Meditate with Watercolors - A 14 day Art Challenge

1. Introduction: Many of us want to greed without any pressure on transplant, what are unable to do so as we are unaware of the start, even if the stock, we are not sure how we get enjoyed the whole process. So this is the class for you where you are going to not only enjoy the process of painting with watercolors, but also work with only a few sheets in everything. Hi guys, I am ready biomass than August instructor mothers to share P tilde bracket one or o53 buses where we not only manufacturing, I mean sketchbook, I press briefings, brush roles and much more by also have options of participating in workshops or lifetime answers to these classes to cross on www.phi.com, we start by preparing our people for heavy washes. Then next is knowing more about Carlos and testing them on the paper, as well as making the sheets in case not available with the colors. We already know. A quick practice exercise followed by stepwise final painting. All the paintings that you are doing along with me is real time, hence can be followed along. In total, we're going to paint 14 days with an upload every alternate days so that you can get the perfect amount of time as well as arrest for the next painting. We're going to cover various subjects over the next 14 days, like mist, animals, sunset, clouds, landscape pints, calm water reflections, et cetera. Intention is to not only unwind the stress, but also a lot of options. Kingdoms of single shape to shape three shape, or using only on limited palette to create many beautiful paintings. As you can think of. If you want to relax today, come and join me in the next session from where the stock-out with thyroid detailing of the class. 2. Framework: We start out by understanding how to prepare your people ask, this class is going to be all about your heavy washes. Basic techniques. I'm moving on to the final practice exercises. The class overall is going to run for Adobe PDF. Or if he ordinate D, I'm going to upload one cactus session. And the final weight, the idea of the class is not to bombard you with lots and lots of gallows, brushes, things, etc. It's only about just enjoying the process. Focusing on the goods of water. Carlos, I'm partnering with this beautiful me. 3. Materials Required: It's time to discuss all the materials that we need for completing all these paintings. The first is a tissue, is I always say in Watercolors, tissues in your best friends. So keep or all of tissue handy. You can also have any kind of cloth or tissue for yourself which is reusable as well as you can wash it. Then is our palette. I usually have a small palette like this, or I may have another palette where there are five to six wells that some good enough for all of our paintings as we are going to paint with a limited palette, which means two to three shades that we are going to consider for each of the paintings or even lower than that. Hence, this kind of like oh, six or seven wells palette is great. About Colors. Yes, I have a lot of colors as well as I have tubes. Now, usually Colors come Into way oneness in gigs like bees and another in tubes like this. So you can have either these kind of cubes or you can have gates which you can be used for your paintings. Brushes. Of course, you can see all lot of brushes along with me. Though one is 1.5 inch of your wash brush. This is very, very important and there's the most important one till now. Then there's a size for the Vinci brush. Again, a very important brush. The Da Vinci Castle Nao mop brush. Very important, Russia. Okay. This is the Vinci brush. Again, this is an important one that we are going to use for all our paintings. These are kind of optional brushes. I must say only one thin brushes. Good to go. So you can have all of these That's great enough in case you are not very confident using the tip of these kinds of brushes. As we are always not sure that we will get a great outcome or not. Hence, some ideas, keeping a thin brush buyer's side is helpful. Two jars of water, one for washing your brushes and another press supply. I will have one pencil and then I will have small eraser. Any kind of reserves, good. So keep any eraser. Oh, Ph Martin's bleed proof white. This is optional again, I had to pay a whitespace. The for that reason I've kept it orals. You can even mosque and so you can either use a masking fluid or you can use white paint like this. You can also use white quash. The most important of all is our paper. Now, many of you are using only arches, 300 GSM. But I got a great option some time back. It was Nano people, 100 per cent vector, a big gun, gelatin free. So many of you do like to only go for these kinds of paper. And hence, I just thought to give you a good insight into it, it is 300 GSM, 100% cotton mold made, as well as its IPO size. So whenever you cut the paper into half, you'll get a size like this. You just need to use the same size or you can cut it even a bit more. But I guess A5 size is the most ideal size that I love to go head width. As you can experiment a lot with a five sets. That's from the perspective of the paper. I am keeping one of these bachelor's handy. I sometimes need to just pull off the paper from the acrylic board that I have. Now, why is this acrylic board here? Okay, the acrylic board is helpful and sticking the paper to the surface. You can also keep a scale by oocyte because keeping a scale handy gives you all leaves you with lot more opportunities and helps you in the painting. Would go ahead and have or trimmer for my sites. It helps me to just round off my paintings. You can see how I did round off my corners. Once your paper is dry, I usually eat out of the corners. I go ahead and rounded off with the help of this tremor. You can have this orals evenly, but it's just an option that you can go ahead with. Okay. If you want to use them as postcards, you can also do it on postcard size. People. I would leave that up to you. But for me this is a good size. And see you in the next lesson, we are going to deep dive a bit Into, are taking 4. Basic Techniques: I am pretty sure that most of you know the basic postulates, which is like a flat wash. We are going to do right now. One of the sheets, which is mine, bright blue. You can use any shape for this. I usually do cross swatch. This is one of the most important aspects for our first painting, as well as on multiple paintings that we're going to do in this class. This would come to your argues. Though we tend to ignore this part and most of us are third party. This is very important in case you were starting out with your watercolor journey. The whole class as well, pump meditating with watercolors, which means even the smallest step, like just applying your colors to your people by using a brush, is an important step. Because this is all about process and progress. It's not about achieving your final results. Hence, continued with this crossmatch, move your paper a bit, you're in there and you will get an even wash. Let us eat this to try out now and move to our next top part. Here, we're going to create a gradient. The gradient will be created with the help of water. So we're going to use two colors. That is blue, orange, green. Blue is towards the top, which is my lighter value, as I always say. And then here's my forest green, which is my darker value. And I would be applying it towards the bottom only with the help of water. I mean, mixing it in the middle and let it flow. The colors will flow into each other and give us a beautiful turquoise. I have also explained this in our next TO practice exercise, how to make cobalt turquoise. But along with it, I just want to show you how beautifully colors can merge into each other when you have enough water on the people. Right now, the water is not enough and hence, the colors will not move it to each other. We have to apply some more pigments, as well as some more water to leak the pigments flow into each other. Watercolors have always been about flow and how the water moves. Because water comes before we say colors. Hence, water is the only source which makes this whole process really, really amazing. As I say, watercolors are magical and the magic lies over here. When you do your paper, you can so that the water is moving towards the bottom here. And I will just use my brush to blend it with the background. My people is wet. I am using a 300 GSM, hundred percent cotton Arches, paper, hutches, as well as your Nano people are the two options that you usually see me using in most of my paintings are handmade people, which is around 400 or four for TGS and that can be also used. This last part is all about creating variegated wash, which means that I'm going to use variety of colors to get this wash. The colors are majorly blue, hence, you will not see a lot of difference in it. But currently, I am using a non-3GPP blog post I have used my ultramarine. Ultramarine is lighter as well as it has got some amount of your granulation in it. You will not be in a position to see macho granulation once you apply your indigo or else even if you apply your Payne's gray, though I have told you that this would be simply water moving into each other. But this particular part I have dedicated to creating textures with what? Yes, we are going to just plot of water to create a lot of textures. It is a very, very important step for our future paintings. You will observe how we actually paying our viewer and the bird in yellow. So we ready, it's going to be very, very exciting. There are a lot of textures that we will understand. One is black, drink your water, and another is touching your brush on wet sofas. How your paints can create magic. I would request you all to walk through these three quick and small exercises before starting out with the painting. As there is a lot and lot of energy, as well as understanding which you can do when you paint only these three exercises. I guess. That is it. And I will just go heads plateaus some water. Now, when might be photos on lot wet as well as next plan, my people is not so good. You can see that the pigments which shift from the place where we did splatter to water. You can also do this with the help of your salt. Though I haven't used it much in any of my paintings, but that's also an option which can be excised. 5. Prepare your paper: Prepare your paper. First of all, go ahead and soak your paper for two to 3 min and a tree having water or another tab for a period of three to 4 min, arches, 300 GSM hundred percent cotton ball made paper usually can be sold for ten to 15 min. But I do understand that all of us are not using arches for safe side, two to 3 min is enough. Above all, the papers should not lose its size. Many of us are not aware about the sizing, which means that every watercolor paper will absorb less colors or allow the colors to be seen on top of the paper that will prevent your painting from looking up. The second method is to apply water on both the sides and just put it on top of an acrylic board. Exactly the way we are doing right now. This will have EPO paper moist for a longer period of time, which we usually need during the summers or in the places which has a really dry climate. Though this seems to be a really small step, but it plays a vital role in all our paintings. 6. Day 1 - Evening Love - Practice: Onto our D1 and it's not clear the bar that I have. First, let's understand all the colors that we're going to use for our painting. First and foremost, is our main shape, which I'm going to use from my nice. The second is my turquoise tail from the brand Sennelier, have been my cool too. Gallows form many of my watercolor paintings. Along with it, I would be using indigo. Let's test all these colors while we just experiment with our painting. See how it works. So this is the shade that you will be using. The second shape that I'm going to head with, his, my turquoise tail. This is the turquoise tailored shape that I'm going to use. Then is money. Either you can go ahead with the Payne's gray like this, which has a bit of blue in it. You can see the blue side as I take it, a bit more light, you will see that I get more on the blue side. Okay? So this is the shade. If you now do not have any turquoise, how do we create a turquoise? I would go ahead and like to tell you how you create it in case you do not have this Payne's gray goo head with ENCO, as I have told you, the shades you can always create by mixing. And turquoise is one of them. I am taking some of my tailor blue and we'll mix some of my dark green into it. Can you see a shade which is closer to the one that we are using right now. In case you mix your other blues, maybe end on 3D in blue. Let's see how it works. And I have a dog ring with me. I will add the star cream. This mix is a bit different, but still we get something closer to the one that we need. I'm adding a part of blue more into it and a bit more green into it. You can always prepare your shades like this. How do we approach a painting? This is something that I'm always think before I paint. For this one, I like to use my sketchbook to understand exactly how I'm going to add my Carlos and how I'm going to add the page on top of it. Though, your final painting doesn't require any kind of taping down, but this small part, it's always good to tape down and have some clear edges. Do I would leave that decision up to you. But since the colors lot and we are walking with good amount of water, taping down will be a good idea for this one. Once you are done with taping down, run your fingers along the edges of the teeth so that there are no gaps. Our final painting is only about heavy. Wash his hands. I'm going to prepare to PayPal bit differently. I had with some of my mint green. Now you have to understand this is a bit opaque in color. And because it is opaque, I have to use only a grid of it while I paint or else I will not be in a position to go over it and paint my kids. Okay. This is how I go about it. And I am going ahead and adding some of my turquoise blue. You will see more beautiful turquoise coming up. The main idea is to create good blending. At this point in time where there is a seamless color movement from the lighter value that is majorly on West to the darker value which is your turquoise. Like a gradient wash, we are going from darker to lighter value. Of course, gradient washes with two different shades. If you are using a round brush, you have to go over a particular space more and more what happens is with a round brush sometimes you'll get these lines and we really don't want that for our painting, but I do believe that less is always more in watercolors. So if you are using glass fragments, you are using soft colors. It would kick your pattern impact compared to if you are bombarding your painting with loads and loads of colors. And that's what we're going to explore in this painting today. Because this is all about heavy washers. Hence, this kind of a gradient is our basic for the painting. Once we have added this, let's just move it a bit so that the colors move into each other. You can see colors are moving. Now. Once my colors have moved around of bed, I would let this dry off in case you plan to, of course, paint any kind of your darker values. And toward what we can do is we can mix a bit of a dark value on the top and give it one more shade. You see how beautifully it has blended with each other all the colors. You don't see any shade moving here and there. For this, you need 100% cotton paper in case you plan to get all colors or shades like this one. If you want to click create it. I'm so happy to see this one. And the last part is all about creating your class. Now, if you want to create any kind of clouds, you are basic approach should be to paint your clouds. Like I always loved my directional clouds and I use my brushes like this. Now, if you are using the tip of your brush, you will get smaller clouds. If you are putting some pressure and then lifting it up like this, you will see bigger clouds coming. Let's use the same method for creating the clouds. So either you can go ahead and use your goal or those Payne's gray with your turquoise to create Oreo darker value for painting the clouds. Though this class is not oriented towards clouds only. For taking an exceptional clouds class, I would ask you to go ahead and check out my other classes for clouds. In the meantime, if you have more water or more colors in your brush tapped off or dab it off on a digital. First of all, many alternatives of every color, whether it be in the goal or Payne's gray, or you do not have the turquoise, you can meet the turquoise and then use it. So keep all these color options available with you or whatever color is close to the one that you have. You can use that in case you use a bit of white in total costs, you will get a mint color that we're using now, once these clouds are done, I would let this dry off and show you exactly how I paint my leaves. You have to just put pressure on your brush and lift it off. Now this is not a great one. Let's just go over it once more. Again. Let's just put a pressure, go over it once more. Let's just put a pleasure and go over it once more. Head and paint some more leaves with our smaller brush. If you are painting leaves with your smaller brush, you can get as you want. And do always go head and they re your size and as well as the shape of your leaves. Because that's very, very important. Again, I would go ahead and just these leaves propose As always the case. So go ahead and practice a few leaves before you painted over the final painting. If you are using your smaller brush, it's absolutely fine. You can control a lot in terms of your shape and size as I see, your brushes to decide a lot in terms of the shape size, as well as the orientation of your leaves. So do choose your brush diligently. You can use a size 468, whatever brush is sortable. The oocytes for like this. Pick up your brush. Use the tip of your brush. I need some more paint on my brush. Let's go over it once more. Touch your fully loaded brush, wet the paper and you can see the magic automatically happening. You will see how we are done with a very simple leaf. You do not need to be an expert for painting these leaves. So it's absolutely fine if you are not aware of how to paint it and how exactly to get it something similar to this as perfectly fine. I understand the clouds once more what we have applied the clouds only in this particular part, but for our painting we would be adding the darker values towards the bottom, as well as darker values towards the top. Once we are done with that, we would go ahead and draw these leaves. You can see that I did draw a bird that really helps me to give a sketch, an outline. Or whether it, of course I can go and then start with my painting. And hence, this is your day one. I'm super excited. Let's go ahead and start with our main painting them. 7. Day 1 - Evening Love - Painting: I've already prepared my paper and now it's time to start adding the colors. We're going with the lightest value, as well as mixing a bit of a turquoise Intuit, mint plus some of the turquoise so will give us a sheet that looks really amazing as well as superb. It gives that glow that we need for this painting. You will know that we are going ahead and doing a limited palette excise the limited palette exercise gives us a lot of opportunity to play with the values. Values. Also, I am not actually changing to a large extent. I would be creating three to four shades in total and finish the whole of the painting. I am doing across swatch that is from left to right, and then from right-to-left. This way I can really cover the whole of the paper, as I did tell you initially only that this mint color does have some amount of porosity in it, which means that there is good amount of white in it. And hence, if I apply it in a large quantity, what happens is that this paper will become more and more opaque and hence we can go ahead and paint over it for the Cloud spot. The paper sizes A5, as I have already told you, you can go ahead and even use a smaller paper. But an A5 size is ideal for all these experimentation. They will help you to understand the painting as well as paint over it in a better way compared to if you are going ahead with already smaller paper that gives us soul leaves us with lesser opportunity to experiment and understand all the shades as well as clearly depict the clouds. We're going ahead and adding some of our turquoise towards the top area as well as towards the bottom media. The bottom area, of course, would be way more darker. When we start applying the clouds, you will observe that. And even the top ATO will be one or two more shade darker than what you see right now. Frankly, it's just a gradient that I'm trying to get and I love to play with colors. That's another thing. Playing with Carlos really help you to get a great balance. And you are not actually going ahead and fighting with one of those or trying to do something that is being instructed to you. If you start playing with watercolors, you start partnering with that medium. And when you start partnering with the medium, really helps you to calm down, meditate, as well as it brings you to a position where you start loving and falling for it completely. I'm using my DaVinci peptide brush to add these clouds. I am creating more of the turquoise clouds. If you do not have turquoise, you know how you can actually make a color that is closer to the turquoise shade, which you also right now. As well as not only the top EOB, we'll be even working on the bottom area. The bottom media, as I did instruct, you, would be way more darker compared to what it is right now. The middle area I have created lighter and the people will clue that way. The blue of the watercolors is practically inside the people. Which means that the more you leave it white or the more it is, lesser in terms of the pigment on top of the paper, you get a beautiful outcome that way. Going ahead and using my brush in all round motion to cover larger area. You can also load your brush with more pigments for covering larger area. Using either at Indigo orals. You can also go ahead and use Payne's gray for this taco value towards the bottom. The clouds that we are continuously painting are absolutely loose. There is no control that we have over that. It's just that you have to understand one-third of the people should remain as white. Andres two-thirds you can cover with the clouds. The top part should be a bit less compared to the bottom part that you were having in terms of the darker value of the clouds. We're not going to work much on the middle part of the painting as I want it to remain white. Or you can say the color that we have already applied over it and rest, I'm going to clean up the sides. Now, why many of you might be asking that I'm cleaning this up. It actually gives us an opportunity to not have any solid cauliflower effect or it prevents the background. Background is that your paper is wet and the waters in and around it, because the water is in and around it, it starts flowing back into your painting at which leaves per cauliflower effect for too few areas of the painting with excess water. Hence, this kind of a particular thing can always be avoided. Finally, I guess this is the last area which I'm covering a bit more. And then I guess I would leave it at this stage except the bottom area where I plan to add some more of my indigo and turquoise. That's it. I'm pretty happy with how it has turned out. And keeping the clouds lose really helps me to bring a lot of flavor to my painting. It shows that there is lot of confidence that you have in your brushstrokes, as well as you can really pull up a beautiful painting with only few strokes and a few colors. It not only helps you to develop on your watercolor skills, but also helps you to meditate and concentrate only on a few sheets, which leaves you with a lot more opportunities to create way more beautiful paintings compared to if you are going ahead and using lots of colors. Like you're paying, yellow, orange, etc. Which I have also used over the past many years for many of my other paintings, but for landscape over a few years have realized less is more. As you can observe, that my people has remained wet for really a long period as I did apply water on the product side as well as I did wet the paper really, really well. This is one important aspect of heavy washes. If you can quit the people well, it will stay wet for a long period of time. But do understand that we do not want to wait the people so that it loses its size in hints two to 3 min of waiting the people is good enough. Like your paper dry out completely and then start with our leaves. Leaves and something that I always, always love to paint. But as we all are starting out and we are new to watercolor painting, I would always like to go head and structure. Giving a structure to our painting is practically sketching. It really helps you to lay the framework of exactly where you want to go ahead and add your audience. I would ask you to just wait for a few minutes before I start adding my page and then go ahead and paint. The basic background of our painting is already ready. Whatever now we are doing is majorly to deal with the detailing. Detailing is really setting the tone of the painting. We have added minimal colors, and this detailing will only be done with the help of a mix-up either turquoise and indigo orals. You can also go ahead with only indigo or Payne's gray. I would leave that decision up to you. It's just a dark color that we need to add four to four pounds. All the detail that we usually do is majorly to do with the foregrounds. Foregrounds is something that we always observe and it is close to us. And as per perspective, we have to add those details to our painting. I am adding a few more leaves. I will continue adding these leaves and it would be a bit of a long process. And on the left as well as on the right, I would add more and more of these you use. So it's a continuous process. I will say that you can also continue adding it along with me, but I know that the paper is not shining anymore and you practically can't absorb how and where exactly I'm adding these cleaves. This is something that I always like to avoid or I don't like to tell you or put you in the dark during this particular part. But yes, patients is something that I always, always see in watercolors is very important. If you have the patients, you will be rewarded well, so keep the patients and once I start painting our leaves, you can see exactly how why I've structured it. It's basically in bunches that I'm structuring it. In view of the places that are more than a few of the places there are less. And we keep structuring our lives. I would like you to observe towards the top right-hand corner, you will have one jar of water which is completely blue, and one jar of water which is still white. Though in this particular painting, we do not need another fresh supply of water. But many of the other paintings where there is a re-weighting method or you need that fresh supply of water for going ahead and adding another layer of water in a few places. I think during that particular phase, it's important to have another news source or another new place where you have water kept for yourself. I have this thing as an exercise and I do it pretty regularly for all my paintings. I keep two jars, always, always handy as I used 30 reading technique where you often for many of my florals as well as landscape and urban sketching paintings. In view of the years, I do need to rewet at least pretty often for painting either the bushes or the trees, etc. We're done with our drawing now and it's time to start adding the darkest value to our painting. You will absorb that. I always go from lighter to darker value. There is no way you can get back in watercolors if you apply the darkest value forced. Hence, all the foregrounds and all the details that we are doing with the darkest value is done at the end. From here on wards, I would say it's all about meditating and it's all about keeping your patients and or testing or so to completely only paint leaves as well as branches throughout the next minutes. Yes, it's the only thing that we are going to add to our painting. The tone of the painting is called the set. It's just the detailing that I've told you is left. Once we detail this part, the whole blue and the beauty of the painting comes together. What I usually mean by meditating with watercolors is going ahead and completely concentrating on your painting. This is a slow process and you can develop many skills at this level. First of all, concentrating and working with only one single shade helps you to not only develop our patients, but also helps you to understand one single shade in a better way. The process of painting the leaves is absolutely slow and that's one of the reasons. So naming the classes, meditating with watercolors. You really, really need to have that patience and that level of understanding of changing the shapes and sizes of a particular subject itself. We are working with one single subject, but creating so much of randomness and that one single subject. I am going ahead and creating the shapes and sizes of leaves, showing that there are few leaves which occurs in nature as munches, whereas there are few leaves that are also saintly or are single occurrence on a particular branch. This is something that we all should keep in mind when we are working on any painting that depicts nature. Though, if you go ahead and work on urban sketching, it is way more structured as it is man-made most of the buildings. Hence, the possibility of randomness is we much lower compared to when we are going ahead and painting waterfalls are skies, painting any kind of hills, mountains, etc. All of this can be won't lose. And the approach can be way more easier, I would say, as there is so much of beauty as well as there is so much of n, painting. All of it. Lose landscape has been one of my go-to subjects always. It motivates me till date to paint all these loose branches, leaves then some foliage, et cetera. Though, through this painting you will see that we are going ahead and structuring few places where there are bunches, as I've told you, audio and there will be few places where we are not structuring at much and killing it. More loose with one or two leaves here and there. As we progress through hole of these voting days, you can see more and more of animals, boards, etc, getting added into our lose landscape paintings, which we are doing right now. It is going to be a bit more rough sketch oriented though. I am going to give you with the kind of stencils that you can always use tracer and then use it for sketching your subject. Orals even show you the easy way to go about sketching these different subjects. All of this put together is going to be really exciting. And I am very, very happy to share these 14 days along with you as well as paint along with you. I would request you all to continuously update on as well as upload your projects in the project gallery. It really helps me to understand what more I can add an incase you are finding anything difficult to post it in the discussion section, I would reply back to all your queries as soon as I can. Everything that we are doing that is starting with our weighting of the paper to finally adding these leaves. All of it. Real-time, which leaves you with a loan for partial d and which really creates the working condition of painting. Along with me in each and every painting, I have added an initial part which is majorly dealing with how and what are the colors that I'm using, as well as a quick insight into how to paint loose yet not lose your control. This is something that I have learned over many years and I know that it might look very easy initially to pay all the clouds, these easy leaves. But when you really put your paints and people together, it might not be or really, really easy process. It does take a while and I know that you guys can do it. If you are there along with me turn now, you are doing amazing. You are doing great. Believe me, you are one of the persons who have followed their heart and our learning something new, which is already are greater inside and a great work that you are practicing on a regular basis for yourself. Now it's time to continue painting the branches and understand where exactly I want to paint or add more leaves here and there. It's a small inside. Most of the work has already been done. It's regular. Quick thing that we want to do as of now and then have a final painting ready with us. Your paper dry off before you pick it off from the acrylic board. Acrylic board, of course, as I've told you have to keep the people where for a longer period of time or holds it together. It doesn't allow it to buckle so easily. And there are way more good things about using your code. I hope that all of you have done this process and you did not tape down your paper doing this particular painting as it would allow you less time for the class compared to what we have to work that out. Till now. I did tell you a lot about your foregrounds and backgrounds. But Harvey shore of what exactly we want to do. This is where the whole inside of the project is for us developing a contrast and tap is most important. Now, developing this contrast of costs worth it sometime, the process of adding all these values, the process of creating the backgrounds, foregrounds, et cetera. It's something that takes quite a good amount of effort, as well as you have to be efficient with your time with the CD. So what you can understand this, how you can work in layers. Layers means that currently the first project is only about working with two layers. But as we progress through the other projects, you will see more layers coming up and how you can only consider the subject that you want to paint, but still have a beautiful layer for your background. I always like to change the value. That is your lighter and darker tones as you have seen for the background. It is basically to take your painting to annex level. This can be even done with the help of your pencil, paper or whatever you want to do. You can have a thumbnail sketch initially and then go ahead with the final painting. All of this put together. You can work it out in that way. Or else you can also go ahead and paint exactly the way I have shown today. Initially, you can start out with a small painting of how you want to lay out your Clouds, as well as the background. And then just practice simple leaves. Simple subjects like These basically help you to develop a lot on your skill set. Initially, none of us are best friends with watercolors and too many of us, this has really, really challenging task. I have learned from so many students of mine that this was challenging. Watercolors is so challenging. I don't get the exact result. I really don't have the kind of painting that I wanted to, or maybe the subject don't fall in place and there are so many other reasons. But when you start practicing it over and over again, you will get to know that even small, small aspects of these watercolor painting can really change a lot in terms of your painting habit, as well as how you want to walk through your subjects. I think that is it. Let's move on to our next