Master Watercolor Sunsets: Learn 20 Silhouettes from Simple to Advanced

1. Introduction : Hello, and welcome. This is Shrimai artist and art educator with an experience in art field of more than six solid years. I'm so happy you're here. If you love sunsets and have always wanted to paint them in watercolor, this class is for you. In this course, we'll create 20 beautiful sunset sell out paintings together using simple beginner friendly techniques. You learn how to blend vibrant skies, choose pleasing color combinations and paint sell out like trees, birds, landscapes, and more to bring your artworks to life. Each project is designed to be short, relaxing and easy to follow, perfect for building confidence and enjoying the process of painting. Whether you're a complete beginner or someone looking to restart your watercolor journey, this class will help you develop a daily creative habit while creating a standing collection of mini artworks. So grab your brushes, colors, and paper, and let's start paintings and set together. 2. Art Materials to get ready with!: Here, we're just going to get ready with our art materials that going to be used for this sunset painting project. So it's going to be with these papers. They are like Canson brand, 300 GSM watercolor paper. So I have just cut this into A six size. So it's actually a five, but I have just made it into A six sizes. So we're going to make many paintings or at least 20 of sunset still out. So let's go with this A six size, it's comfortable. And if you want to try out in a little larger one, you can just go with your favorite it's like A five or A four. And next with the paints, I'm just have my mid half pan set watercolor paper with 24 brilliant pigmented shades. So it has, like, a swatch card, and these are the colors in the set, you can see there are so many colors. And it also comes with a naming board of all the colors so that we could not confuse. You can just mix with our colors. And this is more brush. It's very much useful to make the color works. Holds good capacity of water. So next is going to be with the other set of brushes. So they're from Bruce Tru Brand. So with this brand, I'm just going to use only two brushes. They are number six and sorry, number eight and number three round brushes for making the detail works. And next is going to be with a napkin, a pencil, and a masking tape. That's it. And with eraser. So these are the things we're going to use for our project works, and let's get studded. 3. Techniques : So here in this session, I'm just going to share with techniques using watercolors. So it's going to be with a little hags. It's going to be also split with two parts, a basic technique to use watercolors. And the second technique that we are going to apply for all the complete 20 sunset Silhout paintings. So for all the paintings, I'm just going to make a gathering of all the techniques together. So all the tips, tricks will be taught in the upcoming part. And with that technique sessions, we'll be just putting up with our entire main projects of 20 sunset Silette paintings. Now, in the first part here of the basic techniques, first, we are going to learn all the first, we are going to learn with wet on wet. So here, what we have to make is we need to just dip our brush. It could be your mob brush, so it holds good amount of water to practice. And this is a separate watercolor notebood for practice to learn with the techniques. So you can just follow with a separate paper, and we can just go with a canson for the main projects. Now, with this water brush, pre dipped brush, I just I have just wet my paper over here. Now I'm just going to activate with red colour paint. So even the paint here is wet, and I'm just going to put it over the already pre wetted surface. So you can see the colors flowing thoroughly. So you can see the colors flowing thoroughly. And if we need with good amount of pigment, we can just take again with the paints. And this is a super technique to make the blending, and it absorbs the paint pigments very well. Also, it makes the process very easy with a different effect. Now, on the other side, it's going to be wet on dry wet on dry in the sense, it's going to be the paint is wet, and next is going to be the surface is going to be dry. So now my paint here is wet. So I'm just going to make it. As you can see here, it goes with the hard edges, but it's here with a soft smooth edges. As the previous surface here is wetted and here it's not. Also, the pigment is a little different here. Now, I'm just going to wet my paint again and over this, I'm just going to make it and see the gradient flow. So this will not travel and just make any different effects on its own. I just in control of us, but it's not in our control. It just flows with a water direction. Now, next technique is going to be a dry brush technique. Now here in the next technique with a dry brush one, I have my wet my brush little wet, so I'm just removing the water. So my brush will become dry. And with this the paint here is going to be a little watery. Now with a dry brush, I'm just going to lift a little amount of paint and see how the stroke works. So the surface even here, it's not pre wet, it's dry. So this is the effect we have got, and this is the second coating I'm making it near. So with a dry brush, this is the effect we get. So this technique can be used like in a seascape make the reflections, but it should not be with much moist brush. So also the detailings may vary in giving width the effects. Now, for the graded wash, it's going to be with the color, and we're just going to make it from the dark to the light. So this is the place I'm just going to fill with colors. I have just wet my place. And now with this, we need to start making with a good bright red and just ending up with the light color. So here, the water flow will be perfect. And we need to make it look like a gradient effect. Next is going to be with a lift outt technique. So let's make a pre wet with a color. And here the color is completely filled, and we need to make a lift out to remove the color pigment from the surface. So I have my napine and this is my completely clean brush. So with this, I'm just going to lift the colors and just wipe it on my tissue, and same way, repeating it over again and again to make it completely white. So we need to just remove the complete colors from the brush and repeat the process to make the effect. So this can be used to create bouquets and many different blurry objects. Here in considering with a sixth technique, it's going to be layering. So layering is with a little pigment, more diluted color. So we are just making it with a light wash. The color pigments will not that bright. Now, second layering is like you're taking little amount of pigment and just making over that again and repeating the process again and again. Repeating the process again and again, we are just going to take third level of pigment increase to make the details. And you can see here the washer slightly differs from the good pigmented part to the light as to wash. Now again, just increasing with the pigment, going to shade it fourth time, so this is the fourth layer. We need to stop it smoothly like this, increasing with the pigment again. So this is the fifth layer. Now, here we can just add with lightest shade. So we can call even this as a value scale, making from the light light side to the more pigmented side. This is our value scale. Now, the seventh technique for blending, we're just going to use with two different colors. Let that with red. So I'm just going to make it on one side with a red. And stop here. Next, I'm just cleaning my brush and wiping it out in the tissue. Next, it's going to be with blue, and I'm just going to take my ultramarine blue. So that blue is from the opposite side, and let's see the color blending. So it just goes with a purple and violet family, blue family. So mixing both the colors and just ticking with the red again. And it's activating with the water well now. And we're getting the other range of color, the third color. Now, activating with the blue, the secondary color gets produced. So this is how the blending works, and we need to just slowly change it with the water. Now, we just need to slowly blend the primary color to the produced color that is secondary color and make a gradient effect well. Do this we can make with red again. So this is how a proper blending works. We need to go with a light change in water control and make the blending works. So it looks completely gradedt. Starts from the red and ends in blue and transforms into the secondary color, the violet family. So next, you can just take a little break and mix with any of your favorite colors. That could be with yellow and orange and produce some kind of mid at warm shades of yellow or any two different colors that could be and produce the secondary color. And next is going to be other technique, and that's like, I'm just going to pre wet my paper here completely, and show you a technique. So just pre wetting my paper. To this lo, I'm just going to add a sky blue. A lighter version of blue is fine to make this. This is just a technique and evenly spreading the colors around the pre wetted area. Now, I'm just going to clean my brush very well and wiping it in the tissue. Now with the green color, it could be any dark green. And before the previous area, the pre wetted colored area dries, I'm just going to make with a pine tree and let's see the effect how it turns. So this is how I have made. And if you want, we can just go with some dark shades of green too. Now, secondly, with the same blue color as I did before, here, I'm just going to make with wash again. Now, this time, I'm just going to allow the color to dry well. So this process, we can try as wet on wet or wet on dry. That is only for this color. I'm just sharing like the wet on wet or wetan dry can be used to only create this first step. And now the second step before continuing the second step, I'm just going to allow this color, the pre colored surface here to dry completely, very completely. Now here, the background is very completely dry, and I'm just going to activate with the same green. So the brush here is moist but not that watery, and we can here make with the details finely. So this is a difference working with the waters with wets and dries. And Look at the difference. This can be used in a bouquet effect and where the mist it goes, and this is like kind of a sunny effect with a clear sky background. So these are the first part techniques we have successfully practiced. And in the second part, I'll be just teaching with the techniques that we're going to apply for all our 20 paintings of Sunset Silhot theme, and let's just get started with that soon. Bye bye. 4. Light Shadow concept: Here in the second part, I'm just going to share with a technique using light shadow theory because the sunsets allowed it mostly played only with the sunset that is light. So it depends which direction the sun just sets and the object that we focus that becomes siloed. So we need to learn with the theory here. Now, it could be with, let's consider a sun being on this side. So it's a left side. So with this left side, we can consider an object that is a tree. So this tree, it's going to be in in the right side. So this is left side. The complete light falls over on this side majorly, and it becomes dull and dark. Same way if this sun is on the bottom here, the place it changes and the light the light will be in the base here, and this top portion becomes darker. And same way, it depends on the light from this side on the top side, and it on changes with the placement of light source with the object. Now, this is a basic thing. And if the light is so bright, let's consider with some known timings, the light will be so bright here. So let's consider with a bright light source, and that could be with a noon. Let's consider with a noon. So by the time, each and every object will produce the shadow of its own, so that will be on the surface with a distance of the light and the position of the light. Now, during the sunset, the shadow portions will be little lesser and not that clearly visible because the light is like it's getting dim. Now, this is the basic theory to understand with a light concept. And the second concept is going to be with a distance using the light and the position. So let's consider this as a horizontal line that is a surface split with the atmosphere, the sky. And the landscape here. So this is going to be the landscape, and this is the sky. Let's consider that. And sunset mostly happens in the base. So it just goes down, and this is where it's placed. Now, let's consider with the object again, like, there are much bigger trees like this. And it goes with a kind of a little tiny house here as a second subject. So now what happens is this light gets dimming and as a third object, we can keep our mountains. Now, actually, this light is more like reflecting towards the object here that