colors from the trees so that it looks like it is covered with haze. Okay, so we are done. So this is what we painted in today's class. I hope you enjoyed this simple artwork. Do share your class projects under the projects gallery. I'm really looking forward to see your artworks. Do share. Okay, bye. 12. Day 4 - Violet glow Mountains: Hello, hello. Today is day four of the mountain painting challenge, and we are going to create this mountain. Okay, let us begin by taping down the paper. Tape down all the sides neatly. Apply the masking tape gently, giving a thin border. And once you're done, just run your finger over the edges to make sure it is tightly sealed. Okay, so now let us start sketching. I'm going to mark the basic rough composition. I have decided to create this painting from my imagination. So I'm going to add my own details. Start with drawing two mountains. These are the foreground mountains. Another set of mountains in the background. It is very simple. These two are the foreground mountains, and in the background, we have different set of mountains. So we will be painting layer by layer, right. This area is for the sky. Now we will divide this mountain into two to three sections. I'm further dividing these sections. Let's do the same for other mountains as well. Keep the lines a little wobbly so that it looks organic. We have marked the mountain ridges and creases. Now let us mark the shadow areas. Anywhere you can create these kind of segments. These are not compulsory to add shadow lines, but it actually helps to simplify and recognize those areas while painting. Also make sure to draw it very gently and do not create any sharp pencil dents on the paper. I'm considering the light source to be from the right side, which means the shadows would be on the left side. So let's keep the focus more on the front two mountains, and less on the background mountains. And also, I'll try to lighten these areas. Pencil lines on the right side because we are trying to paint it in lighter colour, right? Okay. Now take your mob brush and wet the paper. I don't want the paper to be very wet, so I'll apply multiple coats of water, then wait for some time. So I want the paper to absorb some water. We will wait for some time now taking my size eight round brush. Now let us paint the sky. For the sky, I'll be painting with yellow color. I'll pick a permanent yellow. You can take any low of your choice and mix it in mid tone consistency. Fully applying the yellow mix on the sky without leaving any blank spaces. Next time I'm going to mix a darker yellow color, probably like a brownish yellow. For that, I'll mix a little bit of let to yellow. Since violet and yellow are complimentary colors, they create a brownish color. Now take this brownish color mix and dab it on the sky area, creating the impression of clouds. A on the upper part, I'll create bigger clouds as I move towards the horizon mountain area, I'll paint with smaller brush strokes. Intentionally leaving some blank spaces to show the yellow color. If there are any hard edges or patches of color, you can use a damp brush and blend it into the background area. To I will keep my board in this direction because I don't want the paints to flow towards lower area. I just keeping the masking tape under this. Also turning it around so that the colors move and create a soft sky. This technique for painting skies creates a beautiful effect. You can write on a different paper probably where your focus is only on the sky. This painting is coming mostly out of my imagination. And, of course, practice as well because that gives me the confidence to attempt something on my own. That being said, I can use whatever colors I like. I'm going to pick let for the mountain and my brain goes like, why is the reflection not on the mountain? How will you manage let and yellow together. But I just want to play around and explore as I teach you. Okay. So here I have taken let in mid tone consistency. Let's quickly apply the paints on the shadow side of the mountains. Observe how I'm applying the paints. They are quick diagonal brush strokes. I'll repeat the same for the other mountain as well. Do not worry about detailing at this point. Applying the paints in diagonal brush strokes, it gives nice flowy effect. Now, take ultramarine blue and mix it with violet. I'll use this in diluted very watery consistency for the background area. Applying the paints only on the shadow side and keeping the right side blank at this point. Don't let the blue get mixed with the yellow. Be very careful around the boundaries of the mountain here. Now I'll take let again and apply some paints in the lighter side. Just realized I have painted on the white area. I'm trying to lift that off using clean brush. It's not coming off that easily. I'm using tissue paper to lift off some of the paints while it is still wet. So I'm also lifting the paints from the other mountain as well so that the colors don't flow and bleed into these areas. Now take violet and some pains gray. I basically want a darker violet color. That's why adding paints gray. Now, take a tissue, wipe off the excess pains, and we will apply some shadows on the areas that we marked earlier. Basically creating some creases and shadows majorly on the shadow part, and some tiny brush marks. Paint the brush marks in different sizes. Vary the pressure when you are applying the brush strokes. I will automatically change the size and thickness. My paper is damp at this point, so I'm gliding my brush, trying to create a soft texture and variation. If your paper has dried, then you can create a dry on dry effect. We can choose the technique or change them on the spot based on the dampness of the paper. Now take ultramarine blue, and again, for the distant mountain, we will be adding some details. Not a lot of them. You don't have to put much focus over this mountain. Since it is in the background, we don't have to put much attention there. Keep it loose and vague. No need of much detailing. Now, we will let it dry. Okay, so the paints have dried. Now we will go with wet on dry for some final detailing work. Take boil it and paint scream, wipe off the excess paints, and here we will be adding some brush marks. So tiny brush marks along the ridge, creating multiple layers. Vary the pressure as you apply these brush marks. Gently glide the brush to create texture on the mountain. Moving on to the other mountain. Again, we will use the same techniques where we are applying multiple different sized brush strokes, which suggest the textures, creases and different effects on the mountain. Again, gliding the brush gently on its belly to create texture. Next, add some water to the toilet mix. Make it very watery, apply it on the white area of the mountain, these tiny brush marks, suggesting the texture. It is hardly visible, but it makes the difference. When you are up for detailing work, do not overload your brush with paints. Take minimal amount of paint, maybe have a tissue paper, wipe off the excess paints, and then try to create the details. It gives nice precision. Now, let's add some details for the background mountain. I'm using ultramarine blue, some tiny brush marks on the shadow part. Whenever I feel I have applied more paints or darker paints, I immediately use tissue paper to lift off the paints. It always comes to the rescue. Now to create a separation, I'm applying paints over here like this and trying to blend it into the background area. Now, take slightly darker violet and paints gray mix, and we will add some darker patches, some areas to define the boundary of the mountain. Some brush strokes to simply enhance the texture. Again, remember no fixed pattern. Just go with some random brush strokes. Anything that you feel like adding in the moment. All right, we are almost done. Now let us paint some birds. So bigger birds and some tiny birds in the background. Okay, so we are done with this. There you go. This is how the mountain looks like. I hope you enjoyed painting this with me. Do share your class projects or work in progress under the project gallery, or you could tag me on social media. I would really love to see your artworks. I'll see you in the next chapter until then, bye bye. But 13. Day 5 - Soft Textured Mountains: Hello. Today is day five of the Mountain painting challenge, and we are going to create this extured mountain artwork. Let us begin by marking the composition of the painting. I'm going to paint the artwork in landscape orientation. Okay, so this is my horizon line. We have some slopy area. Then we draw a mountain, which is also our focal element. Here, this mountain is somewhere around midground area, but we are paying attention to that. We will keep the foreground area a bit diffused and some more background mountains. Okay, so let's wet the paper. I'll take cerulean blue and paint the sky. I have intentionally left some spaces in between. This will depict the white clouds in the sky. Take a damp brush, lift off all the excess water. Okay, so our sky is ready. Next, let us paint the distant mountain. So I'm mixing cobalt blue. You could take any blue color. Okay. Now let's paint the distant mountain. If the pencil marks are not so dark, then you can increase or decrease the size of the mountain, based on what looks good to you. Next, let us take cobalblue and burn tamber. When you mix brown with the blue color, it gives you a sort of darker, bluish kind of indigo color. You could also add pains gray. Makes the paint in thicker consistency. All right. Now, apply the paints on the focal element, which is the main mountain here. Fill in the complete area. Now take pains gray or indigo and apply this paint along the edges of the mountain. Uh, And once you're done applying the paints, keep your paper in a tilted manner, allowing the paints to flow down so that the paints don't flow upwards. If you keep flat, it goes back. I'm keeping it in this manner. For this section, I'll paint with green. You could use any warmer shade of green. Now, we will use allow for the foreground fields not fully applying, leave some empty areas in between. I'm using paints gray and Copal plume mix. Applying this darker color mix again on the mountain. Because as the water flows down, it creates some textured defect which looks very lovely. Oh. The paints are flowing down. I'll apply some olive green paint on the areas around the mountain defining the grassy part. Keep it tilted at about 60 degrees. We will let this dry naturally because with natural drying, you'll be able to get nice textured effect. I'm using this two inch masking tape under my paper. And as the paints are drying, here I am mixing olive green and coval blue, making a darker green colour to splatter the paint. Okay, so this is how it looks after drying. Look at the texture created here. Now we have nothing much to do. We will just add some grasses in the foreground maybe with the same green color. Make it a little darker. You can apply some grass blades to put little details in the foreground. Do not try to overdo this because our focus has to be on the mountain part. You can cover the upper area and just platter it. Here we have created a very soft mountain painting. The mountains doesn't need any detailing here. The texture of the mountain speaks for itself. Also, let's add some words. Now take any darker green colour and apply it on the foreground, creating some contrast against the light green colour. Alright, we are done. Now, let's peel off the masking tape. This is how the painting looks like. Here, I wanted the focus to be on this mountain here to create this texture. This overall painting hasn't turned that great as such, but I really love the texture of the mountain. Loving the textures here, so pretty. If you are facing any difficulty creating these pictures and you want help, you can reach out to me. I hope you have enjoyed painting this with me to share your art project under the projects gallery. I would really appreciate if you could also leave a review for the class that would really help me reach more students. I'll see you in the next chapter until then bye bye. 14. Day 6 - Tiny Village and Mountain: Today is day six, and we are going to create this beautiful artwork. All right. I have already taped down the paper. Now let us begin the sketching. So somewhere here in the lower part of the paper, I'll mark the horizon line. This is our horizon line. Drawing another parallel line. This is the section for the village area. Here we will draw a partial slope of the mountain. And then inside this area, we will draw multiple lines depicting the creases and textures. And in the background, we will add another mountain. The composition is very simple. We have the sky. We have this distant mountain and then the foreground mountain, which is our main focus. So only part of that mountain is visible. And here in the foreground area, we will draw some tiny houses. Drawing some of the houses here. Very simple ones. This is a small village where there are a lot of houses. Draw some tiny houses as well to create a sense of perspective. And some trees around that area. When I'll be painting it, I might approach it very loosely. So this is just a rough depiction of a village. Some rough lines depicting an organic appearance here. I will use my razor to lighten the pencil marks. Here we have some ground and grassy part. So we will paint that with the green and brown color mixes. Okay. So now let's wet the paper. Apply generous amount of water. When you apply more water, the paper won't dry while you're painting. Make sure you're applying multiple coats. We will wait for a couple of minutes so that the paper absorbs some water. Switching to my size eight round brush and let me mix the colors that we need for the painting. For the sky, I'm going to use cerulean blue. Now for the distant mountain, I'll be using ultramarine blue. Wash the brush thoroughly. Now for the front mountain, I'm going to mix a warm green colour. Here I'll take olive green and sap green, mix them together. Here we would need two different shades of green. One is this olive and sap mix and the other one is a darker