part, though there is no order or paths to this. Maybe some small details here and there. And then we are completely done. We would take out the people from the echolalic board with the help of a spatula orals. You can also go ahead and let the paper dry off completely. It will automatically come off from the acrylic board. We will go ahead and paint or both tomorrow with the same color sets. So I do not want you guys to go ahead and change the color pattern that we have right now. In the meantime, you can see that I'm painting a moon with the help of my white gouache or any kind of white opaque paint you can take to paint this. There will be reflections of the boat into the water, as well as that is more towards so let's wait for it. We will have a practice session as well as I will give you worst. And so auto tracing method in which you can work at Rome, that it's easy for anyone, even if you want you to watercolors, it would not be an issue for you. 8. Day 2 - Into the shadows - Practice: So guys, I'm back when the second day. But the floss practice exercise, this practice exercise is all about creating the water. Now water and reflection is something that I'm going to tell you in detail. Tool this practice, OK, Let's first start with how to paint this water and how to paint. This is not an absolute calm water goddess. Quite some went in the water. Because of that, you will not find an exact reflection of the board onto the water. By the way, I'm using 185 GSM, hundred percent cotton arches people in my sketchbook that you are absorbing right now. This one is from vibrant parcels. And I have been using vibrant bustling sketchbook only for really, really low. As we do. Customize these sketchbooks, you can have it for many of your exercises depending on what kind of paper you like, you can always get it accordingly. I will go with the lightest value for the stock. So I start off from the lightest value on the top and take it towards the bottom. Though this is not the exact reflection of the painting that we are going to do, but it is something close to what we will be doing in our final painting. Let's continue with our work. And I am just being good. I really loved this taping down of people as it gives me such clear edges. I have been pretty vocal about adding these washi tapes whenever it is needed on your sketch book has it prevents posture for your paper from buckling much. And secondly, what it does is that it gives you all the orange, the second, good, but never, ever taken off. So people, this is something that I am very happy to tell you always, always, whenever you go ahead with any kind of painting. The top part is majorly area of the sky though you can paint the area of the sky or may even go ahead and just get it over. I am going to apply a darker shade of this value. This was already existing on my palate and that's my, I'm going ahead and using the same palette to add the colors. As I go towards the top, it becomes lighter and lighter. Lead it blank. Now, if you have lots and lots of water, what you can do is just take it off with the help of tissue. That tissue is very, very helpful. Whenever you are working on a watercolor painting, ages comes as handy as possible. I will continue doing this walk. And since my paper is too wet, right now, I can't walk a lot. Okay. This is the Payne's gray that I'm just mixing with tailored turquoise, which I had. I have already told you how to make this Taylor turquoise, the darkest values towards the middle. And then what I will do, I will just meet these ripples. You can put a gap like this and go ahead with the top part of the painting. It's easy, simple. And it really requires very less amount of time to paint these ripples. Okay, let this dry off a bit before we go head with our spacing and adding some of our darkest value. Darkest value is majorly or Payne's gray or whatever you have with yourself. You know what happens sometimes is the indigo is really dark and hence we're using that particular Indigo for our painting. Sometimes you do not have 0 very dark indigo available with yourself. You will go ahead with the lighter value of Payne's gray or which has some amount of blue in it. Or I'm adding the darkest value towards the bottom. This is, as per the rule of perspective, there is atmospheric effect. And as you go farther away from your eyes, you are going to see that all the lines and everything becomes way more dark than what you have usually absorbed in your painting. I know that this is not the class. We're going to discuss everything about painting. What is a reflection? I have a separate class for it. If you are someone who loves to paint water, I have watercolor, ocean waves, and two of my other classes that I would be getting one more class on painting. Only quarters. I think that is something which I have not explored much in detail in any of my audio paintings and any of my classes which would be coming in. So maybe the CEO or sometime you will see that coming up. Finally, this has become really, really dark, which I don't want to use. Let's just go and try that once more. When something like this happens, you can always pull it off with the help of humor. It's okay to go with one or two of these lines like this. Then I will just add very thin, thin lines. That's enough to show that we are going from our darkest value to the lighter value on the top. As well as you can see that this is no more a calm water. There is lots and lots of movement in it. Hello with it. In case you want to show a line like this where your values change or you want to just show that this is the area that I want to denote for my clouds as well as for the sky, which is majorly your horizon line that differentiates Skype tribunal water on land. This way you can always go ahead, had just change it up, but you can add any kind of clouds, or even you can add some foliage, mountains, etc, anything, anything and everything is put together. Again, I'm going to clear out this area. Let's understand the colors a bit in detail. Though. I know that we have already discussed these colors that we are going to discuss right now. This is the first mink Carlo, which time going to use. For my painting. We will be using some amount of particles with the mint color like this. Okay. Go ahead. Some amount of indigo color. Or you can even add things to the already existing Taylor turquoise. And then the darkest value, which gives me Julie York. This way you are going to add more colors and you can see, oh, very nice effect over here on the left. While this place is getting dry it off, what we can do is we can go in and paint a small book. Supposedly that precedes my vote. Hi, I have a small line over here. Okay. This is my small book that I have with me, some reflection to our boat. Now, there are various kinds of reflections that you can always go head and had, but how reflection would be exactly this way. So my water someday your and my reflection would be also induce similar. It can be longer, it can be shorter depending on the angle of the T. So the r of the T becomes very important at this point in time. It all depends exactly when you are teaching though photograph that is morning, afternoon, evening, night when swear but it is. Okay. Now, I would go ahead and just had a very small reflection of what is called. Hence, you have to show the ripples of the water. There's a person also that's sitting for this vertical apart. Now you have the darkest value, which is your indigo. To show the shadows of the board, which is darker just in an area around it. We are going ahead and adding a bit of these will review it. And this is a very small and easy exam. Of course, you can do it on your own and check it out. How it works for you. For me, it's easy to explain, but yes, send it directly comes on people and how you do it. It might be a bit tough. So it's all practice and once you practice, you will get a hang of it for sure. Okay. That's it. Now, let's remove the tape and have a look at how would the two exercises. This is something which is easy yet interesting, and I can tell you it would come really handy for all your future paintings. Okay, now, sticking to my hands. Hi baby, loved when these exercises, before I go ahead with my final painting, always, always, you know, this is something that I do for my future projects or for my future painting or thumbnail painting. And an understanding of how this works. I will even upload this particular portion of the drawing on the resources section. You can go ahead and trace it back. If you're not aware of how to trace it, I will be explaining it in the next part. 9. Day 2 - Into the shadows - Tracing: Let me tell you how we can go ahead and erase this entire sketch from the painting or wrong from the photo that you have. Using any kind of hoping to go for EBS which far or what you can usually see what exactly was. Just keep continuing making these lines. There's this need to have a rough idea about where exactly. I always believe that free hand drawing is better. But for many of us who are just starting out or quick rough sketch like this may be helpful for going ahead and painting any subject. This is the kind of the rough sketch. That's what we have. It's all about the shadows which you can go ahead and the reflection. The shadow would be here. But as the reflection would be. And what are you going do with now on the backside of this? And so like these, go over on a piece of paper. I will just show you how exactly you can you go over it either with a pencil or DePaul point. You will see these coming up. Once you see these marks, you exactly know that you have grease down the subject. I will go ahead and now upload in the project section. You can get this in the project section and trace it in the similar manner for your painting. Orozco heard your free hand drawing for your final painting. Okay, see you in the next lesson when we are starting with this painting. 10. Day 2 - Into the shadows - Painting : I'm super excited to welcome you for the day do over here, I will show you exactly how you can draw your board door. You can also research from go mentor, or tracing as I have shared it with you. But this is all pretty free hand drawing that I usually do. I make a line and now I'm going to head by extending across line on both the sides. I just want to check that whether they are equal or not on both sides, I'm checking the same. Once they are, I will go ahead and just add another line joining towards the middle bottom part. Of course, painting boats is not very easy nor making them as easy, but are small and simple process like this can really help you to ease out on these difficult subjects. You can always do a free hand drawing. I always advocate for free hand drawing. But when you are starting out on your watercolor journey or your sketching journey, it's good to even trace and start summer this dark and the progress is most important, as I always say. I think over the time that you spend for your sketching or for your painting, you will be in a position to understand how to draw and how you can add values, et cetera. Okay, in the meantime, my vote is almost Ready. I'm extending on both the sides. That is the left and on the right. This is a person who was rowing a boat and going into the shadows of the background. That's one of the reasons of meaning this project as into the shadows, it's my favorite. I can deal with minimal basic colors, few sheets, and some brushstrokes and can frankly achieved so much. It's just as drawing with the, it's a lot of time because the background is really simple. That is hardly much to do in that hand. Once you are done with the background ending, the board will take awhile. So be there. Hi, I'm Doug. You if you have the patients, you will kneel this painting. There is nothing tough about the whole of drawing a person in this whole of the vote was the most difficult task for me. Believe me, I'm not a person who does much of portraits or ADD Much of people in any of my urban sketching or else in any of my paintings. So this was a real challenge for me. I will not deny that. I did not look it as a challenge. I was very happy to draw percent whatsoever we eat is I did not think that. Okay. Is it going to balance my main thing or nor will I painted well, I have so much of insecurity about adding people on my main thing. I just went with. Going with the flow is very, very important. You will have your failures. But even if you try, you will succeed some time or the other. So this might not be the first meeting where you will succeed. But in the second painting you might go, in the third meeting, you might watercolor. That's why it's all about patients. Patients and patients as this is less forgiving as a medium compared to any other medium that we work with. Whether it be quash, whether acrylics, but the most beautiful and magical medium that I have come across. In the meantime, you will see what I've done is I have mocked out these small points. And then I did draw a small semicircle on top. I have gone ahead and added another smaller semi-circle. The person is wearing a hat. That's how I am going about it. No D dealing of the face, nothing. He is facing his path towards us. That's a good party. No. If I had to literally take the face, I don't know how I would go to it. Now it's more about adding those new details, some, maybe one line, and then making it a bit more sharper in terms of the image, etc, that you want to go ahead and paint. I would highly recommend you to go ahead and try it out on your own. If you don't get it, please do referred to the trees town image, had it on your painting and you can nail it. But first, give it a try and give it a shot. I'm telling you you would be very happy if you do that for you as is this whole painting that we are doing, all these whole of the series that we had doing is all about making progress. It's all about enjoying the process. It's not about getting the perfect and beautiful outcome that we always see. Every artist. You have to let yourself, you have to get into. Rid of the day on a regular basis. That's all I'm trying to add or make you follow as a habit, as a quick way to de-stress yourself, as well as align your personal goals of maybe painting or doing something more creative with your daily routine. I have added good amount of water. You already know how to prepare your paper now. Just add that water. Once you have added the water, we're starting with the lightest value. As you have always seen me starting with the lightest value. In most of my other classes, we start out lightest value going ahead to the darker values are very, very important role as we progress, we are working with the mid and low turquoise. But even while we work with this meant anti-node turquoise, we have to make sure that our paper is really wet. The colors flow pretty evenly on it. You know, water does all the job on its own. We hardly have to do anything. It's just that we have to be there to hold those pigments, to touch that brush with the paper and rest. Everything would be magical and coming out in a way you could have expected. One important reason of having this acrylic poodles so that I can stick my people on it and move it as I want. Now, many of you might not have this kind of acrylic board. You can do it on any other boats that is available with you. But make sure it's not cardboard or any kind of wooden board oral. So much of water mites, Porlock. And although we'd walk around on those kinds of poses, work on it and then clean it very well with the help of your tissue. Once your painting is completely dry and let it be under the sun. Well, you know, it's very hot summers that has already hit India and we are right now almost boiling to be frank. But still, let's try to protect our board and beautiful things that we own for creating our paintings is most important. And that's one of the reasons I always say never, never leave your brush in water or else your brush can get spoiled. So brushes are made out of wood on the back, as well as your water can seep into work. That's one of the reasons if you leave it in water for a longer period of time, water will seep in and it would crack it open, which we usually don't want. Let's go with our darkest value, which is the most most interesting step right now. You can either use Payne's gray, you can directly use Enrico oral Smith's your Payne's gray and indigo with a bit of turquoise. Exactly the way you absorb me right now on the left side, cool painting. Okay. I guess I'm good with how it is turning out. Right now though, your sketch might look of it. Light right now. As we have gone ahead and added layers of water, hospital as paints, let it dry completely. And once it dries, you would be in a position to see those grid marks. Orals might have to go over it once more girl with your pencil marks and then you can paint on top of it. I would go ahead and start with the bottom area after I'm done with the top part of the sky, which I think I'm pretty happy. Now, it's time for the bottom area going with the same mix of our turquoise and indigo orals. Turquoise and paint. The paints with that I have is pretty much on the blue side. That's one of the reasons that wherever you are painting with Payne's gray that has lot more blue in it. It is more look-alike or theoretical rather than just the Payne's gray, which you observe. Okay? This part is very important. Goal IS I always say this painting is not everything about water and reflections, but my water is not come. When your water is not calm, you need to add some amount of reflections or ripples. Now, reflection is majorly of the object, all the subject which we are trying to paint. So you need to understand there are two things. One is painting the water with the repulse. Exactly the way we are doing right now. Start from the sides and go towards either on the left side or on the right side, you add more thinner lines. These are kind of England locking repulse that we are trying to make. You can even also anytime though for dose or paintings of many other artists who do the same way, orals even try to come up with your own different way once you are more experienced. I guess. This is something that I always, always encourage. You will have your own ways. Don't try to just copy or have an exact copy of everything. Try to get something of your own into word. Even if we'd be all photograph, I tried to change a bit while I paint. It really helps to make that painting your own thing. My boat on every site. What do all the job. I have just added the colors. I am letting my water walk along with me for getting this painting as beautiful as possible. Dead by what happens is you are partnering with most beautiful medium, that is watercolors. You are not only working on your own, but even trying to let water work for you. Yeah. Why walk walk walk yesterday? If water can also look for you, you will often see me cleaning the edges a lot with the help of my tissue as I don't want any backup. All my repulse that I did paint Claudio have the honor to a lot extent. Because of which I have to go ahead again and add some more darker values. Right now, my brush has less amount of water compared to what it had during the initial goal. As well as my people had lawn for them. Currently. My people also has less water. Has most of the water I did take off with the help of my tissue on the sides for typo, there was extra water. It all came out. The whole of the people is less wet compared to what it was audio. Finally, I guess I am pretty happy with how the whole thing is working out. And let my paper dry off after this. As I say, always and always do not allow any cauliflower effect because there are loads and loads of chances in this kind of painting to come up with a cauliflower effect. Exactly how you see on my finger, how much I clean and how much I walk around with, but it just happens. Let's go ahead and add in order to meet that cauliflower effect. Not add lots and lots of flavor into RPT. Okay? It's not funny. Let me tell you, it's not a good place to be in right now. But when nothing works, I just make the font of the situation to make myself feel a little bit more good about it. Blending is so great and most important task I continue with my blending and you can either do it with a hypothesis. Round brushes I'm going to hand with my appetite, doesn't see brush to do the same. Along with it. I do make sure that I don't get any kinds of lines. I don't want to absolve these kinds of lines on my paper has I want the whole of the painting to be absolutely smooth. Blending it with clear water. I do have two jars of water always ready with me. One clean supply for washing my brushes. I did. We went to my people and all on bit of color here and then so that the left side of the globe in Florida, this lesson visible. That's the whole intention of going ahead with this next year of the grading? I wouldn't have gone ahead with it if there was no background. So you can follow. If there is no background, please, please, please don't go ahead and do this solid layer again. We're pretty happy with what we did earlier, which means that our first year was good enough. We do not need another day or over here. I did allow good amount of time for this layer to dry off. And now it's time to add the boat. Boat again is a very, very important part of the whole painting. All of my painting practically runs his own time. So, yes, this is most important. We are going with the darkest value on the top and then washing our brush to get the lighter value. Usually what happens is once you wash your brush, there is some amount of pain that is left out and we will be working with that amount of paint that's left out on our brush. With my darkest value for the corners of the boat. On the right, I'm walking with at least two to three vacuoles in the board. Right away you can see many of the bonds are in the darkest value and some of the bonds are pretty much in lighter value. Note that title value is again, or mics off your mic, as well as your Taylor turquoise. While you keep adding all these lines as well as you had Watteau pains, etc. Make sure to change your values. The more you'll change your values, the better would be your outcome is being used for long period of time. There will be lot of wear and tear because of that. And if there is good amount of wear and tear, as we're using the board for a longer period of time, we need to even show that on our painting. The more we can relate to what it is to be more realistic, the better would be an understanding by spectator. Or a spectator can relate to your painting in a better way. This database kind of boats that are available to yourself. So what is the kind of goal that you're using? This is a simple board which gives us, and the horse are ones that you are painting on the left as well as on the right. It is being used by every war to help the board sale. Of course, my particular role is going ahead and fishing along with it as that's their hobby. So we're going to also add it into our painting. Most of the time, I love to imagine things. Why I love to imagine? The more I imagined, the more I can put it down on my paper. If you can start imagining the scene that you want to paint or a particular photograph that you want to paint from and how you want to paint, it becomes really easy for you to put down your particular brush to your people per group begins to your people. When you paint the board, there are 23 things that I want to tell you, the clusters that you are not going to add, Carlos, at every place. Yes, this is the first thing we have already added a background layer and what we are now going to do is only touch upon a few places. Highlight those acres. Now highlighting the ADLs is very important because the highlights actually tell us that the focus off the painting has to be on those eight years rather than it being on every place of the painting where you were adding your planes. So this is something that I have learned over the years. You will have to understand where your focal point, focal point is a very, very important subject. And in case you understand that exactly, you want the spectator to really focus on this particular part. It would look, if you see the whole of the painting is kept really simple, including the sky, water, and everything we are not having much except this board, which is Hulbert, highlight that. Now we are going to start and focus only on our shadows and reflection. Now, if the reflection that you do has a part of shadow in it, which means that just under the book, there will be a shadow which is way more darker than the reflection that you were painting. And hence, you will need to actually differentiate these values. The first value that you are adding is all mixed off turquoise, yellow and your paint scree, but more of turquoise studio and very less amount of Payne's gray. Whereas when you just touch it in an n Now, the place where your **** is lying on the water, that area is majorly more of your Payne's gray and less of the yellow turquoise. These are kind of understanding that you need to have when you paint. Otherwise, you know, the boat was as if it's laying some light somewhere different and we don't have any idea why it is lying there. You add the shadows or tell, you add the reflection, it doesn't come out well, what we want to debate asks for the rule of perspective and ask for an understanding that I have gotten numb. I think water and reflections are one of the most tough subject. But if you approach it in an easy mono, just the way we are doing right now. You can frankly name any kind of thinking you want. I have a small bleed on the left part of the board which I am cleaning with the help of this pointed flat brush. And I have been using these pointed flat brush for many of my other paintings to, it comes really handy when you have to pick up any color or just a blended or take off, anything from the paper. It's the best what? Picking up the colors, I think that's what I have been doing over here to adding some more highlights. As usual, my paper is still wet, which means that wherever I am trying to add any highlights in the bottom shadow ADM that will move around a bit, which means that move, I'm hoping when someone ligand, and hence it will become a bit more blurry than what we can imagine. Adding a bit more line and some more of the darker parts for the boot area. Then I will be using my dry brush technique to add the wear and tear in my board. Dry brush technique comes very handy when it's all about adding this wherein, you know, when I was adding this color for darker value, it was just fine. Accidentally became soda. Overall, I'm really happy that this accident happened because the painting has done very well after that. So these smaller accidents to keep happening. And sometimes when you look at an artist and think that they might have done it intentionally. But there are a lot of times when things are unintentional and watercolor has all in it. So it's proudly or medium which has so much to give to you. You can ever think about it. Okay, my dry brush technique, because here I have taken off all the extra Carlo on my tissue. Going ahead with my dry brush to add some lines here and there on the board, cutting edges of my paper. And here it is, the weighting is done. 11. Day 3 - A Snowy Landscape - Practice: Hello guys. Let me introduce you to all the sheets which we will be using for our team to fosters the role of luck to you. You can also use helium has an option. The next is my dream. You can see it or you can also go with this, is that the yellow-blue? And you can have this keynote and I even have an option of my heart Romanians. So I would leave that decision up to you. Which one to choose? That for? My worldview, hey, don't clean blue and I will have our darkest view which Payne's gray. So Sheets, which I'm going to use for my painting, it has a bit of blue in it as I see. So yeah, these are usually the shapes that I'm going to be. Basically what we would be discussing are two things. The first is our dimension that I have a week. You'll still get the rectangle that I would be making. The outer rectangle, is it on? The inside rectangle is around 7 cm, so 12 by seven is frankly, the size and shape of this the same. You have to repeat a voyeur. Of course, these two lines will be around 0.3 and 0.3 centimeter. Again, this is also around 0.32, 0.4 centimeter. That's the whole of the estimate which we have for these windows. Restless start with the layering. Layering is a very, very important concept and we're going to touch upon it today. Why layering is? Why important, you know, if we can work in layers, we can work with values and values becomes the world around me are going to play with only values. In this case, you can create a lot of views on P for yourself. I know that and you might have done this even on how old your class or somewhere else, maybe someone else you would have done it. If you want new to watercolors, then I guess this is something that should and must learn. I am taking two sheets that are somewhere in-between, which is my unknown tree. And then here's my royal blue or try to, as I say, Hi, I'm mixing these shapes and colors. Once I have mixed these sheets and colors, I would leave that ledges, pick up some more of these shapes. Yes, I am pretty happy with how it is going up, but I guess it is way more powerful than we expected. So some amount of colors is very important. Now, I am not doing much in this and domes of flat wash, etcetera. You guys already know about it. We have learned about black wash during our techniques section. Yesterday technique section is pretty small, but I've kept this time as there is usually a practice exercise which we go ahead and follow a repeating that we are doing. These practice exercises comes very handy when you were starting out or even at any level are as an artist. Because these practices, it really helps us to understand exactly what we're trying to achieve. How are we getting cheaper and what can be done and what all come in the void of this series. Let this dry off. You will see that might be but as buckling of it as it is a 185 to seven people where it is. But when working with this, 100% gotten 300 GSM, they both. So I do say that for all the sketch books, it's great to have a 185 GSM because I don't do a lot of heavy washes on my sketchbook and I like to keep it small as I can get it anywhere I'm traveling or going to a location that I wanted to paint. So keeping all of that together, love to keep it as binding effect is let it dry off, and then we will come up with our layers. Let us start with our dating technique. It's a very, very simple and easy technique. You can pay some angle and train blue and add one portion of your role. You are prime fluid to go ahead and you can keep this powder sky in going ahead and making stuff. Though, this is the easiest way in which I can explain. That's one of the reasons I'm considering mountains right now for painting the spot. You can also consider any. Now, this is a bit of a problem. Why? I did not have a pool. Now since I did not have a pool of column, what happens is that I will not have the same kind of wash that I wanted for this whole layer. We might have to go over it again like this so that we can get an even worse now 40 leering. I feel that even washes something that hype always, always look forward to. Without an even wash you frankly cannot. Neil, layering technique and we are going to use that very often in our next painting. Though. Initially when I started, I thought that I would add suddenly I didn't did my window, etc, etc, etc. But when you are seeing from a tough place to live like this, you will not see much of that and did or much of all of this in this dance piece. So all those things you do learn in the course, and that's why I see progress is most important. What do you learn as most important rather than what we finally get as an outcome? There's lots and lots of learning. That's always there. Anything thing which we don't like this, they are drying off and we will go ahead with another dark blue and then just with some darkest value because this is maximum three layers we want even for our window. So I would like to show you all of this article, okay? Okay, Let's go ahead with the next layer. Now, it's so simple layering technique that I would be using. I will add some time out of my indigo, Payne's gray in color and just make one small 32. So let's go ahead. And I think this look like a mountain, this fit. Yeah. Happy to do that. The wouldn't they put his absolutely. Try you can scan because it's too hot and then DO what's happening is that my paper is drying 30 days. What once was all great people want anything. Gsm is now drying up very, very quickly for me. It also depends, you know, where exactly you are located, how is the climate, etc. Depending on that, you should always do your people choice task than only going ahead with what someone might have said you, okay? This is what you should be looking forward to, but that's not how we decide on the people that we really want. Okay, I guess I'm great with how this looks. Of course you can go. Now since this is as this perspective, you can even make a few lines like these. In the areas where it would look completely like data trees, It's account this mountain. Now, these kinds of things are very simple, easy, and I know that all of you might have done it. It's just that we want to practice it a bit before we go ahead with the final painting. That's all. Let's just let it dry and then we will come back with our last layer of the clouds or window glazing pot. I stopped with our mask every day. Only Payne's gray for this layer, you can also go ahead with guinea on top of your choice movie, even more Prussian blue, whatever you choose, like What. So I will cover that's absolutely okay. How I usually up high, please my brush like this, where my hand is on the table completely. And then I start operating or start painting with beverage showcase. So this is how he looks. And what we usually do is we use the tip of the same hash to go ahead and feed some swollen stiff the tip. One of the reasons I use it much. So let's just stick to hold. This key is the closest to us. That's one of the reasons I am going ahead and making it way more detail compared to what we did earlier. The last one. See the people is trying to source so quickly. That's why I tell you that know a lot of charge what you want to walk around with for paper, with what core teachers is. But 100% cotton is absolutely mandatory as I always say. But see what works for you in terms of the climate that you live in. This is something that I hadn't realized. What are these yours when I have been painting that it totally depends on the kind of climate that you want for your PT. Okay. I guess I'm pretty happy with how this has worked up. Let's remove the tape. I would request you guys to go ahead and just m This one's what it would really help you to East rule. Don't make spark pretty easily though. I, I always say that there is nothing in the next painting. Justice window you need to construct, which will practically be the heart of the painting. And you'll have everything over here in the lightened value. Because this is lighter value and this is taco value automatically there is a contrast and depth which you have done for your painting. And