is very closer to the light source. That's mountain. And a second focusing reflection, it just produces from the house very lastly to the tree because we need to understand with that depth. So this is the depth. This is in the first position, and this is the second focus, and mountain is the third focus. The sunlight reflection the sunlight just falls over the third object, that is the very near object to the light, and it produces a little amount of color. And that could be bright depends on the object and how much light it falls over that. Secondly, this light source, just falling over the second object will be lesser in the color tone because it's a little far from the light source. When comparing this, it could produce only lesser amount of colors, just reflect one less amount of colors, and that could be even in dark shades, the warm tones, the very dark muddy colors. Now, on this, this is the very first, which is much, much far away from mountains and the house and from the lysos. So this will be completely less in color, and it produces black because the shadow will be on the front and the light will be behind the subject. So it mostly goes with the blackness, and this is the main concept to be learned in sil hou thing, also during the sunset time. So this is the second part the techniques I want to add, make a clarity to understand the depth of the subject that we are going to work with. Now, let's get started with our painting. So we're going to start with our very first main project in the upcoming episode, and we'll be meeting you there. Bye bye. 5. Day 1 - Where day meets night: Very first main project I have here readily attached with the masking tape on all the four sides. And here I'm just going to make with the background swatch. Let's start from easiest to main project and end with the little challenging main project so that it could be beginner friendly. Also, beginners can go to the pro level and learn so much techniques with all the 20 paintings step by step. So this is going to be literally very simple painting. Now first to blend the colors, I'm just going to make with the swatch. So I have my halo green here. So I'm just mixing up my colors. So with this to green, taking good amount of halo green again. So with this to green to the other color, I'm just going to mix up with ultramarine blue, taking good amount of ultramarine Blue. It could be equal parts and which becomes turquoise and blending well here. So now with this color, I'm just going to make a swatch. So firstly, I'm just going to make it from the top So here I'm just working with wet on dry technique. I'm stopping it here. Moving from back and forth. The colors are a little bit over, so just going to mix up with the palo green. I have mixed with the color. I'm just layering it up. Now, the top portion is complete, and in the base, I'm just going to make with the orange. So we can just use our dark tone of orange as this is a sunset. And I'm just going to make with so this is a complete sunset and a moon is a little crescent moon is there. So I'm just going to make with the dark orange. You can just go with a vermilion or scarlet. So scarlet could be even a little brighter. We can just go with vermilion. That's a good choice. And above this, I'm going to make with the cadmium yellow medium hue. So that we can just make with some golden yellow. Golden shades of yellow could be fine to make this. So these two color blending will make a little greenish. I'm just going to pick a bit amount of lemon lotu a bit amount of lemon lotu here just wiping up the greens in the tissue. To this again, on the second layer as a second layer, I'm just going to add up with the golden yellow. Again with golden yellow, and taking a bit of dark orange in the base blending all the colors together. Now to the top with the previous leftover colors of this mix. You need to blend and make it look like a gradient till the top. A So that's it. And now to the base, I'm just going to add a mountain. So that mountain is going to be completely dark black because it's like, after sunset, just a few minutes after sunset, and a little crescent moon is completely visible. So these are sunset part. Now to this, I'm just going to take my black paint. The tip of my brush, I have added with the outline and just filling inside completely with the black. We can just add with a little more details if needed. So here the base work is completed. Now we need to allow this to dry to make a crescent moon on the top. Now here is my white guash. And with that paint, I'm just going to take my triple zero linear brush. So to make the crescent moon, we need watercolors mostly just dilute and produce some light shade. So to prevent that, I have a selected guash paint here. Now, it should be creamy, not that watery, not too solid. So with this, we can just create with the crescent. I Now to this, secondly, I'm just going to add a little amount of gauche over as a layer. We are completed with the crescent Monto. Our next step is to slowly remove the tape, and our painting here is completely done. So this is just a very simple painting for beginners to get handy for the SilhouchO first main project is done. As soon as you are just done with the project, you can just group all the projects together and put up somewhere behind with a good background and just summit as a project. Or that could help just improvise for the upcoming project workshops. Also, I could just review your work and give the tips to improve the artworks submitted. Thank you for watching the first main project. And secondly, we can just move onto a different sky with different colours, meet you there. 6. Day 2 - Sunset through Pines: For our second mine project. And to this, I'm just going to wet the paper with a flat brush. So it could be any large sized flat brush to cover the whole sheet with water well. So I have my number 11 flat brush. So just putting up with water all over. So can directly put up with water or you can just spray it and spread the water. Are very much well. Now the subject is going to be with two trees standing together with a good sunset background effect. And to make that, I'm just going to activate my ultramarine blue color, so it should be well pigmented, and I'm just going to put up on the top here. So to the base, I'm just going to add up with halo blue, just cleaning my brush. So with the To blue color, I'm just going to make it with the second layer, just blending it from the top again. So this is how the palo blue glows. Now, again, with ultramarine, just putting it on the top to show the change in sky color. Now, here in the base, I'm just going to put up with my orange. So it's going to be with the dark orange. I have in my set added with Ponsio the color of the orange sponso here. You can just go with vermilion any dark shades of the color, starting it from the very base. Now to the top here, I'm just going to add up with light orange. So this is cadmium orange here, I have. And on the top, I'm just going to make with cadmium yellow medium hue, just putting up with that color. I'm blending both the atmosphere together. In the base, I'm just going to make with a light color here as the sunset. Now, I'm just going to add up the blending. Again with yellows. That's it. Now, next step, I'm just going to put up with my lemon here. Now, I'm just going to allow the colours to dry. And meanwhile, here, I'm just going to lift the color a bit to show the sun setting effect. And here I'm just going to add with any dark colours. So let's add with a yellow more again. And now I'm going to take with my white, good amount of white, mix it around to show the difference for the light source. That's it. So let all the colors dry completely. Now, here in the base, I'm just going to add up with the mountains. A small peak is enough. I was making with the outlines. Filling inside. Exactly below the sun here on the top. I'm just going to make a little lift up in the black color. I just wiping it in the tissue. Not all over. It should be just only on the top. And there I'm going to fill with burnt ocher. Now, let the background here completely dry to add up the trees. Now, the background is completely dry, and now I'm just going to take my black paint. So with that, going to add up a tree starting here. So it starts a little broad and ends linear. From the top, I'm just going to make with little dots for pine tree effect. Just increase with a point in length. Now, slightly after halfway, just reaching to the halfway, just increase a bit in length. We should not suddenly raise the length just bit by bit. Then slowly just greasing with more length. Now, next is going to be on this side with good length. That's it. Just one set of tree is done, and the other one is going to be just near this And this is going to be a task. So just try and just sum it with both the trees done completely near by near. And I'm just going to skip this alone as it's going to be the same repeated process of the previous tree. So it's going to be a task for you to complete the assignment, and I'll show you after it's completely done. So these are the completed portions of the trees. Now, just near here the sun or the light source. I'm just going to take a bit of browns. So it could be with the burned timber or burn sienna, adding it in a light dab. To the corners to show up the sunshine effect. Same way on here. And that's it. So we can just remove our tape. That's it. Our second main project is completely done, and let's get Mick with a different project in third upcoming one until done by 7. Day 3 - Evening Breeze and Silhouette : Just got ready for the third project. And in this main project, we are just going to make a sunset sellout, but it's going to be a different perspective that's horizontal. We're going to make it landscape. So firstly, I'm just going to take my flat brush number 11 and pre went the people all over Now, after making with this, I'm just going to take my mop brush and pick up dioxine violet here. So just with this dioxine violet, I'm going to apply it on the top like this. So the concept here is to make a evening scenery of the sunset a little time after sunset and sell out of a windmill. So it's going to be quite simple, but we're going to make a challenging work with the sky, and let's just practice with that in this main project. The applying good amount of dioxine violet on the top. Onto the base here, I'm just going to put up with Magnes violet. And next to this, I'm just going to make a lighter effect that's going to be with ponzio here that is vermilion orange or any dark orange you have, and just applying that color here and there. So below this, it's going to be with some lighter shade, taking good amount of orange and putting it back. And next is going to be with the other color. So we can just switch to the lightest shade of orange with this light shade, activating it too well with water and just slowly moving from here on this side. Now next is going to be with some pale shade. So we can just create that effect using the cadmium yellow medium hue here and mix a bit of white to this and create a lighter effect. So as we have pre wetted the paper, on applying these colors, the color may just gently move and flow on its own, and that makes so beautiful. Covering the glacis perfectly. I'm blending everything very well. Now let this completely dry. And so when it's like 40% dry, so 60% will be completely wet. So 40% will be dry. By the time, I'm just going to put up a bit of magnese violet at here and there to make kind of thick clouds just passing by, but it's going to be not with a dabbing technique. We am just going to make it with a straight solid heavy clouds. So let this dry at least 40%. So it started on the top to make work. And here we can just continue. Until then, I'm just going to wait for this. So this place is getting a little whitish, so I'm just going to activate a bit of pyl crimson and add it just below the dioxin violet with a good amount of water. Again, with Ponso, adding it here. I was going to take my dioxine volt again, and it's 40% dry. So gently just putting up with the straight clouds, a heavy mass of clouds, leaving with a simple strokes just here and there. C just go in a random motion. I just cleaning off my brush. So as it's pretty wet already with 60%, the colors will float on its own direction and that happen. By the time after it's completely dry, I'm just going to start up making with the windmill sketch and just colour it inside, just paint it inside, and let's allow this to dry completely. Now, it's almost dry, and in the base, I'm just going to add a small shape of cylinder. So this is the spot I'm going to work. Making very thin lines should be very careful making it. It shouldn't be much straight. I should just get narrow at the top. Closing the top ocean with the curve, and filling it inside. Making a small bulge at the sides. Now, here, I'm just going to add up with you fans. Increase the thickness. Now to this, I'm just going to very linearly add with the