Transcripts
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.
Shanan Subhan, Watercolor/Gouache | Art Educator