the whole composition comes together in the same way. And my whole focus in this painting is over here. If you see, I am not focusing on any other place for the spot. They'll outside though. This knowing climate as well as though it's snowing scene or the landscape that I watched from the window is most important. At this point. Let's just remove the tape at an angle and have a look. 12. Day 3 - A Snowy Landscape - Painting: Guys, as we continue with today, I must tell you that there is some existing colors on the board and I did allow the people to wet because of which the gallows have started coming from the board on top of my people. Now I am going ahead with all of my 3M Blue Horace, you can even read some amount of your pride. Even tailor blue is cool. This is one of the easiest sheets that you will co-pays scared in any kind of a palette. That is your surrealism blue. I'm going ahead with some about off my Payne's gray. As I've told you, the Payne's gray is Pi half is more bluish in shake and compare it to any other Payne's gray navy that you can get from other companies, but this is from Magellan mission, cool, That's why I have replaced this particular color foreign go. Yes. I think that's an option in which you can always size. It. Always depends what kind of colors that you have for your palette. And all the colors also depends on the company from which you are purchasing. So of course, you can have any shape that's available with you. And these are basic blue sheets that are available with painting palette. Many of you have always asked me what's the other sheet that you can use, you can eat shouldn't do. It's just a gradient which we want. And there should be enough water on the people so that the colors work differently or we do not get any of these lines. And getting the lines is very common in many of my paintings when I started out, I was not sure why I'm getting these kind of lines. Either there is not enough blending or I do not have enough water on the paper. What's the problem of getting those lines slowly? What I've realized is it's also about how you move your paper. That as you might have quite an amount, colors on the paper, but you have to allow the people to build or you have to move the people so that the color is automatically flow into each other. We need to allow water to do its job, as I always say in watercolors. And even for this particular painting, the rule remains the same. Ok, now, when I am drawing this window, you can also go ahead and draw this in the beginning. That's up to you. But for this particular window, it's a simple exercise. We are going ahead and watching the whole scene from the window. And it's a winter scene so we can step out. That's the beauty of the whole painting. I feel this was one of the most beautiful painting. This was one of the initial one or two paintings that I created though the order of the class, of course, is always very different than when I start creating the paintings for any class. Because for me it's more about an experiment to understand how we work it around. And if I like a particular project when I paint, I again repaint it recorded for you guys. That's how I learn from my mistakes or iLearn for myself how to work around whether I am drawing this window anyway, simple way, just that you have to remember there should not be any randomness why windows are created by people. And hence, the whole mechanics of creating the width should be absolutely based on scale. It should be equal the left side window as well as the right side window on the right side when I'm creating three lines, as well as on the bottom part, I would be creating three lines. And in the middle part will remain same. That they will have some gap to show that data window panels, which are usually they are in any window. And then there will be some lines connecting in the very, it's a simple and easy exercise, just that the measurements might take some time for you. Now, the measurements also, so many of you asked me, you will let us know exactly the way she went to note. Of course, you have that during the initial part where I have given the exact measurement during the practice excess. But for me, the measurement all depends upon the kind of paper that you use. If you use a bigger size people, of course the measurements will change if you're using are much more smaller size people than what I am using, you will have again this measurement. So these are something that you can of glosso, go ahead and take care of lines, lines and lines. But the best part about this painting is that you do not need to worry much about these lines. They are most structural on bases. We are not doing any free hand drawing. Thereby you can use or scale or any other object which can treat these straight lines. Also, it's a possibility to go free hand. As I always say, we are starting out. Hence, we do not want ourselves to get boarded with the process of creating with three hands are doing freehand line drawing. It's difficult during the initial days. Hence, I tried to provide who put the easiest of the possibilities or with all the sources that can be used for continuous painting or for continued work with your drawing and painting. While I continue working for the backgrounds, backgrounds is very simple. There is a small horizon line that we need to make. And then there will be some who layer of mountains in the background. So one is called lighter value and another is a darker value. As always, the foreground mountains on darker in shape, whereas the background mountains will be lighter shade. This is all to do with your glazing or whatever you want to say. Though we're not going to learn a lot for this painting, yet there is quite an amount of layering which we are going to follow even for our window, as well as for these mountains and foreground. While you do not all fall on the sketch at this level, but you can always download the photograph from the resources section. Go ahead and even to reset if required, I have already shown you how to trace any kind of a sketch from the last exercise. Lightest value of the Payne's gray or the indigo if you are using both of them alternatively. And then I'm going to the right and extending it. My graphite fonts that I have all the people is pretty light. I always go head with a very light pencil, like to wedge. Now, there are various grades or your graphite pencils that you get, starting with edge to edge, edge b. Then two sp3 HP Forest be like this. It goes beyond that. I think I have to eat HP. So there are various ways in which you can go ahead and keep your pencil. Whether it be light or dark or it all depends on you. But for me, I really like to keep my graphite mouths light as watercolor is a transparent medium. Hence, the graphite mouse will be seen if I do not apply the lightest value, okay, darkest value for my foregrounds, there are some patches where I find the sum of the logs, as well as the plants which are dead on the left, as well as all the right. Or if you see, I follow a very simple process for larger area coverage. I just paint on my brush to sit on the paper, which means that I'm applying more pressure. And if I have to allow it to create something or are smaller lines, I press it very likely. This though might not be very important as a step, but for me, I feel the space very, very important. When you are, again, beginning with watercolors, says I will visit these other pips, which becomes very handy and important in your watercolor journey. How to use your brush is one of the very important than major exercises that you should always look forward to. For any artist, I love to place my whole hand on your particular area. I mean, on a stool or whatever it is, or if there is a table whatsoever place you are painting. Even if you are painting on a board in an outdoor location, I like to have it a bit broader compared to having it smaller with this that allows my hand to have a three-movement. At least my hand can have a free movement the structure, and it becomes way more easier to draw the things. I would request you wait for 5 min and see how White create the foreground mountain. If you carry along with me, it might be a bit tough to realize it. You might end up with a higher number of your strokes, just five-minutes. You can also, even with simple few strokes, you can create beautiful mountains and foregrounds. I am a strong believer of the fact that less is always more. I have been saying this. In other words, paintings do for any kind of a limited palette. You, unless it has to be more. You are working with way more or less colors. We're working with only a limited number of sheets, so it's a lot less messy as well as the wound concentration is on just the process of creating. We are not here to understands and so much of progress which we need to make, okay, There are so many other thoughts that we continue having in our mind. We have to do this, we have to do that. And finally, I should have almost everyday we do not create masterpieces. So keep that in mind. All the days will not be saved. So many days where I do urban sketching and I'm not happy with it. Believe me. I am like, okay, this is me who created it. I do it. I'm happy with how it turned out. So It's kind of expressions do happen and these kinds of incidences do happen with every artist whom's whoever using. Hence, don't get bogged down by all of it. Now, I have a beautiful mountain, in fact, two liters of Mountain ready for you. You can see how easily we created a few brushstrokes sometimes. So we deplete the brush more flat, which means more pressure was applied. And in some areas We did not apply more pressure. I would like to create an awesome grasses. Now these classes you will usually see or some dried plants for any kind of mountain scape that you absorb. We are trying to make it more organic. You can also use a size one brush for adding decent size two brush. I'm using my optimal brush for this. Of course, Optimal has been the force law forever though I loved the Vinci brushes more nowadays. But still optimal holds its place, as I always say, it's from a SCADA. So many of you have asked me about it. It is a size six brush and it has got a beautiful, nice step. And I have been using this brush for many years now for many of my other classes, you would have observed this brush? Do I know? I do. Stick to smaller brushes for thinner lines, but this still remains my favorites. Sudan. Many brushes which I don't have too few. I think it resonates with us as well as we associate with those brushes more compared to any other brushes set you on these kind of things. It looks a bit more Gracchi store to call it, but we all do a few brushes which we all love. And it doesn't depend on whether it is expensive or not expensive. It's just that we have one locked with those kind of brushes. Adding my list for the window. You can go as you want for this part. Why I say this, you can have literally very broad strokes for handing this part of the window. And I would say that half of pool of color while you paint this, what happens is if you don't have a pool of color, the color will not remain same for all the ADRs. And you might have to go head with two or three layers of sheets. When you paint along. Though, I am mixing and matching my colors as I really like to do that. At this point in time, I am not sure whether I will be painting with this one single chain or whether I want to mix more shades at this point in time. So going in a very easy and simple manner is also good to go head width by having a pool is of course, nice when we say flat wash. You can go ahead with an absolute black wash at this level. One thing that I have seen for myself, initially, I might think that, Okay, I want to change the values of the colors or I don't want to do a flat wash. But eventually, as we complete the painting, you might see it just like a flat wash. So sometimes going with the flow, I enjoy painting, but overall, it ends, you end up doing the same thing, but maybe in toward three layers. So I always see when you paint, it's more about the flow. And we are less restricted with what we want to do. Be less restricted with what technique you of all when or how you are blending your colors. Go with the flu and understand what you want to make. Enjoy the process. I am so much thoroughly enjoying the process. Do I know that I have to do a flat brush, but there are many places where I'm just applying some columns randomly. It's random. It's just a thought that came to my mind. Okay, Let's try more of the darker values in this place, this. And then we will see how we blend it with the background. There is nothing else that goes in my mind when I paint so many times. So I feel that I should have followed a pattern where painting, but there's no pattern. There is freedom. There's so much of life, and the creative journey altogether spreads so much happiness. It's not limited to any boundaries which makes it even more interesting for anyone. So don't be limited by boundaries. If you are limiting yourself by boundaries, you will not evolve when you're stuck. I feel this way strolls tiny, and evolution takes a long time. At some point in time, you might be going ahead and copying a few others, which may not be your style. But overall, as you continue with your journey, practice, practice, and practice, you will see how this tab has a lot to lot extent. And every now and then, I'll style is evolving. So if you find someone who is maybe some weight loss due style don't get bogged down because your style is changing regularly. And same goes for the other person's style to its evolution. The processes more like an evolution, I would say in creative journey, What you end is something very different than from where you started. Hence, the start and the end are really not what we do. Journey that we look forward to dry off now and then we will start with our secondly. Of course I'm using my size four brush and frankly, I'm just trying to understand where to start from. That's something which I always follow. I start from the area which looks so pretty easy. Go ahead and paint because I'm more comfortable that way. I am placing my full handled the table brain, these areas. I'm very comfortable even with the brush that I'm painting with. In case you are not so happy with the brush, you go ahead and paint. These cells. Select a smaller brush so that we can keep pop out of the window, has some empty as you saw me doing it right now. Empty, no weight. Of course, we have already applied the color on it, so I don't want to go into the same color which we have from heel to be frank, I have leanness to explain except the glazing technique or what you can see the layering technique. Layering technique is basically creating various values. That's one way of looking into Word when you are working with the monochrome oral. So if you are working with a lot of colors, glazing helps you differentiate a particular area compared to the last video which you have created. It not only creates depth in your painting part, it also helps to actually highlight a few places in the subject that you want to go ahead and paint. Now, that's all part of what we usually do. And glazing. Glazing is a pretty vast subject, or if you see, even learning is a very vast subject. This particular painting has gotten way more layers. But if you are working with any plurals, they're layering usually goes 2-3, all yours, and it goes till six to seven layers of its own. And then you can frankly get, or beautiful light and shadow effect. These effects are usually seen in mainly floral paintings. Though that's what not we're dealing with right now and hence, our learning is way more easier. We do not have any kind of light and shadow effect. And this, we are going ahead with four simple part, though this takes a long time as we progress part, it's completely free flowing, so go ahead and paint mixed up off your blue, any blue of your choice. It can be even in doctrine blue. You can make sausage really input and entree into. You can work with three basic colors which pipe to use for this painting. Either at least radium blue or you can go ahead with any kind of bright blue that you get in Sennelier. Then you can go ahead with our darker shade of it, which is major, the indigo or so, it can be Payne's gray. There can be two to three sheets which you use. Another shape which you can keep for yourself is either a cobalt blue in launching DO crucial room whatsoever you prefer, you can create them. Let me leave it for yourself. You can even use our terminal. So irrespective of all the shades, what I want as a very light shade for yourself. I'm ready to own shape for yourself and, or darker shade for me. That can be your right glue. It can be an entree into the last adopters value is my Payne's gray. These are the three sheets that I could be using ready for creating the painting. And this way, what happens is you can restrict yourself to not only a few shades, but you can explore a lot more in terms of concentrating on your painting and not getting too much into the color mixing color choices. And there is so much of muddy effects that many of my students have completed my audio sections that okay, we are not getting the same colors, we're not getting the same effect. Is there? Some other way that we can approach it with color theory, of course, comes very handy if you are working with color wheel. If your work with color wheel, those things come handy. But overall, you know that it also leaves so any big nor with a lot more questions and a lot more to understand. And rather than focusing on just going with the flow of the painting and just enjoying whatever you do. My whole point is that you should enjoy what you're doing right now. If you are not really enjoying what you were doing, that That's not a great idea, that's not very much fun thing to have. And hence, I think you should start enjoying rather than getting too much into, as I said, don't get too much into the measurement of the windows, don't get too much into. Just understand that there has to be two rectangular boxes and those two rectangular boxes have to be equal. If those two rectangular boxes have to be equal and you have to place it in the middle. You exactly know how you can use your skills to do so. So these are simple, simple things which all of us know. The measurements, maths, simple maths, these things we do not need to each awesome. It's just basic consensus can reuse what do we call it? Rate. Hence, we are progressing with more colors. And I am super happy with how this is turning out. Do there are few dots which you see on the top part. I don't like it. I will convert them into words. This has always happened even in many of my previous paintings. I get something which I don't like. And if I get something I either converted into pods are some polyhedron, anything that's, that's possible in that space. So use your space or diligently if something like this happens, those happy accidents, it was meant to be there. That's why it's there. So I take it that way it is meant to be there. It will happen automatically. There are forces which will help you to play better. I would say the last two paintings, what we read to when I had a lot to explain and I was trying to be way more into the painting, but this particular painting high wanted to do for myself. And I want you guys to also do it for yourself. Enjoying joined, enjoy it as much as you can. There is a lot less to paint. It's only the layers that you need to go here and let it dry and again add another layer. So there are various viewers because of which this painting looks a bit more on longer compared to the older buildings. And I have kept it real time as I want you guys to be painting along with me rather than leaving it or parking it later. This is something that I always see in each and every class. Keeping it real time is important so that you all can join me and I want you guys, I can't wait to see your projects in the project category. The last two days have been really amazing. I have enjoyed all the projects that you guys have uploaded and I'm looking forward to the current project. Once the part gets dried off, again, we are adding another layer. Now I'm going with the bigger brush because I was just tired of that smaller brush. We had to use a smaller brush it puzzle window panes and I really did not have any choice. But now when I have a choice, I will go ahead with mythical brush and the ductus value. This is where values come to a lot. Extend into absorb. It. It really helps you to understand how to work around with the colors. I have explained the values in the exercise section. Please go ahead and have a look at it. I don't want you guys to be struggling at this stage, but the y-values, we have created the whole of the painting and everything looks so amazing. Finally, we're only adding a few more details or making it a bit more darker, lighter. So why do I even go ahead and feel like a challenge? It's really easy. Just that we have to be a bit more into it. And you have to just follow simple, simple instructions, rest, rest, everything will get in line. I'm telling you the major important part is already done, which was the middle part. And that was so simple because if you have obeys layer or the ready, your sky and your SWOT is saying, We're not going to change anything. In that case, you just need a base and go over it with various values and go down. Let's convert the dots into books. I only have the middle part as the body of the bird. So going ahead and just adding these two small, small lines to show that there are words in. Okay, Cool. Absolutely. If there are any bleeds, leads are good. I will not deny. But at this point in time, I do not want it for the inner part. What happens is toward this painting, there are so many layers sometimes wonder is not as strong as it should have been just like a people. And it takes us a while to realize that once we are done with the paintings and close that and yeah, I also realize it later. I'm going ahead with one more darker shades for the middle part of our window. Once we are done with this middle part of the window, we are going to just make corners as round so it can vary or more settled economies, I would say. And then have a final look at our painting. I am super happy, excited to finish this off for me. This was a pretty big challenge for me. He was not an easy one. But once this is done, I can tell you you should be proud of yourselves and patio back and say, you guys have done something, read today. Try this even for other photos if you find it on any of the sources like Pixabay or Unsplash. These sites do have photographs which can be used without hassle because you can use them for your paintings references, go ahead, use it for your painting reference and try something else and the background, all of that, I can leave it up to you. Now. Try with a monochrome sheet if you want, try with the neutral tint black. Those are either not some of the beautiful colors which can be used. Finally, buh bye and see you tomorrow. 13. Day 4 - Soft Beauty - Practice: Let us discuss how the catalyst, which we are going to use for this painting. And my first Carlo is Naples yellow. We are going to use three major sheets. One is our Naples yellow, the second is our brilliant link. You can have thought Carlo as your organelles. You can also go head width. Screen. The second column is our brilliant pink. This is a bit opaque if you see the transparency is not much. And hence you should be a bit more careful when you use it. Do not use it in large quantity. It will become really tough. Will manage the opacity. Holloway's. Okay. So either you can have indigo, which is really dark like this one, or else you can also go head with Payne's gray, which has more blue in it. So I would leave this decision on what to see the blue. You can extend it a bit and then you can see more. So these are basically maximum sheets that can mean for this painting. Now, let's go ahead and understand how do we paint our bushes. So when you have people like this, if I want to make pushes, I usually on the first floor, I call with some of my strokes like this, which are basically round and round up and down like whatever you do go head width. So this is rounder now. You will get some foliage one week. But is this enough? I don't think so. And since this is not enough, we will go ahead and start adding some of our darkest value. I will change the values. In this case, I will go towards the bottom, change the values. We then want to talk, again, change the values of it. You see how things change. But still my edges that you get on the top will be hard edges compared to what you can get engaged who are doing any software. It's kind of a painting. I will have, I will actually have another robot that is below and where we are going to discuss how do we paint wet on wet technique. For this case. I'm adding some goggles. Okay. Let's continue. The point is, right now, it's very, very hard in India. That's one of the reasons. I'm trying to go very quickly. You can view of the edges you can make plunk in Adobe are going ahead with this, is you can have any flat brush of your choice and then start making some lines not flat brush size. Can you really want to go ahead and use I'm using a flat brush half an inch and I dip it in some water. You can use it like this also to get easy lungs. Now, I can dip this in my Payne's gray and kick. This way it becomes more easy and quick. Okay, so there are various approaches which I'm showing you most of them over here. And you want to now not have such dark places, are just such dark areas towards the bottom. You can of course, remove it by using only water. See how I am using water to my advantage. You can remove, remove, you can add. You can do whatever you want. With the bottom left you have the complete area that we have developed. Or you can see the complete area of the foliage is so different now compared to what we started with, it was more like a flat wash. And now this has so much more dimension into it and get into it. Some of the pieces are darker, some of the pieces are lighter. And hence this looks way more beautiful when you add one more thing, let me add some water. Water can do that. Three, Marco, this point in time, what do we apply this down here is how we create foliage that is wet on wet. Now, if you have a lot of water at this point in time, my paper is not as good. In fact had a lot of water. What happens is that my paints will only become blue. So I really don't want either back. And hence, I will just go ahead and remove some of my extra water with the help of any flat brush that is available to you. And just take it off on the tissue, the tissue placed on the right side and hence head with my brush. Using the same kind of technique, even work on this part. But here it becomes way more easier for me to work this out. I will want you to watch of clot is so nice on this one. Okay? Now, let's just have this value. Okay? We would always use a flat brush like this. They will also become Florida. The best part about best point above this technique is that anything that you apply will become a bit like really works in our favor. Nothing becomes really strong or nothing is like that hard edge, which we don't want in this painting. And now all the values in few places and just take off all the extreme. Another thing that you can do is you can go ahead with any of your brushes, which are these kind of smaller lines. I feel the bottom part has a lot more intensity than I would like it. Actually, this is kind of painting. You see, this is the one. I already have dark values, so I will use some of my water. It would just be okay. When I'm picking out the Carlos, I'm good. I'm getting the sign of these kind of areas. It's okay. We will just eat standard of m then if required, we will pick it up with our brush. And now again, I see the values have changed a lot more than required. The paper is drying up. That's one of the reasons we can't work on it any further. And hence we have to leave it at this stage. But I'm pretty happy with how the whole of this part has done out there. Remove the tape now, see how whole thing works. So you have loan two techniques today. One is how to be foliage on wet-on-wet, and one is wet on dry out. What are the values of the foliage to what extent? As well as use a flat brush to make this foliage. I guess that's it. For this particular session, we will go ahead and start with our main pages. Now, you guys should remember that we will be using blending as one of the most important techniques for our background. Cautious. And I don't, you guys already have learned a lot about blending and how to blend it well. Use a very simple trick. Use water to blend if you are unable to blend it in this hot weather. So using lot of auto actually helps to glycocalyx season. Okay, Now let's walk Hard cover the full painting. 14. Day 4 - Soft Beauty - Painting: Hi guys. I'm back on D4 and this time we're changing our palate. Yes. You are going to go ahead with some soft, beautiful colors. One is my Naples yellow and another of his brilliant pink. You can even see the brilliant pink on my desk when mixing a bit of Naples, yellow into the brilliant pink and then adding it. Though, I do understand that the brilliant pink is a bit opaque in nature. So if you add on a lot of brilliant pink in the first layer, what will happen is you will not get the blue that you want to add later on. So these are basically three shades which you are going to operate with. One as the Naples yellow than another. Here's the brilliant thank, and the third one you can choose either has indigo, orange, Payne's gray has been my go-to sheets for good number of times. And I think keeping it simple and restricting ourselves to really low number of shades and something that always looking forward to hand, you can see simple color's getting added on the paper. It's simply going from left to right and right to left. There is no rocket science. I hope you are all enjoying it. I am making it as simple as possible. Going forward from here, we are going to actually paint a lot of things. Have changed my palettes so, you know, that could become more yellow as we go forward to tomorrow and the after, hence, the ready, we're going to do a real blast. Yes, my colors are going to change to a large extent. It would be in yellows and browns. So exactly, you know, that we are going to paint something more brilliant and beautiful. Okay, going with my Da Vinci, but I brush and adding a bit of clouds. Now, when you weren't doing this clouds, as I always say, take off the extra paints on your tissue. Tissue has been your best friend. You can see that I'm doing it very regularly as am going forward. Do. I keep my tissue on the side and I use it for, has many different kinds of work as I want. But one of the major works in this case is practically taking off the paint from your brush. Do make sure you do not get any backgrounds on the side. And if you'll see I go very slowly into the painting, which means that I'm going with more calming colors. And as I progress, I go with blue. Now the calming colors for this particular painting is my yellow and pink. One of the painting is coming together already because of that one. I know that in the last painting, we did sketch an OT and I did tell you to visual and then add the window as well as it should have a bit of a 3D effect. But here again, we are going just like that. We do not want to add anything. Just make sure the middle part is a bit wide where we want to add our foliation. By the way, my paper is already dry and I'm going with my second layer, right? Yes. Again, work in layers. You ought be aware how I live. And I really don't want to get into that. We have already discussed it in Harvard from painting three. And there was a detailed lesson. If you are still not very sure of how to layer, I would request you guys to please go ahead and have a look at it. While we're here, we are only going to concentrate more about changing the values and painting the foliage and the horizon **** long with it, how to lift out your colors? This is something that many of us are not aware of. And the point is all the colors you can't lift. Now when there is a lot of stealing this off your color which you are using, you will not be in a position to lift it up. But when there is low amount of staining, then you will be in a position to lift out the colors very easily. Some of my brilliant pink, you can see this dark water on my paper. That's one of the reasons. If even I add some good amount of colors, they don't turn very vibrant, nor I want the look and feel of this painting to be vibrant. I want to look and feel of a painting to be soft. And very, very interesting. Yes. Having a soft look is something that I'm looking forward to. Not only for this painting, for many other paintings that we will be doing in future. The soft look frankly, helps me to calm down a lot and it's really meditative. And you even paying. You do not need to think about how I need to hold my brush, how I need to add the clouds, or how do I work with all of it? You have to just go, just pick up some colors on your brush, half of it people and allow your brush to do the magic. Blended, blended, blended with other color that you have. That's it. We are not here to change much. By the way. In the meantime, I have added a bit more interesting clouds. Though my clouds are not like a lot. But there is some, you can see, again, I'm putting my brush with some amount of pressure. And then you can see I'm extending it towards the top. So this you have to also do while your paper is wet or else your colors will not move into the top part of the sky and we will not get the required tombs that we want. Oh, no, blending the bottom part with the white of the people. Now blending brush, I always keep it. This street brush comes so handy. Whether it'd be blending, whether it be adding your paints on the paper. I do change a lot in terms of the values. But this values which you see changes that first of all, I will have some gap value and my brush, I will just wash the brush and again start adding the colors. The brush still has some amount of things in it. And those means I'm using for the other parts wherever I want to change the value. Adding the bottom part or adding into the bottom part the water and do the bottom part so that I can add some of my water ripples. Though these ripples are not exactly how we did last time. I'm not going to do that in this case. It's just some of the ripples that we're going to add. And then we're going to add some reflection of the plants, which we're going to paint him as we progress. What I have usually seen as the Naples yellow doesn't react with a blue to give any dream. Nor the pink will react with the blue, it will give a bit of poeple maximum. Overall, both of these colors are pretty safe to be used for your blue painting. Now, I'm changing the body. They'll color that. I'm going ahead with ease. Integral orders. You can also go with your Payne's gray, as I see because fueled the Payne's gray card pretty blue in there. Colored pigment or color. So you exactly know that this can be used up and I have been pretty vocal about it. Has we have gone through documents or initial paintings, adding some of our darker values and just getting