green, which I will create by mixing sap green, paints gray, and burn tamber. This will create a darker green color. These are the color mixes. Now clean your brush thoroughly for the painting process. The erlein blue color mix that we had mixed, I'm going to add a little bit of white paint to make it opaque. You could paint with just transparent color as well. But here I'm adding gouache paint to make it opaque and hold the shape of the clouds. With transparent colors, it looks like a clear sky. Apply the paints in bigger blobs, leave some white intentional area to depict white clouds in the sky. Now towards the lower parts, I'll add tiny shapes because in the upper part of the sky, we will have bigger clouds. As we move towards the horizon, the cloud size diminishes. This is our sky. Now let's take ultramarine blue. Again, for this, I will add white paint. Now let's paint the distant mountain using opaque ultramarine blue. Apply quick brushstrokes. Now let's take olive green and sap green mix. I'm going to paint the mountain in a diagonal manner. Let your brass strokes be just like this. Can loosely apply the paints here around the lower part, leaving some negative spaces for the houses. Apply the paints in diagonal strokes, something like this, only in one direction from up to down in angular strokes. Now let's take the darker color mix. I can apply this again in a slant diagonal brush strokes. Now for the ground area, you will take burn tumber My paper is almost dry in the bottom area. So I'm just applying water around the paints so that I can blend them well. I will let it blend. Here we are allowing the green and brown to blend together, leaving some tiny white spaces for the houses. Also apply some greens in between. Do not overwork, leave it as it is at this point. Now let's mix a darker green color, sub green, paints gray and burn tumber. With this darker green color mix, I'm going to paint the impression of trees. You just have to apply some vertical brush strokes like this. You can take some red and just drop the colors depicting the roof of the houses. Some blue. Here you can add any colors like white, blue, red. I'll paint it very loosely. Here, my idea is to create a village like appearance. You could take some white gauche paint or white watercolor drop in between. This should look as if there is a civilization here. Next, let us mix darker green color. Let it be very concentrated. We'll apply wet and thick paints on damp paper. Now let us paint some darker freezes on the mountain. This darker and lighter areas suggest that the mountain has ups and downs uneven edges. Don't forget to leave some lighter areas as it is, not fully cover it up with darker colors. I have added two layers in this mountain, which adds a sense of depth. Now, we will let it dry for some time. Okay, the paper is fully dry. Now, let us add some details. Take darker green color. Now with this darker green, I'm going to apply layers on this mountain. Once you apply these slopy lines, now we will soften the edges using a clean brush. You can play around with this. If you want, you can create some textured, dry on dry kind of effect or maybe apply thicker brush strokes. Whatever you do, make sure it is in a slopy diagonal manner so that it goes with the flow of the mountain. Adding some tiny brush marks, making the mountain rich in texture, and some natural effect. Oh All right. That was creating the texture of the mountains. I'll add some texture on the distant mountain as well. This is an optional step for adding details on the background mountain. So here I am using the same color, maybe slightly darker, not very dark. Here you can simply dab your brush creating the impression of texture on the mountain. Okay. Now, let's paint some trees. Using darker green colour to paint on the trees. Adding second layer on the trees. Okay. The trees are done. Now let's take red and mix it with born tumbo. It will create a brownish red colour. Painting the roof of the houses. When you are painting with wet on dry technique, you are actually creating the details on the houses. We had painted the base layer very loosely. Now we will make it slightly detailed. Now take white gauge paint. And on some of the houses, just apply this paint. Not fully. You don't have to, like, paint each and every wall or every detail. Mixing it with some blue just randomly adding the paint, leaving things up to viewers interpretation. We are just creating the impression of a village. Now take paints gray and add a bit of white and we are going to create these horizontal lines. You don't have to draw each and every detail. You can leave some things unexplained so that the viewers can interpret in their own way. That's a beauty of painting. So I've taken brown, and I'm going to just swiftly move my brush, creating some textured defect. And now some green color. You can take paints gray or indigo or even black. An darker color, basically, and put some dots around this village. And swiftly apply some horizontal lines on the ground area. Since our focus is not on the ground, so it's okay if it is very roughly done. Now, some tiny lines around the houses and trees. Now let us paint some birds in the sky. These are very simple, just shape inverted V shape. Okay, so we are done with this. I hope you enjoyed painting this with me. This is how the painting looks like once we are done. Yes, a little messy over here, but it's fine. Do share your class projects under the projects gallery. Oh 15. Day 7 - Pathway through the Mountains: Hi. Hello. Welcome back. Today is day seven, and we are going to create this beautiful artwork. Without any delay, let's begin. Okay, so I have already aed down the paper. This painting will be in landscape orientation. We will use this in horizontal mode. Okay, so now before we start painting, let's do a small composition sketching. Okay, so we'll gently mark the mountain. I'm leaving a tiny space here for another mountain. Draw with very light pencil marks. Here, we will draw a curve. It's like a road on the mountain. This is another mountain in the foreground here and in the background, we'll draw few mountains. In the foreground bottom area, we will paint some fog. Here as well, we'll paint some fog and here one more mountain. All right. Let's paint now. Now let us begin painting. I'm going to wet the entire paper for wet on wet technique. Apply a good amount of water so that it remains wet for a longer duration. Let the paper absorb moisture and also make sure there are no pool or puddles of water on any surface area. For this painting, I'm going to keep the sky very minimal. Maybe a little bit of cerulean blue or you can even use cobal blue, just a tiny bit of the light bluish color. Next, let us paint the distant mountains. For that, I'm going to use black color. You could also use paints gray and brown for a blackish kind of color. We are painting distant mountain using this black color. You can paint them in same tonal values for all the background mountains. We'll work on adding layer and depth as we proceed with the painting. For this mountain as well. Okay. Next, we will add some depth to these mountains. So take a tissue paper and a clean brush. We will lift off some paints. So you just have to take a clean damp brush and lift off the paints, wipe it off on a tissue paper. To create denser foggy area, you can use tissue paper to dab it on the paper. Once you have lifted, you can again use a clean brush. To create a nice blend. Here as well, I'm lifting of the paints using tissue paper, and then to avoid sharp edges, we will use clean wet brush to blend it and create a nice foggy effect. Now apply darker color on the edges of the mountain to enhance the foggy effect. First, apply the darker color along the edges. Then you can pull it down to create a smoother finish. Observe what I'm doing here. It will be easier to follow. For the foreground mountain here, I'll be using raw umber. If you don't have raw umber, you could mix yellow ocher and burn tumber to get a similar shade. Use it in mid tone consistency. Applying the paints on the mountain area, leaving some blank space for the road. And towards the bottom area here, I'm reserving some area for the foggy effect. So do not apply any paints as of now. I'll keep the masking tape under the paper because the colors are flowing inside the sky area. I'll lift off the paints and create a separation between a distant mountain and the foreground mountain. Next, let us also lift some paints along this pathway, the road that we have on the mountain. Lifting the paints with clean and damp brush. Have a tissue paper handy so that you can lift the paints easily. And then creating softer blend around the bottom area where we wanted to have foggy effect. Basically, the idea is to have a smoother transition. I'll use white gauche paint not on the white area, but on the brown area. It will look like the fog is slowly settling down. O plin the gauche paint on the background mountain as well. I'll further lift the paints along the pathway because I want the road to be very defined here. Use clean and damp brush. If there is water, we will get cauliflowery effect. So be mindful of that. Now take darker brown color. I will be taking this raw umber and black and paint this area with darker color. We are painting another mountain which is partially visible inside the painting frame. I want the other mountain in the foreground to be a little defined and has sharp edges, so I will mix black and raw umber and darken the edges of this mountain. I want the focus to be around this brown and the darker brown mountain because we have a pathway here. Here in this mountain, I'm going to make another road. This was unplanned. I'm doing it imprompto on the spot here. Lifting of the paint using a damp brush, just like to show a continuation of the road from the previous mountain to this mountain. Now using tissue paper, I want to lift some paint. So I'm making shape like this and lifting off the paints. It's very easy to lift off the paints using tissue paper. You'll have to keep doing it repeatedly so that the excess colors is lifted off. Now, we will wait for some time as it dries partially until it is damp. Now while it is damp, we will add some darker colors to define the mountain shape. Maybe you can add some lines depicting the creases and some shapes of the mountain. O I'll be applying some paints along this road, the pathway that we have here. Next, let us add some detailing on the brown mountain. I'm taking raw umber and a tissue paper and create some texture. Now, along the edges, we will apply paint in jaggedy manner, move your brush up and down to create this kind of effect along the edges. It will look organic. X for the darker side, mix raw umber and black to depict the shadow of the mountain and apply the paints. As we are coming down towards the bottom of the mountain, we will reduce the intensity of the color because we have a foggy effect here. Let's create some texture here. Do not worry about achieving perfect results. It's okay if it looks rough or uneven. That will bring its own beauty to the painting. Okay. Now take a little bit of black and add about 90% of water. We will apply this in the bottom area to cancel all that bright white. Initially, I had planned to use intense white for fog, but I felt that it is drawing all the attention from the mountain. So I decided to mute it down a little bit, flying some brown color along this blank area to define the pathway. Y use black and create some texture on this mountain defining the overall shape of this mountain. Now, taking this darker brownish color and applying some texture on the brown mountain as well. You can just dab your brush and create this kind of effect. Applying some diluted black in the lower part and blending it into the white area. Okay, so we are almost done. Now I'm going to paint some birds. Okay, so we are done with this. There you go. This is how our painting looks like. I hope you enjoyed painting this with me. Whatever progress you have made in painting, you can share it with me under the project's gallery. I would really appreciate you posting the artworks. I'll see you soon in the next chapter until then, bye bye. 16. Day 8 - Faraway Mountains: Today is day eight, and we are going to create this serene mountain. Okay, let us begin. I'm going to tape down the paper, giving about half inch border to the paper on all the sides. Once you're done taping down, run your finger over the edges to make sure it is tightly sealed. Now I'm going to mark the composition of the painting. In the foreground, I'm going to have a tree line. We will paint some pine trees in a slant or slightly diagonal manner. Then we will have another tree line. These tree lines are actually mountains, but we can only see a part of the mountain slope because it is close to the viewpoint here. This is the distant mountain. And in the background, we will create some mountain. Even though this mountain is a little far, let's think of this as a clear day and the mountain is clearly visible. So I'm not creating any haze or mist in this painting. This is purely very clear artwork. Now I'll use my eraser to lighten the pencil marks. All right. Now let's start painting. I'm going to use clean water, wet the paper thoroughly. Apply even coat of water and make sure there are no pool of puddles. And sometimes water remains on the sides of the masking tape. Just lift it off. We don't want any back runs in the painting. Just wiping off all the excess water on the paper. Switching to my size A town brush. So in this painting, I've decided to keep the sky very clear, maybe a little bit of blue on the top part. Very light, very minimal. That's it. Okay. So I'll take black and pain gay. A little bit of white gauche paint. Basically, I have mixed a grayish color wipe off excess paints. Now we are going to create a diffuse texture defect. I'm applying the paints, leaving some tiny white gaps in between so that it looks like a snowy mountain in the distant area. Applying slightly intense colors on the right side of this mountain. If you observe the left side looks slightly empty, that is