line. Just add fan details. Adding fan details with straight lines. Adding breadth on the other side. Now, from this place, just extending the third fan. Making good amount of black in my brush and leaving a little space starting up here, just making it a little broad again. We need to make a very thin stroke as we did before for the other fan and complete the rectangle. And Now to this, I'm just going to add a stroke in the middle here. And exactly opposite to this is going to be a lighter. So we have just completed with the fan, and just over, this is over. Again with a simple painting to make handy work with a silt simply just removing the tape. That's it. We are done with their main project simply with different techniques in the clouds painting. In the upcoming project session it's going to be with birds Aloud and get ready for that. Bye bye. 8. Day 4 - Love in Sunset: Here starting up with the fourth main project, we're going to make birds to birds in salt. So firstly, as usual, I'm just going to wet the paper, so we can just spray it on here like this and wet the paper very well. And with my flag spreading the water all over the paper from top to bottom, Now, with the more brush, I'm just going to activate the brown. So here with this burnt umber, I'm just going to make it on the corners. It's going to be a spiral wash. And to this, I'm just going to take sepia, the darkest of brown and add it to the corners. And if you feel less with the CiPi you can just add more colors to the corners. Now, in the middle here, I'm just cleaning off my brush and going to add with the light orange. So this is my lightest orange, and I'm just going to take that color and add it in the center, but we should not cover it on the whole. Even after cleaning the brush, taking my cadmium yellow medium hue, putting up in the center just after the orange. He next is with the lemon loo. So this much of the color gradient effect is fine, the circular gradient. And in the middle, I'm going to leave it white, make a smooth finish, remove the excess colors in the white and just dabbing the colors in the napkin. So the process here is done. The blending process is done with a background. Now we need to make this completely dry. Let that right. Now it's completely dry. Our next step is like adding wire. So I have just thickened with the black paint. So this is going to be like a bird sitting exactly in front of the wide, and the other bird is going to feed the one on sitting here. So I'm just going to make wire twisted wires on this place so we can just go randomly making like this. Dipping a little bit water. And the next step is going to be with another wire just to show a twisted thing. Now on here, I'm just going to add with details, making the connection so wire can just create a twist around This is fine. Next step is like making with a bird. So I have here ready with the sepia and black mix. So activating that slowly just going to make with a round. So if you're less confident in making with a brush, you can just go creating with the pencil first and just develop with the brush next. So if needed, we can just add with a bit of browns as it is exactly in front of the light, can use browns too. So brown could be with the burnt umber. Our next step is like we can just make with the neck portion. I was me making for the wide open mouth. Unfeeling inside. Perfect. So to this, I'm going to add a bit of browns again. So the transparency should not be there to make it more opaque. I'm adding little browns Brown because it's exactly in front of the light and it will not be that black, it just passes some color through the object. We can just make with the pause holding the next step is again activating with the color and making the base outline like feeding thing. So it exactly starts from here. And from this place, we can just add with the body. Making a good oval. From there, elevating with the head. Now, with the black, adding it in the top. And here comes with the leg portion. Until a Here I have just completed with bird scenery, this with a mix of brown and sepia. This is with a black. Sorry, this is with a black and sepia. This is with a complete plaque. And that's it simply completed here with a sellout of birds, and next is tape removing time. Slowly, we can just peel off in the outwards direction. Here is the picture after removing the tape, and Hobeo just loved making this easy picture. Next is going to be with a silo of animal as a fifth main project, and let's continue there. Bye bye. 9. Day 5 - Twilight Deer Glow: Here now, we're just going to make the fifth project of an animal in a sellout. So to do that, I have my flat brush again. So just dipped in water and wetting the paper before I start. Now, the thing is we have to make the background. So to do that, I'm just going to pick with my Prussian blue. So here is the Prussian blue just activating it well. Good amount of blues just coloring over the top and just leaving it little white. We need to blend with the previous color. And again, taking to make it a little dark on the top. Now, next step is like, I'm just going to take an empty brush and just washing that colored thing to the whiteness of the paper. Now, next step is like we have to take our pons. The torque is orange with that color painting in the base. And next with the orange light orange. And here in the middle just I'm going to take my cadmium aluminium hue painting it well. Leaving this part little whitish. So let this completely dry. Next up after it's completely dry is to take up the black paint, again, adding with a landscape. So just making little peak effect for the surface. Now, next step is to take up the pencil because we're going to make with a tear. So with a pencil, I'm going to make a sketch of the tear. Here I have just zoomed up to make the tear. And in the center here, I'm just going to start up with making a little rectangle. So this is, like, we should not make it so bold. So this is how the body is made. And to this, the end, I'm just going to add with a leg behind legs are made. Now for the front neck portion, the body is going to be like this. Okay now after this, I'm just going to make a little bulgy next up with the years. Next step is to make with the antennas. It goes like a tree branch. That's it. Next process is to paint with a plaque inside. Here, I'm just taking my mob breast to fill inside this body ocean. Here for the antnas, we could either go with any triple size brush or linear brush. Then just go with a very tip of the mob brush itself. Now, this is the final result I have completed for the fifth main project. And the task here is like adding with the gradient effect of the background sky, and next is going to be with the practice work of Deer. So that was the task here. And next is like untaping it. Hope you enjoyed this session and we'll get back with the sixth main project in the upcoming session. Bye bye for now. 10. Day 6 - Beautiful butterfly : Here for over six project, it's going to be with a butterfly on a flour silt. And here, again, I'm just going to wash the paper perfectly, spraying it up and with this flat brush, spreading water all over the paper. So here, I'm just going to use prescien blue on the top. So this is our Prussian blue. Dipping water again with this good amount of Prussian blue only over the top here. To the base just using with sky blue. Now, after this, I'm just going to slowly add up with a flat wash using just water and again with a sky blue on the top, one on the top. Here, we need to just go from both the ends, adding Prussian blue to the top. So the colors could blend. Now the next step is like, I'm just going to take with my cadmium low medium hue. So with this color, just making a gradient effect. So blending both the colors with just white space of the paper in between, because the yellow and blue mixing may just turn it into green, but I don't want that result. So to avoid, I'm just going to use only cadmium yellow here and blend with the whites. So let the colours flow and create some magic on its own. And next is going to be a orange, a light orange is fine on here. Now, in the middle, sorry, in the base, I'm just going to put up with Ponso, so you can just go with scarlet or vermilion orange, a dark orange shade. Now, again, just going with the light orange on here. Now, the task is we need to add with the sun. So the light is like Again, we are just going to take over napkin and in the center here, just below the orange exactly on here, I'm going to make her removal. And this is going to be our light source can use the tip of the brush to make it more precise and get exact image result we need. So this much is fine. And next day we are just going to make a smooth blend, a soft blend to make it bright. And next step is going to be like, I'm going to tab a little bit of clouds in the base here. So to make that clouds, I'm just going to again, take the prussian blue. So with this prussian blue, just here and there, start dabbing. It's not going to be with a strong, very fluffy, srt cloud thingy. So it's going to be a minimal cloud type. Just spot it here and there. For this, I'm just going to keep my brush as much as flat down. So also, I'm just going to make it with the dioxide violet, too, with a good thomotf dioxin violet. Can randomly go in the direction a little upwards. We can just use our spiral crimson just tiny dots here and there. And next is going to be with a dark orange, or you can just go with a light orange and make the clouds on the top here. So it's kind of a dreamy sunset with a mixture of colors. Now, next is going to be with the grasses in the earth surface. So here it's going to be with the grasses. So for this, I'm just going to take my pines gray. So this is the pines gray with the thalo green mix and a good amount of black colour, So with all these mixes, I'm just going to add up with the small, small grass strokes. Keep it with a tip of a brush, just make with a curse. With a good amount of black, again, just going over to show the depth. Now, next step is like, I'm just going to add with a good big flour in the middle here, high this much. So let's just draw a small holding cushion for the flour, and from there, we can just make with a sepia, sepals and the petals. So for petals, we need to make it a little lengthy. So this flower is a complete whole bloom thing. So we need to create it like a semicircle. So consider it making a semicircle, and inside that, we're going to cover the border of the semicircle with this petals. So we can just make it simply by adding the petals around imagining like touching all around the semicircle. Now, again with a good amount of black, adding the base portion here and just making a good work of sepals and adding the details. Even for the petals, And from here, I'm just going to make it a good strong stem. Now the flower is almost done, and to this, I'm going to make with the butterfly sitting over here. Again, taking the black. So with the black, I'm just going to add the body of a butterfly just adding with the head a small, beautiful circle of head and the body portion. So it goes with the legs. Now, over this, I'm just going to build up with wings the beautiful wings of butterfly. This. And finally, adding with the antennas. So that's it, a cute little butterfly picture like a dreamscape with dreamscape of clouds around we have just created with the thing. And the top here, I'm just going to remove a bit of color to make the see portion of that flour, just reflecting out of sunlight and just a small piece of a bit lengthy grasses here and there. Same way by this side. And that's it. We can just simply remove our tape. I hope you all enjoyed making this dreamscape sunset silo painting. And next is going to be with a little intermediate level. So first six paintings, we have done with a beautiful easy, big enough friendly, very handy things to learn, such kind of paintings we have just completed. But from now on, it's going to be kind of a little intermediate level to become a pro in watercolor Sil hot painting so that we can just improve into advanced artist. So just I'll be meeting up with a new project in the next episode. 