a few lines over here. Now, these lines, as I see, always do not need to go ahead and add a lot of brushstrokes or just go with a lot of places. You just see. Also part of use more small lines or dots here and there. And that's it. Your work is done. My paper is still wet as I have gone ahead and added a lot of water, even on the backside of the people. The backside of the people. When you add some good amount of water, it helps it to stay wet for a longer period of time, going with my thinnest brush. Now, as I want the trees to be looking longer and taller. Once these trees become more and more visible to our eyes, which is in a bloody, yet I would say an effect where you can absorb a few trees and still eat cell becoming blurry in the distance. Why we can use this kind of approach? Because what we are looking at right now is at a distance. When something is at a distance, you will never find a lot of the dealing into it. That's something which I love to always, even for many of my paintings. For any far off object, not add a lot of, I would say, colors into Word or even dimension into it. Less dimension is good because that way it will operate. Adding some of the reflection now towards the bottom part of this foliage that we have added for actually denoting our horizon line of the sky and the water aging. Now, many of you are not sure that whether we should put our horizon line on the top or whether we should put a horizon line in the middle or the bottom. I usually keep the bottom medium or large or the topic a bit larger. That's how I always go about it though. Initially when I started off, I was not aware about all these simple rules. And as per the rule of perspective or the golden rule of thirds. You have to place the painting or place your horizon line on the major focus area. Either on the top two quadrants, saw her on the top three quadrants. On the bottom three quadrants, stats and data, rather than placing it in the middle and even drawing the horizon line just in the middle doesn't work that way. In case you are not aware of these smaller concepts. I would request you to go ahead with my audio classes where I had discussed the ruler over he'll do it is not required that you can read upon it or you can have a look at my earlier classes where I've explained it in detail. It would be really helpful when you even approach any of the other subjects, whether the landscape or whether it be any kind of urban sketching, it will come really handy. My paper is still think that's one of the reason I can contribute working on my foliage somewhere or the other, sometimes I feel that I should not be given so much opportunity from the paper to play with us and we'll keep playing with it and never ended. Now working with some clean water. This is something that I have always loved to do. In the last class about clouds. You would have seen that I have worked with my clean water to bring some grasses. And now I am using it to actually go ahead and make this bloody effect along with it for my dollar lines or for the foliage. You can also go ahead with your wash brush and add these kinds of trees. This is something that I really wanted to show you. So even going with these kinds of trees help rather than always going with a thin brush to add these foliage. I'm in, you want to work quickly. These kinds of brushes really come handy in there. Okay. I guess now I am very happy with how it has turned out. So I will progress a bit more now towards the bottom area. I guess this area near the horizon has to be one lighter near the water. What happens is either there is missed or you will not be in a position to see a lot of far off areas and hence are usually observed this kind of white regions in many of our photographs or many of our paintings. Hence, I would like to also add it to our painting as we progress. Time to create some depth, even in the reflection that you'll solve. I'm going with my thinnest scratch. Either it can be size zero, size one brush at this point in time to add these bloody effector lines and then just adding it or taking it downwards. Though it might look that you are going with the flow. But frankly, this name looking more so naturally to me, I had to literally struggled to understand how all of these are created and how naturally you can pay me something, which I have learned over the years by solving many, many photographs, by traveling to reuse places where I want to discover it. And soon I would be even traveling to dazzling. So that's another place where I feel that I can also more to understand how to paint nature. These are, these are the things that I do for myself as an artist. Absorb, absorb and absorb. Going with more blues. Now is the time to meet these lines. Of course, these lines will not come handy, believe me, we all can't make straight lines. There is one simple rule of making the street line. Always, always try it on paper first, which is your rough paper to see if you are getting these kind of straight lines. Why don't usually happens for anyone who's starting out, we tend to go slow with these lines and hence, the lines move here and there. Either we will move up or move down. So that is something I want you guys to practice before going ahead With these lines further. Fine. I guess I'm pretty happy. Let it dry and I would go ahead and make some lines. This is the small plants that you sometimes absorbed in places like these that trope up or even their various trees which crop up during the rainy season. Yes, you have a lot of rainfall and then if they are even plants, we would go head and fall into the water or actually it just water and water and around and hence you can see plants knowing with it. So that's the kind of situation which we have gone ahead with. Hi, I'm adding or using the tip of my brush if you observe and then extending it, pressing it a bit in the middle, and then again lifting out the pressure to make it thinner as we go on. I am just making these smaller leaves of the plants in and around the lines that I've already created. Either you can wait as of now for a few minutes and then have a look at it, how I completed in the final painting or else even continue working with me. I would leave that decision up to you because the painting changes a lot as we progress. And as we progress, as the painting is also changing according to the mood or according to the perspective theta times where we do not only look at a particular photograph and work, we also use our own observation, or we use our own thought process into it and make it work. By the way, while we being told with our darkest value as of now, I was just thinking about this question. Have you ever asked yourself, why do you work with watercolors? Now? What does watercolor help you to achieve and why we should continue working with watercolors. For me, it's always been not watercolors. I have fallen in love with this medium, but when I asked myself this question, It's like I love to walk with this medium because of it's not only the randomness, it's just very simple. I touch my brush, which is ordered with pigments to all wet paper. And that's it. You'll see the magic happening. Water, does it stop? I have been pretty vocal about these small, small aspects of watercolors in many of my classes. But do ask yourself these questions. It's very calming process for me even when I paint, when I get those simple colors on the paper, it just makes my day. I am not thinking about the final painting. Believe me, this was one of the painting which did not go well. I was not sure that even I would be including this in the class or not or whether I have to repaint it. But going with the flow made it look so beautiful. I was never aware that it can make something beautiful if you only think about the process and make your own progress, it never depends upon what you continue to walk around with, what Pinterest is so easy to walk around with. Good. I had some tough techniques into it or older the painting so that it looks my own. When you're painting from a photograph or loading even from a teacher, it really doesn't matter. What should matter to you. Words, are you happy while you paint it? How are you going with the flow or not? Are you enjoying the process or not? So those are the things that I always feel. You should think about it when you are on the progressing in your journey of watercolors, if you weren't enjoying this medium, All I can tell you it is the most rewarding medium you can ever think of. I have always perfect. And frankly, you can also feel the same once you get into a few other reasons too, which I want to highlight, one is helps me to translate the world on the people as I see. So what it does to me is I can put whatever I see in the world or whatever I see in an allowed me on the people very easily. I don't think about boundaries or restriction. Painting wild as per my imagination of what I see can be excised pretty well, right? And I go beyond infections. I find satisfaction in simple Blooms is just planning helps me to come down. Love in all the splatters that we do, which is going to come up as we progress in our painting. That's why I think I, and we look forward to the journey. There is no final destination. Imperfections are good. As I say. Less is more. Going with some of my clear water to add lines or just read the place of it. Once we are done with the weighting, we will start with the process of padding these. Smaller plants, even though towards the water. Why are we adding this now That's a good question in water. Whereas reflection and this is more towards the gum, what do we have less ripples and hence there would be more of reflection that we need to go ahead and add. Hopefully. This is very, very easy process, but make sure that your paper doesn't have lot of hotel. If you have lots of water, these will become blooms. And we do not want blooms at the stage. We just want the perfect amount of water for getting a bit blurry lines. I will continue doing the same process. Has the progress just not made sure if your people is dried or has is drying up as I'm that this is hot summer and when I recorded this class, it was quite sometime back. I happy recording the class almost for 1.5 months now, as I did not like all the content that I selected, so I had to go head and not not select a few of them. And then again, repaint of you. Making a few of them a bit more colorful compared to all the tools that we have been adding till now. I don't like adding only the blues. So, because it's sometimes a bit dumb, though, I love painting with a bit of turquoise and all turquoise. Really nice. My data, my mood a lot. Yes. I guess that's all. We have less left now. You should be very happy and proud of yourself. That is hardly anything that we are left out with, except a few lines that I would be adding once we are done with this reflection with my thinnest brush. As always, this is pretty much all repetitive and nitrate if process so you can continue working with it. And that's all along. Let's finish off. Now, I am super happy and excited to finish the painting and make those rounds sites for the gardeners. Adding lines. Now, this is something that I told you. You should always codebase pause, try to just go head and whose cornered off people are. Just practice on a rough paper. This doesn't come automatically. It takes some time all you need some time to develop the skin. That's the only thing I would like to tell you. These lines are more visible and hence what you can absorb it that I am also making it going a bit slow. Slow is the key at this point in time. What we have done those pretty quickly and floss through the entire process. The last time we did it, did all of it. But over here, I would request you to the homepage with the process. Okay. That's it. I hope you have already gone through the practice part where we did discuss a lot about painting the foliage and I'm painting these straight lines. Yes, that's the only instead working through the exercise rest. I think everything you guys are aware of, I do not need to teach much. In this case. You have already gone ahead with other exercises, tools. So you are well equipped with a lot of knowledge that we wanted. Have a final look at your painting. I think that you're already very proud of yourself. Make sure you're not adding a lot of lines, like lots and lots of things in the whole painting will go for cost. We want the colors of the pink and the yellow to be seen. If you even do it, you can always go ahead and take it off with the help of your flat brush. Lifting out your colors is very, very important and it will come very handy in many of your other paintings. I can guarantee on it. Once you start out with this lifting technique or what happened is at one point in time I wanted to do this, the pink thickening in every painting, the red. That's also not a good way to go off all going hands, but I would suggest you is only left out when it is necessary. You can not see those lines in the right side. And hence I'm lifting out the EDS to make it a bit more visible. My favorite part of rounding off the corners has come, I can't wait to meet you tomorrow where we are going to paint abroad. 15. Day 5 - A Cute Bird - Practice: Let us discuss all those sheets which we need for this painting. My go-to and favorite would be the Naples yellow. Of course. If you don't have this, you can use yellow ocher with Indian yellow or Marlene in it. I would say that usually keep the glue. That means what this painting, I would be using very, very less amount of orange. So if you want to even give them this, you can give it a mess. You can use burnt sienna in case your bones CNR has some amount of your trunk red in it, then I think you can keep this also on this, this is Glen CNI. You see how beautiful and pretty it is. It has overdosed underlying reading it. It's the pigment that they have used. You can see how beautifully it blends. The last one that you can go ahead with ease your Payne's gray or indigo. Because what I want is this is Payne's gray that I'm showing you. Now. What happens with this is you can create as many sheets as you want. No, I will not discourage you from using or taco value waters, which maybe somewhere around the CPR. And you can also go ahead and use the CPR if you want. It can be CPR. It can be any other dark shade of brown. I will not tell you to use particularly CPO this as I want you guys to just go ahead and see for yourself. The first one is about here, splattering. Now, splattering, I think you have already learned, so let's just go ahead and do a real small size. In this case, what we will do is we will just apply with large wash over this part. And you already know about labeling. So I'm not going to touch upon the planning part. In this case. I will go ahead and apply the scene. One scene in the second quarter. What I want to show you is if you open these plateau, there is a different effect that you get. And if you do not splatter and you sold, that is a different effect which you will get politics to school. My God, the deepest started coming. Yeah, I did not use my fingers to them through the juices and it's like, okay, there's a simple exercise. Let's do it. I have done a flat wash. You guys can also go flat wash and keep it handy just for kids to play sheets. And then we will see how it looks. In the first quadrant. I'm adding some salt. Okay? And we'll see the magic happen. Let it be, okay. Now, we will go ahead and oh my god, the challenge. But that's okay. You will see how this works. And here I am adding some of my water for the textures. You see, these two are very different. And now let's go to our third quadrant. Again. I will go ahead and lie or real flat wash and start creating textures. Very easy. I mean, this, this is a really easy process of creating textures, just that we should be conveyed how we do it. And usually what happens is here much not aware of all these. And then we take away something very different has been done for something very March, which we know has been done. So this is a CDC amazing. I'm taking more and more interactive way. Okay, now let's go ahead with a thinner brush. I'm taking some darker value. Any darker value is good. As of now I'm taking some of my color. It's been using Revit, brown. Hi, we'll show it shows in two ways. Okay, go ahead. This is well-ordered crash and whatever do is I will start adding some dots like this. And these are going to deal with and they just fly to protect it and see how this texture works in this case. And then if I touch my brush, it would be a bit more darker. Dots will also be smaller. As this is more controlled approach, whereas this was not such a control approach. If you touch your brush who are wet surface, this becomes not so controlled approach. If you are doing these platters, not so control. And if you are doing with the brush, of course it's way more control. Now, let's go ahead with our fourth-quarter. Anything that you would be doing is seriously not much difficult. As I always say. It's just a bit of practice and then you click Done. You guys know all about watercolors. Okay? Whatever do. This has become more like a bloom. Let's go ahead and drop some more. You will see the textures, see that extra, which you get with the sword. This has randomness, of course, but it actually gives a very different texture compared to what we get with us. Plateaus. I like the one with the slider is more compared to the one with the sword, though, I will not deny that you can not use salt. Of course, you solve for any of your other paintings too, and try it out. Now let's, Let me go head. This is these are the kinds of lines which you add if you are going ahead on any surface, it will show that you have some amount of extra rows. You see how I'm creating texture. You can even do some dots here and there. Alternatively, I like to use these lines which shows why grasses, well, and I wouldn't be using these techniques. Even invite next section, which is basically your findability for your d Phi. I hope you guys have enjoyed 34. We have changed the power to create instead. Now though we will be back to some more beautiful blues, turquoise, etc, as we progress. And there will be some change to the palate, which you can see as we progress. Against. This looks perfect. Over here. You can, of course weight and then remove the DV, can see how these pictures have gone on for you. Let's remove the beam at an angle and how we'll find, look at it. You can see my painting over here and how I have applied this plateau as well as these lines technique to poke it out. You can also use this control like drops methods for a few of the places. Rest, I guess. I'm happy with how it is done. So let's go ahead and okay, that is it. And see you in the next session where we are going to discuss everything about how to work this painting. 16. Day 5 - A Cute Bird Painting: I have already told you all the colors which we're going to use though. I think that I did with the yellow, but I guess that's okay. You can use in yellow of your choice. There is no particular that you should go ahead with Naples. Yellow is better, but if you want to also go hand with Indian yellow gamboge or any kind of intense yellow. That's absolutely cool because we do not have any kind of boo-boos in part and hence there is no problem. Once you have applied three yellow that is starting from the darkness, trying new on the job, taking it more and more lighter towards the bottom, you can see that there is lot of water on my paper and hence the colors for club, I have tried to actually put something a bit higher. And hence the colors will flow towards the bottom pretty easily. Why even at the bottom you can apply it. There will be brown or burnt sienna which will be coming up hello with it. This whole part is only dedicated to how to create textures. Now creating text shows is something that we often don't learn in many of our paintings, but it's a very, very important aspect for your landscapes, cityscapes, or even if you want to paint any kind of floors, windows, which card? We'll now I take you will find a lot of help in those cases. Right now. It's only about blending. I'm just using some polls here. Longus, my love for Naples, yellow can't nibble. And hence I'm going ahead and adding some impulse here, though. I tried to restrict to three colors, but this was just going a bit overboard. Sometimes I do go over top of what Khafre to restricting myself seeing the colors. But all I can say is you can use Naples, yellow, orange, burnt sienna, as well as the last one is your indigo. Indigo can be used alternatively with your brown so that you can actually be a lot of colors in case you are going ahead and using CPO, that's also absolutely fine because we would be missing though indigo with one CNOT to get the CPR or darker brown shade. Hence, I think we're good right now. I'm just taking off all the extra water. This is something that I have paint editor very often for heavy washes, they will be back. And we do not want backgrounds. Backgrounds, and sometimes we might have to go ahead with another one. Moving on forward a bit comes really handy during this case. It happens so pretty easily, which use your blending but you don't get those panics. Lines on will not get any bleeds on any cauliflower effect. As you have already taken up either the extra water or your colors have already motion to each article. What else has really partnered with you? The whole thing has come together. I'm playing simple choice and very small things. Even on good blending, just applying some columns for the water. Having different colors for the textures really helps me to calm down and relax. It's not about having a masterpiece. And I always feel that for me progress has been really important. All that is, I do not go head and create something exceptionally. Wu Han accepting these small, small things off, not creating. Great. Come on. We've partnered. He's having one good day and the other case would be the normal asset is normal life for us to write every day on good things to keep happening to us. But most of the days are good if you find happiness in real small things as you see, by the way, I'm going with the darkest value for the bottom area. The color of 13 on hasn't gotten bit of red in it. And hence cell because that is all red color and it becomes more bright and beautiful. If you don't have this, that's absolutely fine, but ever been seen as available. But if you use that, I'm using up on CNN from measuring machine code. And you can use, and we go to create various colors of your darker values in terms of CPR or any other shape that you like, do clean out the edges. As I always say orals, there will be backgrounds and need a reference. So I have told you once before also and I d by treating this again and again, so many of you have experienced and then you guys have shared your job experience with me that we do get blood cell in this particular if he wishes that the only way out. Now, what I've seen as either coin but layers are red, so go ahead and clean up the water. If you've ever seen the site, I think you can also do this. I don t need to explain much Kobe here. And I have applied some more of my bond sienna over here. Though this looks more like read through, do not need to add that I will leave me It's not required at all. I told you I went with the flow and this painting and then I was like, Okay, we need to have so many columns do we really need qualified? But I did not want to change. So video work together as it was called eaten. And I really love to painting and wanted to share with you guys this particular one in Tao. Currencies. There are times where we do change our palette to a great extent. And here changing the palette really doesn't need much of sheets. Though. When you're using bright and vibrant shades, you always, always go with the flow. I have seen that normally for myself. And if you just train your mind to only restrict to a few sheets, it becomes really difficult to restrict. That's where I want our brains to be. Watering and understand that we do not need all the sheets to create one or two or three or as many as 14 pay. We just need a few of them to create the whole Laura beauty out there. Going with my thickest brush. And once I have added the sheet of Naples yellow towards the top, you will see you're not reading is getting washed out. Even if I have added some orange or it will get washed off. But what they ended up only a few sheets which remains. And the dominating one out of them is your Naples yellow, light shade of orange, which can be again replaced with bird Sienna. Last two sheets which are dominating is your bones. And I'll mix of brown or else, or mixed off your indigo plus you are once you know, which gives as many shades of brown as you want. This is my most interesting part where I start creating that texture. I'm starting with a taco value that is ohmic software in the goal with some amount of fuel burnt sienna, and start adding these small online store. There might be a North Florida at this point in time. So they become a bit more like rules. But that's absolutely fine. Even if they're not a booms, That's okay. Blooms are good for us. As I've told you. I am making a few lines as well as sometimes I make a few dots. So it all depends how you want to go ahead and mix your colors, as well as how you want to add your strokes. Strokes is something that you had to learn over the time. Sometimes it will be smaller and larger. Now, one important aspect, whenever you are creating textures, there has to be lot of mixes. If you see for the colors. Yes, there has to be ordered mixes in terms of the various sheets that you create, as well as in terms of the stroke. If you'll realize there has to be lots and lots of different kinds of strokes that we apply for creating the brain thing. I'm going ahead with. Simple size one, size two, brush, whatever is available with you for this part. As I don't want all complete blooms to go and take over the entire part so it gets going because smaller brush helps us to right now protect ourselves from actually creating any kind of difficult part which you might have to walk. I guess. That's, that's good. Towards the bottom. Of course, it has to be most dark as it is closer to us and it would be way more detail than what we are applying for pumps when you get towards the horizon like Frankie, I have a little to actually teach over here. There is so much less in terms of teaching. It's just observing and painting. Frankly speaking, when I was making this grasses, I was in a stage hall meditation to be frank. I was just doing one single thing without any thought process. I was just going ahead and adding these smaller, smaller lines, dots here and there. There was nothing in terms of thought process. It was a calm mind. And I went with the flow. This is something that I must tell you. No, not think much about direction, about strokes, about it. There are a lot of things that we do in watercolors, as I say. But keeping all of that together, I do want you to get lost in these strokes and in these aspects of particle. I want you to think beyond that. I want you to work beyond that. I want you guys to. Understand colors or understand painting beyond it. That's one of the reason restricting yourself to few sheets is always good. Like do not have much of a mess. Do not have much of a hassle in your mind while you create creativity, as I say, and as I have been saying, is all about flow. It usually comes sometimes it at times when it does it. So those are the days where I always look forward to a few tutorials online. I loan from those tutorials, I read up about a few others to get there. So there are a lot of times I refer to any book. And all these things helps me to actually seal through because all of these are not exactly seen. V2 have these where we are not doing great or we're not happy with our clinical work. I think on those teeth, this part becomes very important. By the way, I did splatter clear water. There is another way to create extra, which I've shown you is flattering, so on. Now, these are various ways in which you can create texture. But I, one of the most important thing that we're going to do in this painting is only going with clattering of water. I'm not using the salt because the salt cannot be controlled much as they do allow the pigments to move away from that particular place where you did add the salt. But overall, what happens is, we are never sure of how exactly our painting we're covering. And hence, it gives me a lot less control. Hence, I guess this is a better way. Now, going with your blending again, for the top area, I don't know what went into my mind when I'm blending again a bit width my orange and Naples yellow. Oh my God, the Naples yellow. I have used anything. I guess the colors were fading away since we had a lot of water. So going with another layer is all his great. That's why I told you initially when I was adding yellow, I was like no, this is not what I want. I wanted pulling equals and orange and the blend of that Naples and oranges. So beautiful. We really do not want other kinds of yellows to support us in the process. Okay, some of the lines here and there, and then we are going to add some bigger dots. I will use, of course, the tip of my brush. You do not need to go ahead and use such a thick brush. But overall the painting is dry now, that's one of the reasons, even if we had some lines at this stage, it is not going to spoil your painting anymore. Adding a quick line. Now, this line is basically for your board. Now, this board is very, very pretty and we're going to walk around with only two sheets. That is your dark brown as well as your proud neoliberalism and sienna and your diagram HE, that you create from indigo. And I just loved the fact this watercolor gives me so much more freedom to not only do as I want, but there is so much randomness in this medium and unforeseen, I would say things came the whole medium, which brings love and joy to me. I just feel so much more like myself when I understand this medium, I guess that's what R does to you in case you are leaves you with we much more understanding, love and freedom towards whatever you want to do. Ow, kay, adding a few lines here and there. Do not worry. This is basically a fence that we are drawing and is a big logo food. In that sense. There's some beautiful blooms which has happened when I was actually painting my sky area. And keeping the middle part has wake, the blade UC, It's so amazing. The orange and Naples yellow and then the worldwide which flows in the papal point in time, the lower part was becoming more and more dry, and hence there is a bit of cauliflower, but I'm loving it for this particular row. Grasses spot altogether as we wanted some textures and automatically got it because of this whole activity of adding another layer of colors. From Gradebook, I would go ahead with full structure as you see it, audio and then breaking it into two smaller parts. One is the head part, which is absolutely small. And then as the body, I am not thinking much about double it because it is closer, but I'm going to use only the brown shade to create the board. Hence, there is not much of detail that I'm going to add in this course. If you want to create with your blood, it's absolutely fine. Gray swatch board from the painting that I've uploaded in your T5. It's easy to trace. We have already loaded in our D to enhance you can apply those same process off. Going ahead and working through this sketch part. As I say, use EPO is a vehicle with you? Yes. Many people have told me that tracing is not great. I don't trace usually in most of my paintings, but it's not that you can't do it when you're starting out. Always, always use whatever is available with you. You don't need to be hard on yourself. Being hard on yourself is not doing justice to your creativity. Being current goes up this beating yourself up, and that's what I want at this stage. You have to be very mindful of how you progress in your journey and you have to be happy while you progress in this journey. We are people where, where we get stuck, even in this model things sometimes what happens is we just feel that watercolor is known the medium for us or this is not all that I can walk around with. As there are so many small, small difficulties which we have phase so we don't want to walk around with it. But believe me, once you start working with it, you will literally fall in love with it. Going with my darkest value of brown. And this brown is basically a weak software, burnt sienna and some indigo. You can also go ahead with sepia as MC. You have to make some of your sepia with burnt sienna and you will get a color or shade like this. Then going with my smallest brush to paint my board. Once I'm done with the painting, I will go ahead and add the pins, adding the fence. It takes a while as there is this lines which I need to draw and not great at drawing straight lines. I know and believe me, it's not that it came to me pretty soon or it came to me. All of a sudden. It needs a lot of practice. And hence, I always say that to draw what ever you want to paint. Drawing really helps to Leo framework for your final painting. This framework will help you or support you during your whole journey. You will not mess up at any point in time. And even if you miss up to an extent, it would happen, it is not going to purely take away or painting or you will not end up just not liking that painting it on. Okay. Finally, I'm making the tail of the Cloud and while I go towards the top, I will still add some him out of my watercolor on the head and peak. I guess. This is a type of leaf at this stage and collect music follow. And then we will just cut our edges and have a look at the painting. We're almost done. And next day we're going to walk with the same palette. And painting or somebody of PupCo's. Tracing will be bit more easier. Though. I would outline the joint that we are going to do as well as you can step by, swallow me in my drawing, rounding off the edges and you can have a fun look at the painting now. See you tomorrow. 