intentional. This whole idea of getting diffused effect is for the base of the mountain. Now to this color, I will add a little bit of brown. Here I'm mixing a brownish gray color. You can see I'm adding white gauche paint to this with this brownish gray, we will paint the next mountain. Again, use the same technique of leaving some white gaps in between so that it looks natural. Apply the paints using the tip of the brush. It doesn't have to look perfect. Some brush marks, leaving some white gaps in between. While the paper is still damp, I'm going to paint the tree line. I'll take burn tamber. Here, the idea is to paint some brown trees. We will paint it as the first layer. We can add the details later on. One tip here would be to use vertical brush strokes so that it looks like trees and keep it in different sizes. These vertical lines will simply be depicted as the tip of the pine trees, and you can notice how I have changed the size of the trees. Some are short, some are tall, that makes it look organic. This is the second layer of the tree line. I'm not painting till the bottom because we have another layer coming up. Now let's take black and paint the foreground area. First, you can simply apply the paints on the bottom area. If you are someone who is totally against using black color in Watercolor, then you can mix your own black by taking different darker colors. Here to depict the trees, I'm again using vertical brass strokes. I think that is one of the easiest ways to paint group of trees, and maybe at the end you can add some details. Now I'm going back and adding some details like the foliage, the tip of the tree, making it look like a forest. This way, here, it would look as if we have put a lot of efforts creating this. But we are being smart about it. I want to have a slope suggestion here. I'm just covering it up and trying to create this slope area. You can also use a fine liner brush if you want more detailed trees. I'll use brown and apply some brush strokes for the mountain. So this mountain is partially covered with the pine trees. Some black and white quash. I'm going to create some texture on the mountain. Try to keep it very minimal. Do not overdo it. And vary the size of the brush strokes. You don't have to make it fully crowded. On the left side of this mountain, I'll add very minimal brush strokes. Now, take dark or black. We are going for a second layer of the patches. This creates certain depth in the mountain. So tiny dodge. Now, some black again for this mountain. I'm really liking how this is turning out like an elegant, magnificent mountain in the background. Next I'm going to add some details on the brown pine forest. You can take burnt umber and a little bit of black. Use a tip of the brush to create the shape of the trees. For darker brown, you can mix black and brown. Notice how I'm blending the trees into the black area. I'm not leaving it midway. This will make it look complete. Smudging it with my fingertips. Just a few trees here and there would be enough. You don't have to fully cover the brown area with trees. For rest of the area, I'll just add some filler elements like vertical lines in between. Try to keep the blending organic, the area between the brown and the black area needs to blend well. If it has slightly sharp edges, you can use a finger tip to smudge it well. Now, I'll paint some birds. Using my fine line of brush, and I'll be painting simple birds with some V shape and inverted V shape, keeping it very simple and easy. While I have this black color in my hand, why not just add some details on the mountain? Very simple ones, use thick colors to make the black patches stand out. We are presuming that the day is very clear and we are able to see the distant elements. That's why this mountain is very clearly visible to the viewpoint. Why I say this is because I usually follow the rule of atmospheric perspective, where the distant element looks blurrier because of the haze. So here we are ruling out that factor of atmospheric haze or dust. That's why the day is clear and we can see the mountain. I hope that makes sense. Okay, so we are done with this. Now, let's peel off the Masking tape. There you go. We are done with this. I hope you have enjoyed painting this with me. Do share your class projects, and I would love to see how you have recreated it. Thanks for joining. I'll see you in the next chapter. Until then, bye bye. Oh 17. Day 9 - Green Slopy Mountains: Today is day nine, and we are going to create this beautiful green mountainscape. Okay. Let us begin. I'm going to tape down the paper on all the sides. Just like other class projects, we are going to give half inch border on all the sides. Tape it down gently. Tape down all the sides neatly. Once you have taped it down, just run your finger over the edges just to make sure it is tightly sealed. Now let us start the painting. Before we move on to the painting bad, I'm going to sketch the composition. Oo, our main focal point is the foreground mountain. We will treat it as one solid unit. Now we'll begin by drawing a soft wave like curve, almost like gentle number three shape. Repeat this curve. This will form the base structure of the mountain. Now, draw the lines suggesting the slope of the mountains. Try to keep it relaxed so that it looks natural. Now connect on the opposite side to make the mountain complete. Finally, you can soften the sharp edges by drawing some subtle curves. Usually in nature, these are not very pointy. So let's soften them to feel more organic and realistic. The shape three was just to make the process easier. That's it. Now here in the background, I'll be drawing some mountains. We will draw two layers of mountains. This is the foreground mountain. This is the midground one and this is the farthest mountain in the background. We'll just keep the focus on this and this can be a bit of abstract mountains in the background. For the sky, we can just paint a minimal appearing sky. Don't have to put more efforts there. Okay. I have three brushes. Let's keep it aside. Now, let's wet the paper. Apply the water throughout the paper. Not just one coat, but apply multiple coats so that the paper absorbs more moisture and remains wet for a longer duration. Now, I'm going to start by painting the sky. So for the sky, I'll use ultramarine blue. There's a lot of cat hair in my palette. My cat just sleeps on it sometimes. I'll just apply some paints by dabbing my brush. Also leaving some areas in between. That will depict the white clouds in the sky. Now, I'll take ultramarine blue and a little bit of paints gray. I'm going to paint this mountain. Use a mid tone consistency because we do not want much focus on the background area. Try to not use darker color. I have applied the paints almost still here so that there is no white patch once we are done painting. Okay. Now I'll take paints gray. Now we are painting the second layer of mountains. These are the midground mountains present somewhere between the distant and the foreground area. We will paint this slightly in a darker than the previous color. Next, let us paint the foreground mountain. Here we will use olive green. I'm going to paint this area with green colour. Since this is the focal point of the painting, I'll try to add in some variation. Adding in some darker green colour, can add in some yellow as well. Painting some areas with the diluted paints. Leaving some areas diluted and transparent. Basically, I'm trying to create a variation in this part of the mountain. Now I'm going to keep my paper tilted in this angle so that all the paints flow down and creates a nice flowy effect on the surface of the mountain. Dropping in some olive green. We can already see that it has created a nice flowy effect. Next, let us paint the brown area of the mountain. I'll take burnt tumber little bit of let and painting on the other side of the mountain. Can add some green as well. Applying some darker brown, adding a sense of depth around this part. I don't want these colors to flow inside our main mountain peak area. I'm just lifting the paints, creating a sense of separation between the midground and the foreground area. Can splatter some paint, sorry, water. I'll apply some green paints around the peak area to create a sense of distinction. You can let this area dry. I'll use a hair dryer to speed up the drying process. If you don't want to use a hair dryer or if you don't have one, then you can let it dry naturally for about ten, 15 minutes depending on the temperature of your area. All right, the paints have dried completely. Now let us apply some details. I'm going to mix a darker brown color. Mixing burn tambo and boil it a little bit of paints gray. This is how the paints look like. A I'm going to take a tissue paper, dab off the excess paint. Here I'm using the tip of the brush to create the detailing effect. If you are comfortable, you can use this brush, I mean, size eight brush or you can even go with your fine liner brush. It's up to you. Now adding some lines and creases, creating a three dimensional effect, which adds depth and dimension on the shadow brown side of the mountain. There's no fixed pattern as such. Just try to create these vertical slant lines to depict the texture on the mountain. I'm not applying the paints in a straight line. You can notice how I'm moving my brush, trying to create wobbly brush marks, which creates an organic appearance. Also remember not to overwork add some extra paints, defining the mountain shapes. Now take some green colour and we will create some brush marks on the green side of the mountain. Just dab your brush, create the impression of grass blades or the texture of the grasses. You can smudge it using your fingertips. You can mix a darker green color by taking green and some paints gray or brown, and we'll create this shadow green. Apply some grass blades and smudge it using your fingertips. So this is an optional step. You don't have to create all these details. You can keep it simple as well. Painting some grass blades around the edges of this mountain. You can cover this part and splatter some paints. The intention behind covering rest of the area is so that the paints don't fall on the sky or the other mountains. Let me also splatter it on the upper part of the mountain. Okay, so this is done. Now, I'll take some paints gray and add a little bit of brown and boil it. It's a very dark color. Now using this color, I'm going to add some very intense shadows. The presence of these darker colors make the lighter colors pop in the painting. Having contrast is equally important. We are done with this. Now I'm going to add some birds. I'll be using the same darker pains gray and violet mix and paint some birds in the sky. Okay, so we are done with this. Now let us peel off the masking tip. I hope you enjoyed painting this with me. If you have enjoyed and you have painted a loong, then you can share your projects with me under the projects gallery. I would really love to see your artworks. There you go. This is how our painting looks like. I'll see you in the next chapter until then bye bye. 18. Day 10 - Dense Fog around Mountains: Hello. Today is day ten, and we are going to create this dense foggy mountain. I have already taped down the paper on all the sides. Now let us sketch the composition of the painting. All right. I'll try to simplify the sketching process. You're going to roughly draw like number three shape. From here, you will extend a little bit. From here, you will draw a slope line. Next, over here, I'll soften this curve, making it look natural. Now draw slant line on the opposite side. Here it is like a peak. You need not draw the full mountain shape because it will be covered with the fog. Here, I'll make the lines wobbly. The initial straight line was just to make the process easier. Now, let's lighten the lines. This is an optional step. If you don't want to do it, it's okay. I've decided to keep these lines very lighter so that the pencil lines are not visible at the end of the painting. Now, let's wet the paper. We'll go with wet on wet technique. Spreading the water well throughout the paper. Make sure it is thoroughly wet. Now let's take a little bit of ultramarine blue and pain gray ultramarine blue and pains gray. Mixing this in watery consistency. I'm applying the paints around the mountain. We are doing this to achieve some color variation in the dense fog. It is simply a base wash. Along with this, we will also paint the sky. I'm creating a foggy appearance. Then take pins gray and a little bit of black. Now, I'm applying second layer into this foggy area. If you have observed the dense fog, it has different color variations to it. It's not just plain white. I'm trying to create exactly that. Also with watercolors, once the colors dry, they appear lighter. Now, let's tilt the paper and move it around in different direction. This step ensures that the paints look very diffused and nicely blended into the white area of the background. If not, it might look hard and patchy at some areas. So it's about these little tricks that you follow while painting that makes your painting look much better. Now let's take raw umber and Bonsiana. You can take any brown that's in your palette. Don't worry if you don't have exact same colors. Load the paints in your brush and meanwhile, keep your paper in a tilted manner, like in this angle. You can keep something under this to create a slight elevation. Now, apply the paints, let it flow down. You can guide the paints with your brush, but do not fully control. Let the water and pigments do their job. So here I lift the pains that it doesn't move into the bottom area. You're applying some water. Applying water creates a nice backward flow. Now in between some areas here, let's paint with brown and black. This darker brownish color depicts the surface area of the mountain beneath the snow. Keeping the paints diluted so that it blends into the fog area. Now, adding some darker colors around the edges of the mountain because the peak area is not covered with snow, so we can make it darker. But rest of the area is covered with snow. And in between, I'm