11. Day 7 - Serenity by the water : This main project is going to be with a seascape, different try. So as we are traveling in the intermediate level, here, I'm just going to make with one single tree and in a sunset, so there'll be two escapes It's going to be a horizon line here and in the base with the seascape so it's going to be with a seashore on the very base and top with the beautiful sunset sky. So let's just breathe the paper with flatbush Now, next it's going to be with the division. Firstly, I'm just going to start making with the Prussian blue. Sorry. Firstly, I'm just going to start with the Taloblue. So with halo blue on the top, just painting it. Now, just cleaning my brush. Until here it's going to be with the sky area. So it's going to be the horizon line. So I'm just going to take my Ponso again. So here I'm just going to take my Ponso and with that, just making the split for horizon line. Nextly it's going to be with the orange. And and fewer plays in the middle. So next I'm just going to take my cadmium low and go over. So this place is going to be with a white blending with the damp brush. Now next, it's going to be like, I'm just going to lift from here and with napkin on the side, just removing the colors. So damp brush should be like much perfect to remove the colors. At this place, I'm just going to clean my brush very well and just activate lemon low. So with this lemon lo, I'm just going to make with swatch. And again, just activating the same lemon loo. Very base, we can just lift with a little circle to bring out the light effect. This much is fine. Now we can just take our regular orange, the light orange and just extend with the sky scenery on the sides on the other side, Okay. Now the next process is like, I'm just going to activate the Prussian blue. This is the seascape. Just a bit of ultramarine. Here again, adding with good amount of Prussian blue. Now to this, I'm going to again take a little bit of Prussian blue and the black mix, again with the Prussian blue, a little ultramarine. So with these colors mix, I'm just going to make a little wavy textures so it can be from this place. Can use a very linear brush. So the closer waves will be much broader and visible in a good thickness. But the very far one will be so, so linear, like a little thin lines. Leaving a bit of gaps here and there in the middle. Now, next step is like, I'm just going to take a bit of light orange and remove excess water from the brush so the paint stays up. And with this color, the orange color, I'm just going to add a little bit of orange juice here and there as reflection. Now, next step is with cadmium o or light low. We can just go with any yellow shades. And with that, again, adding so simple small linear lines just near the light source as that place is little far from the viewer's eye, just slowly just increase with the length when reaching near to the seashore. The next step, we can just add with the waves just ticking a bit of pins gray. So even the waves here will produce a bit of darkness, The next step is going to be with adding a big ship. So we can just make it a little far adding with details like this. Now to this object here is just much closer to the light source. I'm going to take a bit of red and add it on here. So if the color is not visible, we can just lift the previous color. Filling again the place with red. Now with the lemon low, I'm just going to add with details again over here. Now the next step it's going to be with making a tree. So we need good amount of black for this. So rightly, we need to make a management of placing the tree exactly in this place. So we need a little observation, and we can just complete that work by adding sketching. So if you are much confident directly to paint with a brush, we can go with that. If not, to locate it very properly and precisely, we can just make a eye observation and just make a markups with pencil. I'm just going to start up it here and the height is going to be till this point. This is going to be the thing. And from here goes with splits of leaves. Now with the trunk, I'm just going to paint it exactly a complete black color with this more brush. Now, next, I'm just going to switch my brush with a linear thing. So this is triple zero sized linear brush. Now activating the black color. So this we can start it a little broader and make linear at the end. I'm going to extend up with the details. So as this is in the lower direction facing towards the down surface, we need to just extend with the leaves. We can just extend it as curves, short shot style is enough. We need to start it little lengthy and just when reaching to the end of the branch, we should decrease the length. And as it is facing to the ground, we need to make it a little facing downwards. Next on here, again, I'm just going to make it downwards. This should not be upright. Instead, we need to make it a little slanting. It's a little facing towards the top, but not completely straight as this, but it's a little tilted. So to create this, I'm just making it the same direction. Not perfectly straight partitions. Now, this side on the top, it's going to be little facing up. This is completely facing to the other direction. So for these, I'm just going to make the bottom side. So it's like visible with only one side, not the top end. This is mostly facing downward. So here, the lines will be visible on both sides. So that's it. We are done with our picture. Additionally, if you feel to add with some little cute flying of a birch, can just go simply adding with those. Just a tiny little birch will do. So if you want to add with more numbers, also a little bigger, it's like you can try with your own ideas. And finally, just tipping it. That's it, we are completely done with our seventh Min project, and hope you enjoyed making this process and learned so many new things, making with the reflections, and we'll be meeting you with a different intermediate level painting in the upcoming session. Bye bye bye. 12. Day 8 - Crane and Stone: Here in this eighth main project, we're going to make a beautiful sunset sil out of but crane sitting on a stone way path, and it's going to be a seascape again. And mostly the color palette is going to be with oranges and yellows, only oranges and yellows and sil out with a black and a bit of rose family. So this is going to be our color palette. So here, I'm just going to try it without wetting, so it's going to be wet on dry. And our horizon line is going to be on here at this place. So this is a sky portion, and this completely goes with the sea area. Now to make it, I'm just going to take a bit of rose, the piral crimson and with that, just making a split. So to this, I'm just activating dioxin violet. And a bit of Magnes violet. This place is going to be a little light. So here, the sunset is happening here. The light source will be around this. So next to this, I'm going to activate with my Ponso the darkest orange. So that color will be like on here. About this is going to be with a light orange. And before that, I'm going to take my a bit of lemon low and just create with the light source. Just removing the excess colors. So we can just freely fill with the color inside. Now, to this inside, I'm just going to paint with lemon low. And with the cadmium low just a little above, painting with the sky portion again. Now, with light orange, painting it around the sun. A now this is okay, perfect. Next is going to be with the top ocean here. So as the base, I'm just going to make with a cadmium yellow wash. This on the top, I'm going to take a bit of orange and paint. Just activating with my Magnes violet again to paint on here. So the colors every colors will blend thoroughly. So the top portion is almost done, and additionally, we can just repaint to make it good bright effect. Nto this with a little bit of orange, making simple, lengthy strokes to elevate the beauty. Bit of ponso So that's it with the sky part. And here below, I'm just going to completely wash with lavender here and orange here. So this is just a background, and it's going to be a seascape, so there will be more of reflections, starting with the magnes violet in the base. So even this is going to be wet on dry. And in the top, it's going to be started with light orange. Just make a blend of both the colors. Again, with light orange. So we here have a good transition of both colours, starting from the magus violet and the orange blend. So let the colors dry well. Now, it's almost dry, and to this split on the horizon line, I'm going to make with a black split, so it's like mangrove, mangrove forest thing. Just adding a little bit of bushes kind of things because as this is much, much far from the viewer's eye, we need to make it as small as possible. So next thing is going to be like I'm going to make with a crane just sitting on a stone path here. So to do that, we can just very randomly create with stone effects just leaving a little space for the sea and just starting up it here. So this is our guiding line. So with this line as guide, I'm just going to make our little rectangles. So we have to build up with the stone Now, again, making it with another rectangle. Same way, just keep on building up with different type of rocks. The other one. Finally adding a little space in between, so that we can show a difference with a small rock. Sh. Now on here, I'm just going to add with the reflections of all the rocks. And here and there, we can just increase with the height. Next, we have to make with reflections and to create that exactly below this, we need to create a mirror image and just start making with the strokes in with the very tip of the brush. Here, it goes a little curvy on the top, so we need to create, like, a curve strokes. So it starts like this, in a semicircle way. So here it's like lower in the slope on the side and higher up. So we need to create something this way, higher on here and lower on this side. Now here, the task of making the path is over. Next is to make a bird. I have a spencil in my hand. It's just starting up with making legs, so it has a big thin legs. With this, we need to create the body, and it's going to be kind of cone shape like this. And from here, it's going to be with So here, I'm just going to take my triple zero linear brush again. Fill inside with thick consistency of plaque. Now, finally, adding up with the lex. You can just make with the changes needed. Now, to this as reflection, I'm going to exactly in this right, make with lex, here, too, and randomly make a bird body just starting it from here as reflections and goes linear on here. Next, it's going to be with the color change here I'm going to pick with my Magnes violet again. With this magnes violet, making with bigger thick strokes just near. Now, after this, just switching with the color. So I'm going to take my orange orange strokes. So now, again with the orange just filling up with a little strokes on the top. So that's it. We are done with our painting. Next is going to be the removal of tape session. Hope you enjoyed this painting very much and we are nearing with the intermediate level. So we are on the way in the intermediate level. And next we'll be with some beautiful sunset again and with good new techniques. So meet you there. 13. Day 9 - Friendship in boat: Now here in our ninth mine project, I have selected up making with board as a bigger object for sunset sellout it's mostly with the seascape here and the skypatT is going to be the horizon line. So let's get started making that. And for that, we have to just activate the Ponso. So with the pose in a good amount. I'm just going to split a line on here. Our next color is going to be the light orange. So with this light orange, I'm going to paint a little space in the middle. So the top portion, it's going to be with cadmium low and a little Prussian blue shade. So I'm here going to take a Prussian blue and paint it on the top. So when we mix this prussian blue colour and the cadmium yellow colour, sorry, we can just mix with the cadiumylow here. It will produce kind of gray tone. O on the top here, again, adding a bit of orange to desaturate. A bit of earth occur in the base, I'm just going to make with dioxide violet, with a dioxine violet, coloring in the base. Also not going to stop with just dioxine violet. Instead, I'm going to pick up my piral crimson here. With that just overlaying, it will produce different shades of color mixing with the dioxine violet, blending evenly, changing to the rose Now, again with a rose. A good amount. Byron crimson in the base. Just a bit of dioxin let again to the base. Now, that's it. The Sea Effect has been made with three different colours. Now the technique here is like I'm going to lift up because the sun is going to be on here, this portion. So I'm going to use the lift up technique. Wiping it in the tissue. Now to this, I'm going to add a bit of white to make it very bright. Tick consistency of white would be fine. Now the next step is going to be with making the mountains just behind. So to that, I'm going to take my sepia brown. So just from this point, with the peaks. It's good to go with the closer shade of orange, not very light shade of brown, so it could be with some dark range. So I have chosen with the sepia. And again, here on this end, it should be much with darkness. That's it. Next step is like, I'm just going to allow the colours to dry. And here it's almost okay. It's dry. Now, I'm just going to pick up my dioxin virt. So with this, going to create a bit of strokes, pairing with the details, just randomly going here and there. So completely here, adding up with all the wave textures with dioxine violet. So that's it with making waves. And next step is like adding with a boat, the main object for Silhout. I'm just grabbing my black paint, and this is the place I have chosen to put up the boat. So