17. Day 6 WildLife Exploration Sketching: We are at six and I'm, I'm very excited to teach you this particular painting where we will be painting or somebody on. One important aspect of this painting is also particular techniques that we have learned in the phi will be applied. Only the sketching I will be explaining in part one because I want you guys to understand how high sketch and how I usually draw a structure of anything that I want to paint. But you have the option to go ahead and reset from the photograph that I have uploaded in the resources section. And I would highly recommend you guys to increase it if you are not aware of how to trace it. I have explained the tracing method in the D2. So go ahead and check out the tracing method in the two. And then let's get started with this beautiful process of creating this Ahmadiyya. I have made cause small structure which is majorly an egg shell. This is just to understand where I want to place my sound would do. You would see that I'm going ahead and just adding easy and simple lines. It's not that I'm going very quickly at this teach. This process will take about ten to 12 min. And I would recommend you to do it on a raft people. If you weren't happy with the rough paper sketch, then you can finally trace it home though, painting people good, whichever you want to go ahead with. What happens is if you erase the people or if you release a lot on this paper, it becomes tough. And you will get monks when watercolors is all about transparency, then you will not be happy with how it turns out pens. I thought that it would be great if you do it on a rough paper and then family tree. So don't go final painting paper, which is basically a watercolor paper, 300 shares some hundred percent. Got it. Okay. I have done a structure. Now. The structure is very easy if you see there are two lines intersecting that I did, one versus smaller line for the face and one was a longer line for the body in an L along that line, or you can say along that line only, I have started adding longer lines now, these longer lines are more to do good practice. If you are not someone who has practiced a lot in terms of sketching, you will keep meeting goes smaller and shorter lines which would end up being broken at various places and you will not get the exact look and feel which you want. So It's okay, I understand. It's a process of learning and you will also learn in the process of making the sample. Do you try to make longer lines? Try to have a good sketching lines wherever you are doing. And then I'm going ahead and adding the body of my sample DO on the left. You will see that my body we're done are pretty huge compared to what I thought that it should be. I usually step back half to seven to 8 min or 10 min on following. Whenever I have done, I would step back, relax. And then again to Dawn back to my painting. If I think that somebody has turned out pretty fast or it is not exactly how it looks or how I want to paint it. Then I would go ahead and edit it a bit in a few areas wherever I think it is necessary. And how to find a waning greedy would make. Just to keep in your mind that there should be four legs that you are going to add and there would be some horns on their head. Somebody, That's it, rest. Everything is simple because painting part of this is practically very simple. It's exactly how we have painted the bird. Only the part where we are drawing is difficult. I would say not difficult, but yes, we have not done it in the process. We have not touched upon these objects much in the audio paintings. And I am really taking you to a much more higher level compared to what we have done earlier. But believe me, Tomorrow's painting is going to be very, very simple. We are going ahead and having something absolutely simple in terms of water colors or whatever we are doing, you will just love it. Something back with turquoise, etc. So do not worry. Simple simplicity is the key, as I always say, We are not here to create or difficult paintings at, on each and every day. And I'm not a person or I'm not someone who is an advocate of it though I have much more difficult classes, which you can always access. I paint florals, etc. Which car? We more difficult. What do you observe right now? But I do understand that you do like to paint a simple stuff. It is not about creating masterpieces that I always, always say. It's like Maslow, easy, relax and enjoy. Okay. I guess I'm just erasing a few parts and then again adding a line here and there. But I think it's necessary, but my lung has gone absolutely out-of-focus and out-of-order. I am now making a straight line, as you can see, and then going ahead and joining it to the bottom here. But the body has become really huge. On the left side. While you go the furthest left, you have one leg and after that other leg, histone are pretty big. This is not a very correct approach, but I just added two lines. If I don't need some part, I will erase that out later on because I still don't know how I want to balance this painting out. In few places. I just leave one or two extra lines here and there. Okay, going ahead with some of our horn. Now, you can also start adding these horns to your sample ideal. And this is just a very rough outline of exactly where I want to add these horns. Frankly, every time, whenever I add any kind of structural or any kind of framework to my painting framework is majorly the sketching part. As I always say, offering vocation, very, very important for your final painting. The most important point that I look forward to in that sketches are balanced sketch. That's it. And whenever I am even adding heat, the smallest, smallest details I just tried to add forced the rough outline exactly how and where I want to place these particular thing. Maybe even a small hole, how I want to place it, how exactly where exactly these things should be walking up. And hence, those are the point, as I say, which is important even in any kind of sketching that you do. I have been an advocate of sketching, freehand line drawing, but along with it, I do understand when we are starting off, we do like to sketch much, believe me, when I started out at about four to five years back, I didn't want to sketch so much. And I was just going ahead and randomly painting anything that I wanted to paint. It was more to do with landscapes. But as I progress and this journey, I realized the importance of sketching. And sketching is really important for a watercolor artist. If you know how to sketch, well, believe me, half of your walk or half if your job is done. I'm just going to hand and finalizing a few videos which is necessary for the by deal. I think this looks nice and good as of now. And then I guess we will just extend it a bit more where we go towards the bottom and join it to the head of the samadhi. Okay, great. I guess this is it. There is nothing much more from here. It's just the outlines that you need to go ahead and erase it. Always light outlines if you're directly doing it on the paper. But I would request you not to go ahead with directly on your paper. Or if you're very, very confident with your sketch, then please go ahead directly with the paper. Otherwise does not pay very simple BOD or you might have to just Google, had flaws to ward off people and then finalize on the watercolor movies. And I really don't want you guys to spoil your watercolor paper. That's one of the reasons I have pain. I think this point again and again. I'm almost done with the painting. So this is the time where a step back and just absorb my painting. I go take a small water break or break, come back to my painting and see whether it is balanced or not. I'm not painting a cluster drawing right now whether it is balanced. Because unbalanced sketch is very important. And you can only get it once you take this one break for yourself. Forums. What happens is when you are in the process of creating and keep creating. Why do we need to break? Whatever is done is good and we do not see the need of any second opinion or a second look at it. I have already installed a few of the areas. And what I'm doing right now is I'm going ahead and making it smaller. If you observe that I'm going slow at this moment, I do not want to just take out the balance that we have in the sketch. But still, I feel that we might have to reduce it further. The body maybe or yes, exactly. I told you that we have to reduce the body. Now. You know, the legs were looking far off from each other. And that's one of the reasons I did this process. I am making it a bit more smaller and thinner while we go head and then I would add the legs so that way it gets more balanced. Now, these things you will only having these things don't come so naturally are these things don't come over one single day. It takes a while. So be patient with yourself, not only with the watercolor part, but we even patient with us sketching part. Again, as I always say, all these things are a process and it takes a long time. So do not try to fast-forward your process. One can pass for potato and journey. It takes whatever time it is going to take time. Always say, keep at it. That's most important. I feel that keeping antigen you really helps us to focus and progress with the painting or with exactly how we want to shape our way towards any kind of a medium. Rest of, I'm happy with how it has turned out now, it's time to start painting. 18. Day 6 WildLife Exploration Painting: Okay guys, so all the colors that you will also see next would be similar to the five, what we have done. And then let's see how the water is on the surface of the people. You can see that I don't have a lot of water as I could be doing more of a gradient wash in this case, for this particular painting. And the add-on Carlo with this painting is Decennial your orange. Now you can have any orange bio side. You can also make some amount of yellow to red to get an orange. I would leave that decision up to you. I'm using the pulse yellow right now to create a gradient tool. This is more like just going ahead and adding the colors, seeing what looks bright, what looks nice. Nothing like that. I have something in my mind while I'm even painting her background. Only one thing that I always, always like to do for my background is creating one part of it, more as white or keeping the white of the people pump work as it helps me to create that beautiful mist in the background. So that's what I would be even doing or repeating as a process for this painting. You guys have pretty much all of the planning process and I know that you are excellent with it. I have lost apply a light wash as to what we saw. I'm not sure how much darker I want to go. So it's always a great idea to go with a lighter values and snowy add all the values as you progress. It is very important, or you can say the values becomes really important at this stage. Now, all the values which you see at this stage is majorly though, orange as well as the yellow. The yellow is basically the top part. And only I am changing the value of this Naples yellow and orange to get Coca-Cola that we like adding some of my burnt sienna into it, and then a bit of indigo to create that taco value. While we go towards the bottom, I really find that few colors are absolutely fine. When you have so many colors, there is a chance of getting confused with the colors and the less focused on your painting. So I can only see simplicity is the key. The most simple. You keep your paintings or somewhat easy you keep it. It's easy to go or is easy to follow. I think that way you can not only keep a track of your progress, but also be more into the painting and enjoy the process rather than getting so confused with all the side things like, okay, which color to apply? How many colors can I make? What are the values should be created with so many columns wide as muddy mixes. So there are so many questions which crop up in a watercolor painting at that point in time. There is another thing which I can suggest you do is you should be well-versed with the color theory. Now, color theory is something that you get to learn yours. Believe me, third aid, wherever I have to go ahead and paint something, I always try out my Carlos in cause separate people and understand that whether they are mixing correctly or not. If you really want to understand this part of color theory, you can go ahead and check out my last class about painting clouds. And then I have explained a bit about color theory and how high follow these paintings for vibrant clouds and sky. So I have a particular way of choosing my own colors. You can see how I do and then you can go ahead and even work on it if you also like. Similarly your pattern of colors. Now, going ahead with some browns now, rounds and rounds. I think over here, it's more about just applying the colors, the darker value that we're creating for the bottom area. I'm pretty happy with how it is turning out, but always, always go head and to your outer edges as we do not want any backgrounds. I keep mine tissue pretty handy for this one single reason. Going with some more yellow now, now this yellow is basically your Naples. Yellow has told you earlier, adding the darker value. Believe me, at this point of time, I am myself not very watching a stage. I would say when I know that exactly how I want to take this painting forward. Every time, even when an artist is painting, the half-life thought process going and then mine, I had one thought process which I did that I want to keep her part of it as white and rest of the parts, I wonder why, although they'll go values, when, how much I wanted to add in terms of the darker values for the yellows is something that high to need to judge for myself. Adding now the brown down, the brown adds flavor to the painting. And that's where I always say that every time I keep searching for that particular color which adds that PUT to the paintings, which I was not happy with, that I was not getting it at the first row height applied the yellow, I applied some orange in the bottom, but I was Suzy not happy with how it was turning out. So I wanted to try something more than this. I would say the area where you keep on trying, where you keep on trying to get a perfect mix is something that I always, always look forward to and I really appreciate each one of you who was also trying to do that. It's not important to always get this perfect colors to get the perfect mix, but you have to fight to get it and try is most important and phi is what makes a good progress and what? That means your painting look even more pretty. Thankful. Add some birds in her. This is the most interesting part. You have only done it in the five-year, meaning what we have done in the bike. I'm going with a bigger brush right now. And as we progress, we will make it. Keep adding these small maps. Like you absorb some straight lines. Some of these browns, though it is becoming more like that, That's absolutely fine. Initially are people whose mortal back. Because of this, you will find more of clones, but as you progress, you will see it taking some shape, as well as the textures will come up. A smaller rationale so that I can make these mano marks in view of the ETS, I'm making these straight lines and some of the places it has just a few dots you are. And this would be a bit of a time taking process as we are going to make a lot of marks and a lot of lines here and there as you want it be also, some of them will be lines and some of them will be more like mocks it. Why do I go towards the bottom which is just in front of me? I wouldn't make it more bigger or you can say, I would make the marks a bit more longer, as well as d, d 0 compared to the one that I have on the top because they are farther away from us now the right atmospheric reasons because of which we don't make it that way. I would be explaining it photo hopefully in the next video. Overall, you can observe as we go towards the top area, these lines are becoming smaller as well as less in number compared to the ones that we have towards the bottom. So what's the bottom? There are lots and lots of process that I want to show. And as we move further away, I want to make it more like a misty kind of a view where everything is not visible or we just see more of the somebody. The atmosphere altogether is very calming and nice. So that's what I want to convey with this painting. Moral understanding of the painting is very important. What we really want to convey with the painting to the person who is actually absorbing it or having a look at it. That's very, very important for me. It's important to give those come and nice wives, which just makes you fall in love with how very simple and very easy kind of an aspect like painting or small or easy animal. That's what it is all about. I don't have much to explain at this stage, you can continue painting along with me. You will see that I'm using mostly though darker and open to flight openness urine there. Once this layer dries all we have to also go ahead and add a bit of our crosses, which would be majorly with burnt sienna as well as for the dark brown you will absorb because these are more of blooms and they will become lighter. Wants to be Budweiser. There's a vast difference that you will observe. Now. The paper has dried off and you can see it has tried at least one or two sheets like go with them what you did also fairly always, whenever you are painting, make sure that we go one or two shades darker than what you expect your painting. Good turnout. Yeah. After it dries off, the watercolors always become more and more lighter in value as it is more of a transparent medium which we have. Okay, That's it. Let's go ahead with some Oberon sienna mixed some dots. As I told you, these would be the classes that I see and I'm going with a very easy and simple process, few dots here and there without tennis brush that we have. And then we will create a few lines attaching those dots, which will basically look like your grasses. It's time to add some darker value. That is your dark brown grasses. And once we have added those top crown crosses than his background is already sick. No major important part which is the subject, that is, as somebody who needs to be painted and we are going to play in part very, very soon. I hope that you guys are super excited to do that is more of a black color. Contact me, I'm going to add on to some value. You can have a pool ready with yourself that would be even better while you paint the sample deal. Right now is just some more of lines you can see I'm waking up arrow or grass like a bit thicker part on the top and then extending it to me one line which is attaching it to the background or it is majorly to give a grass field or look, or you have these wild grasses and want to actually catch an angel. And I always agree to the fact that captioning is most important while you continue on a journey where you want to paint nature. Nature is absolutely random, as I always, always see, and nature has its own beauty. We want to keep that beauty even in our paintings. So all of that I tried to make in every meeting. Let's start with the thinking of the somebody over here. As I see that it is less to explain because we are going ahead with one single color. It is necessary to go ahead with a smaller brush. Please go ahead with a smaller brush and variable, it's important to go with a larger brush. With a larger brush, I think when you are painting the body, you can switch your brush to a larger brush company to what you're using right now. Or else your ideas will keep trying and you might get these batches or marks which we really don't want for your painting. First approach, as I did tell you, was to go head and have a pool of color and use the same color, then have somebody. That is another approach. You can go ahead and mix a bit of your sheets, which is going ahead with some of your sienna initially and then just mixing it with some amount of your drum indigo to get a darker value. Now, these value changes tree don't impact the subject a lot part, a lot about the artist, I would say because you are becoming more and more experienced and hence, whence you, once you start doing these small, small changes in your painting, you will see how much beauty and how much in terms of values. In addition, it has two you're painting. It is so much more original word is so much more, I would say pretty in this way because the atmospheric changes will be there and then was very changes. I mean to say the mist is there every place and every point wherever you are watching the video, you will not see exactly the same color and shade off brow or altered darker value that we want to enhance. Its great. We'll just go ahead and change the value y. I now blend my color of the leg with though, what am ATO that Islam majorly the class Len part. As I wanted to get blended completely with the background. I don't want it to stand outside of this background. That's very, very important and keeping a blending brush handy in this case. So thumbs to a lot more use. I know that I have made you work a lot and this painting and you did lots and lots of changes in terms of the drawing you a lot about how to paint, how to change your values, how to create that beautiful background of mist, etcetera. With that, I do try to even give a bit of an insight into how we can actually adjust our painting with what we observe in nature. So I hope that these are a few good lessons that we can take forward even in our future paintings. Ever you are going ahead and doing any kind of watercolor art work or any kind of landscape or seascape, whatever you wanted. The model is way more exciting. The reading with a turquoise color, I am going to tell you how to paint water. And it is going to be something fairly very amazing. I have. I've tried this out a lot of times and after I take get a hang of it, I thought to actually share the secret with all of you. I like to teach. And that's one of the reasons whatever I see or whatever I get used to or I understand well in watercolors, I really like to share that part with all my students that I have. Either np on Skillshare platform or either it be on any other platform. This is something that has always been there. I love to teach and it is so much comes from within me. I hope that you're enjoying it. Please continue waiting. And it is slow process. So enjoy this little process sometimes that has lot more fun and enjoying this slower process and going with the flow, I am adding the music right now. And then we will go head handle, just add some round shape on the corners. That's it. That is nothing much that is left. So see you tomorrow in the next painting. 19. Day 7 The Ripple Practice: Let me show you all the colors which we need for week seven. This is similar to all the sheets which we had in the earlier sessions maybe started out wanting to end the similar way we will be using those similar kinds of colors. I'm going with my turquoise. This is a beautiful shade from the brand sending your hand. Let me just do it this way as we have only two particular shades this time, which is day-long. Took Weiss. And I have an auto Carlo, which is one Payne's gray. Okay, this is my Payne's gray. You extend it and you get that beautiful blue shade that we usually don't see all the Payne's gray, but this has a beautiful shaded and am very happy because of that. As it has a very beautiful blue shaded at 0 k, it has an underlying do with it. Let me now go ahead and start by adding some of my water on the bottom part. If something like this happens, just go ahead and take it over. They have offered tissue. Okay, cool. Now, this looks perfect. Beautiful to me if you absorbed. No. I think there's no law at all. You have to go ahead and just add one layer. Once you have added this layer of water, I will do a very simple process, some cool shade of the turquoise and Payne's gray and start adding this color towards the what's the bottom media, how we do it this way. So I will just go ahead and just make it more and more as we go towards the top. So he's talked with the lightest value. Okay? Now you can even use leaves some gaps in between. That's, that's what I would always prefer doing it. So you can encapsulate this. In case one auto school with some fresh water. You can create some lines like this. Another way of creating that way you can start creating depth in it. Okay? Now there is a ripple effect that we need to create right? Now. If there is a ripple effect that you need to create, I have a really easy process, so you just need to do this motion that is your house so good. So if you are not aware of this, just try making these kinds of circles with your brush. And then we will apply the same thing. Go ahead. Go from the right at it in the middle. Yes, go ahead. Go from the right editor in the middle. I will take some darkest value. From the right. In the middle. High, we'll make it a bit more broad or this one. Cool. And then make it like this. If you want the mic around like this, you just know what the kind of ripple effect that you need. We are going back. Now. This is the kind of effect that you would get for your reports. You can always always go ahead and clean up a few places if required. Just exactly the way I'm doing. Now. Sometimes with a layer of water and take it off on a tissue like this. Cool. I am very happy with how this has turned out. I guess this looks good to me. And what I would do is I would go with my smallest brush, which I have available for school with our smallest brush now. Okay. Cool. Okay, cool. This looks good. It's just this. We can make more ripple effect. I guess. This is it that I wanted to tell you all the ripples front of you? Let me tell you how exactly I would like to paint the trees. Now there are two ways to do it. They actually multiple ways in which the fine please, if you're an angel, I usually make a straight line like this. And then this week I am not going to have a lot of lines. While I go towards the bottom, I will just finish it. This way. Not only you can go head and restriction on Moodle show spot, what you can do is you can also have smaller and thinner boundaries or you can say pine trees. So it's a function is actually it's fine. So yeah, that's what it is. Let's go ahead and try to link one. Pretty easy, right? So no difficulty in making any of these. Just that while you paint it. Makes sure that you are extending it. This looks good, right? That's what we're going to do. Another effect that you are going to work on. And it is a very simple one. You just take a square like this. Any square, just apply some water on it. Even wash. You can see on a small square, stay for any stroke pains if you have. Those is for the background. Pine trees. You can take it from the top or the bottom or from bottom to top. If you do it like this, you will see that on a dry surface it comes out like this. Whereas when you do it this way, on wet surface, they will become more like blooms. When they become more like blooms, they would appear like trees. These are basically your four or five different effects that we are going to explore. This painting. I hope you like the session. It is D7. Let's start with our painting now. 20. Day 7 The Ripple Painting: So guys, this is the seven, which means that we are more than 50% of the days are done. This is a very, very interesting exercise, as I did tell you earlier. I'm going ahead with my turquoise color, which is the Taylor turquoise from the brands and alien. Now this dado turquoise are different for various brands. I do have this Taylor turquoise, even from Daniel Smith, but that is a bit more green oak compared to the blue that I get when this case. Okay. Now, I have a mixed of this Taylor turquoise as well as Payne's gray. I'm going to work with these two shades mainly for whole of the painting. You will not observe me adding any more paints anywhere. So take it easy. Take it slow. It's a very simple and easy process. Believe me, it's just a bit of time which is required for painting this. Otherwise, you already know all the ways of painting water. It's just that this is a bit different than what we have approached. All you going with straight lines now from the top as well as on the bottom and leaving a few spaces. Which is why, though, I don't think that I retained a position to give them buy it for a long period of time as we are going to make ripple effect. So that way we are adding the darkest value towards the bottom. As we move towards the top, what happens is that there is a distance between these ripples that we observe, as well as they become more lighter and lighter. The things which are closer to us appear or deeper and values and darker compared to the ones which are far away from us. So that's how it is. My paper is still wet and right there, what I'm trying to do is reflection of the top area, which is majorly the background of the trees that I'm observing from here. I would be making simple and beautiful pine trees. Yesterday I was coming through dazzling. And frankly it was raining. It was raining through out the entire job time we are coming from the place called as new job by Goody Two, Darjeeling. Of course, these are really small town in the hillside off the first finger area, which is basically the eastern part of India. And I was absorbing the similar kind of an effect which we are going to paint. Believe me, it was so magical. I can tell you I've seen what I painted a few days back. Justin run off my eyes. They're rare layers of mountains that I could see. Their mystique points that I was observing. It was raining, there was missed. And it was so beautiful. I was so stunned with the whole process of nature, how nature has its own beauty and how much you can get immersed into it. We actually stopped at a very small space and had some d where it was raining if it is pretty cold right now over here as it is raining. So yeah, nature has beautiful updates for us and I think Anita has its own beauty. If you can start capturing it, if you can start observing is nothing is better than that. Going ahead and adding some of my lines, yes, I did apply the reflection and then I did not like it, so I did merge it with the background. These things do keep happening. I think in every painting I see, I tried to have a flow. I tried to grow very step-by-step process, but it doesn't happen that way. As I do understand that all the process which we do, all the paintings that we do, I'm not bound to be happening in a way that we had thought it should go. Because of the watercolor medium, it is very unpredictable. And because of its unpredictability, we have to always, always wait for its magic to continue happening for us. Okay? I guess that is it working with the darkest layer on the top? And once we have applied the darkest there on the top, then I would go ahead and let the paper dry after a while. Once the paper is dry, we will go ahead with our darkest value for the bottom area. I have applied one more layer of water. Now I'm mixing my Taylor turquoise with the Payne's gray, which I have already applied. Applying an even coat of wash in a way that none of the water actually takes off the colors from the people which like the first layer to not take off. So that is something you should always keep in mind while you apply this layer. Go with a very, very light hand while you are adding base layer of water on top of which we are going to paint. This is the glia two, and we have already applied layer one. Most of the paintings that we're doing in this case is only concerned with two layers or maximum it is done in one single layer two. So while we are trying to keep all the paintings simple, that is something that we learned from each and every one of them. I could have captors just simply misty binds, but I just fell that there is so much more depth if we create Misty Pines with these ripple effect. And it was just perfect, I think for this kind of an occasion when I'm traveling and when I see everything in front of my eyes is Pear Deck. Oh, there is a scope of these things also happening And then there's the scope of these things happening. I should also take it out in front of you guys and you guys should also try out what I see from nature. Maybe you guys can also see all of it as you progress in your watercolor journey and be inspired more and more by nature. That you also start capturing it in your own beautiful wave. Just read the brush and paint. There is so much of freedom. There is so much of love, as well as I would say. It gives me so much of empowerment. When I can just paint anything with my stroke of a brush, I can see anything I can paint that. That's something which is so much helpful even to my inner being and inner soul. It helps me to satisfy myself to see the world in my own eyes. I don't have to actually rely on photographs. Something's really, really amazing, I would say. Okay, I'm going ahead and making a few more lines now blending it a bit as I feel that paper is drying up a bit. So whenever you are doing this exercise and you are getting any hard edges, I think you can also go ahead and just blend it with a blaming brush. Finally, there are one or two lines that I want to add. Do try these lines with your practice part. Because if you are not practicing, you might not get these small spherical shapes. And I want you guys to actually go ahead and have these shapes in place. Because that would really help you to create this painting in a better way. Okay, adding the darkest layer towards the bottom. What happens is as we keep painting, the layers do go on becoming lighter and lighter. Sometimes it's good to go head and sometimes add these layers with a thinner brush. Thinner brush really helps to create that depth and darkness which we need for any part of the painting. Okay, I'm cool. I would let my people dry off after this. Or at least just go ahead and check that the top part of this area is dried off. Once it has dried off, I will again apply a layer of clean water on the top area. Yes, there is the ordered nude of clean water. That's one of the reasons you should always, always have two jars of water biocides whenever you are painting. If you have two jars of water buyer's side, what happens it is, it becomes really easy and simple for you. Rather than always going ahead and again, changing your colors or just washing your brush on one of the jars and having a clear source of water in the atom. Okay, Cool Guys. Let's go ahead and make some of our trees, which we want over here, dropping in colors and making these lines. You see how beautifully these lines are coming up. Yeah, I am very happy with how these lines are working and they looked like binds and few of the places. Of course you can go ahead and add a few drops which are broader and Baker and the other spaces, you can go ahead and start. Adding these lines for the background trees. Now, background trees are more blower in nature because of the atmospheric conditions. That is, it is one, it is far away from us and there is moist missed everything in the air. You even have some clouds in the air because of which you cannot see it very clearly. All k going on the right. And then again, adding this shade of our raw Taylor turquoise. I will allow the people to dry off again. Go ahead with clear water layer towards the bottom. Now why I'm adding this? I want to add the reflection of my pine trees into with the background. Pine trees which I've painted is blurred. But the foreground, pine trees will be detailed. I have to add the reflection of that into the water as not part of the water is all lot more calmer compared to what we observe in right now where there are some reports. Okay, this is something that I have learned that calm water has more reflection. Come back to the waters which are moving. Moving waters have less of reflection compared to the calm waters which you absorb. So whenever you are painting, just absorb your water. How you want to actually paint your water. Water C, etc, is a huge and vast subject which has so much of learning in itself. Believe me, if you want to only study that it's enough for a lifetime. I have kept my reflection of the trees into the water a bit plot as it is. Not very close to me, as well as there is a bit of movement or so keeping it or bit blower is always a great idea. One straight line and then a few dots here and there. We are not going to make all of these pine trees. I mean, healthy in a way. Like there are not a lot of the Senate. I'm trying to keep it a bit lesser in terms of the foliage that we have. There are various kinds of pine trees that you get