making the brown parts visible to suggest that that particular area is not so much covered with fog. Now, using some darker brown color, you can apply some thin grass blade like shapes. You can mix black and brown making it darker brown color. Just adding some character to the mountain instead of having it flat area. Some brass strokes like this while it is still wet or damp. Try to apply loose brush strokes. If you are applying very controlled brush stroke, the painting looks sort of inorganic. Keep holding it like this. The paints flow in right side direction. Now the paper is fully dry. I'm going to take a raw umber and some black, a little bit of raw umber for that reddish shade. Now take a tissue paper, wipe off excess pains, and we'll create the details. Also, you can take a clean brush and pull the pants down. Adding some tiny lines depicting the texture of the mountain. Again, blending it with clean brush so that we don't have any hard edges. Take this paint again in diluted to midtone consistency and repeat the same step by creating these wobbly jaggedy line to create an organic effect. Now with very diluted paint, we are going to blend this area into the foggy part. Make sure there are no hard edges. Try to blend them well with clean water. Now with clean water, again, blend the colors. There should be a smooth transition. Keep repeating this step of blending the paints and make sure it looks seamless, take a darker mix and apply the colors on some areas, just dropping in the darker shades. Getting the texture. This is the other side of the mountain. Now, I lift the colors around this area like this. And some grass glades like shape. You can use a fine line of brush. These tiny grasses are optional if you want to have some details. Not everywhere, only on some areas. And this is the foreground part. So I'll be drawing some bigger grasses. So grasses with darker color to bring in a sense of contrast. I'll paint some birds. So this is the thick fog part in the mountain. So dot like shape here so that it doesn't look inorganic. I'm not very happy with how this painting is turned out. There are some patches, but I didn't want to overwork on this. Sometimes we just have to let it be and accept what it is. But at least I'm happy that I could share the techniques that I have used here. Okay, so I have peeled off the masking tape, and this is how the final painting looks. I know it's not that great, but I really hope that you have made a better painting than mine because why not? Okay. I'll see you tomorrow in the next chapter. Until then, bye bye. 19. Day 11- Mountain Blossoms: Hello, and welcome to day 11 of the 20 day Mountain painting challenge. Today, we are going to paint this background mountain and some beautiful trees in the foreground. So let's begin. I've already taped down the paper. I'm going to start by marking the composition of the painting. So here I will draw this inverted V shape for the mountain. And a line in the center to divide the mountain. So this is our focus in the painting. Now, we will mark the area for the trees. These are rough tree blooms with some tree branches on them. The composition here is very simple, a mountain and an area for the trees. Most of the work will be done while we are painting. Okay, now let's wet the paper. Uh I'm using mop brush and clean water to wet the surface of the paper. Apply even coat of water to make sure it is thoroughly wet and the water is evenly applied on the paper. Taking my size eight round brush. I'm going to create a little bit of dramatic sky today. Let's take orange and I'll be taking Bn tamber. Another color is a little bit of red and bon tumba. You could use any similar color that you already have. We have two colors here. Let's apply the yellowish color first. I'll be almost covering the sky with the diluted version of this color. I am applying this color on most of the areas in the sky. As if the base wash for the sky is yellowish color. Now let's take this color red and burn tumbo. I'm going to create some dramatic effect. Go for loose and rough bras strokes. Don't think much about creating perfect shapes. As we approach the horizon, that is the mountain area, apply some thinner brush strokes. That is a rule of perspective. As we move towards the horizon, the size of the clouds look smaller. I've always talked about this in my other classes as well. Now let's go for a slightly darker tonal value of the same color. Now, take this yellow and brown. Also take a tissue paper, wipe off all the paints. Now, at this point, the brush has very little paint, so you can control the flow of the paints. Creating texture on the mountain, leaving some gaps. Just dropping in some paints. Now, let's take Pains gray and apply it below this. This creates Applying pains gray creates a smoother transition and suggests a separation between the forest and the mountain. It creates an atmospheric haze in between with this gray color. Applying some yellowish brown colour on the mountain. Take yellow and again, burn tamber and paint some foreground trees. This is to be painted roughly. Don't have to worry about shapes at this point. Mix burn tamber with let and apply it on the lower part of the tree line. I'll just blend these together. Oh. Apply clean water and pull it down. The tree line that we are going to create in the foreground looks like a very wild and not in a perfect shape. So it's okay whatever you create. That is what it is. Don't worry much about it. Here, the focus will be on the mountain since this is a mountain class, we don't worry about creating other shapes perfectly. On one of the side, we will add more color and little bit of white area. It will create a three D effect. Having one side darker and other side lighter makes the mountain look three dimensional. Having light and shadow, you know the drill right. Smudging the paints so that it looks like misty effect. Now take let and brown, apply it on the bottom area. Like another tree line. We are doing it in an abstract manner here. Don't worry. Trust the process. Hello and burnt umbo. Create separate layers of golden brown, darker brown and boil it. Next I'm going to use the back of my brush. You could use any sharper object. Creating the trees. Drag it upwards and create the tree branches, make it look organic, have different sizes and structure for the tree. You're creating this in an abstract manner. So lines I put like this in this direction. Now, take paints gray. A little bit of violet. And add some details. The paper is still damp, I think I'll add details later. For these sharp patches, I'll use my finger to smudge the paints. I just realized that this looks a bit off. I'm going to add some wilet to cover this area, the white gap. This is how my painting process is messy, imperfect, somehow fixing things as I paint. Next time going to splatter some paints on the lower area. I'll cover the upper part to preserve our sky. Okay. Now, let's splatter some yellow paints, some purple maybe to create that nice tree blossom effect on these tree branches. Okay, we will let this dry. All right. Now the paper looks completely dry. Now I'm going to take my fine lino brush. And again, I'll take boil it and burn Dumbo. Now, let's paint the detailing work on the mountain. I've taken this toilet. Okay. Now, I'll wipe off the excess paint. And let's add some detailing tiny brush marks like this to define the shape of the mountain. Trying to create a sort of textured effect, defining the ridge here. When I first started my painting journey, I used to feel so intimidated by painting mountains. I didn't understand the basic concepts like light and shadow, and everything felt confusing. Now, after so many years of practice, these concepts feel much easier. Looking back, it's funny to think how difficult it once seemed. So I think a lot of things in life are like that. We feel scared to start because something looks complicated or beyond our abilities. But once we begin and practice consistently, we gain experience. Then it all starts to make sense. So the hardest part isn't doing the thing. It is taking that first step. I'm really proud of you all for taking the small step every day. My hope is that by the end of these 20 days, you will feel more confident painting on your own and trusting your own decisions. You don't have to create perfect paintings. Confidence grows with practice. Okay, so the texture on the mountain is almost done. Next, let us paint some tree branches using a darker brown color. Yes, we had created some tree branches with the back of the brush. But this time, we are creating more detailed branches, tiny twigs and all of that, using fine nino brush. It adds more realism to the painting. Astly let's paint some birds fly flying in the sky. If you don't want birds, you can skip this step. It's totally optional. Some people don't like birds. I don't know why. But for me, this is the favorite part. If you have seen my art journey, almost all my paintings have birds in them. Okay. Now let us peel off the masking there. Another satisfying part of the painting process is to watch these ape peels. Okay, so we are done with this artwork. This is how it looks once it is ready. I hope you enjoyed painting this with me. Do share your class projects under the projects gallery. I would really love to see them. If you can share the review as well, it would be really helpful to me to reach more students like you. I'll see you in the next chapter until then bye bye. 20. Day 12 - Misty Mountains: Hello. Today is day 12 of 20 day Mountain painting series. And in this session, we are going to create this beautiful misty mountain layers. Okay, so let us begin. I'm going to ape down the paper on all the sides. Once you're done taping down, run your finger over the edges to make sure it is tightly sealed. Let us start with the sketching. I'm going to mark the composition. Take a pencil and gently mark the mountain areas. These are the distant mountains. You're going to draw some wobbly jaggedy lines, suggesting some trees on the mountains. Here, we are going to create multiple mountains, and between these mountains, we have some mist and foggy layer. It's a simple painting, but it needs some patience. Okay. Okay, so let us now wet the paper thoroughly using a mob brush. And once it is wet, we will leave it for some time to let the paper absorb the water. We don't want to apply the paints on very wet layer. That's why we will wait for some time and let the paints take up its own shape, not run very wildly as we apply the paints. This method works if you're using 100% cotton paper. But if you're using cellulose paper, you can go ahead and start painting. Now, I'm going to mix the paints needed for the painting. We are going to need a darker bluish color, so you can either take indigo or use paints gray. It's up to you. We would need to mix the paints in multiple consistencies. First, I'm mixing it in darker consistency. Then I'll add some water, making it slightly mid tone consistency. Remember, we are not using white color for the misty effect. We will be using the white color of the paper and the transparency of watercolors. And also mix some green and paint gray. This is forest green color, kind of cooler green. You could use viridian hue or aridian green. If you don't have that, then you can take ble blue or ultramarine blue and mix it with whatever green you have. Then mix that green with the paints gray or indigo to form a darker green color. I'm using a clean tissue paper and dabbing off the excess water of the paper. This is one easy way to make the paper damp, but make sure you're not fully drying it. Now take thicker consistency. And apply the paint, you can see the paint remain on the same area and doesn't spread on the wet paper because the paper is damp. Leaving some tiny area in between like this. Now take another clean brush and pull the paints down, leaving some tiny white gaps in between the blue to suggest some misty appearances in between. Now, take the paints and let us paint the next mountain. A concentrated pains for this one, we need to create the tree effect. We will do this zigzag movement with our brush. Now again, take a clean brush. You can keep it in a tilted manner. And for this as well, I'll start from here and move towards the left side. Make sure these mountains look very seamless and there shouldn't be any hard edges. Here we have some sharp patches. You can use clean and damp brush to smudge it can create some tree like effects here as well. Now, with almost clean brush, I'm pulling the paints down like a very diluted paint, giving a base for the next layer. Next, I'll switch to my size aid brush and I'm going to paint some trees using paints gray. Once we have the base ready, we can then add the trees so that it blends into the other painted area. So again, for this layer, I will keep the tissue paper removing the excess water from that area. Tap on it, very gently. Now on the damp area, we are going to paint the next layer of trees. Again, this is darker blue color. You can take pink gray or indigo and we will start painting the trees. Move your brush in up and down motion with vertical brush strokes, creating a sense of tree line effect. Now move your brush from left to right or right to left. Do not stop in between. Keep pulling the pants down. If you stop in between, there will be some hard patches. Make sure you're continuously moving your brush. Now as we are coming towards the foreground, we will make it a little detailed. That is because the elements closer to the viewpoint appears a little in detail, we will add some hint of detailing work here. You don't have to sit and paint each and every tree here that will take up a lot of time. What we will do here is paint some random trees here and there on this tree line area and then fill it up with some filler elements and some dots like how I'm doing here. Adding some diluted colors in between, suggesting the movement in the cloud or the mist Now, I'll take the green and paint cream mix. We are going to paint the foreground area with this color. Why this color? Because the elements closer to the viewpoint appears really