just adding a straight line and creating the basement of the boat. Now the next is like two couples just enjoying sunset. So to draw the couples, I'm just making with the body portion and a small head potion, that's fine. And the other one is just facing to this side, making head potion on here and with hairs if needed. So next is, like, we have to elevate with the net Holding the brush up, right. Now, here inside this, I'm just going to add with the black. Same way on the other side with adding the black. That's it. So here and there with the blacks, I'm just showing the depth, the shadows of the waves, and a bit of reflections of the boat on here. That's it. Now it's like peeling off time. We all enjoyed this easy painting in the intermediate session and just share a pick of all the projects you have done. And that helps me just review with a class project, also review via work and improvise my art style and teach better. So thanks for watching and we'll be just continuing with the ten project in the upcoming session. Bye Bye bye. 14. Day 10 - Dry Tree Silhouette : This is our tenth main project. And so far, we have done so many beautiful paintings, and it's going to be simple here with just one single main object of silo. So it's going to be a dry treating. I'm here going to use wet on dry technique. And to that, I'm just here activating with the dark orange that's ponzu. You can just go with milion or scarlet any oranges. And from the base, just painting up that color. Adding a little bit of reds to the base. And on the top, I'm just going to add with the Ponso. In the middle here, I'm just going to put up with the cadmium aluminium hue, just a bit of cadmium aluminium hue. To this, I'm going to add up with the lemon, taking good amount of lemon lo and adding it on here. So here we are not going to add with the light source, but it's just after the sunset and leaving the space little white after this. Next with the Russian blue or ultramarnlue, you can just go with ultramarn blue on the top. To the base here, I'm just putting up water so the colors will flow. To this, we can add tailb if needed. Just removing the colors here, wiping it in the tissue, and adding just a bit of water so the colors flow from the top washing it again. And that's it. So let everything dry well. Now, it's completely dry. The next step is to add with our tree silo part. I have chosen my round brush number three, and with this, I'm just going to create a surface with improper line and fill in with the black Now, the next step is to add with a tree. So here to make this tree, we have to start a little broader, and it's completely dry tree. Consider desat. And here it's going to be solo too. So I'm just going to elevate the tree from the middle, starting with a breath, good breath and just reach a top turning narrow. N task is like we have to branch. This is the first step in making the tree, and the second step is like we have to branch. So it's going to be like a second set of branching. So it's the bigger one. Second step is going to be little smaller than this, the sub brranches. So it starts from the branch in the base here. The other small branch just crossing over. Fill inside. And the next branch will be from here. Next step is to make with branching like this. So this is a third set of branches. It will be smaller comparing with the second set. And next is with the fourth set, which is much, much smaller, combining the third one. The major branching process is completely over. And next step is to make with the tiny branches. So I have switched to triple zero size brush, and with this, I'm going to make it so linear. Can keep it short or make it a little lengthy. Just ending up very linear. So it's like we have to keep on creating with the size decreasing procedure. So it can go in any direction, but it should look pretty realistic. A so here, that's it, very simple thing we have practiced for our tenth main project. Here, the main task is to branch it very perfectly for making that tree. That's the main task. So you have learned something new making with the branches. So if anyone learning here is, like, um, feeling difficult to make with the branches that dry tree, it will be really, like, I can guarantee you can just with the steps, you can just make it exactly as it is with a tree. And if you felt difficult, just practice one or two times in some separate thing and you can just jump into the main project. So we'll be meeting you the second half set of the painting in the next episode until then. Bye bye. 15. Day 11 - Lone Bird in Dusk: The second set of paintings in our 20 sunset siloed painting work. So here, the 11th painting is going to be with a bouquet effect. In this project, you will be learning how to create a bouquet background that is a little blurred background. So you will be learning how not to make a sharp edges and use very flowy smooth soft transition of blending works. So we are going to learn that and our project here is to learn with a bouquet effect also to focus on one subject that is going to be a little grass and a bird over that, just a bird sitting on that. And the other grass here and there around will be incomplete blur effect. This is the thing you'll be learning. You're going to practice mainly in this project. To make it, I have my paper ready taped. Next is going to be with a flat brush. I'm just simply going to wet my paper. This is the procedure to create a bouquet effect. So here, the color palette is going to be for the background is with a little orange and yellow forthcan and here with a little orange. And in the middle, it's going to be with a violet, so we're going to mix with dioxin and Magnese violet. So firstly, I'm going to start making with a dioxin violet. Just with that color, going to make a swatch in the middle. So just with a random swatch in a horizontal way, I'm going to make it. Same way as the reflection. Taking all colors, and good amount of water. Now, cleaning off my brush and activating the oranges. Good to go with light orange. Your speed is important to make the bouquet et. As soon as the water dries, we need to keep on making. Even though if it dries, we can just replay with water and start making the work. Now, here in the base, it's completely dry, so I'm just pre wetting the paper. So the colors can move well along the paper with other colors and blend much well naturally. Now with the orange again, just activating with the dioxine violet and moving with that color. So let this wet and before that, I have to just remove the color to make the sand. So this is little bigger, so just again with a lift outt technique. I have my damp brush and just lifting the color where we are just going to make with the light source. A just going to activate with my lemonlo and leave the top of the circle a little whitish. So more lemon allo with a base. And let this dry completely. So this portion here, it's wet. By the time, I'm going to make with the lengthy wreats so they are not in focus. So it's going to be again blood. Now, to make that, I'm just going to take the pins gray with good amount of pins gray. Making reads. Now, just before making the other works, the read color changes to sepia. So I'm just going to switch with a sepia here. So with this color, let all these dry well. So the main subject here, bird the focus is on the bird and other set of reads, so they are focused well. So this focused part should be made after all the background is completely dry, so I'm going to wait for that. Now, the focus point is on the red and a bird to make that. It's completely dry now. I'm just going to take with my black paint. So with this, I'm just going to make a very precise black grass S. Splits just make a split here. So this is kind of a dry plant. The branches and adding all the details. Hold the brush very close to make the fine details. Or you can go with some linear brush. It should not be watery to make all the details. The bird is sitting exactly on this place, the top here. So here I'm just going to make D, the alphabet D. And on the top, I'm just going to make a little rectangle to draw the head. So it's exactly on this position. We can just make like a dome shape, or you can consider it as a semicircle shape. Just extend for the tail and fill in the body with the plaque. Also the head portion. Taking good amount of black paint again. Now to add the peak, it's little sharp and cute bended in the front. That's it. Next, with the wash. So we are done. Now here, I'm just going to add small small reach around. That could be in black or in the brown. Next step is to tape. 16. Day 12 - Sunset through Window: This is our 12th main project, and here we're going to make a different painting. So it's going to be like a balcony of the house and a window scenery insilo so sunset to a window. So we're going to make little plants just behind the window and beautiful clouds, fluffy clouds here and there. So I'm just going to make it a little slanting, like a perspective from this side. So to do that, I'm just going to grab my ultramarine blue. So this is not going to be a complete painting just making a complete swatch. Instead, I'm just going to make it leaving a little space here and there for doing the clouds because overlapping may result in some muddy colors. So to avoid that, I'm just going to directly use with paints, giving little gaps and fill there with the exact color. So just making, like, a little curves, with the tip of the brush, we can add up with like a details. Now, from this place, I'm just going to wash my brush and activate the Magnese violet. So with this color, I'm just going to slowly make a blending work and add the violet. Making a light wash, you can just go with a light wash, creating a cloud effect. So this white space are going to be filled with different warm shades to show the sunset thing. So this is like, without a Hari and Hazel, we can make slowly with patients just enjoying the process of reading the clouds into my dioxine violet and adding with the cloud forms just here and there a bit. That's enough. Now the next procedure is like, I'm just going to clean my brush. And now the step is like we have to take our light orange. So with this color, I'm just going to make a flat wash in the base here. So add the details in the top later, so let the colors bleed. You Now, I have added a little bit of orange to this, just making the extension works like a fluffy cloud. And the top place is going to be added with W W pyrolGrimson, just going to add it on the top portions of the cloud. With a dioxine violet, adding small small pieces, parts of cloud here and there. Thinkers like I'm just going to take a bit of light orange again and put it on here, making it look it vibrant. Now, again with the Magnese violet, I'm just adding up little vibrancy. The base here, I'm just going to take with my cadmium me and just add the color. We can just blend it in all the white spaces. With a lemon low, I'm just going to add up with a little sunlight and just add with a light color to add the brightness where the sun sets because light sources more there. And even on here. Next step, again using the Magnes violet covering all the lighter plechs lifting up with a little small white circle. So this is the effect that I wanted to add up to make a sunset thing. Next, in the base here to make a little warm effect because the light source at this place will be a little lesser. It will not travel that much. So here it's going to be with different warm shades and I'm going to pick up my red. So with that red, I'm going to add it on here a little bit of burnt timber. Making it more dreamy sunset. And adding with muddy shades of cloud mixes here and there in the base. Now, in the bottom here, I'm just going to put up with more amount of black and make the silo work. And with the sepia, making the blend on the burnt number two. Again, with a black mix. Now, with a good solid consistency of black, extending up with a line. Now the next task is with the black. I'm just going to add up a diagonal, a little slanting pillar like this. Now the next step is to again add with the grills all the window details. So with another line, so it just cuts here making it very perfect line. Now the next opposite side is going to be a little in another direction, moving to the downwards. Next on the top here, just adding with small lines of steel bars. Now, exactly with the same point. So let's go with here to here and this point to this, we need to make a parallel line to this bar. Now, the next thing is, like, we need to make a split, just leaving sand in the middle, and I'm going to put it up behind, just on the sides. Even this should be parallel to this bar. Now, the other thing should be exactly on this side. Now, adding with the horizontal row of steel bars. In the middle just adding only two lines. Again, with a bigger one. The other one on here. Okay. Final one at this point. Next on here, it's like exactly at this place. We need to extend in different parallel. Same here. A here. And we can add up with extensions line. So here and there, just out to the bars, I'm going to add up some leaves showing up, trees showing up in silo. So to do that, we can just randomly make with some branches, allied branches here and there. And put up with small leaves. Same way, just adding with bushes kind of can simply dab closely and show up the textures. So just adding like a climbers with more leaves hanging on these steel bars. Now, that's it with our painting and just we can peel off. Hope you enjoyed and learned something new with a different perspective, we meet you with a new project in the upcoming session. 