in nature. And this is one which I wanted to showcase in this particular painting. Believe me, I do have a misty pines painting tool, which is going to come up very soon. And that has mood of blues in it, as well as mountains, etc. A lot to do with textures. But they're, the pines. Shape is way more different than what we are doing in this particular painting. Okey now is more often metadata. And I treat a process, I would say, you have to go head, just absorb how I add these trees. And simple, easy manner. Going with a few dots here and there and making of fuel lines, and that's it. B, we'll add some lines and dots. And why did they go towards the bottom? We will make it a bit broader. Pine trees appear in 187 different species in nature. And they are usually conifer trees, which are of various shapes and sizes. Along with it, they have the smallest, which is called as Siberian dwarf pine. And there's a tallest, which is 81.8 meter tall. And it is ponderosa pine located in the southern Oregon row national forest. So you can actually see the kind of pints that appear in nature. There are so many of them, and we frankly can go ahead and paint any kind of them that appears in nature. You do not need to stick to one single kind and which you'll paint binds. Sometimes. They are more broader in the middle part and the goal way more skinnier as it comes down. And some of them are way more skinnier in the dark. They become more broader towards the bottom. So all of these to depend on the kind of pine trees or the area that you have gone and you're checking it out. Or you could say, as you know, I'm endogenous. So I was just looking up and understanding the kind of pine trees that we get over here. They are mostly evergreen pine trees known as droopy. The conifers. Blonde is reading font in huge numbers over here. Along with their term, there are some bamboo trees also which you'll see in the regions like gushy on column Pong antigenic. These are all small hill stations are over here. The most interesting layer is the one that we are painting. Right now. We have already set the mood of the painting. We are good with how the tonal values have come out. Many of you might get confused with the tone values. It's basically the lighter and darker sheets, which we have used for the background trees as well as for the water area. It's just that I'm trying to protect the water area from any kind of thoughts and marks because of which I am using this tracing paper. Now you can use any kind of people place your hand on top of it so that you don't get any lines or marks and those areas. I'm very simply going ahead and painting finds, it's not that every day I paint binds. That's one of the reasons I might not be the best at painting finds. What I tried to observe and understand are do is just have something which is similar to the one that I want to paint. I always say this. We do not need to make masterpieces. Yes. Everything will come together. Not going or concentrating with one single aspect of the painting. Or getting more obsessed with painting Pines only in a painting. Having overall look and feel of the painting is most important. I always say this, a balanced painting is very different compared to if you were just going ahead and focusing on one single aspect of watercolor painting for me over here, the most important part is the report, which I absorbed in the foreground. I will not deny that these trees are not important, but yes, the unmoored often addition to the major subject that we have, all the added. Finally, it's time to just have a look at the final good and beautiful painting that we have added. And I'm so happy with it right now. Okay. Let the paper dry off or if you want to just go ahead and paint a few more here and there, go ahead and do wet. Have a final look at it? I can tell you you will be really, really happy with it. Blending of the bottom area. As I observed, that the blend is looks like just a line. And I did not want that. So blending it in a bit of a length so that this looks more organic in nature and there are no lines that we absorb. As I did tell you in my last painting, it's time to go head. Just step back, relax, and then think about how we want to progress and our next part here, it's not important to add a lot of details. Important part is to understand that too we even need these details are not. My painting might be a bit different than the one that you have come up with. So make sure that none of the dealing also spoiled. So less is always more. I think these lines basically shows me that there is this superficial top layer and it gives more depth in the water area space. Key. Guess. I'm happy with how it is now. Time to allow your paper to dry off after this. Have a final, final, get it now it's the final, final, final outcome kind of thing. Cool. Meet you tomorrow again, where we are going to change our palette and work with some yellows and Payne's gray. 21. Day 8 A Simple Sunset Painting: Hi guys. I'm back with your IQ. And more than 80 per cent of the paintings that I've done super excited to teach you this one. I have already prepared my people and added 0 small sun. Or you can even do masking tape or masking this part of the sun. I would leave that decision up to you and then start out with your Naples yellow. The colors that we are using are absolutely the same ones that we have used in our day. Six, as well as D5. So there is no change in the color palette, and hence, I did not actually add any session where you are going to practically learn something more about color palette or practice something very different than what we have done. My paper has a lot of water and hence my colors are flowing into each other. But frankly speaking, sometimes I'm really not happy with the blend and you will absorb that. How many times I will blend as part of the people so that I get shade or color, which I really like. This is something that I have learned over time that everything you start off with me now, turn out exactly how you want and it takes a lot of time to practically get there. I'm going ahead and adding some more colors towards the top part. It is basically your Payne's gray. We are majorly working with three colors. That is your nipples yellow. Then you are sending your orange and your Payne's gray. Those are the colors that we are using that split, what we will be using even throughout the painting. If we need any kind of darker values, we will be mixing some amount of orange with Payne's gray and getting that darker value or brown or something closer to that. You have to always go ahead and test these colors before applying it to the final paper. I am using my acrylic bar to move around. You can see the colors are flowing into each other. Practically this particular painting is all about unpredictability. Now why do you say that something which is unpredictable has lot of meditative or lot of insight into it. Because something that you cannot control is where you get to learn the most. The medium is water, and I cannot control water. Hence, that is called continuous. We do partner with this medium. I'm not trying to control it, but I'm just trying to help and get a shade or color or frankly, the plane which I like, as well as which the water which is there on the people can give me. But do you think that after doing this, I was happy? Really not. So what I did was I applied some water towards the bottom part or towards the area of the Sun pot and just washed out some of the ideas which I did not like. I have been doing this for pretty much many of these times, but usually you don't have a look at it because these are usually the failures that we all have and failures and never shown in a perfect painting. But I guess it's absolutely fine to even show the other side, which is sometimes the failure and we're not happy with what we exactly do. Going ahead and adding mix of Mycenae, we are orange and Naples yellow which you observe. And then blending it with my Payne's gray. I am again adding some more Payne's gray towards the top part. You can see all the colors are not moving into each other. They are separated from each other. That's why I told you that I would be applying a layer of water, hand washing out, rid of it. I do these things. I do these things very often. You know, water has a lot of role to play in all our paintings. Whenever this happens, you need to take out this extra water which is there on out tissue or something. Now is the time where I would say that I am going to create the magic which I could not do till now. So not happy with it. I'm adding a bit of yellow in it though that is not required, but it was just for my inner satisfaction that I have that brightness in my painting. Naples yellow is good enough for all the paintings and you can very well absorbed that I'm blending it only with the Naples yellow that you see. Again going with my Payne's gray. And this time the Payne's gray into the color that you also, where the plane will be super amazing. Believe me, I am only concerned about the plan that we are going to get in this painting and we are going to get it only with the help of water. I did not get it in the Costco and I had to try again. Has you also do Here it goes medially concerned with the bottom part, and that's one of the reasons I could get it easily compare it to. Maybe paintings that we do. But overall, what I can say is you can like something only when it touches your heart. And this really does. Once we completed it. You can continue adding the color exactly the way I am doing right now. Continue with ad, ad an ad. The gallows have some orange towards the top part and the Naples yellow towards the bottom area. Though I am now blending though ADL good some of my Payne's gray again because my bottom part in and add my son has to be again, a taco in value. And hence going with this particular sheet was an ideal way to go about it. Now I'm going to add some amount of my Payne's gray into the bottom part. You can also use any of your other blues, like Prussian blue, etc. If you don't have this blue, Payne's gray with yourself. I know that some of the Payne's gray are pretty dark in value and you might have to go with indigo in that case. It's absolutely fine but illegal. I don't like to use much as sometimes it creates those muddy mixes with the Naples yellow. Always, always try your colors on the board before you go ahead and apply it on your final painting. Never, never take this option or a bunch and ready to go ahead and just try it on your final paper. You'll have to see the blend. Now, it's something that I am in love with. I'm mixing my standing glute orange and my Payne's Gray to get a color that you also, right now on the people, you have to try mixing both of these colors to get this kind of shade and continue to add it till the bottom area. You can go ahead and make some amount of your paints gray while you go towards the bottom. Even while you paint the simplest Dr. things like a small hill or an area of the ground. You can always go ahead and change the values, which is majorly sometimes adding a bit of a darker value. Your mix of cellular orange and Payne's gray, or else add more Payne's gray and that makes them less often we run. So these things can always be ordered and you can go here and change it to ketones. Better outcome. I have made this bottom area a bit more lighter than what I thought initially, I would make it as I have an adult LEO or false. This ****'s coming up. Hands going ahead TO with one more likely value is better for this solid here compared to when we are adding the next layer. Again, remember that the colors will bleed away to a great extent when you paint. So whenever you are applying the ears, make sure that you are applying at least one or two shades darker value. I'm adding a small branch. This is basically a branch of a tree. Again, are small framework for the tree before we go ahead and make had the final BOD with the help of our brush. I always say that you do not need to go ahead and paint like, Oh, excellent, the open door who has yours and years of experience under the bed. But what I always understand is how buffing book ready for yourself, having a broad set for yourself. Don't try to approach things blindly and get frosty to put the medium. Tried to have a bit of sketching handy with yourself. That way, it becomes really easy for anyone to go head and don't have a good find love. I will start adding these smaller lines with the help of my size to size one brush. You can also go ahead and use a thinner brush for adding these lines that is majorly for your branches. I think most of our work is done frankly, because the major part was this blending, which I don't know may not look very ductile, whereas initially, but believe me, that's the background. And that one he said someone took the painting, which is majorly meditative and its own nature. That's the theme of the whole class. And hence, I had to go head with it and create something that really touches everyone in terms of the painting, as well as it really creates that kind of home environment, as well as feel for each one of you to go ahead and try it out on your own. Okay, I guess branching, branching and branching. That's what I'm going to do now. And then go ahead and add some amount of foliage. Foliage or branches, etc. are all done in real time. Hence, you can follow along, as I always say, that I love to add anything in real time. Real time gives me that a possibility to help you understand a lot more about painting hand. It really creates that UP. And stepwise explanation really helps. So each one or everyone of us to go ahead and try it on our own, adding a few more branches and making it darker in a few areas wherever it is necessary. Once this part is done at these smaller leaps in terms of thoughts and small, small areas have started covering. I think these are just two small leaves. If you continue working with this brush, it would be a bit difficult for you to come continue working on the dodgy ideas and we might have to switch brushes in a few places wherever it isn't as strict. As explained earlier, switching my brush to cover larger area TO disease, just to cover that area. And then I'm against switching my brush tool, the smaller one, so that I can actually show that there is a cluster of leaves here and there. It's not that the whole of the tree has got a lot of police and he is very loose, but fewer places have n clusters. And that's what we need to show. This morning. This whole branch is scantily. The foliage is really scanty in terms of the ATO that we have in green, as well as you can see mutually or brown bottom. You finish it. I always add some smaller leaves towards stop punishing areas. These are thinner and smaller leaves compared to what we have usually done for our binds, as well as we will be doing quite well. Binds painting coming soon, very soon, changing the palate to hold blue altogether. And then there would be more of things that would be coming up. I have lots and lots of them in my original. It's just that we have to share the day and just continue painting. This journey is super amazing for me and I hope that you are also enjoying it with so much less complexity in terms of the color mixes, et cetera. We hardly have much of difficulty in terms of the availability of two colors. I would say you can have any kind of Carlo with yourself and start out with the sum paintings. So don't just think that you need to have only these sheets for your tryout with whatever is available. As I see, that integral is a good replacement of the Payne's gray. If you are not having that, sending your orange can be even gamboge orange or any other owners that are being pulled with two nipples, yellow is something that you might have to go ahead and try it out. The orders, you can also mix a bit of white Major, the titanium white into your yellow to get a color that is lighter in value, but it would be more on the opaque site and hence Naples yellow is not that obeyed, though there is some opacity and will not deny it, but It is way less opaque compared to what you can get with this kind of a mix. So yes, all of this put together, it's easy, simple, and maybe 25 min is max. What do you need for the whole of painting? It's time to add some detail branches here and there. And I'm using my size one brush for doing it. You can also use a size zero brush. I immediately loved using the size one, size two brush for all these detailing pods. And it comes really handy to me. It all along. Now it's time to step back and understand if we need to anything any further or it's okay to go ahead with only what we have. Last part is to add the final Hill for the bottom area of this is again leading. I am mixing the color, which is my Sennelier orange, as well as some of my Payne's Gray to get all colors like brown. And once I have that color, I'm mixing it with Payne's gray while ago towards the bottom. Once I have added all the colors, some, I would go ahead and just let it be a bit more room. I would say you have to leave it for one or 2 min till the people is in a condition which is semi wet. So semi wet is basically a condition where it is not completely wet and it has got a lot of water. Had no it isn't a condition where you have like Absolutely Dr. April and splattering at this moment becomes very good at this stage. Why? You will get nice and beautiful blooms. You have already tried it while we were understanding the techniques part. And again, we are doing it now to get those blooms for our bottom area of the painting. I'm pretty happy with how this has turned out. Now. And once this part is done, you can go ahead and add a bit of Payne's gray in any of the areas where you think it is necessary so that you can have various values for the water. But see, complexity is not the idea for this building as a whole. To keep it simple, easy, interesting, as well as meditative walking. I am a true believer. Again. I might read and get that. Do not try to create masterpieces everyday. Just try to get into a habit of painting. And habit of painting is very, very important compared to what we usually try to do. It really is relaxes our mind and it helps us to be stress-free invoke old way of working. It's done adding some final details. Like the people in Bio something teeth before you head out. Adding some colors for the sun, I am taking off the masking fluid. If you have had no masking fluid and it's only though. I mean, any kind of people that you have had it on majorly, just like the washi tape that can be used for masking any particular area. Adding some Naples, yellow, white, and orange to create the Sun. Believe me, I did not have much of an idea exactly how I want to work with it. I'm using some of my core shadow. You can have any kind of an opaque white, maybe titanium white for adding in this portal area. You already know why I am using so adding a bit of quiet as I see in planning and withdrawal, as well as a bit of orange towards the bottom. Even know, I can still see that my paper is wet hands. Adding some splatter is not a bad idea. Going with somewhat flatter in a few areas and ending it on a high note with lots and lots of textures only with water, have a final look. 22. Day 9 Serene Jungle Painting: It is the nine. Wow, I mean, we are already all know what Dina is. Something that I have just thought of initially, but now we are left out with just five more days. I hope you are enjoying it. I've already prepared my people and now I'm heading home weeks off my medium blue, as well as in don't treat now, you can also use any other color like your home. Bright blue button usually see is royal blue. And I'll mix off your blue. So these are the options that you can always size. Well, you add the colors. You can also hide or pinch off your ultramarine. I will show you how exactly it looks, but my major three colors carved, the Selenium blue, green, blue, and indigo, or paying screen. So I will leave that decision up to you. If you mix a bird of your ultramarine and added, it would look like this. Now this is something that I would leave it up to you. You really don't need it. As I always say that whatever we see, we don't need it always. And that's absolutely fine if you are getting only hubbard of your cerebrum blue and a laundry or whatever I'm weeks that you're using, I'm good with it. If you're also using Prussian blue just to replace and gone through in blue, that's also great. Have a lighter or darker value makes that said, I think which we want for our painting. Rest. There can be multiple mixes which you can use, multiple colors that can be used for any painting. We are not going to get into those details. We are trying to stick to just a few shades to create a painting and enjoying the process of creating a bleeding. As I always say, I'm going ahead and adding some more colors on the left and on the right just to show off cloud-like effect. It's not that my paper is really or has a lot of water in it, and hence my colors on one becoming bloom anymore. So that's what I am keeping in my mind though they're flowing, but the flow is limited. And hence the planning. I have to do a lot with the brush that I have or else the blend is not smooth enough, which I really want in most of my paintings. And I really want to have that kind of always when we are working through the paintings and you've seen it in the previous painting to that, how much anyone can struggle if there is babbling? Yeah, Even, even a very simple of the exercises which is majorly or simple variegated wash or simple blending can be tough. Pan may require lot of hydrations or moving your colors, whatever, et cetera, who weren't there to get the exact mix, which we would have thought that or which we will always want to have foreign kind of painting. The bottom area is majorly though, color of the lake. I'm going ahead with England. As you can solve right now. These other two major Carlos has, you have seen, one is usually in blue and another is you are adding the influencing new for the darker parts of the clouds. As I didn't mix all the colors that I did already applied initially, but I really liked the blend right now where there is some amount of quite that we have preserved from the people, as well as the darker values are flowing from this side towards the middle bar onward still bottom part of the horizon line, wherever you want to call it. So let the colors flow. Always do. I have food was more tape on the top areas so that my colors move. You can always see these kind of things happening. And I also added, added for my own advantage. I think some of my darkest value towards the bottom, I'm not going to show triples, etcetera. I'm going to keep it very simple. Believe me. Even the trees are going to be very simple, except 12 or three of them, which we are going to detail a little bit in terms of pine trees, rest all the trees. Whatever you are going to paint, is going to remain as simple as possible. Okay, adding my darkest value now from the top towards the middle part. Once this part is done, then we would go ahead and start cutting some more of power darker values towards the bottom and let it dry completely. Now something that I've learned over time is we have to work on layers for getting a final outcome. You cannot have just wet on wet, wet on dry for a particular painting. Always some mics off your wet on wet and wet on dry. I can pretty much perfect at them. So that's that's what PDS said. Every time I paint, I like to have that in my mind while I paint until 80 off our beautiful trees or backgrounds. This is my favorite. When I touch my brush, wet people and Carlos move on their own. We're just trying to give a direction to our colors. Rest. Water is doing its work. I think this is the moment of truth and happiness together that I feel. I'm not controlling what Eleanor, I'm controlling the colors, but it is producing its own magic because water is the main medium which creates this magic. And when water is doing all the magic, I can actually take a back seat and just witnessed this view does happen on its own. Multimedia is basically the area where I will have the trees and hence I have marked it with darker values as you have absorbed. My favorite is not very wet, has to see that we have been working at least eight to 9 min now on this paper. And hence, it can't remain wet for a really long period of time. So many of you have been asking me about which people is the best. I would say there are a few peoples that I can let us down for you, which are majorly your hunches, then go to Saunders, handed me 100% cotton hand. Even though Fabriano hundred percent cotton, these are all the best of the peoples that are available in the market. In case you are going ahead with handmade people. Yes, the colors, the shapes though, blooms, etc, might not work evenly because they are not mold meet. Now if it is one weight and prepared in particular, I would say I'm in machinery. What happens is there is equal to mt of water spread, which happens on the surface of the paper. Whereas if it is handmade, then it is not evenly spread on the complete people. And hence, there are a lot of differences which all of you guys see. One of the major reasons of wanting, suggesting or 300 GSM hundred percent cotton paper is the same. You will get the best of the outcome. On top of it, there is or there is a sizing that's been done for that paper would help children or any other medium that particular company uses. Even Lana people is a great option. And I have been using data people for many of my paintings in this particular series. It's completely vegan and for everyone who doesn't want to go ahead and use gelatin or I mean, they do not want to use any people which is not, I would say environment friendly. So yes, nano people is a great option, so we'll hit with it. These are majorly some of them grade papers that you can use. No, I'm not saying that you can not walk around with handmade paper. Of course, you can walk around with handmade people bought your final outcome before, from what we usually see or what you are observing right now. I'm going ahead and adding a few trees and then dragging it with my blending brush. This is a very simple exercise, as I always say. Finally some more lines and then blending it with my painting brush on this smaller brush, Tacitus, almost John, summing towards the bottom area where one or two drops of nodes, etc, is perfectly fine. You can use a flat brush like this to pick up your colors or just ignored the horizon line in a better way. My paper is completely dry now. And once my paper is completely dry, I'm going ahead with a very light wash off my city in blue and in non-3GPP to create misty mountain, which is there in the background. And I can only see clouds covering the bottom part of it. I've seen these misty mountains in my recent trip to dazzling and believe me, it all looks the same. They are so beautiful and so pretty. You can put in as this beauty with your eyes and thin. Start painting. I think that inspiration that I got from their relates to this painting so much that I've just taught to introduce it. Now, if force from within me that this painting was there in front of me had, I was witnessing the beauty of the adjourning with my eyes. It was exactly the same. There was no difference in it. Hence, going ahead and hug and adding some more darker values and few of the areas, as you know, it's great to alter the values in some of the areas wherever it is necessary and then the paper is already wet. So what blending with the background. I'm adding a few more smaller bushes or smaller trees on the left and in the middle with my darkest value, which is either a Payne's gray or whatever you have available with you. You can use it for me. It's Payne's gray. I'm working at home with it to create this value and then just blend it with the background. I commonly use two brushes in all the cases. One is my blending brush that is usually having offers supply of water. And the other one is the one which is more Theodora and I'm using it to paint my trees, etc. Oh, okay. Now going ahead and adding a pine tree towards the bottom, ADL, I am not going to go head and the tail, everything. Hence model, broader strokes and broader. I would say the columns that it's applied on the paper initially and then just adding the darkest value to create pills, water drops. I think somewhat thinner lines for the pine trees. One or two of these pine trees will be absolutely detail and the rest will be face. And believe me, I'm not going to detail everything. And that's what this painting is all about going with this simplicity. Less is always more as I always see. But here it's more about working with simple, simple lines and working with simple, simple exercises like going ahead and adding some textures to the bottom of this tree. Wherever you are drawing, we will go ahead and just drop some splatters, put power, water. It's done that way. So overall, what we are trying to actually achieve is something simple, easy, nice, soothing to our eyes, as well as it has way less number of shades than we would actually prefer to use. We get so much confused with so many colors, show so many sheets, muddy mixes, color theory. Let's keep it simple, and let's keep getting into the progress and enjoying the watercolors, rather than getting into so much of complexity, I would say. The more complex your colors are or the more complex to actually go ahead and make your painting, the more difficult it is to continuity, enjoy or basically continuously enjoy, even on small and simple stroke. For me, just making these simple straight lines is an enjoyment. As I'm not going to detail everything I told you. There will be one or two crisscross lines for few of the pine trees and rest of the pine trees will be innovation pull straight. Mano has just simple, simple lines. Lines has everything lives as all the story and the snake tag. We are not going to do anything. What did we say? I don't have much to explain. Now, going ahead and adding one or two lines here and there. My God host, which is majorly the pilot is kept on the top and hence you can see me pitching the colors. Now. Again and again would, um, they're going with the darkest value and then equals plateau. Simple way to create those textures shows us something that I have been actually enjoy creating. And you would see these shows in four to five paintings that we have done it and now so many of us want to only create textures with salt, but believe me, there are these, These are creating textures. This is just one of them. And we will explore more and more as we continue to get into more and more classes. As I release, I will tell you how to create textures in various different ways and how to even mosque a few, a few years and even create texture. So all of those things we are going to explore slowly. Right now, let's just focus on the current painting and finish it off as we are so close to getting it done. I hope all of you, I'm pretty happy with how it has turned out. You can see these drops of water here and there, and how it has changed All painting to dry off and then have a final look at it. 23. Day 10 Forest & Reflection Painting: I've gone ahead and started with my last step, which is majorly carving out the sides. But let's have a look at this tutorial from here. Oh my God. We're working on t ten and foremost is to go. I'm starting by preparing my people and then I'm going ahead with my teal blue. Blue is very beautiful color has a movie C, and we can find its use in so many places that I really can't tell. Now Heuer, today I'm going to play only with tomato for my background. Something that I have not done much in my previous video was playing with what really helps us to understand watercolor in a better way. Just Derek your board here and there. Once you know what's the top and towards the bottom, the pigments workflow want to ask the people, or D has water in it. You can see most of the pigments that I've added. He's in the middle part, two section, the people. And now I am going ahead with either you can go with ultramarine orals, you can go ahead with pain gone through Zoom. These are two of my go-to colors for any kind of looping thing. Lots and lots of loans, believe me, there's a huge chance that you will actually make the whole of the people blue while experiment. And these are few things that we need to keep in mind. Always, always try to preserve a bit of white people that you have. Do there is lot of that we're going to add. And I would love to know that there will be some amount of white only which will be left. And what is to talk with the news that you see. You can see me clearing out comfort of the space from the middle of the paper. And then I would go ahead and clean my brush again. Of course, most of the parts that I did clean up a bit from the top area as it goes only and only blue. And we really wanted to keep some space for the whites. So these kind of cleaning and this kind of changes you can always do. As well as the beautiful background which we have created for this painting is something that I am so happy. And believe me, this is not that in every painting we get it. I had no try this two times, rightly, this painting to get hoard all this kind of homemade Stan, beauty and background. Continue adding these lines. These lines are practically the ripples that we want to show in the water area. Yeah, there are a lot of paintings that we did in terms of the waterfall. Then your areas of sky. Except probably because most CVR working with landscapes do not deny that we have worked with port as well as sample, do you? Those things. We have also a lot more than that. Yes, we concentrated on all of the other areas. Cool to always go ahead and clean up a bit of a space wherever it is necessary so that you can paint on top of it as well as I will always go head with clean supply of water wherever it is necessary. You can see that my water is flowing. I told you that I'm going to experiment with water more in this painting. And this is one of the paintings where we are experimenting more with water. Everything lies in water rather than watercolors. For this particular painting. Though, this is our first layer and as we progress to a hunter layers, it would become very different hand, you could be working with more rough weight on for my tall grass and wet on wet pin joint this process, believe me, every time we don't get to do it often for on our paintings and most of our paintings are more restricted. We are not going ahead with the restricted approach for this main thing. We are going ahead with her Freehand or together. And I want you guys to make your mistakes to actually understand that watercolors keys are different ballgame altogether, the more you experiment with it, the more it is going to reward him. I have added a horizon line and I'm checking whether my people is completely dry or not. Once my peak, what is completely dry, I would go ahead and start adding a bit of rock. Now, this is a rocky area that I want to add. And above that there would be trees as well as on the left and the right side there will be trees. As I always say, sketching is basically your framework. And once your framework is ready, most of the work that you do becomes way more easier. You can always do a thumbnail sketch if you weren't very confident of how to go about