saturated. But the elements in the far appears hazy. Now let's create the misty effect by applying water and lifting the pints. I'm using a tissue paper, pulling off the paints and leaving some white color of the paper. Now I'll apply water on the bottom area and lift off the water excess water using the tissue paper. The tissue paper has to be dabbed very gently. If you apply more pressure lifting off the water, you will create hard edges, which will again look inorganic and hard edges in the painting. Be very gentle. Now take a dark concentrated greenish color, and we will again paint these to and fro vertical brush strokes depicting the forest or the misty tree lines. First, you paint the upper part, creating the shape of the misty forest. Once you're satisfied with the shape, then you can fill in the rest of the colors. We'll cover the foreground area with pinks gray plus green or pinks gray, whatever color you want in the foreground. Painting some pine trees here. Some pine trees in the previous layer. Try to blend the layers well. Make sure there are no hard edges in between. You can lift off some paints in the foreground area, suggesting mild mist around the trees. Let's paint some board. In the foreground part, I'll add some filler elements like vertical lines. This makes the area look fuller, like a dense forest. Okay, so we are done with this. Now let us peel off the masking tape and reveal the final look of the painting. There you go. This is how the artwork looks like. I really hope that you enjoyed painting these misty mountains with me. Do share your projects or reviews under the project gallery. Okay. I'll see you soon. Bye bye. 21. Day 13 - Feirce Red Mountains: Hello. So today is day 13, and we are going to create these simple red mountains. Okay, so let's begin. Okay, so I have already taped down the paper. Now I'm going to mark the composition of the painting. First, I will draw a slant line. This is the depiction of the cast shadow from another mountain. This area of the mountain will appear darker because of the shadow. Now let's draw the main mountains, which is the focal element of our painting. We will create the mountains, the basic shape and then draw the ridges and some lines creating three D effect. We will mark the shadow areas, mark whatever shape you want and shade that area. It's simple to recognize later while painting. One thing that I have learned with mountains is that marking your shadow areas makes it so much easier to simplify the process while painting. Otherwise, once the paints are on the paper, you get confused where the shadows are going to be, where the highlights are. This is the shadow of the other mountain. Basically, cast shadow of the other mountain falling on this particular mountain. All right. Now let's paint the mountains. Okay, so let's wet the paper. Apply multiple coats of water. Let the vapor absorb moisture and it will remain wet for longer time. Just keep applying the brush strokes into and fro motion. Now let's paint the sky. Here I'll take paints gray. With this, I'm going to paint the sky. This is basically flat wash where we will apply even coat of paints throughout the sky area. We are first painting a flat wash sort of effect on the sky and leave it for some time, then come back and add the clouds. Okay. Now, take slightly darker consistency of paints gray and apply it on the foreground area where we have planned the cast shadow. This is for the base layer of the cast shadow. Later on, we are going to add red on this. Next, let us mix paints gray in thicker form. Concentrated pains gray, and I'm adding a little bit of gauche paint. Just to make it a little opaque, you can see how this has become thick. Now with this thick paints, I'm going to paint the clouds in the sky. The reason behind adding white gauge paint to paints gray mix is so that it holds the shape of the clouds that we are painting. If we apply transparent paints, it just smudges and doesn't retain the shape. And if you're interested, maybe you can take two separate piece of paper and try this technique to paint the clouds, one without gauche and one with Gauche, and you can actually see the difference. This actually helps to hold the shape and also block the transparent white area of the paper. Now let's take red and a little bit of orange. And I'm going to paint inside this area. Just apply quick brushstrokes without overthinking. Now quickly apply the paints here. For this area in the foreground, I will be using paints gray. Now you can mix red and pains gray a little bit and apply some brush strokes on the car shadow area. H. This is the shadow. Notice how I'm trying to make it look like mountain and not simply a straight line depicting the cast shadow. So this is the cast shadow of the other mountain, which falls on the focus area. We will let this dry. Okay, so this is how it looks after drying. Next, let us take slightly darker red. For that, I'm going to take burnt Shiana, red, and a little bit of black, which makes it like a darker red. In this layer, we are painting a slightly darker layer. We can paint around those areas where we had marked the darker colors. Simple brush marks, nothing complicated. Do it in your own way. These were the marked areas. Now I'm going to roughly apply some brush strokes. You can take a tissue paper, wipe off excess paints and create some textures. Here, having a tissue paper really helps to create this textured effect. Now, I'll apply some lines around this. Tiny lines of different sizes. Bring in a sense of variety. Now, again, let's mix darker red color. So take the red, black, and burn siana. It will create a maroonish red colour. Now let's add the details. This is the second layer. We will apply it partially on some areas. You can paint them in different sizes. Make sure to avoid uniform lines. Otherwise, it will look monotonous. We need to add a sense of variety here, some lines thick, some thinner lines, some longer, some shorter. You know the drill by now. M B now using the same darker color, I'm going to add second layer on the cast shadow area to make it a little more defined. Use the color in mid tone consistency, not darker. I felt that the previous layer that we created had already lost its definition, so I'm doing it again. Now with black and pink gray, I'm going to cover the front area. Ve. The presence of this darker area brings out that glow in the red mountain. I think that's the beauty of creating contrast in your painting. You can use black color to create some tiny dots and lines around the surface of the mountain. This will make it look very natural and organic. Next, I'm going to take my fine liner brush, and I'll add some details using pinks gray and black. This is optional step. You don't need to add or create such precision. It's fine to leave it loose and natural. Okay. Now let us create some free flying birds in the sky. All right, so we are done with this painting. Now, let us peel off the masking tape. There you go. This is how the artwork looks like. I hope you enjoyed painting these fiery mountains with me. If you have painted along, you can share your projects under the project section. I would really appreciate seeing your artworks. I'll see you in the next chapter until then. Bye bye. Oh 22. Day 14 - Mountain Ranges: Hello. Today is day 14, and we are going to create this beautiful, misty desert mountain. So grab your supplies and let us begin painting. I have already taped down the paper. Now let us mark the composition of the artwork. Take a pencil and eraser. Okay, so I'm first drawing the distant mountain. I don't want the pencil line visible, especially for this last mountain because it is very far away, so we are keeping it very light. Next, let us move on to the other mountains. Another mountain here. Another one in the foreground. One more in the foreground. Again, keep the pencil marks very light. For these mountains in the foreground, we are going to paint it with darker color. So around this area, if the pencil marks are darker, then it is fine. But over here, we are going to create a sort of misty foggy effect using lighter colors. This part is very important. Now let's wet the paper. Apply clean water on the paper using a mob brush. Oh. Apply generous amount of water and make sure they are equally distributed, which means no pool or puddle of water on the paper. Taking my size eight round brush. Now take bald blue and a little bit of let I want somewhat lety blue, like a periwinkle leave some white areas like this. Keeping the skies as simple as we can. Now, just make sure that there is no excess water over here, lift off everything. Okay. Now let's take Pains gray and mix it with Kobal blue, more of pains gray so that it looks darker blue. Now, let's paint the distant mountain. Just moving my brush into and fro motion like this back and forth. Now, clean your brush, wipe it off, and then pull the paints. Here we are trying to create this misty effect. Take some darker color and on the top, we will apply to increase the intensity of the color. Also here trying to vary the shape instead of a flat mountain. Now take brown or sepiam. I'll take burn tamber and mix it with a little bit of oilt Now, paint another mountain leaving some white gap. Now take a clean brush and spread the paint. Something like very diluted brown color. Now take the same color again, burn tamber and boil it. Now let's paint another mountain. Again, bringing the previous mountain back. It's okay. It doesn't have to look exactly like this. You can create your own shape. Clean your brush and drag the paints down. Burn tumbo and boil it. Increasing the saturation and intensity of the mountain. Just make sure that the paints don't look patchy, try to blend them well. Now take burned Siana. This is a little warmer version of brown. If you don't have this burnt sienna, then you can mix orange with any brown you have. Reason for using this warmer brown is because the objects tend to appear warmer as we get closer to foreground. Wash your brush and again, pull the paints down. Bhasically we are creating a graded effect by adding more water to the paints. Oh on top of this mountain, we will add the same brown and violet mix. Now let us move on to painting the four Brown mountains. You can start with diluted colors that we have on the palette and then slowly introduce burnt siano initially, apply the paints only on the upper part of this mountain and slowly will introduce darker colors. Next, we will take burned tumber and boil it in a darker consistency. We will apply this on the lower part of this mountain and slowly drag the paints upwards into the burned Siana that we applied earlier. Make sure you're blending it well. Creating these ridges like this. Now, one more time. Apply Bonsiano leaving a tiny gap like this. Be very mindful while applying the gap here, because if we blend it together with the previous mountain, we won't have a neat or distinguished separation between the two mountains. We are creating this gap for time being. Slowly, we can blend them once the colors dry. Now, again, take boil it and burn tumbo. Mix the colors and slowly apply inside the orangish area as well. The foreground, we need to create a little brighter. Now, take a damp brush and slowly lift the pains from this foreground mountain. And as I'm lifting, I'm covering that white gap. The tiny gap that I left in between was to create the separation. If I had immediately applied the colors, it would have bled into this area. That's why I kept that separation initially. Now you can clearly distinguish between these two areas. That's one simple trick that I use. I'm going to clean the brush, take some water, clean water, and splatter it on the wet paints. This will create the tiny water droplet effect, which creates texture on the mountain. Now, we will let this dry. Okay, the paper is dry. Now, let's take boil it and burn tumbo. And with this darker color, we are going to add some details in the foreground mountains. Paint some diagonal lines, creating the ridges and texture effect on the mountain. You could switch to your fine line or thin brush for extra precision, wipe off the excess paints on a tissue paper. Thin brush helps to create tiny lines. Do not go overboard with the lines, keep it minimal. Now, for the next mountain, we will draw the lines diagonally opposite. So here we are just guiding the perspective of the viewer. Next, take diluted paints, add water to the paint, and create some texture on the midground mountain. For these areas, we will not add any details because it is far and we won't be able to see much detail. And it is also covered with fog. We will let it be like this and only focus on this. Now, using paints gray with the existing brown color. I'm painting some birds. You could use black or only paints gray or any darker color you would like. Using the belly of the brush to press against a paper. And that is how I created a bod. If you're not comfortable painting this kind of bird, you can simply paint the V shape and the inverted V shape birds that we always do. One more. Board? So smaller bird in the distant area. Now I'm taking this tissue paper and lifting of the excess pins. I want to keep the birds a little lighter. Now I'm taking darker colour and adding details on the lighter base. Simply apply some darker lines. Okay, now we are done. Okay, so let's peel off the masking tape. There you go. This is how our final painting looks like. I hope you enjoyed painting this with me. Do share your projects under the projects gallery. I would be really happy to see your artworks. Let me know what do you think about these projects. If you have made any changes, any color changes or any doubts if you have, you can feel free to ask them under the discussion session. I would be happy to help. All right. I'll see you soon. Bye bye. 23. Day 15 - Mountain Sunbeams: Hello. Today is day 15, and we are going to create this beautiful sunlit mountains. Okay. Let us begin. For this painting, I'm keeping the mountains in the distant area as main focal point of the painting. The idea is to capture the beautiful sunrise when the first light hits the mountain