17. Day 13 - Rural Towers: Project mainly focus with making of cable towers, the electricity towers. So we're going to create sell out of all these towers. It's going to be with a bigger one, a smaller one, a tiniest like that. So this is quite simple, but a little difficult with the tower building. So it's very much good for beginners, also, like in all levels, who struggle to make towers such heavy tangled components. All these can be just learned with tricks on this thing. So I'm just going to make a wash with a Prussian blue here. So with good wash of Prussian blue in the top, a little bit of ultramarine. Again with good amount of Prussian blue. Painting on the top. Also an ultramarine blue mix. Blend of colors, smooth transition. Now in the base here, I'm just going to put up with orange light orange on the sides. Again, with orange on this side. So elevating with our cadmium low medium hue on here. Now just cleaning up my brush very well and slowly allowing the colours to blend. Now, just lifting up with the sun light on here. Just below this, I'm going to put up with my black. So just showing up the surface, all the bushes in the base. We can just randomly make shape and fill in with a black completely. Just starting with small tiny details. Leaving a little gap here because we are just going to make with orange shade. Swing, like, the light just falls over this place. So we need to just lift this up at the top. Now, wherever it has with empty space, I'm just going to fill up there with orange again. And a bit of reddishness in the base. I have my deli brand fine liner pigment fine liner. So this is waterproof, and it goes with ten different sizes, so you can see ten different sizes. So it starts from 0.15 MM to just goes with 0.5 M and has a brush too. So with this, I'm going to choose a minimum very pointed fine liners. I'll just mention the sizes when we proceed with our tower. So you can just go with any fine liners because it feels very precise to work, and we can get the exact accurate details. So I'm going to start up this bigger one because it's much closer to the viewer, and this is a little far. So I'm just going to pick up my 0.30 MM thing. So just keeping that, we can just start making the elevation. Center two slanting poles of lines will be like this. Much closer, and the other one should be a little far goes with a slight bent inwards and just touches the top. Same way on here. With this point, we have to just make a section of three divisions, starting from a lower one, a smaller length, and the bigger length, and again, with a smaller length of lines, making it with a small spring kind of in the sides for each corner Now, to this, I'm going to add it like a triangle, an attachment to the top. Same another triangle a flat line, then disclose it with a slanting line. Here inside this, we can just make up with our details, just going with slanting lines and making straight lines here and there. So I will attach the reference picture in the project section area. So here just going up with a crosses. To make a crosses, we can follow our easy step. So just making a Rombus kind of thing from the top to connect all the four differently standing straight lines. So all the four pieces should be connected together in the middle with Rhombus. Now, on this side, we can just make up with X kind of things. So this can be done with the same sized fine liners or we can just switch with the size. So randomly adding with much lines, so it looks like a tangled together and looks realistic. Now the time is to add with towers. And before adding the wire connection, I'm just going to make up with another tiny two to three electricity towers. They are going to be much with a distance, so I'm going to start it here. So it's not that detail and not visible that much, so we can just directly make with two lines connecting together at the top. Now for this, so starting it here with 0.20 number to show up the distance Adding the same details again, repeating it again. And as we did here with a triangle, we need to make it even here. Now, next step is adding with straight lines, the detailing works. Now, here, this is not that much visible, making with the straight lines directly and adding with much of excess in the corners to a bigger one than one on the sides. The other two small things should be at herein with three things and adding with small collectors, then triangle. Same process, but the size varies. Now, it should be very much smaller than this. Next step is like we have to add with all the wires connecting. Now, 0.15 have changed to the other fine liner, the very first finer. It's like, very thin. We can make with all the details here, making a wire thing and connecting it to the top, bringing it like this. So other one from here can hang up at anywhere. This place. The other one from here to here. I need to connect both the inch. We are done with the picture, just slowly removing the tape. Now, 13 main projects are completely done and seven more to go for our Sunsets Silo thing. So seven is going to be like we are shifting from intermediates to advanced level. So two more left in the intermediates and five for the advanced. I'll be meeting up in the next session. Bye bye. 18. Day 14 - Cityscape : Hey, all. This is our 14th main project, and here in this just going to make with our sellout in cityscape. So cityscape the skyscraper is all going to be with light reflections. So we need here with little detailing works to show up the glass that's reflecting with the sunlight, also the clouds colors. So we need little patients to create that A a few. We can just go with any gouache, white gouache or white colour acrylic markers, anything we have. Now just I'm going to work with wet on dry. So firstly, I'm just going to take my Prussian blue and just put it on the top. So so just getting that in good mount and just allowing it to flow on its own. Now the next step is like, I'm going to take my Magnese violet and just start blending it with the blue as a next step, I'm just going to put up with red, a bit of red and the rose colors. And finally, with a bit of orange. So it's dark orange. I'm here taking with a Pons. Now, again, we have a light orange. This leftover space is going to be with cadmium yellow medium hue. Now, finally with a lemon low, light allow, putting up it here and mixing it with the previous color. Now, let's allow this to dry completely and start with our cityscape. Just activated my color black here and with our regular more brush. I'm just going to carefully build up with the buildings and skyscrapers. So here we are just building only with our black portions, and the details will be with some highlighters like acrylic markers or we can go with guash. It's our choice with what we have. And I'm just going to make a random height buildings like this. The other one with little length, so I'm just increasing the height, finishing the rectangle here. It's like a little narrow building, not that broad. With this a center. And from here, just going with single line. Then just leaving a little gap, making a rectangle and completing it at the top, just leaving a little gap. Just randomly leaving with a space in between. And next, it's going to be with a elevation like a four to five story of blocks. Closing it exactly at here. Same way, here, I'm going to fill up with little different spots. So whatever comes to your mind with creating for a building, you can just go with exactly you can. Now I'm just going to leave a little time to dry completely, and we can just add up with lights using white gouache or white acrylic marker. To add up all the details, I have three colors in my hand with acrylic markers. So they are liquid acrylic markers from Del brand. So this is with a white and orange shed and light cadmium mellow. So with these three colors, I'm going to put up all the lights. First, starting with our white. They are not glossy finish ones. They will not reflect their matte. So you can just go with anything you have, so it can be with gouache pins or acrylic markers. Now for the top of the building here, I'm going to add up like lights Okay. Just to create the glow effect, I am swatching up a little with a white marker. Now with a yellow shade, I'm just going to add up another set of lights. And here just putting up with little yellows. Finally, with the orange shade showing up the reflections. Then on here. So here, completed with all the light effects, and that's it. We can just remove with our tape. Now, it's completed with the 14th main project and six more to go so happy on just traveling with this Sunsets Lujourney. And I hope you feel so excited to make with all the six and complete it successfully. So meet too in the 15th session. Bye bye. 19. Day 15 - Distant Hills at Sunset: So we are just entering into the advanced level, and here is just going to be a theme with sunset in the mountains. So there will be like light differentiation from the very far shade shapes of mountains to the closer one. So the color difference plays a major role. So you're going to learn with major in the color difference. So here I have my mop brush again. I have my color ready mixed here, pre mixed here. So this is a mix of sky blue and magnese violet. So mixing both colors, I have got this and a bit of pink. So on the top here, I'm just going to put up with this color and spread the colors evenly together. So also in the base, I'm going to put up a little of sky blues and make it with water. Make that with water. We've been taking a little bit of the color and adding it on the top. Now, just clearing up the brush and with the light orange shade, putting up the color on here. And now washing again. Putting up with orange. Now, the middle shade here should not blend with the orange. Instead, I'm going to put a bit of white. So we need to keep on cleaning the brush often. And with this white color, I'm just going to make the colors blend with orange. Now, with good amount of orange, adding cadmium mellow medium hue, just above the orange. So this is wet on dry. So as it mostly goes with a shade like yellowish, I'm just going to add a bit of orange on here, washing the brush and again, blending with a bit of white. So yellow and white, let them mix together. And again, with the sky blue the previously mixed color, just making it again. Clearing my brush well after wiping, taking a bit of white and going again. So that's it with the clouds. Sorry, with the sky. And next to create the cloud effects, I'm just going to here and there lift off the shape of clouds with a wet brush like this. Just we can hold the brush very closer to the task. And the other one on here. With all the sizes, it should not be much fluffy and bigger lift off. It should be with all the sizes. So I have lift up here and there, and now to create the cloud effect I'm going to put up with a light orange base of colors so it should not be with hard edges. We can make it soft. So randomly creating up with the shapes. The very far one will be like so linear and not that much visible. We cannot see the exact shape of the far one, so just creating with stripes. Now, again, just adding small fluffy structures with a mops. Adding depth with pigments increased. Here I have the darkest shade of the color to just paint it as a shadow. So we're going to mix a bit of pins gray and a bit of earth low together and a bit of browns, just a tint of brown. That's it. And I have just my colors ready here. So if you have just pines gray, just dilute well and add a bit of earth low and brown. So with that color, I have over the clouds, I'm just going to add like a shadow effect like this. And similarly a tea. Here and there adding a bit of violate. So Manganese violet will be fine and mixing violet and gray to make the clouds adhere lifting up with a little bit of color here to add the light source. The colours are completely dry. The background is completely dry. It takes a little time to get the paper wet and lift the colours off. Just putting up with white on here. Create the mountain effect on here. The closest one to the sky just near to the sky will be kind of orange mix. So I'm going to lay out with a structure in orange shade. Now, this orange continues in the center here because the light source is exactly at the center. So we can just confidently make with the orange in the straight. Now the next task is like I'm going to add up my Magnes violet