it, orders download the image and then just do a tracing of the image on paper or on the final painting. And that would be really, really easy. I have shown you how to trace in room one of the projects. I think it was a second-order thought project that we did where we did apply our tracing method. Going ahead with how hard that is mutually my inequal Payne's gray, whichever you're more comfortable with or whichever is available with you. I'm fascia applying the color and then blending it with the background. Using clear water orals, whatever water is available with, you use that water for adding the colors and then again, add a few darker values and some of the areas. Even my hook, I would like to add contrast. Now being fueled videos, I would make a taco and few of the areas I would make it like. Now, this contrast is going to add basically the depth in toto painting. Of course, it is wet on dry method that we are working in or out right now. But you can also go head width, call wet on wet method. First, you can apply the water in the area where you want to make it darker, like go and then go ahead with your colors on top of it. Don't just eat. Yeah, I wanted more dark and handsome going ahead with cold wet on dry method compared to what went on with my talk. You can see a lot of loans which are coming up and down. A few of the areas which are more darker compared to the other atheists which are lighter. Now this is a simple yet interesting process of creating. Europe's pretty funny. I was soccer painting rocks, but when I did this painting, I got one standard. That rocks is a very, very simple way. Or you can practically do it in the easiest of the ways. I was just trying to add some lines, but this did not work on this particular people. Maybe have to try it out on other people or it's not going to work with the witness that I had on the paper. So all these things we have to keep in mind. I tried to use some my spatula to walk around with it or you can use any sharp object of backoff your brush, whatever it is there to add these lines. In case it works, it works. If it doesn't work, it's absolutely fine. You can just leave it and let it not work. We can go ahead with another layer of dark value to make it work. Just picking up a bit of the color in few other areas. And then I'm going ahead with some of my darker values to meet those lines as I have told you, as it did not work with maybe your credit card also, you can try to pick up, though Carlos and few of the areas. It all depends on the quickness of the leave any kind of paper that you are using. Sometimes it works and sometimes it doesn't work. If it doesn't work nor get disheartened and you have tried, That's the most important aspect as a whole. We see enjoy the process, whatever you are trying to keep enjoying that part if you enjoyed that, but believe me, most of the other things will automatically fall in place. We have added though darker values and now we're going ahead and having the lighter values every time you alter the values you create to create. A lot more interesting to your painting. This is something that I have learned over to yours. And I always say that never go with a flat wash for the background, going ahead with a flat wash or even walking with her initial layer is good enough. But as you progress in your journey of watercolors, it's important to mix what the techniques that as wet on wet and wet on dry. I didn't know few more lines for the lightest value that we have. Your dislike. This value is back to clearly differentiate things all like OPAT, often off from the dock low value, which is majorly packages. So the ETL, which is what I did, the shadows, they ETL, which is what angle the light. Going ahead with the definition, whole life. This is all very, very important. The Becker, you refine your horizon line, the better would be your outcome. I'm waiting my background a bit more. Again. Of course it's still clear water, which I always have with myself. So one jet of water is always clean, as you can see on the right-hand side. And one jar of water is used for washing all the brushes. Of course, you can see everything that is laid on the right-hand side as I'm a right-handed person. Hence, I organized my stop, whether it be watercolors, whether it be my jar, it's happening all along the right-hand side. Otherwise, jobs that you might have some happy accidents. We have already created. These lines are in our row last activity area, or you can say in our last few paintings where we did go ahead with our background. And I did use these kind of lines for creating the background trees. And as we progress in between, more definition to this layer, though the whole painting might look a bit longer, but it's just the layers in which that we are working. Now, layering is something that I have lowered more from the florals activity. Florals usually we go ahead with one or more definition. And the definition happened is passed in Iraq. Five to six small videos, different kind of layers that we have to one single floral painting. There are many of you who might have already experienced that, even in landscape. Or there might be many of you who might not have experienced it. And this is one of these where I am trying to explain exactly how you can use your lettering technique even for your landscapes. I did even apply an even coat of wash for the bottom here with the head Paul spiking of water. Once I've applied it, I'm going ahead with the darkest value right now. Of course, to keep in mind that you need to actually imitate the exact way in which you did create your own rocks. So the darker value of the rock will come and the lighter value of the rock will also come. Again, my water is one absolutely calm. There is only off. It all went in it though there are ripples and because of these ripples, we will not get the exact reflection of the trees or off the rocks into the water area. Whatever you are painting will be practically somewhere in-between on better image, on a floor effect that you'll see. You can, of course, go ahead and always try to upload and then use it for your painting area. Why did you being able to both make sure that I can start from the right and one will start from the left-hand column to put solid lady up. They'll broader areas would be on the left or on the right. While we go towards the middle, we are going to make these lines more and more. A lot of my people to completely dry off. And now I'm going to head with three. As you can see, this is majorly procreate of your lines which are in the full crowd and those will be majorly our foreground trees. See that I'm going ahead with a very light value to create these trees. Of course, I would be even having more darker value trees to, you will have to order the values of the trees. Once again, creating that depth, you will get trees are computing the distance and you cannot see them properly. Whereas another few trees are lot what storm, full ground. Hence you can see them properly. The I am using a size zero, size one brush. You can go ahead with any auto panache that is available with you. Even on liner brush, I will show you how to use it for your tree. Working with a liner brush becomes very easy because it has those two long area of the brush that can really handle these kind of effects pretty quickly. So going ahead with a liner brushes, always a good option for the background trees. It would take less than amount of time compared to what we have been doing. Hold your brush. I have already yes. To explain at this point in time, you can go ahead and create these trees of case, really meditative and a very nice experience. So. Just keep making these trees are in case they haven't come out or turn out. Well, in the initial few weight feel like in the initial few times, do not give up. I can tell you that you do a great job as we continue working on this process. So continue working on these trees and finally, have a look at it. I'm pretty sure about it. You guys will be in a position to nail it. And let's now create some of our pints. Of course, my pints are really scanty exactly the way we have painted earlier. I'm not going to have a lot of foliage into what you might have a bit more foliage compared to the others. So continue working through it. Let's have a look at it. Once we are creating all those dip pen, all those deeper and lighter value changes. Now this value change is something that I have also learned a lot over time. And whenever I'm working with the background, I go with the lightest value, making with mixing some Carlo and into it and making it a bit more darker. And then again working on it, adding some more color pigments into and making it darkest as such like Bihar doing it right now. With them mixed up my industry as well as so Payne's gray or in the code to create depth for this tree, I even ordered the values of my pine tree. So altering the values of your pine trees really have to show that effect that their values and few of the ideas that would be darker values and ideas. And hence, you can practically see how beautifully the wall painting or turns off. I'm going ahead with the darkest value of the tree towards the top area. And once I have had some top area with the darkest value, I would go ahead and just hide the bottom where I'm going to of course, paint my reflection. The reflection will be on horse softer naught, which means that I will not have any hard edges. In that case, if I do not want to have hard edges, it's important to go ahead and just wet it again, which means that there would be orthogonal. And I'm going to create all those lines and all those effects that we have created for the top area into the rocky part. I'm adding a few portions of the area and then going ahead with my darker value. Then again, I'm going ahead and writing a few ADR going with the darkest value as my people will be dry pretty soon and hence, reading a bit of the EN going ahead, he's all better option as off now. I think I'm pretty happy with how it has turned out. These are just the finer details that we are adding. But believe me, what is done is very pretty and all I'm looking forward to is that new guys are enjoying the process of whether it be creating the trees, are playing with the water. More creating that beautiful background where there is a blend of your team, blue and white of the paper. I'm not looking forward to a final, beautiful outcome. What I really want from you guys is to enjoy this process as to learn a bit from this process and really take it forward. And any of your future paintings, all your lawn install ways that can be used, working in layers so that you can do a beautiful future floral painting. All of it put together, I think is what the whole learning, or is the whole process of learning that we look forward to? I never look forward to any journey as a final destination. As I always say that watercolors doesn't have any final destination. It is the journey that you need to enjoy this, the part that you take. You will have a shorter path and you will have a longer path. So you might be one who has a really short path or you might be one who hasn't paid long path. What? I feel that every one of us can paint completely and hence, you should continue working on your skill set. Enjoyed this course, and never give up. This is something that I always say, just don't give up in the middle. The one most important reason of giving up always for anyone in watercolors is to people. If you have 100% cotton paper, you will never give up. But if you do not have that kind of people, you are bound to give up at some point in time, which are really doing one for any one of them, knew who had an always, always keep hundred percent cotton paper for yourself. Okay, let's have a curved out sites and let's have a look at it now. 24. Day 11 In love with Pink Painting: I have already prepared my paper and this is the 11 while three more days to go and we are done with it. Let's start with the lightest value. And the lightest value for this particular painting is quinacridone coral. It is from the brand Daniel Smith. And I am in love with this color to be frank. But you can replace it with any other pink of your choice or you can replace it with an orange. You can even replace it with scarlet, red, or any color that doesn't give any muddy mixes with your pillow blue. Now, the blue is the next column that we are going to use and post that we are going to use Payne's gray. These are the only three shades that we are going to use for this painting. And it is a limited palette exercise as you already know. I'm just trying to create our background. And this background is going to be very subtle and lines in a way that there is a sunset which is happening. Orals. You can also say that the sun is setting in-between two trees. And the tree that I would be painting will be after my B blood rise of blending is the key in this painting. Now, most of the main things that we have done, either we have gone ahead with very simple aspects of watercolor autos. We have allowed water to do its job and literally played with water. Again, in this painting, we are going to somewhat experienced the same. One is blending of the three colors status, your quinacridone coral than your teal blue, as well as your Payne's gray. Payne's gray and blue moves into each other very easily. Whereas when I was experimenting with this color, that is quinacridone coral, I understood that it doesn't move much due to which you have to practically do a lot of blending on your own rather than water doing its job. There are various colors are various shades or radius pigments that are available in across various sub brands which do not move much. So what I mean by that is, even if it be used as watercolor, you will not see much of movement of that color mixing up with another sheet. And hence what happens is we have to do most of the mixing and the states. Therefore, the practical blending that usually happens with the help of water is limited to an extent. And hence, most of it is done by us. So do recognize these kinds of shades that would really help you to understand the colors and a better way. I am also experiencing all this now and then every time that ever I am painting, but it's okay, these things do happen and these things will keep happening in our paintings, whether it'd be watercolor. I mean, of course this particular medium is most important where we are working with water. But yes, there are some limitations so which we always see through and there are a few colors where we will see most of this limitation. I keep moving my acrylic board here and there. Sometimes I just move it from the top and sometimes I move it from the bottom, sometimes from the sides, so that the colors blend on its own. And water does a far better job at blending rather than doing the blending to a great extent. Having said that, still, I know that there will not be much of movement that I've absorbed. And hence, I think we blending with the colors is most important. I go with the lightest value initially even for the Payne's gray. And as I think that the colors are more lighter, I go ahead and add the darker values. Now, it's time to add mighty yellow, blue. Yellow, blue, of course, is a beautiful, beautiful color. And I have been using this color in many of my other paintings too. You would have already experienced that in the earlier paintings. Okay. Time to see that soft blend. I am Soccer of these soft blends, yes. I know that there are a lot of times where we love to give up. That's a time where you need to hold on and just be with it. Believe me, at this point in time, if I would have seen this painting, I would have literally given up because the painting done not exactly donor the way I wanted it to. So what I did was I tried to just blend the color in the middle part where I was trying to create that. Up and the blend or it did not happen the exact way I wondered, and hence, it was good to just make it all smooth blank and just let it work as three different colors merging into each other rather than working on its own with the help of water, et cetera. So those are the smaller aspects of watercolor, maybe, but they play a huge role when it's more about covering a lot of your people, or when it is all about getting those small and simple as well as easy and soft blends. So here I will just have a look at it now and keep twisting and turning my sheet wherever it is necessary. But do make sure that your area is not covered by any of your blues are getting covered. Just take it off with the help of your clear brush. And it's time to just blend, blend and blend a bit more. I am using my round brush to blend it and it's absolutely fine Sometimes, yes, people do use round brushes are not for blending, but they're flat brushes mostly for blending, which is a better idea of costs for blending because you get real smooth blend all very quickly. So that would be a quick tip if you are starting out. I think a flat brush can really help you to get all good blend of color initially. Okay, going ahead with some of my darker values now, and in the top area, I'm going with my Payne's gray. Again, Payne's gray is a very, very beautiful color. Believed me, guys. If you are someone who has not fallen in love yet with this color, I think it's time for you guys to really fall in love with it. It's all very pretty and amazing shape. Okay, time for you to just create that white light or maybe you can see the area for the Sun. Though this just went a bit Optum what I wanted it to and hence I am just making this area a bit more darker with the help of my go-to color. Again, I'm just making it more and more darker with the help of my color, whereas I just wanted that area to be a bit more white. So covering it, again, not exactly, the whole area should be white, but it should be somewhat white and there should be a light like appearance. Okay. What I did was when my people was semi wet, I did go ahead and pick up though, one color with the help of my tissue, like the way I am doing right now from the paper. I will again pick up some of the area with the help of my brush, as you will observe, now, I am using my damp brush to pick up the colors from this area, as well as I am going to make it more and more white as my son is here. I would be even using a white goulash for my son. And use your fingers to just blend wherever it is. Sorry. I do it very often, believe me, it is a great help. Always. Using your fingers to blend because you just see a small line. I don't know why it is appearing barrier it's appearing and if it's appears, I don't like it because it's mostly beautiful soft approach that I have. So using my fingers to just tap off some of the ideas and blending it. Your fingers can be also used to unrelenting. You might not renewing it so often, but I use it very often. I use even my hands to blend it some at some places wherever it is necessary. Okay. Adding a small line for the hills are the mountains bar that you can say. And now drawing the two trees, now freezer something that comes pretty easy to me. But if you are not someone who is very good at drawing trees or it doesn't come naturally to you. It's great to just draw a framework of the tree. And once you are happy with the framework of the tree, please go ahead and just add the colors around the sun where we are going to basically paint our sun. It would be more of coral and some amount of your pillow. Blue. Along with it. I would be using my Payne's gray for or purplish shade like this for the tree. Whereas you will absorb that when I am newOrder area of the sun, it would be more in the same color of the coral as well as some amount of Taylor Blue. So that blending is coming later on. But first, let's just complete the hill area going with the darkest value from the sides and in the middle, in and around the sun, it would be lighter value. I usually go ahead and add my falsely or even for the mountain slope bit lighter. And then when I'm more confident about adding the darker values, I start my Payne's gray and again, start adding from the sites that died do not actually spoil my middle. Going ahead with some of my dado, blue to yellow. Blue again, is the shade which I love to use. And you have already heard a lot about it. But it's never enough. I think this whole blue part is something that I have literally fallen in love with. This whole series has practically made me fall in love with this. Blue's more and more the Payne's gray blue than more of your Naples yellow. This small and easy beautiful landscape where we are using the coral, whereas we're using it with the blue, we are not using any yellows, which is usually seen when there is a sunset or sunrise. Hence, I think the mortgage of the colors, the beauty of the colors, everything that we aren't doing in this particular series is very different than what we have been using earlier. And it's all a bit, we are, I would say it is way more different than what we have been practicing for a while. It's good to be different part along with it. You should always keep in mind that we will keep our basics correct. Or else making the whole painting go for a toss is easier. I always true, first of all, always, always try your colors on a blank sheet of paper or see that they do not create any muddy mixes. Because that way you will see guarding also from practically doing any kind of problem, are lining up and do something which is more messy when you were finally doing your painting. This is a very, very important tip and it can help you in many of your future paintings. Always, always when you are painting in and around the sun, go with the lightest value that you have chosen in your painting. For me, it is majorly the girl and I'm blending it with the poeple that we have created, the purple. You have seen how I have created, I have mixed Mike when I could on coral, went ahead with some teal blue and then sample our Payne's gray to create this practically darker value. Of course, we could have gone ahead with only Payne's gray, but I wanted to have a mix of all these sheets together for our jaw area too. I'm only going ahead and painting along the predefined area or the line that we have for meat, which acts as a framework, as I have always told earlier in my paintings, the framework is the most important aspect of our watercolor painting. If you have a good drink more than your final painting is going to turn out, well, believe me or not, I was initially never convinced with the idea. I went ahead with all loose landscape, but over time, I have realized that has an importance of sketching. And to an extent, we all should practice sketching. That really helps us to see through any of our painting much more easily than if we are not practicing sketching it all. So it takes away, you have to practice, practice and practice to get there. And it's okay if you are feeling too. We all feel, but overall, we should try and get a hand at our sketches. Going ahead with smaller, smaller dots for this. Scanty are very, very less foliage fine of a tree and there is only foliage towards the top area of the tree and very less leaves towards the bottom part. That's the whole idea of the leaves. And let's keep painting the leaves. I think this is one of the most meditative paths that we can ever experience. Painting your trees, painting your leaves, going slow, and just enjoying the process is what I would. Always see to each one of you, of course you are not console vignette top-down as I wanted you guys to have a loser approach ad how I paint my leaves. So that's how you are absorbing it or not. What you see right now is majorly about detailing. And all I'm trying to do is to just create those beauty. I have switched my brush from size force TO size one. You can also go ahead what size zero brush. If you want to just create a few dots here and there. So there are smaller and bigger dots and areas which we want for our word leaves. And we want to show our lives in a better way. So I keep switching my brush. But again, if you are someone who wants to have broader leaves, you can go ahead with it. But the whole painting of this is majorly something that you would get all feel offered once you have the smaller as well as bigger leaves both of them coming together. Okay, going ahead and on with the stem or you can say basically the trunk of the tree and adding that trunk, I did go, this is something that I have always fallen in love with. I love to add this tree trunk. And this tree trunk is going to make the whole painting looks so much more beautiful, aesthetically pleasing. Okay, Rest. Let's continue working on it and let's just fold and luck with wherever we are doing rather than thinking about how the whole painting is turning up and shutting all the other voices that's, that is usually they're in our head and in our mind, looking forward to only the final outcome, how it has turned out, etc. Let's concentrate on enjoying the process. Let's just be there and try to do what we are doing right now in a better way. Okay, continue painting and then let's go about our areas. But before you do that, make sure that your paper is completely dry. As well as I would go ahead and add a small bit of sun or which I'm going to show you next. Taking some of my white gouache for this area and then marking it with the help of my wife. Short the Sun. Though, I think the white was pretty much enough, but still, I want to mark that particular area with white and blending the sides. Would they have both? My damp brush. I'm someone who loves to not have any hard edges. And for avoiding that hard edge, it's good to go head with a damp brush for the same. Okay, Let's have a look now. 25. Day 12 Cherry Blossom Painting: With only one single column that is neutral tone for the whole of this paintings. So let's go ahead and start with our groin and then painting. So guys, some nice painting is all about your painting. A small flower. And believe me, this is one of the most beautiful ones that you can paint. Let's draw this flower. It's beautiful cherry blossom, which you usually see. What I usually do is I will draw a small circle. Now, how do you draw a small circle? Either you can draw it with the help of your past. But when you draw with the help of your compacity, sure that you have a masking tape while it is towards the bottom. So let me show you how you do it. So this is your masking tape. If you see, we will take a bit of this masking tape and mask out the small area. And we'll go head so that we don't get those. That's all. First, let's mark this area. Okay. So let me get a bit more swallow fun. This looks fine to me. Let's go ahead and mark this area. As I did the view. Now we will remove the masking tape. This way. You can secure the space and not even get any hole and the people. Let's go ahead and start with our drawing now. Again, it's a five petaled flower. Now when it's a five petaled flower, it becomes really easy for us to draw all these things. Now, let me place where should be the middle? The middle part somewhere should be here. If my middle part has to be Jordan, rest of the petals as to flow according. Let's just walk our first petal where I usually mark it as lines. So this is my first slide. Let me remove this palette. This is my second line somewhere here. This is my third line that I see. And this is another line that I see you. And this goes as the fibula. Let's go ahead and start with our whole this is done. Now let's go with our second one. Now, this particular battle would be a bit different in terms of the shape. If you see. It would be more compared to the one that we had straight. The same logos for this one. Okay. I have another backup which comes over here. So now what happens in this battle is we have to show that this particular loop has an underlying liver, something like this. Okay? And let me show this. So this has to get over it because this is forwarded correctly. If you see something like this. Now when it's afforded bathroom, then we have to make sure that we show that for let's just again tried okay. I have tried it. It is again coming up. Now. Let's again, I got this. Finally, we have this last petal, which is also the way they did see. Okay, so this has a bit of folding as well as this has I will see again this has forwarded from here. If it's folded, you will see less code this area where as you will see more of this area, ordinary. Even in the petal, we have to work in the similar way. Okay. This line is gone. Let's go ahead and all the lines that we had. Easy, not much tough. I would say. Let's go ahead and have the stem and the line. So my stem comes from here. I hope you're following it a time, keeping it very easy and simple. There is hardly any difficulty. I'm just making two of my stems. And here there are two parts of the flow rule that we are adding. Now you can even trace it and get it corals. You can follow how I am working it out right now. Okay. I guess this is it. Now we will have hopefully, let's, let's see. So this is how it is. And here there will be like long lines which you can of course make it now, or you can even make it as we progress so that you may not be much of a problem. I don't mind stepping and I draw an issue. Now is the time to practically paint your main subject. We have done all heavy washes on this, but we don't need a heavy wash right now for power flow of pandas for sure. We don't need it. So either you can use it for your final painting or you may not even use it. Let's just mask orbital. Okay. I am done with my masking far, No, Let's go ahead and start with our middle part of the painting, which is majorly how to change your known values, etc, and how to work in Florida with one single color. I'm using my neutral shade for this big thing altogether. Let's go ahead and understand how to work with one single color for this painting. Okay. So I have started with a very, very light wash on my various parts of the roles. You will see that some of the box I can have darker and some of the plots and we have lighter. It's not. Row one. You can go ahead and paint along with me. As I see, the magic lies in layers. So we will need some layers for our flower. Do not get worried about the fact why are we getting so many views, etc. We will have various yours for this part of the Florida. Let's go ahead and again, work on another petal. Now what I will do, I will work on this part of the faculty, whereas high enough planning to work on this part at all. Just keep working on it. Again. This is not twisted, so go ahead and paint this part first. I will come back to the other parts later on. You can either blend it with your water those exact week I'm doing right now. I'll just leave it. That's also fine. You know, as I see that though, letting tactically has a lot in itself, let's not forget that we are going to lead to a great extent and that's absolutely fine. So this is the first part. Let's go ahead and have darker layer. I'm going on my first straddle. I was checked before and I go head that it's trying. Guys, this is not the ultimate class workflow rules. And if you are looking for an art class on flow rules, I have flow rules where you learn in seven days. I have two more classes where I teach only about floral. So they don't know when all three classes which are available on Skillshare that you can go ahead and check for flown spot. This is still wet, so I am not going to touch this more as it is. Let's go back to our painting. Let's make it a bit more darker. So that y, which is just adds a central, it can be seen. Let's go ahead and again, we'll get that out. Okay. I'm going over here. And it will also go over things darker lines. Exactly the way you saw me doing. And some helium and what happens in the processes. So make some lines of code. And you went, in this case just on the side and handing this I guess I am pretty much okay with how this is turning up. Having the whole part in livers and layers have like all the stories. So yes, this layer results are going to speak by story of the painting. Making sure that I don't have bad news. Okay, So this is the hard one which either not once picking up like Carlos from their rest I guess is good. So this looks fine. Let's go ahead and again. From here. Yes, this looks perfect. Let's go ahead and again, add I don't think much when I add yours, It's just that it comes very naturally to me. Just blending of it offered and working with the rest. But if you were starting out, this might not be how you walk around. So you'll have to experiment a lot with either wet on wet, wet on dry. What it will be your way of scores style of painting initially. So that's absolutely fine. You can try this for one of your ways, which is wet on wet, wet on dry. So this is a wet on dry method. If you want to try wet on wet, has told you there are seven different styles of painting over seven different days that I have as a class, please go ahead and check that out. You would be really happy. I guess I had to walk around with it. It's easy. Hack. It has seven different florals given. Okay. I guess this looks perfect for me. I'm just going comfort with the sides. As you goes off. Again, taking a live mix. I always get an adrenaline rush when and where I'm painting my florals. Why? Because maybe I'm in so much love with florals are every floral is very different than the one which I have painted earlier. Maybe that's the reason. So every time I try to play in florals, I go, I tried to implement a different style. I tried to experiment. Because of the time, I'll say that I have also launched a lot. So over the years, like you experiment and the new loan or pay in terms of how you want to paint your florals, etc. Okay, now going ahead in the middle part and just making it. For this part too dry alphabet. In the meantime, you just add more Orleans. Now you have to start adding coolants wherever we can. Variable is already dry. Just go ahead and drop your for-loops. I'm making this area a bit more darker. And then the bull head with some white wash lines for completing this part. Go ahead and again try to add a bit more darker values, a few of the ideas. So let me just try this. This Telco, you blend it. So that's how I will get a no. Go ahead. Some more lines. Few of the areas where I feel it is very much necessary. Let's try this and will have no, Let's go and start adding. Converse with you. Once this part is done, I think that we'll go ahead and work with our wash. Now, we'll start with our wash. It simple. We'll take some mode and just start adding our lines in good quantity. What I've learned during the times where I was experimenting with the whole energy doesn't lie over your florals is something that you would keep learning. The staff keeps evolving. We keep changing a lot, and that's how it keeps working for all of us. I guess. That's it. I wanted to paint. What I will do, I will add some more. In the middle part. I think it's necessary, That's it. Once this is done, we'll go ahead and add the background. Now for my background, I can go ahead and just stick planting buffers to my board. It will become really easy that when we will add the background, once the background is done, we will go ahead and with darker layer of this. I don't know whether my flow is still dry or not. That's one of the reasons. This way. You just stick my P float. I'm not leaving any font. Let's go ahead and stick up equals board. As we did on both sides alone for auto. This way it would become pretty simple when we keep adding. Carlos. Finally, we are going ahead and adding more of our mortal on the sides. I guess that's it, which we won't be doing right now. So let's not complicate it more. And let's start with our darkest value. I'm using the same nucleus shade for my background's too. Okay. I'm going pretty slow in this case right now. If you observe, then. Okay? So this is it that we have in terms of the flower or the middle part of the flower, which I wanted to explore. I mean, the background part, which is in the middle mostly and that I wanted to explore. So it makes sure that you don't have a lot of dark values API where all the paper, because that's not our intent. As I always say. The darker values on the sides meets your flower pop up. And that's something which I have always loved to do for my paintings. Okay. Go ahead. Use them. They're not going to have taco values everywhere to a large extent, but most of the places wherever I feel it is necessary, I'm going ahead with it. Even one single shade can really do so much. So you can think you have the power of using so many sheets when it comes to flow roles or watercolor or anything which can only do so much of magic in your paintings. The magic is cracking a width you in the magic doesn't lie anywhere else. It is only with you that it lies. So make best use of it as I always say. Okay, I guess this looks fine to me. I would let this paper dry off before I go with this bot. Now it's time to add our darkest value for the lid off the stem. Majors, go head with my darkest value. No. I won't start applying. First to check that it is completely dry or not. It's a very simple process. You will go ahead and keep adding this one single sheet to do. Nothing much pride and nothing much to explain. It's exactly a flat wash like we have partners. All you are in many of my classes as well as in this class I've told you about how to deal with Ladies kind of washes that we have seen. So let's just add this. Now. Simply go ahead and make these lines. This painting is really simple. Just the initial part of how you make of your role might be a bit more. And then once you are done with that, it becomes really easy as you don't have much to do posts that are simple background, where you are, what your values are, and they're going ahead with your darkest value for your branch. And we see less is more. You are going with a single color, though this was a limited palette exercise. So I just went ahead and put two of your sheets, which is majorly our lacO value. That is nutrition. Nutrition. I forgot the name altogether. I didn't know why. But yeah, it is. Then you pretend and now going ahead with some amount of wash, those are at max two colors which we didn't need for computing power painting. You want to alter the values of bed. Of course, it's always great to order this part. I really want to do that also for you can also leave it that that is something you, you may bring a lot more interest in your painting by doing all these small, small changes. But I do realize many of you are first timers. And our understanding this, this kind of painting for the first time. So accordingly, you can decide for yourself Just a couple of the colors from cash and then taper from the colors from my passion. This is another way of working this. Okay? So we have two different ways of working it around. I guess I really like how it has turned out, so continue working on the Branch. No. Let me again get a bit more darker than what we observe over here because I just feel that this has turned out really light. Rest. It's time to get back to our branch, which is connecting our flower to the stem. Just go ahead and complete this. Finally, I think this looks exactly the way I wanted it to and I'm not going to touch anything further. I am so happy with how it has turned out. You don't need to touch it more when you weren't happy with something. Let's go ahead and just give the sides of the thrombi, which we always do know what is going on in here. Removed it. I don't know what happened in that case. Now, you can have a look at our painting. 