peak. You'll often notice that the snow starts reflecting those warm golden or peachy tones from the sun and that's exactly we are trying to create here. Don't worry too much about painting every detail. Instead, focus on creating the feeling of light gently falling on the mountains. We will keep some areas warmer, some surrounding areas cooler to depict a nice mountain scene. Let's begin. So mountains in the midground area. Now let us draw some more mountains towards the foreground area, but we are not keeping this as our focal element like we discussed earlier. The foreground mountains are just going to exist. Not much details here. So when we want to create the sunlight effect or the bright luminous effect, we will erase the pencil lines around that area because we want the focus only on the sun and to keep it sort of clean and neat. All right. Now let's wet the paper. I'll use my mob brush to spread water throughout the paper, making it ready for wet on wet technique. Apply even coat of water and make sure there are no excess water on the surface. Taking Princeton long round size eight brush. Alphast Coval blue paint on the upper part for the sky. Once I've applied the sky paints, I'm tilting the paper in a slanted manner. This allows the paint to flow down, create a natural clear sky like appearance. I'll just keep the masking tape under the paper, not fully covering the sky, leaving some white areas as well. Now, let's take orange. You can use any orange, yellow, orange, or reddish orange color. Here I'm using permanent yellow and little bit of red. To create the luminous effect, we need to leave white area and use negative painting, which is painting around the subject. I'll have an imaginary circular shape in the center and around that, I'll apply these colors. I'll apply some orange paints on the main mountain as well. Here, slowly I'm trying to create a transition from white to orange. Slowly trying to negatively paint around an imaginary circle. You can see there's a bright white spot that I'm leaving in the center. Try to create that white sunlit effect. If you're not able to do it, it's okay. You can simply create the sunlit effect on the mountain. So now I'm adding slightly darker orange color, trying to blend and create a transition. But leave it here for now and then we will add some darker colors and blend it together forming a sunlit mountain. Let's see how it goes. Now take paints gray and boil it. I'm mixing these two colors to make a darker let color. Apply this shade on the mountain in upward direction towards the sunlit part. We are creating a smoother transition here. Applying this darker violet color only on the sides. I'll come back to painting this. Meanwhile, I'm going to apply color on this midground mountain. Now coming back to this sunlit mountain, I'll re wet the area again so that we can paint it nicely. Now take orange and apply it around the mountain area to create that sunlit smoother transition. On the left side of this mountain, we have let, which is the cool shadow, and on the center and the right side, we have this warmer orange stone. Now, applying some darker orange around the mountain peak. Now you can use your clean damp brush and lift off the excess pans around that circular area. Now take some darker orange probably by mixing Bnciana with orange and define the shape of rest of the mountain in the background. Uh here I want the sun to draw our attention. I'm using our tissue paper, making a small circular shape and lifting of the paints if the paper is damp, you can also create these sunbeams on the mountain. It will really enhance your painting. If you're not able to do this, it's totally fine. We can create a simple mountain with some brown color on it, suggesting the sunlight part. Now, to enhance the overall sunlit area in the mountain, I'm going to add some darker violet on the lower part of this mountain. Like I always say in my paintings, to enhance a lighter area, to make it stand out, you need to add some darker colors around it. That's the whole idea behind enhancing or creating that illuminated effect. Do not get disappointed if you are not able to get it right, it's okay. Never shy away from experimenting or trying out new things. Using a darker color define the midground mountain, although it doesn't need much attention, but we are going to create some contrast in between. Defining the mountains in the background. Do this step only if your paper is damp. Do not touch it if it has dried because it will create cauliflowery effect. Going back to our main focal element, which is the mountain, adding some brown around the sunlit part. And if you think your mountain is already looking perfect and it doesn't need any alteration, then don't touch it. Just leave it as it is. Now let's paint the foreground mountain. Here I'm using Bncana. I'll just roughly apply color inside the sketched area. Now I'll take paints gray and black. Applying this on the shadow side of this mountain. The other side is sunlit partially. Now I'm going to use the tip of the brush creating these tiny lines and imagine a ridge in between. We will draw some slant lines on the other side as well. This in the middle is the ridge point. You work well on this, it will create a three dimensional effect. Applying some darker brush strokes, creating layers. Here I am applying the paints wet on wet. So it is going to appear slightly dull when it dries. That is done intentionally so that all the focus goes on the backside mountain. Now I'm going to let it dry and once it dries, I will create some more layers as well. So this is how it looks once the paints dry. I'm going to add more layers into it so that the overall painting looks good. Okay, burn Siana and apply the colors again in diagonal manner. This is to make the mountain look slightly vibrant. I'll also add some black in between. Adding some black and creating a natural mountain like appearance. It doesn't have to look like mine. You can create your own shape of the mountain. Take violet and paints gray and define this midground mountain. Adding some details and darker shadows on the background mountains. I don't know why I'm painting this background mountain again and again trying to make it better. But I think that is it. I have to accept that this is how it looks. So yeah, this is how it is. Now, let's add some birds. I'll create sunlit effect in the birds as well. You can use brown and lift the paints using a tissue paper, on the other side of the body, you can use black color. This will make the bird look partially sunlit. All right, so we're done with this painting. Now let's peel off the masking tape and reveal the find and look of the artwork. There you go. This is how the painting looks like. I hope you enjoyed painting this with me. Do share your projects under the projects gallery. I'll see you in the next chapter. Bye. 24. Day 16 - Snow-dusted mountain: Hello, and welcome to day 16 of the 20 day mountain painting challenge. Today, we are going to create this mountain. Without any delay, let's get started. Okay, let us begin. I'm going to tape down the paper. Apply the masking tape on all the sides, giving a nice thin water. Okay. Now let us draw the mountain. This is a bit complicated. I'm going to show you how I'm drawing. You can use this reference image and draw on your own if you want to. Let's start from here. We'll keep it a little wobbly and not straight. Okay. So from here, we will divide it into two parts. One is this area, another one is this area. Okay. Now further inside this area, we have two separations. Okay. Now from here. We'll come back like this. We're drawing this area. This is the shadow part. And don't worry about achieving perfect shapes. A little bit here and there is totally fine from here, we will draw a line towards the bottom of the paper. We'll draw these tiny patches for the brown areas. Marking the shadow areas makes it easier to recognize which areas we need to paint with darker colors. Here, we will mark the darker shadow area. Around this area, we have snow which is white. Again, here we will mark some patches for the visible layer of the mountain around the snow. This is the snowy part. You can see here this is the brighter side, this is the shadow side. Don't stress much about creating perfect shapes. We will try to keep it simple by adding some shadows and some lighter areas. Let us begin painting. I'm going to wet the paper thoroughly using my mob brush. Apply generous amount of water, making sure that the paper is thoroughly wet. And make sure you have applied even coat and there shouldn't be any pool or puddles of water. If there are any, then you can lift it off using your mob brush. Now I'm switching to my size eight round brush. Okay. I'll be painting the sky first. I'll take pink and yellow, and a little bit of white gauche paint. For this painting, we would need white paint. Take a little bit of it. If you have a ready peach color, you can use that. Here I'm mixing pink and yellow to form a peachy pink. Leave some white areas for the sky to depict white clouds. Take paints gray and white gauche paint or white watercolor. Make a little bit of blue. This should look like an opaque bluish gray color, sorry grayish bluish gray rect we are going to paint the clouds. These are very dense thick cloud. As you come down towards the horizon area, you just fill it up with the paint. I lift some paints from here to suggest thicker and denser fog. Okay. Now take ultramarine blue and some white let us paint the shadow side of the mountain. Why I'm using blue is because the white snow in the absence of light looks bluish. You just trust the process and towards the end, you will see how beautiful it will look. This has to be slightly lighter than this color. I'll just add water. For this area, you apply diluted paints. So shadows over here. Okay. Now let us paint the brown areas. Take burn Siena, a little bit of burn tamber or sepia. Basically, we need a brown that is in medium color value. We can leave some white very diluted areas. We want this part to be white, do not cover that area. I'm also applying on rest of the area as well because it won't matter much. We're anyway going to cover this area with darker color. Try not to fully cover the white area with brown paints. We need some white snow areas as well. I'm trying to retain the white spot on the peak of the mountain. I will be using this tissue paper. I want this area to be very bright. Now take pains gray and brown. Basically, we want a darker color. It could be any darker color in your palette. Doesn't necessarily have to be these colors. Now add shadows. Find the pencil marks that we had marked initially and apply the colors over that. I'll add ultramarine blue to the color mix because it is turning greenish here. The brown that I added here had a warm undertone. When I mixed paint gray and brown, it created a greenish color. To avoid that, I added this ultramarine blue. Gently add the brush marks, creating these tiny lines doesn't have to exactly look like this. Applying darker paints on the patches on the shadow part of the mountain. I'm trying to paint most of the elements using wet on wet technique so that in the next layer, I can only add few details. Again, it's not compulsory to paint everything at this point. Now we will let it dry. All right. The paints have dried completely. Now let us add some details. I'm going to switch to my size two round brush, and I'll take this burned Siana in a medium to diluted consistency. We are going to create some tiny marks depicting the texture on these areas. I'm smudging the pines using my fingertips so that we don't have any sharp edges. Next, we will add details on the darker areas. I'm going to take pains gray. You could also take indigo or black. Uh, And with this darker color, I'm going to create some brush marks and some random patches on the shadow area. You just follow along me or you can create your own textures. It doesn't really matter. It doesn't have to look exactly as mine. Adding these darker patches creates a sense of contrast and illuminates the whiter areas naturally. Be mindful of not covering the entire area. Leave the previous layer visible as well. Now I will add some more brush mas with diluted color. Now take born tempo and mix it with paint gray. You'll get a darker brown color. I will paint the textures in the foreground underlying mountain area. Take the paints, apply it, and just drag it down. Let it create some texture there. We're using dry on dry technique here. Make sure you don't have a lot of paint in your brush. Like this, dry on dry in effect. So basically, this doesn't have to be this exact same color. Any darker color will do the job. Here again, I'm creating the texture using dry on dry technique. Go now we will create some texture on the right side of the mountain. We will apply some diagonal lines and some tiny dots around the peak of the mountain. Oh. Here, there is a pencil line, so I'm going to add another layer, making it a little intense and complicated. You can skip this step if you are confused. Next moving on to the foreground mountain to add some textures and simple lines. Adding some more textures around the shadow areas. Now we are adding the final touches, some tiny dots and lines to make it look fuller. Next, let us take diluted ultramarine blue. With this, I'm going to create some brush marks on the snow part of the mountain. You just have to apply some repeated brush strokes. Here, I'm trying to create some texture using dry brush effect. Adding some tiny dots on the peak of the mountain. Okay, so we are done. Now, let's add some flying birds in the sky. I'm going to paint very tiny birds, simple ones. Maybe I can add some bigger birds as well. Okay. Now let us remove the masking tape. Alright. Thank you for joining me and painting along. I hope you had fun painting this mountain. Do share your project under the project's gallery. I would love to see your recreation. Also, here is another attempt of the same painting. I've done it in a loose manner without trying to add much detail. Kind of liked it, but I wanted it to be more structured. So I