on the sides here. Now, again, so these spaces are filled with a bit of Magnese violet and orange mixes, and I have spread the colours. At the top here, I'm going to put up with a tar violet, so that's dioxide violet, taking up with my dioxine and violet and just making a regular wash. Just to build up with the layers of the chains of mountains, we need to start it exactly from the back side, not from the front and go rivers. So I'm just going to take my Magnes violet again, the lightest of violet, and very carefully just make with mountains. Not the distance here and show the cap. Just again, taking my orange. Adding a little more depth. How we can just build up with the mountains and blend all the colors together. The next step is I'm going to take a bit of mixes. So this is good amount of magnese violet. On the other side, it's going to be with a mix of dioxin violet. So just adding a bit of dioxinevilet to the manganese violet. Also I'm going to add a bit of pyral crimson to this color and dilute it with a little bit of water magnese violet again. So it's lightly just good rich in pigment. So it's strong than the previous color. I'm going to add a change from here and add the peak on here. So just go to the base and finish with the mountains. Now, as soon as it gets a little dry, just we need to allow the previous surface little dry and we need to paint it over. So carefully making with the shape. And the next task is like we need to add up with the dioxine violet, so just wetting that. And with the dioxin violet, I'm just going to make it on here and let it just pass the previous change height and just extends to the other end. Now we are going to make a change like we need to start the top of the portion with dioxine violet and the bottom portion with Magnese violet. So here, the difference is not that great. So again, I'm just going to take my dioxine violet. The base would be just made with the lightest shade. Have so much of empty space here and here. In the upcoming layers, we need to cover all those empty spaces by adding the layers in the front of mountains layers of mountains in the front here and build up with the structure. So we again can start with dioxin violet. So as the color is empty, I'm filling up here. With this color. The surface here is very good, completely dry, making it in the front. Now, on the other side to build here, I'm going to add a little bit of pin gray, just a bit of fines gray to the dioxine violet to rich to increase the color pigment and just moving on with a random position on here. Dioxine violet and pines gray mix. Just check whether it shows difference with the previous layer and can add up with the grays. Now finally, just again, adding with a good amount of pines gray to this dioxine violet. And now starting it from here, spreading up the colors from the top. As a very final mountain to add up on here, I'm going to take my free green. So it could be with olive shades of green and put on here as this is closer up to the vers eye and with the dioxine violet and mixed together. So it creates some kind of wine shade and adding a bit of pine gray to this mix a little bit of water. So this color shade, it just goes from here. And I'm just moving the brush in the downward direction. Also, we can just directly add with the tree green at here. So creating depth with showing the difference in breast strokes, adding a bit of pins gray again to here. Or to show more difference, we can just lift off the color from this place and add a bit of pyrrol crimson to the top and let the colors blend. Again, taking good amount of pyrrole. So for Pyl crimson, you can just with a good mix of crimson and dark deep roses. That's it. Now, the final task is to just clean up the brush very well and have the tissue near, and we're going to create the rays or just from the light source this way, lift up with strokes. So it should not be this way. It should be from the light source to the mountains because when lifting up in the opposite direction, the colors will reach to the top. So the yellow background here is lightest shade Vilet will mix up to the sky, just lifting off one with the top to bottom lines. Now the next step is to just add with the cadmium low of colors on here to make up the rays to white inside again to just show the light depth. Now finally, with the cadmium low again, making the lift adheres. So it should be with a damp brush again. Every time after making the strokes, we should keep on cleaning the brush to avoid the colors or mixing. That's it. We can just slowly peel off the tape. That's it with our 15th work. Next, heading up with the sunset sell out in some grass field area where two bigger animals or some kind of inner desert. Yeah, let's jump into there. 20. Day 16 - Giraffe : Now just jumping into our 16th painting here, I have, like, just going to make with two animals that's special in the tropical area, so in Africa. So it's going to be giraffe and big trees. So all these inner silout I'm going to make some beautiful violet family sky background, and with the grassfelds in the base here, this is going to be horizontal and two animals on here, the trees will be with a silouts at this place or with different heights. So to make with the background first, I'm just going to make with a light wash using our light orange all over, a very light wash. Again, this technique is a wet on dry technique. With the orange. A little bit of camium mellow on here. It's going to be with rose, discrimating the paper and adding a lighter shed of rose cleaning up my brush very well, removing all the excess water, blending the colours again. This base should be covered with a tree green to show up the dryness Now, let this dry well. To add with the clouds or you're again going to just lift up with a bit of water jam brush and make small lines for the cloud effects. Again it's not going to be with some deeper fluffy clouds. So in this lighter area, I'm just going to fill up with lemon for making the clout. Just keeping the brush a little slanting on the top weg upright, I'm just going to put up with lemon low and create the effect with a cadmium low just putting on here. Adding one ly with the cadmium mellow, it at all the removed places. So this is over unremoved the whites. I'm just going to add cadmium mellow. So it turns kind of a orange. Now with the lighter shade of Magnes violet, the violet family just going to add up with small cloud effet again here like this. I'm taking a bit of rose. So the previously washed color of rose, it's like little light because we have blended that color with orange and now it's a little pigment rich. So it shows up more in the pigment wise. So it shows up more. So this is mostly passing clouds effect, just adding here and there. Now, to create the mountains, I'm just going to focus on making a light shade of Magnes violet at this place. Filling with colors again. So just washing with lighter amount of rose. My brush again. So with this, again, ticking with the violet, the manganese violet. Rose mixing both colours together to create this piece. Here I'm going to add up with the earth yellow colour just to show the grass fields. Top here, it should be with the green. At the bottom here, it should be with the greens. Again, tree green. Just lifting up when it's wet to show the effects of grasses. With of to greens adding up. Just a bit is enough. We need to blend the tree green and Telo green together. Now, finally, behind with a sepia. So the darkest brown, I'm going to add some kind of, like, bush affix. So this will be like colorless and just below the mountains, showing the depth with good sepia. Just adding with the good effix Now just elevating with the trees. I'm taking my black. And with that, we're just going to start it from this point. It starts broad. Goes still here. Let's just go with the hi till here and just branches up only on the top, keeping the brush upright and branches one in the very top. And at the top, I'm just going to put with the head. So all the leaves, the dried up things are grouped together and it's completely on the top. All the branches will be visible clearly. Also, the dents of the leaves are not that great. It's widespread and short not that much reach to the hal parts. Instead, it's only on the top. Let's first create with all the main things and create all the details. Destroying some kind of sticky things as this is a dried up tree. Randomly moving on all the sides. Even with the other giant tree. So it's a little height lesser than this on here. Now with the sepia, we're going to create a small tree, which is much four. It's not that black. Instead, it will be kind of a lesser in tone, so I'm just going to take a sepia and create a very, very small tree. Now, a main task is to create with giraffes. So two giraffes is going to be ever heroes. I'm going to place one on here and the other one on here. So first, I'm just going to create a simple sketch using pencil to create this. The first one that I'm going to create here will be with a rectangle shape for a body. It's too small, a small rectangle shaped body like this and goes with the legs and from here, it's going to be a simple trapezium ace shape for the face and the ears and the top. That's it. So this is just a skeleton to create a giraffe. Now on the opposite here, so just again making with a slanting box and with the legs, Now, with our black paint, you can just give the exact structure to this. So it's like standing ads in the grass, so legs are not that completely visible. Y Now, finally, with the tree green, again, just lifting up with the grass affix. So that's it. We are done. And finally, just removing up the tape to complete the painting. And we'll be meeting you in the next painting of 17 to one. Bye bye. 21. Day 17 - Highway Vibe: This painting is going to be a little rural roadway, highway and sunset sosal out of all the road lights on the side and little freaky clouds in violets and oranges. So this is just of creating the picture, and I'm just going to make with a blend of the Prussian blue. So just with the Prussian blue, making it on the top here. So again, this is wet on dry technique. Implying russian blow in a good amount. Making a light wash with just water. Now with the white, I'm going to make it on here. So next upcoming color is going to be with orange, and we need to blend with that color. So adding a bit of white. Using light orange to start with the blending. With vermilion orange. And with the light orange mix on the top. Blending with the whites on the top here, where both colors meet. Now with the pines gray, I'm going to make a roadway starting it like from this point. And just ends in the center point here. Same way exactly, it starts at the opposite side on here. Like this. And just filling it inside. Also on the sides, just developing with little rural area, the city escape by adding little curvilines. Base orange color, playing with a gray on top, it settles as like a natural effect. Finally, I just adding with the ultrarine blue only for the roadway. Adding a bit of pines gray to darken this point. Now, with a black color. Adding for the roots, So you can see the difference in, like, a little raw colour of, like, brown shades, and this is a complete black. Now, in the very far place, I'm just going to put a bit of burnt ocher to make the buildings effix showing up with rectangles. Tiny works will do. So it could be with mountains or any kind of like buildings, forts, could be anything. And just adding with a yellow, could be with a light lemon low color on here. For showing the sunset and just a bit of clouds thin forms of clouds just spread over on the sides. Now, as our next step, I'm just going to increase the colour tone to cadmium mellow medium hue and add with the cloud forms on sides. Thin thin strokes will do. Also, little forms of little cloud forms like this by tapping the brush. Now, working with orange, the light orange. So here minus the cadmium orange. Again, making with a bit of orange color on here just over the mountain or the distance object just below the light source to show the color difference. I'm cleaning my brush now. So with orange again, Starting with these small forms of clouds. Switching to the ponzu color. Again with quantum in good amount. A with light orange, so it goes with a switching of colors. Dioxin and violet, I'm just going to put up on the top here over the oranges, but not at all the places, only some. So starting with violet family let's start with lightest color Bangs violet. Now switching to dsingt. So we are almost done with all the cloud sceneries. Now finally, just adding the whites on the roads with whites on the side just making thin line patterns. So this is like we don't want a perfect white, a bright white. We need just a white, so it's okay with the watercolors. If we need something bright, we can just select with Gase or acrylic markers. Starts broad and ends so linear. I have made a mark, and with whites, I'm just going to brighten it up. Now the final task is to