did another one. Alright. I'll see you in the next chapter until then bye bye. And 25. Day 17 - Barren mountain : Hello, and welcome to day 17 of the 20 day Mountain painting challenge. Today, we are going to create this mountain. Alright, so let's get started. Let's tape down the paper. Gently tape down the paper on all the sides, giving equal amount of border. Okay, so you have put the masking tape. Once you have taped down, just run your finger over the edges to make sure it is tightly sealed. Now let us quickly draw the composition of the painting. So I'm going to draw one mountain, something like this, like an alphabet A. Okay. From here, you will draw another slant line like this. This will create a sense of dimension, making it look like the shadow and the brighter side. So this is the shadow part of the mountain. We'll just mark it, and this is also shadow part. Towards the bottom side, we will mark the simple shape of the mountains and then add the shadows and highlight areas. Here we will mark the shadow areas. And here as well. So this is the main shape here, the focal element. Here we will loosely drawn. I'm going to lift off the pencil mass. We will try to keep it loose and avoid rigid lines. Firstly, let us wet the paper. I'm using my mob brush. This is Brustro size four round brush. Just wet the paper thoroughly. Apply clean water and move your brush into and f motion. Here, the aim is to wet the paper and let the paper absorb moisture good amount of moisture so that it doesn't dry faster and remains wet for longer time, right? Next I'm switching to my Princeton long round brush of size eight. I'm going to paint the base wash. For the sky, I'll use ultramarine blue. I just apply the paints and let it flow down. Keeping the paper tilted, we'll let the paints flow down because of the gravity. I painting blue sky, you can use any color of your choice, trying to achieve a graded sky. You can keep the paper in a tilted manner for a few seconds or a few minutes. Let the paints flow down. I'm going to keep this masking tape under the painting. Now clean the brush. Now let's take a This is burned Siana. I'm going to apply it in a diluted manner, a little bit of yellow as well. Yellow is mixed with burned siana. It looks a bit like orange. Spread the paint across the mountain area. This is the base wash. Next I'm going to dab some paints on the painted surface. It is going to create some textured effect on the mountain. You could even splatter as well, but I don't want the paints to fall on the sky. Randomly dabbing the paints. Now, dabbing let again on random areas, use medium to diluted consistency, not thick consistency at all. The reason why we are doing this is A, we need some texture on the mountain and B, it will create a variation on the mountain surface. Next, let us apply some let on the marked shadow area. Now I'm going to let this dry. You could also use a hair dryer to speed up the drying process. All right, the paper is dry. Next, let us add some details. For that, I'll use wet on dry. Let us mix some wet paints. Here I'll use two combinations. One is Bnciana another one is a mix of Bnciana and boil it. All right. First, let us take Bnciana I'm going to apply it on the shadow side, creating these sharp detailed lines. Here, I'm adding the darker colors only on the areas where I had added the darker pencil marks, right? You remember? So just carefully look at your painting. You will find those lines. Next, I'm taking toilet and applying on the lower part of this shadow area just to have some depth around that area. Now, marking some shadows on the lower part where I had marked the pencil lines. This lower part of the mountain is not very important here. I want to draw the attention on the upper part. You can take the liberty to paint it very roughly as well. Painting some tiny lines, creating some creases on the mountain. Here this is the shadow part. Art was never meant to feel like pressure, don't worry if you're making mistakes. Stay curious and keep learning, but don't turn every mistake into something you judge yourself for. Because the moment you get trapped in rules and restrictions, you stop enjoying what you love. Be aware of it. Now, adding some creases with the darker toilet. Now you can take a fine line of brush and add some tiny lines depicting the texture on the rocks. These textures and creases make the mountain look organic and it doesn't have to look like mine. You can create your own shape of textures and creases on the mountain. You could also use dry brush technique for creating the texture. That's also one way. Now let us add some freezers and lines on the darker side. Now take darker violet color and we'll create some marks on the shadow side of the rock. If you want to keep the mountain very minimal, you can just go with the base wash and a little bit of detailing. You don't have to do so many lines and textures. It's totally fine. I want you to give that liberty of having your own creative voice. Now, with same let and burn yao. I'll draw some birds in the sky. I'm using simple shapes like V and inverted V I'll be adding some more tiny lines on the mountain surface. Okay, so we are done with this. Now let us peel off the masking tape. There you go. This is how the painting looks like. I hope you enjoyed painting this with me. Do share your class projects under the project's gallery. I'll see you in the next chapter until then. Bye bye. 26. Day 18 - On the Peak of Mountain: Today is day 18, and we are going to create this lovely mountain artwork. Alright. Let us begin. So I have already taped down the paper. Okay, so yeah. Now let us mark the composition of the artwork. I'll start by drawing a giant mountain in the foreground area. The slope of this mountain is slightly more steeper than the other mountains that we have done. Now, once we have the basic mountain shape, then we will divide it into two sections. Draw a very wobbly line, making it look natural. Now, let's mark a few tiny patches on the mountain area. These patches represent the rocky texture, creases and uneven surface of the mountain that are peeking through the snow. So these patches can be of any shape and size. There is no fixed pattern. Since we are painting something natural, irregular shapes actually make the mountain look more realistic. So feel free to vary the size, placement, and form as you add them across the mountain surface. And darkening these patches helps me recognize where these are located. Now, let's move on and create a tiny human on the peak of the mountain. I'm creating it in a very simple, as simple as I can. Don't have to complicate anything. Just make a simple silhouette of the human. Now, let's draw the background areas. Here we have a pine forest. Another layer of pine forest, slightly bigger trees. In the background, we will draw some mountains. In the background, we will have multiple layer of mountains. This is about the composition. Here we have the sky and then some distant mountains, we will create a hazy effect for these mountains and slowly we will bring saturation closer to the foreground, slightly bigger trees and this as our main mountain. I'm planning to keep this side as the brighter side. Now let us wet the paper for wet on wet technique. Before that, let me erase some of the darker lines so that it's not clearly visible at the end of the painting. Just making it lighter. These lines are all okay because I am planning to paint them in darker color. But wherever we have lighter colors, I would prefer avoiding darker pencil marks. Wetting the paper fully. Oh Ta cerulean or cobalblue. Let's paint the sky. Like simple brushstroke, try to create a graded effect from dark to light. Lifting of the paints on the sides so that if the paints go back, it will create cauliflowery effect. I'm trying to avoid that. Around this area, I'm lifting of the excess water. Take ultramarine blue and some paints gray or indigo, make a dark bluish color. Now to this colour mix, I will add white color, making it slightly opaque. Wipe off the excess paints from the brush. Now let's try to paint the distant area. Leave some tiny gabs suggesting the snowy mountains. Here I'm painting snowy mountains. But since it is in the distant faraway area, it's not clearly visible. That's why I'm leaving some tiny white spaces to depict snow. I'll add some more paints gray here to depict the shadows in the background area. Don't try to make it perfect. It's okay. Just have fun. So I'm basically trying to create multiple layers in one go without waiting for the paper to dry and all that. So when an element is not the primary focus, you can take the liberty to explore with different techniques and just play around. I do that in my paintings, focusing on one or two elements, and rest of them, I'll just paint closely without having to worry about the results. Adding some darker colors. Here in the background mountain, we have three tonal values, the lightest color is white. Then you have lighter blue color, and then we are moving towards darker blue. This will basically create an overall balance in the background area. Or you can squint or squeeze your eyes and see how it is looking from a distance. You'll get a better idea. You don't have to compare your work with mine. I'm just here to guide you the techniques and just simply follow along as a anchor. But I would not encourage you to blindly follow all the things. Use darker blue. It could be paints gray or indigo, any darker blue and use it to apply the paints around the edges. It defines the overall shape. Okay, so this part is done. Now let's take pains gray and some green. So I've got this darker bluish green colour. I'm going to apply the paints in vertical brush strokes like this. Try not to let the paints flow inside the main mountain. If it does, you can use a tissue paper and pick up the paints. With this repeated brush strokes, we have created the midground pine tree layer. Now drag your pans till the bottom area around the mountain section. Once this base layer is done, then we will add second layer of trees with a darker color. Before we move into our next layer, let me define the shape of the tree line here, adding some vertical lines depicting the peak of the tree. You can lift the paints from this section. It will create a nice defined look. Clean brush and gently gliding your brush. I will pick up all the paints that's not needed. Can see how I'm trying to create this effect. You don't have to stress much about it. I'm just trying to create a defined and clean look. Next, we will take paints gray and any green mix them together to form a darker green color. We need a strong pigmented color. Let's paint another layer of trees. This time, slightly detailed. Why add details? Because if an element is closer to the viewpoint or the observer, then it needs some detailing work because we can see the details through our naked eyes. And cover up the rest of the area. I'm going to repeat the same on the left side as well by adding trees of different sizes. So tall, some short to create an organic appearance. Once you're done painting the trees, then fill up the bottom area with the same color. Okay, so this is done. Next, take ultramarine blue and a little bit of burn tamber. Uh this should look like a bluish gray color. I'm going to take this in a very diluted form. It would look something like this, very diluted. Now apply the paints, keeping the shadow side on the left side of the painting. This side is wet, so be careful around that area. I'm leaving tiny gap. Oh. Apply the paints in a wobbly manner. Again, here I'm applying the paints partially on the bright side. Here our focus is going to be the white snow. In case you have applied the paints in a darker tonal value, you can use tissue paper to lift off the paints dropping in some darker blue color along this wobbly line and some random areas to create a variation in the tonal values. Next, we will take red and let's paint the tiny human on the mountain peak. I'm taking red and applying it on the back of the human and adding small red colour on the head part depicting a cap that the person is wearing. Oh next, take any darker color and taking black. With this color, let's paint the legs and hands of this human. Try to keep it very simple. Do not overcomplicate stuff. This person is wearing a red backpack and a red hat and the outfit is black in color. I've tried to simplify as much as I can. Moving on, I'm mixing a darker brown color. It is by taking burn tambor and black. Mix these two colors together forming almost black color. Now I'll paint inside the marks that we have sketched earlier. This is the underneath layer that's speaking through the snow. Use different tonal values of this color. For some areas you can apply very diluted pains, some thicker pains, so that we have variation in this texture as well. Also don't forget to vary the size of these textures, keeping some of them tiny smaller patches, some bigger patches. It adds a sense of character to the whole mountain. On the other side, I'll paint it later because this area is still wet. So tiny dots around those areas so that it looks organic and not some random patches. Now, take ultramarine blue in slightly darker consistency. We will paint the shadow of this man. And some further shadows on this area. This variation in the tonal value here depicts the uneven appearance of snow on the mountain. It kind adds some depth on the snow rather than keeping it very flat. B. Now let's add black and brown, basically darker brown color on the shadow side here. Make sure it is damp or dry. Do not appl on the wet area. Slowly paint the rocky texture in different sizes. Do not make it look uniform or symmetric. Bring in variation. Adding second layer on these you can glide your brush to create the dry brush effect. It gives a nice raggedy texture. Now adding the sharp shadow of this man on the mountain snow area. Next, I'm filling up this tiny area that I left earlier. I can simply splatter some paint to create an organic uneven appearance on snow. Now I'll add some birds freely flying in the sky. All right, so we are done with this painting. Now let