add with the lamps on the sides starting here. This we can directly either go with a brush or any pigment, black pigment fine liners. This is how the shape looks and this hole is going to be filled with yellow or any whites. The other one at a distance on here, but it should be shot in height comparing this. O. Added at least five things with difference in heights, and the middle portions are to be filled with yellow now. So I'm going to use my acrylic marco for this. These marcas are from deli brand and going to fill inside. Now just peeling off we are done with the painting. Met you in the upcoming painting session. So we are left with just three main projects. So I hope you're enjoying all these learning new things and practicing a lot. So meet you there. Bye bye. 22. Day 18 - Steel bridge and Sunset: This main project is going to be with some beautiful thing of steel thing, a big steel bridge. So making a sil out of a bridge and a little seascape reflections of the sun sunlight. So just I'm going to take my flat brush and make a gentle wash here, all over the paper. With my mob brush, I'm going to use the ultramarine blue and color the top Now, just taking my orange and gama melo medium humix. So with the orange color, just putting up on the sides. Cleaning up my brush and using a bit of white, so the colors splend again with orange playing light white colour, building both. Now with the cadmium yellow, just putting up colors in the center. Adding with the Prussian blue colour in the base. Now, just adding up with two big huge mountains on the sides to connect the bridge. So taking up my black color for making that. This could be done over here. Likely just coming up. Filling all inside with plaque on the opposite side. Like this. So let this dry, and I'm going to activate with orange to create a background scenic mountains. So cleaning my brush, much, much well, taking a lighter sheeld of the brown that could be with a burnt tumber. So I'm making with swatches for mountains just behind this grabbing my brown in good amount. Now with the cadmium melo, just adding colors on here. Or we could just do with orange and dark orange on the sides. Over burnt umber is also fine. Just lifting it here with a damp wet brush and filling that empty space with white color. Okay. Now with the burnt sienna or sepia, Sepia will be very perfect to make the slot. I'm just going to extend it from here this point, and it just slowly moves to the other side on here. And on the base here, I'm just going to make up with a different set of colours on the top. This part is going to be with the sepia again. So just roughly making with the structure adding with the two lines with the tip of the brush till top here. Just extense. So from this point. So now just splitting up with a little rectangles. Starts here. The other one. The top one. I'm just filling the top place with a good amount of sepia. With the same sepia color, I'm just going to make the bottom part a little stronger. Now, just with a bit of red. Taking the small parts of red, making with the X spot in the base. So the line that reflects in the middle portion becomes little reddish and the other areas go with the sepia. I'm just hanging up the other side hanging. Here, I'm just going to use with my file liner black 0.15 size. So with this, I'm going to extend up making with the lines for the hangings on here. Same with the opposite side. Just one connection to this line, the other connection to the top one here. So the mid portions just leaving all the rectangles we should make with the break lines. Now with the mob brush, I'm just going to choose up my Palo blue and a little bit of ultramarine Blue mix and make with the wave format. So the closer ones are going to be little bicker strokes of waves. You need to fill with the gaps, either with palo blue or ultramarine. Ultramarine is like, okay, but Palo blue suits really very well. We need to use the dark tone of blue. Again, switching to the ultramarine blue and putting it here and there. So this is a little far from the viewer's eye, and we can go with not that broad waves. With a little amount of blacks, I'm just going to create with a shadow effect over the waves. This will create some depth, and this shadow effect mostly covers in the near portion, and we need to go with some lighter strokes behind. Final touch up with the blue color. So again, with the tal blue. That's it with this painting, and we can slowly remove it. Met you with the second last painting of our main project. Sansa Zu. Thank you. 23. Day 19 - Grassfields : Or in the 19th main project. And in this project, we're going to make a Sunsets allowed in a firm field with a bigger grass fields. So it's going to be a simple painting showing the depth in the grasses. So just starting with applying application of water all over. Now in this with a mop brush, I'm just going to put up with my Talal blue, just a little bit of halo blue on the top. Now, next color is going to be with cadmium yellow, medium hue. For the sun, making it a little darker lifting up with the damped brush and just wiping it in the tissue. Lemon low, just coloring on the sides. For a long distance, I'm going to use only the Earth low and just color it. So with good amount of earth low as a pigment, putting it just near the light source, extending it just near the light source. And just with light browns, I'm going to make it over the earth low to show the difference. A little bit of burnt sienna and a little bit of earth yellow color, both mixing together, Wilpds kind of the golden shade. Now, in between, I'm just going to put up with burned tumber. So here, it'll be a little widespread on the closer region, and we have to keep, grating with lines to show the depth so this is how a grass field look. So after this process, I'm going to take a bit of earth again. So in thick consistency, not to tree. And with this, just going to create with small grass effects only in the light areas, so not covering up with all the brown things. So it should be only on here. So it just goes in everything in between everything. Creating with grass effects. And if needed, to make the new ones, we can just take with a little bit of burnt sienna and create all the grass effic again, with the burn sienna, just creating it with Manson here, all the grass effic and the mix of earth low. Now in the distant, we can just add some kind of sepia, just a little bit of sepia very far to show up the bushes. And just a mix of burnt timber. So with sepia, we can just create with the grass fields or the bigger silo portions of grasses. Creating with short forms of pieces and adding with a gracifix at the top. So all these are making sill out with one le sepia. So again, taking with good amount. You. So using black colour may give a different effect. So at this places just away from the light source, we can use black, but it's a little bit near to the light source. So mixing with Sepia that works great. So this is purely with black colour and adding little gracefx on the top. So in the very front, I'm adding with little blacks and creating grass effects also over the sepia. Finally, with my 0.20 fine liner, I'm just going to add up with birds flying here and there. Showing the depth in the middle. And that's it, and we can just peel it. We are done with our Laakilas painting. This is quite simple to create and has blended out beautifully with the colours. So we're left with one last painting of our entire episode with Sunsets Allot. So happy to make all these happen, and we'll be meeting you in the upcoming session. Bye bye. 24. Day 20 - Couple's Walk : This is our last main project of this sunset sellout episode, and I'm going to make a flatwh with water to use wet on wet technique. The idea here is to create a background of sunset sky where the usual colors we do, but it's going to be not that much orange. Instead, it's going to be with blues and yellows. So here on the top, I'm just going to activate my palo blue and put it on the top, that here. And just a limited amount of Prussian blue over it, so both the colors mix well. Now to this, I'm going to add with white. Now, the upcoming color is going to be with the cadmium mellow medium hue on here. And let this color blend with the white. And this is going to be a beach. So it's going to be completely with water scenery and two couples just walking towards the sunlight, and they are the salut. So this object, the couples will be like in colour transition from black to some kind of brown shades in their costumes, just reflecting the light and a little reflection over the water here. And to make it, I'm just going to put my pines gray on here, just starting with the pines gray on here, and slowly just move out again with pines gray on here. To show the water scenery and with the Prussian blue. So just with a Prussian blue color over the top on this side. A few shades of orange, so light orange will be fine on the side. So let it blend. And lighter shades of cadmium low medium hue on here as reflections. Showing it up a slanting way. And finally, with the lemonelloO the middle, it should not go all over instead spreading greatly at the top. And in the distance here to make a supression, again, I'm just taking my sepia. So with sepia, building up the bushes far. Same on this side. Creating an island defect. Just to hear adding a little bit of yellow Damneo And finally with the white. So just lifting the color here. Adding some whites in the reflections of water in the base here, just exactly opposite to the light source. With orange shade in the middle to complete the island effect. Now, just taking with my black color, adding shadows and little small stones over the water surface, a small thing. So this match of the black details is enough. And then with the Prussian blue, just making soft light textures, And with the pines gray, finally. Now the task is to just build up with sell just the outline of couples with any pencil. So I have my Phobe pencil here. So this is the place where I'm going to put up with the boy and the height till it goes till here, and the girl will be this place. Now for this, we need to make a separation of the legs and the body part. So the legs will be from here to here, and the body part will reaches a little top high till this point, that this could be with the head portion. And for girl, this to this will be head portion. So we can slightly just build up with a small So this is the head of a boy, and for girl, it's going to be the opposite side, pretty with a straight line. I a D structure with a jaw line and a nose. Headlines. Adding with smaller bulges to create the nose, eyes, eyebrows et. And from that, grating with the neck of a boy. Shoulders just making a slanting. And with the hand. So here or like both their hands or tangle. Having elbow, lifting up with the hand. Just building up with the hip. Holding with gowns, and furs just reaching the top. And finally, with the shoes. This girl, like, holding with her gown. And for the boy, it's going to be on this side. So this is a sellout, and next with the shadows, it's going to be on here, exactly the same. Now, firstly, just taking up with black, filling carefully inside. The spaces to be filled with some reddish orange tones for the girl. And now taking with once you stark orange and blending with the black. So it creates kind of a transparency in the gown, reflecting out with the sunlight. Now with the black colors, I'm just going to add with reflection. Creating with blacks and oranges as reflections. Yeah. And with ponzio finally. Now, putting up with light orange, this side. And a bit of pin gray here. Okay, with ponzio That's it. We're done. Final step. You are done with all the 20 projects. Meet you in the upcoming session. Wrap up. By 25. Wrap up: Very final state, so happy on completing all the 20 paintings of Sunset Salut. Each speaks with some different memories started with some beginner level and just entered into the intermediate and finally finished with the advanced trainings. So there are so many levels we have passed by and so many lessons you might have learned with this journey and feel so warm and very colorful with all these warm tones. I am so happy with all these outputs and shared so many techniques now, just please complete all the projects or even if you complete one simple project, you can just put up in the assignment submission area so that I could get a good feedback and also review your work on how you have done. I will motivate other people to just put their hands to try on with some difficult things. And so you have to please upload with the works in the submission area. And thank you for joining me in this beautiful session and learned so many things along with me and meet you with very good episode in the future with some watercolor paintings or with color pencils. So everything depends on the reviews I get. So if people are interested in watercolors, I will be making with more watercolors or not with some different mediums, too. Thank you so happy. Bye bye.