us peel off the masking tape. All right. This is how the painting looks like. I hope you enjoyed painting this with me to share your class projects under the projects gallery. I would really appreciate you posting your artworks under the projects gallery. I'll see you in the next chapter. Until then, bye bye. 27. Day 19 - Rosy glow: Hello. Today is Day 19, and we are almost at the end of this painting challenge. In this chapter, we are going to create this mountain artwork. Let's begin. Tape down all the sides neatly. Okay. Once you are done taping, you can run your finger over the edges to make sure it is tightly sealed and doesn't come up while painting or doesn't let the water seep in. All right. Now let's draw the painting composition. I'm going to draw the mountain one slant line here, then a horizontal line, slant horizontal line, and then again here. So this is one whole mountain, and from here, we will draw the ridges. On the right side, we have this sharp shadow, and on the left side, the mountain looks luminous. Wherever we have these aches, we will mark some shadow areas as well so that it is easier to recognize the parts where we need to add darker colors. Now, this particular area on the other side of the ridge is the main shadow side. Inside that, we will mark some areas for further darker shadows. We will see as we paint. I'll darken these areas to guide us during the painting session. I'll mark the bottom area because this will be fully dark. And on the right side of the ridge, we will have the darker shadows. So I'm marking it here as well. So it doesn't look uniform and very symmetrical. I'm breaking the pattern and creating some more creases. The pencil marks are completely fine on the shadow parts. But on the areas where we have to create the luminous part of the mountain, we don't want the darker pencil lines. Now let us begin. We will also have some background mountains. I'll pick up the darker pencil lines for the background mountains. All right. Now let's wet the paper using a mob brush for faster coverage. Move your brush in to and fro motion, so that entire area gets wet evenly. And I'm just keeping my board like this. So that whatever extra water is there, it just comes out like this. Now switching to my size eight round brush. So here, I'm going to take opera pink and yellow. This is permanent yellow. When I'm mixing these two colors, it gives a nice peachy orange color a little warmer pink color. So let's paint the sky. Just one quick stroke. Now take Kobal blue and Pains gray. Kobal blue and Pains gray. More of Pains gray. This looks something like Persian blue. Now I'm just going to keep my paper tilted so that the colors flow down. Look at this how beautiful it is flowing down. Now to avoid these hair like structures, I'm moving it in all the direction. Okay. So our sky is done. Now let's take the same color and apply it on the left part of the mountain. I also use some yellow. So pink with yellow. Actually, you can paint all the mountain area because this area is anyway going to be covered with the shadow colors, right. So it doesn't matter much. Now I'm going to apply some vibrant colors like pink and yellow and some strong pink. Next, let's take let and mixing it with the cobalt and paints gray mix. So it will give us a volety bluish color, and I'll use that for the distant mountain. With this lety color, I'm going to paint the distant mountain in the background. You could use blue as well. Doesn't necessarily have to be this color. Well, again, keep the board tilted so that all the colors flow down. Even the mountain colors will flow down and create nice texture in the mountain. Just apply some water drop. Gently dropping in water droplets, something like this and letting the paints flow downwards. And splattering some water through the brush. Keeping this masking tape underneath the paper. Okay. Now let's take pink. This is opera pink, and I'm going to mix a little bit of brown. This is born tamber pink plus brown, plus little bit of let. I'm going to apply this on the shadow side, a little bit of let as well. Also apply this darker paints on the marked areas. It doesn't have to be very dark at this point. We're just building the layers. Oh. Now take black and mix it with pink and brown. Now apply on the bottom part. This will suggest the cast shadows from the other mountains. Leave some pink areas, do not fully cover it with black. This is to suggest some shadows of other mountain falling on this mountain. Nicely blended. Now I'm going to dry it. Now, the paper is fully dry. Let us paint the details using wet on dry. I'm going to use the same paint, but this time, a little more pink in it for the first layer of detailing. Okay. So let's add the areas that we had blocked. You'll create some dramatic effects. Do not try to control or chase perfection. Here, I'll try to vary between darker pink and the yellowish color. And the creases do not have to look exactly same as mine. You could create your own version, your own style of lines here. Adding these darker colors brings out the essence of the luminous part of the mountain. And from bottom, anyway, it is darker. You can just glide your brush, creating this texture defect. You basically have to cover up the bottom part. Now take black and pink. Now with this darker color, I'll paint the shadow side. This is what creates the three dimensional shape in the mountain. We will try to leave some negative areas like this trying to depict the highlight. Now, going back to the brighter luminous side of the mountain, we will add second layer of details. This creates a variation in the texture and appearance. Now, use your fine line now brush and any darker color. With this, we are going to add some thin creases on the mountain. Just to show the continuity. It also gives a organic appearance on the mountain texture. Also, remember to vary the pressure as you are applying these lines. Nothing black. You're adding more details and layering with this black color now. When you add black colour on the shadow side, it further intensifies the layers. Thank you. We will be adding more darker almost black color on the luminous side as well, just so that we can bring out the brighter part of the mountain. The one thing that I always say is to add darker colors around the lighter areas if we want to brighten it up. So it's about perfect balance of light and dark colors. So tiny dots. And some texture. Wipe off all the paints. Here I'm using dry on dry technique to create this texture defect on the mountain plane. Now, let's draw the birds. Drawing the basic shape of bird. And then I fill in the color. If you find it difficult to do this, then you can paint the simple birds as well. Now, some tiny bods in the distant area. Okay, so we are done with this painting. I really love how this has turned out. I think mountains are becoming my favorite thing to paint. Let's peel off the masking tape. There you go. This is how the painting looks once it is done. I hope you enjoyed painting this with me, do share your class projects under the projects gallery. And let me show you my three different attempts at painting this. I loved all of them, but I felt more inclination towards this third painting. So I kept this for the class project. Which one do you like more? Let me know. 28. Day 20 - Moon Glow : Hello, everyone. Today is day 20, and it is the final day of our 20 day painting challenge. I hope you have had fun painting all the projects so far. So now let's create our final painting together. Okay, so I have already taped down the paper on all the sides. Now, let us sketch the compositions. This is a very simple mountain range that we are going to paint. We will start with the simple mountain and continue adding more mountains around that area. The end result of this is going to be a very abstract mountain range. The focus will be around the center area, and we are going to keep the bottom part of this painting very simple and plain. The area around the center will have more focus. You can add these ridges and add the shadow parts while sketching. If you see the finished painting on the screen, it looks very abstract, so you don't have to do all the sketching work at this point. So based on the sketch that I have done, these marked areas are for shadow, and the empty plain areas are for the lighter colors. We'll try to maintain that composition. Apart from that, you can add any kind of abstract effect that you want in your painting. All right, so let's begin with our painting process. I'm going to take clean water and my mob brush, wet the paper thoroughly. Make sure you wet the paper thoroughly, and there shouldn't be any pool or puddle of water on the surface of the paper. It should be equally spread. Next, let us start painting. So I'm taking this yellow orange color and applying it throughout the paper. The paints have to be diluted so that it can spread well when we move the paper. Now I'm tilting the paper, letting the paints flow down. Some of the paints might be coming outside, so you can use your mob brush to lift off the paints. I'm going to apply another layer of yellowish orange on the surface. Next, I'm going to take Opera Pink, mix it in medium consistency, and I'll be applying it with my mob brush itself, not switching to other brush. Notice, I'm applying horizontal brush strokes. Next, I'm going to apply second layer on the mountains. So here I've taken mid tone consistency of permanent yellow. Roughly apply it. And next let's take opera pink. With this color, I'm going to apply again, some random dabs on the yellow part, since we are painting abstract, so you don't really have to worry about creating exact shape at this point. Next, let us take boil it, and I'm going to apply it on the bottom part of the paper. Let's consider this as a shadow of another mountain falling on this area. Our focus is on the center itself. Now, let's mix violet and opera pink. You can mix two colors, whatever you have used, and we will slowly start building the shadows. I'm mostly going to apply it on the marked areas, leaving the yellow parts for the sunlit appearance. You can see how it is slowly taking shape, right? Next, I'm going to create a moon in the sky. I'm going to use a damp brush, lifting of the paint from the sky. It's okay if your paper has dried at this point. You can simply apply white colour. If at all your paper is slightly damp, then you can use tissue paper to lift off the pins in circular area. And if you don't want to create a moon in the sky, then you can leave it as it is with whatever sky you have painted. It's totally okay. Now, I'm going to apply water and make sure it is in a circular shape. Once the paper is wet on that circular area, it is easier to lift the paints using tissue paper. I'm going to pick up the paints inside that area. Now, I'll use paints gray and black to paint the moon. So I have applied some darker paints and then applying water around that to depict a beautiful moon. Now again, dropping in some colors. If you are not painting the moon with me, then you can wait until I finish this and move on to the mountain part. I don't have any idea why I felt like creating the moon. It was not in the plan initially, but somehow I ended up adding this moon. Now I'm going to take white gauge paint and add it in between to create that brightness in the moon. I'm applying thick paint so that it looks white and defined. Okay, I'm going to let it fully dry. All right. The paper has completely dried. Now let us move on to adding the details on the mountain. So here I'll mix violet and paints gray, making a darker volety blue color, almost like a black color, I would say. I'm going to add this on the shadow part. Also keep a tissue paper ready so that you can lift the paints whenever it is needed. Here, you will slowly apply the brush marks with a slant motion of the brush. Again, I'm marking the paints only on the marked sketched area. Now slowly add in some tiny brush marks. As you see on the screen, these lines are in a diagonal manner. You're going to repeat the brush marks in varied sizes so that it looks natural. All right? So far, the painting is going in a structured manner. Slowly, we will proceed to add more abstract layers. Now let's take opera pink or any pink that we were using. Now, add some brush strokes, creating a vibrant look in the mountains. I'm applying this right next to the darker area in between the yellow and the violet color that we have in the mountain. Now take the darker color mix that is violet and paint gray. Here, I'm slowly applying some diagonal lines covering the foreground area. Now, let's add another layer on the shadow side with this darker color. This defines the mountain. This is where we are making it abstract, and the brushstrokes are also loose and sort of bold. Adding in some tiny brush marks. Going back to the moon, I'm adding some white gauge paint defining the shape of the moon. Once the paints dried, it kind of looked a bit dull. So I'm adding more white paint to make it shine. Next, we are going to scrape out some paints. So for that I'm using my credit card. While the paints are wet, you're going to pull the paints down using the card. This will create a textured effect on the mounting. This is why I call it abstract. And to do this is kind of satisfying as well. Okay, let's not overdo it. So I'm going to wrap it up here. All right. Let's peel off the masking tape. Okay, so this is how the abstract mountain looks like. I hope you enjoyed painting all the mountain artworks with me. I'm so grateful to have you join my class and finish all the paintings. This really means a lot to me, and I'm really grateful for your support. Please share all your artworks under the project's gallery, or maybe you can share it on your social media platforms and tag me there. I would be really happy to see all your artworks combined or whatever you have painted, please share it with me. Also, if you like this class, please leave a review for me. That would be really helpful. Feel free to ask your questions or doubts that you had along this journey. I'll see you again soon in my next class until then, bye bye.