26. Day 13 Evening Delight Colors & Mixes: Hey guys. So let's just discuss all the colors which we need for completing the painting. I'm going ahead with the lightest value tuple first, which is mutually my Naples, yellow. So this is what we need as a color for the first file that we need for our D. And next color, of course, is orange because it is a subset. So there has to be warm shades than this. Orange is pretty long. I would go ahead with the French ultramarine. And I have a beautiful French ultramarine from the brand. Winsor and Newton. Of course, I have been using this financial coming in for quite some time and I'm pretty impressed with how the grand vision and French ultramarine is. One thing that you guys need to be aware of this, that the French ultramarine always has a gun vision of its soul. So you can use that for even diluting watercolor. Painting. The lab sheet that we are going ahead with ease our integral. And this is one of my favorite sheets that I am consequent for this painting. This is indigo orals. You can go ahead with Payne's gray. So both the sheets are perfectly fine and great to be used for our final painting. Okay, now let's just understand what happens is that you can see I have this kind of particular color sheet that I have made. Now with time, we don't realize that the color sheet card that we have made and sort of what pigments and how do they react with other colors. What you can do with either you can refer back to the tubes that you purchase or maybe any tube like this where we have used the turquoise and not all your sheets. And you can see the kinds of pigments that it is made out of. But slowly, steadily, you can see that everything, whether this out and maybe it's a possibility that we do not see how exactly the colors react with each other. In that case, what I always say to everyone else, to see how these colors react with each other. We are having this particular shape that is from yellow. And I will go ahead with orange to see how it works with each other. This is very, very important and we need to see how the colors move around each other and what are the sheets that you can really get in this, this is the darkest value and then heat is mixing. Supposedly I'm mixing the color over here somewhere. You can see the sheets that it creates. Okay? So this is one of the most important part to check in every painting. I'm going ahead with my Naples yellow. And I would again go ahead just to see that they are not producing any kind of magnets. You can see that I'm not getting any kind of lacking it can, this is very, very important that they went to each other pretty easily. And it is not giving me any kind of flags for my painting. Let's try to blend it a bit. Let's see if we're getting, we're not getting the green that we usually get. Other colors does move into each other easily. Do not produce that green which we use. Okay, then next color is our orange. I'm going ahead with my orange and some amount of my paints grain to it. Either you can use Payne's gray or else you can even use Home Depot, as I've told you. So I would leave that up to you, what you want to do, and you can see how beautiful she coming up in the middle. Let's add some orange. Because it's, it's kind of brown. Then I get to be here somewhere. But not exactly brown. Orange into goods sold very well for us guys. They are also not producing any kind of muddy colors or it's becoming black or something like that. No, they easily mixing into each other. The last one that I'm going ahead with, this dark orange, some amount of power blue into it. Now, this is a very, very important experiment that all of you need to do. Just to see that I am not getting the black, which usually everyone gets or some kind of a dark color, which we do not like it. The ugliest and sunset, we will not like to have it. So finally, you can see all of these, how they are mixing into each other. Once it is done, you can have more permutation combination. You can mix the yellow with even this particular shape that is your pains Pre-R&D. This is particularly Payne's gray and you can even use in the course. So both of them, you can make sense. Check how it goes. You can move with all orange, with yellow, orange with blue, orange but your base gray and check on that. You can do this experimentation with each and every color and have a look at it. Let's go ahead and start with our painting now 27. Day 13 Evening Delight Painting: Few have taken any classes. You know that we have painted thought of sunsets, but believe me, I can never get enough of it. And hence, I just taught to, again, get hold of sunset along with some beautiful florals. Many of you have painted the last one where we did do sweet and floral painting with a monochrome flower. And I hope you have enjoyed it. If that's the case, then I am pretty sure about it. You would even enjoyed this painting where we are working with Tony sheets, which is basically your Naples yellow than some ultramarine and orange as well as some more Payne's gray. So these are the major sheets which we have dinner on four sheets. But that was the minimum, which I've taught that you can go ahead with a sunset painting took they can be as less as just to shade or three shades, some hints. It's up to you how you infer a particular photograph or a painting or whatever you see. But for this particular painting of mine, I just thought that this would be enough to start out again with what you can replace with ultramarine with it, I would say is some amount of hinged on three new or you can also go ahead with cobalt blue. These are the other sheets that can be used as an option. Going ahead with some Naples yellow first and then some blue. Now what happens is with Naples yellow, it usually doesn't react with any blue and doesn't give me any kind of Coke. Money mix that on many other kinds of Naples yellow, which is that in the market and do my captain tribe is to **** on a particular paper before applying it on the final painting, I have been predictably on apart this process from earlier. Whatever sheets, whatever color that you are choosing Detroit on a paper. Never go blindly. Any color sheet, etc. On the final thing, thing, because if you do that, then you might be actually going ahead and creating some mistakes. I'm pretty sure the blending, the color mixing, etc. By now you guys agree with that? I do not have any doubt because you have taken all the past 12 days. And in these 12 days we have learned a lot about color mixing, about how to create clouds, how to paint, March, everything, lending, etc. What do these mean? Focuses, so do not create muddy mixes. In the exercise that you see before this, I have actually gone ahead and mix these colors to see that we are not getting those multiple existing case. We're getting those metal mixes. Then frankly speaking, we will not be in a position to achieve the best outcome on the final paper. And that's what is a major important intent of this whole session. We should be in a position to create particular bank or any kind of a sunset, sunrise. What ever you want to create without any money mixes and without creating those darker values are darker tones. They should always remain warm and nice. Whenever any spectator is having a look at it, they should be in a position to feel that warmth of the sunset. And that particular thing only comes with a bit of practice. You have to actually create shades to see how they marching with each other will articulate eating. So what happens is sometimes you may own a particular Naples yellow chroma company, which might not go help with 0. Particular blue, the ultramarine blue and your Naples yellow is not going creed part on cobalt blue and your Naples yellow might work better in case the yellow content or wrong, that is a lot of mix of payments in a particular shade. Supposedly that they have taken four or five particular pigments to make a particular sheet. What happens in this case is when you mix that particular color with oh, painting, you might get much cough muddy mixes as they have lot of pigments and we don't know how these pigments are. Like three to four pigments are going to react with another pigment that you are introducing. So those kind of things you may avoid and single pigment colors are all these great and going ahead with some orange and towards the top, you have seen me adding some amount of my new mixed with some orange. Of course, you can take any kind of food that's available, whether it be ultramarine or whether it be Payne's gray, anything that's available, just use that. Payne's gray with some orange and you will get a beautiful, She always tilt your board to get colors moving into each other. That's very important as I always say, I'm using today Lana people. And I'm pretty happy with how the whole painting is turning out. Why of this paper is wet. I'm going ahead and having some topical values to which the bottom, this is a very quick, easy, less hassle the time. If a painting, it's just the florals where you might have to draw it. Now while I draw my florals, you might find it to be a bit difficult to solve it, but do wait a bit. I have the fun painting coming up from here. You can see are real close up of how to go about it. If you want the placements, I just find the blending is not enough for the columns and not enough. And hence, I'm going ahead with one more sheet of these colors, which is measured. As I have told you, I gave you the absolute freedom of using any new data is available on your palette. Just see that With Gold, Naples, yellow, that's still really important part which you should look forward to. Some more orange for the backgrounds. And once this is done, then let your paper dry off before you go ahead and draw anything on top of it. You might want to even erase a few parts because initially we are normal rate what the drawing, or just going rid of the hand altogether for the different florals that I never suggest to anyone. You know, going ahead with a pencil sketch always gives us a framework. This framework really helps us to or push us to practically give a better luck. Once, I guess, lose or over, then you can see how this has taught me to create some flowers now in the back out. Now what happens is when you apply your wet brush to wet paper, these florals will become numeric and they will appear faded. Effect quite it will give us a page is kind of an effect in the bank. So there are background florals which cannot clearly visible the arbitrary constants. So much more gentle and it looks so much more relatable, I would say UP or see any kind of background or any kind of photograph, you will really find these kinds of things happening. Right now. It's all about sketching. You might be in a position to see clearly as I've told you earlier. So wait for a few more minutes. Menu start with solving. However, anything my photos, then some very, very close up view on it. Once you see that knows a few of you will be in a position to actually frame your florals. Florals. You can also go ahead and download the photograph for all resources section, and then start sketching your florals at this moment. I don't have much to explain at this point in time because all your florals needs to be random. So there will be few florals and there will be few bucks that I would be adding for this particular plant alone with it. Just remember one thing. While you create these florals, we whooping, mixing a few colors. So that comes as a secondary option. But right now, it's important to create that randomness back with very light tracheid milk. Though, I know that we will be working more with Payne's gray and orange. I never keep black with myself and I always create a darker value. I do not like to use black, but you can also go ahead with black if you want. It's a choice up to you. I don't like to use the keyword for and why valid. You will never see any kind of black in my palette. That's something which I have never kept and I wouldn't have been like to keep it much. You can always mix all the columns and what you get is a black. So practically you can make it at any point in time. Whenever you are doing any kind of field sketching on whenever you are in your studio. And hence, let's add this framework and start out with our thinking You can see a close up view right now. And starting with my Payne's gray and with the mean total, which is on the top. Now along with it, I will go ahead with some orange. And orange would really help to create these values. And I love to create various values when it's about painting of flour, or it's about painting space. Now, these various values create a lot of depth and intent in your painting, as fun as it shows some maturity of an artist. When extent these might not be coming very naturally to any of us initially, but believe me once wing it and once you start working with it, it is just in you and you stop making something more and more beautiful. Okay? So basically and orange colors that I'm using, as I've told you, you can use black and orange if you want. You can also go ahead with any other darker blue, indigo and orange. So those all things can also hook. I'm only filling the spaces which I have created with the help of methods. Now, this is a very simple and easy process. It's just that you need a very thin brush, maybe a size to size one brush depending on the kind of the size of people that you are using. As I say, I have been using people which is a bit smaller than a five over and I'll make five size. You can either go ahead with the same size which you see on us. You can surely create your own size may be in six or eight for where you might have to change the size of the brush while to use it for your final painting. Much to explain. Can't be sure about it. You have already learned a lot in the past webcast. If you have not covered all the 12 days, I would request you to cover all the trappings before you go ahead with the next one. In the next one, we're going to actually work ahead with granulating watercolors. For granted, eating watercolors, there are a few important. Next, I will let you know and how they usually work. We will do a quick fix size the phone going ahead with the final painting. I'm painting, I will not see is exactly replica of what you exactly one y as. Granulating watercolors work very differently than how we want. The misty forest and all which is very easy to create with granulating watercolors. Had, I have realized this. That is why we are going ahead with whole mystique castle kind of painting for defaulting. And I wanted to introduce it even in the last day. I don't want you guys to get into the process of generating watercolors. It's a try. You can even create granulating watercolors on. You're usually ultramarine blue is a granulating watercolors. Granulating watercolors too, which are available in the market. If you are Vedic know with watercolors, you might have one or two already available in your palette, which can be used for the final painting. A lot of patients at this point in time and hence, I would ask you to just be patient. Working on it has you need to work on small, small details and finish off the flowers that are about three flowers and then pull it up but sappy have added to the spot the painting. Continue doing that along with it. You will get to understand that the more you paint the petal come you will get. So it's all about practice. I genuinely and always see this to each and everyone who has been following my classes or workshops for me please do practice. Practice really changes a lot in any kind of painting that you want to go ahead and do. Finally, I guess it's time to continue working on this and then have a final look at how it has gone down itself from meat, some loose patches. Many of you have asked me how for wiping my branches, painting consciousness one of the most easiest spot, I would say. You can just add branches in any direction you want. Let's try to cross over. I mean, we do not want to cross a lot into each other. They should not be lot of intersections. As we want to keep it simple, easy, and beautiful. Simplicity has caught lot more complicated though. I will not deny that there are a lot more complicated paintings which I told you. Many of you might have seen in my audio projects to add, I have future paintings which are also coming up and classes lined up where we are going to paint something more complex, but approaching it in a easier way is most important. Let's have a look at it and I hope you like it 28. Day 14 The Castle Painting: One of the most important characteristics, soft watercolor is getText shop and surprising texture or different kind of texture that we look in watercolor. And we have also used it in many of my paintings. So within the series, like drawing or creating the background for the board, had non perfects that we created with the help of water and with the help of things. But this particular painting is more focused on granulating watercolors. Now, what exactly is granulating watercolors? Pigments are basically the colour appearance. Now, there are various kinds of pigments which impure in nature. And the major leaders Alice and CP on gamma. And these are more about the organic pigments, which means, but today, we have lot of man-made pigments, which are majorly called syntactic or synthetic organic payments. Whatever you said, they appear as clumps so you can print them out with the help of some mechanistic. As a result, when you break it, there are of different shapes and sizes and it varies from one bank may go to another pacemaker, as many of them are making their own kind of synthetic payments. As a general rule, whenever you have smaller pigments, which is majorly in your tails, or quinacridone evenly moves on the people and hence get all very even wash. Whereas you are going ahead and using in-kind or your larger pigments, the gift more of triangulation and the just move in clusters. Larger, or I would say heavier and irregular size pigments give you majorly the granulation which is needed for your texture. That obviously, there are various ranges which are available in the market in terms of this granulation. Like today, I'm using two colors, which is mine, blue, genuine, neutral tint. These I already had from quite a long time, but I did not use it majorly in any of my audio painting. So because I was not sure how I can control it. Over here, it's more about going about the midst and creating those textured effect, creating a castle. But with the missed, it becomes easier to have that uneven of pigments on the paper. Anyways, I need that and even pigment on it, written movement of the pigment on. With this, it becomes easier as these pigments are going to move us for their choice. They are way to cluster for their choice. I don't have much to do when it, and I really liked the fact that it has more freedom to move on its own. I don't need to control anything. Yeah, sometimes. So these randomness really gives me a lot more happiness. And you can easily see that I'm just applying these two colors sometimes like a value, which is my mind, as I did tell you earlier. And then I'm using my new truck and initially I use to apply. I don't mind. Let's go ahead and understand a bit more about generalization on watercolor paper. I would be but has a lot of role to play when it comes to your job granulating watercolors on smooth surface, supposedly you are using hot press paper. They tend to move as they please and hits. It becomes very difficult to understand how and where they're forming the clusters still the water completely evaporates from the people. But on a cold press or a rough watercolor paper. Dispersion or the movement of these pigments is way more. Even. The pigments tend to fall in the crust and valleys which you see. There are traps and the crust which is there on the paper, at least on the rough, as well as on the cold press paper. They move in eight. Good morning can be compared to the others. Okay. So by now, you already know the difference between our student grade paint and an artist grade paint. Now, when you choose a granulating watercolors Then you will of course, get less granulation status. This amount of pigments in a student rating, there is more of a filler and binder into wet compared to if you choose from all artists wave pigment, where there is more of your pigments and the less off. Any kind of filler. Of course, binder is always said and there might be hunting, which helps in more even dispersion of the colors on top of people. Let's understand a bit more about our triangulating looks. Has we are using this, then we can do. While I continue telling you more about granulation, I would ask you to concentrate on how I am actually going ahead and sketching this. I have used three lines while I sketch the castle. Now, of course the castle, we'll have some shapes, sizes, etc. Now, this castle, you can also choose from your experience or from any photograph that you have taken or you can have reference photo. But if you're starting out, I would request you to go head and look up for this particular painting inverters section that can be used as a reference for your drawing. Though you might not be in a position to see it very clearly. As I always say that I'm drawing, you might not see it very clearly, but once I start painting, you would be in a position to see it more clearly. I would like to give you a quick list of what kind of granulating watercolors which might be available with you Once you have any of these. So it becomes a bit more easier to complete the painting. Those is French ultramarine, which is there. And you can use French Ultramarine when extent even Prussian blue, sometimes manually tom selenium glue or any other blue like your drum, neutral tint. So these are, of course, Neil Jordan does not blue, but this is our normal kind of black color, sometimes even Payne's gray or two gametes. So you might have to go ahead and check all this in your page or the base which you are using or understanding which of them will granulate and which of them will not run it along with it. That is a huge list of Daniel Smith watercolors, as well as White Nights watercolors, which you can go ahead and access and check. So these are two of the brands which have real whitelist of granulating watercolors that you can choose from. So do go ahead and give it a shot on, give it a try. I think you will fall in love with granulating watercolors to its thing. And I would tell you to check, I'm pretty sure at about it. That creates way more better texture on its own, rather than applying any all-party techniques. I am not saying that you should not apply techniques. You can always go ahead and apply our techniques to have a better outcome. But if something is given or weekend too, something just on its own, It's great to go ahead and use it, right? Okay, Now, let's now continue with our words. Don't drink and understand a bit more about our calculation. Now, that is a possibility that even after checking everything you're under, you might not have the granulating watercolors with yourself. There is something called as grand meeting medium on granulation medium. Now, this helps to really meet your watercolors more sedimentary and the effect on the people is more texture. Usually you can do with this liquid solution and apply opening of that quality, wash off that on top of your people, and then apply your colors. You can also add a bit of this into your job well, and then had pause, squeeze out some of your paints from the tubes, mix it, tried to apply it on the paper. Once you have mixed, trading with yourself, that will help you to get this granulating wash which you have been wanting to create. Okay? Now, one thing is keeping your palette different compared to what you usually use. Now why I say this is that sometimes these granulating medium or this particular fluid will contaminate oil wells. And maybe when you use even in your future mixing it would be a bit more difficult to get that cleared wash. So sometimes it does stay and I don't want you to actually get into that kind of place. Hence, it's great to always keep it on a separate palette, wash it, and not use it for your painting. Okay, right now we have started with our painting. I'm using a very thin brush. You can see I'm mixing some darker. As for less likely. Of course, some mixed ease your mind non-genuine blue, as well as your new treatment. You can directly use some Mayan blue first in a very light wash and then just mix it with your neutral tint of it. So these things, you can always alternate. What I would like to always tell you is go head and keep altering your colors and medium or more, a bit more. Now, that would really help you to understand the medium. Not only it would help you to understand the medium, it create text as well as so it creates more depth and understanding of the painting. You would as a mature artist and you have more experience in the fields. So it comes in that kind of thing. We see depth is something that I always see you need to Creek. We will even could be he'd come missed. I'm going ahead with the darker values towards the top side and I would be altering the lighter and the darker values file we have coming to which the bottom here, I always keep a blending brush pretty handy. Notice blending brush helps me to blend the colors while I continue painting and going towards the bottom. As well as its promise me some time to not allow the people completely dry up and ketones darker or I would say dry marks and I don't like those. Try MCC, sit tall and hence suck. I like to keep it really soft and easy and nice. It has beautiful FU Ben, I see it. Of course, it's all complete personal choice. When I would say that I do have hard edges and I do have these dry marks when it comes to float all sorts. You saw them kind of paintings. Why not continue painting? You can see some of the areas I just adding my brush. Now, this wet brush really helped me to keep the people wait As I pointed toward you. And not only that, it also helps me to apply the colors in any area which I want and I can leave some other space. So gifts that soft, misty kind of perfect, which I really want. Now I'm going ahead and applying the darker values while I am towards the bottom. Here. Of course, this is really easy painting. I would not benign. That is a lot to understand about triangulation. And I have tried to cover as much as I could and we would be understanding a bit more about the watercolors granulating and how you can choose them. Depending on the brand of the things that you use. And define your watercolors which are granulating or which has the characteristics of groundbreaking, becomes really simple. Sometimes you will find them, or sometimes you will find them pretty easily. Along with the labels, it is mentioned on top of the tube. Alternatively, you can go ahead and always download the color chart of that particular track where you will find all the properties of each of the pigments that has been used to prepare the color, as well as what are the properties that they have sometimes called granulation if it said yes, which means that there is a granulating property. If it's a no, there is no grant-making property in it. I continue painting on the left as well as on the right. You can solve pack. I am getting my values to a great extent. In few of the places I'm adding a lot more darker values and few of the places I am. Altering your values becomes very important. Then we have to show the message as well as some of the shows I am creating on my own by adding a few drops of colors, darker areas and lighter, or keeping it like REMFuel thing So I would give you three to four steps that can create granulation in case you are not having any kind of convicting watercolors. Now, this fall off, this series has been concentrating on how to draw. But this particular session or this particular painting is more concentrated on how to create your granulating effect. Now, always place your feet flat. Now, placing your paper flat doesn't allow gravity to do its effect. And hence the colors will not even be with each other. Therefore, what happens is It's kind of force granulation effect, which you can get. Another we are forcing it is that you have applied lot of water into your pigment and then you just apply a wash. Again, apply more of pigment on the paper out where you had like any less amount of pigment on here. So you are practically forcing more pigment and changing no worse compared to what you had on. The third way to do this is backwards and blooms. We have already done rooms. So audio in our painting, the bird, as well as painting though, in that we have seen how we can worse all kinds of granulation with the help of loops backwards, no doubt, which is majorly or cauliflower effect can create some kind of textures as well as the Andhra, more to do with the, we can absorb these granulation as some of the pigments might move here and they are creating those kind of things. But having said all of these, these are just a few ways in which you can force, but it's not bad. You will naturally get kind of granulation which you absorb right now on the paper as I am using more of granulating watercolors. In that case, you can use translating medium. As I have told you already know this, your paper has taught me that that's the best what I can see, splattering motto, creating the blue backgrounds. Everything is just an option. I would say. It is a kind of force that we are trying to do for our paintings. But yes, that's, that's not like it. That is not how frankly, we can create the best of the granulation. Having said all of it, I would like to conclude for my granulation is that one thing you cannot control and granulation is practically how the colors are going to move. You can even absorb that on my painting. Few of the places have more of mind lou, and there is less of texture. Whereas some of the places have more of your neutral tint and more texture. It is all how your colors on the paper, to be frank, if you are just a beginner, I would say this might be a bit difficult for you. That's one of the reasons we have done all our 13 days with normal watercolors, not looking into any kind of granulation or special effects, et cetera. Whereas this one for more experienced and advanced status might look very easy. For beginners. I would really ask you to take it as a challenge and do some textures, artworks, et cetera, with this, believe me, it is worth investing on one or two sheets of it. I did during my initial. And now I am using that particular tube or the colors or for any kind of paintings that I'm making right now. As I'm more used to work. You can see one of my classes between about two or three years back, which was more about oceans and treating the waves, which had a bit of these. And I used it for the skies or for the water, but not in exactly the way I'm using right now. Hence, a sense of maturity is certainly required. But no one can stop you from playing around. In this watercolors are in this particular area. And hence, I would ask you to continue working with it. And I hope you like okay, getting out a few areas and just changing the values, creating the lines. At this point in time, we are frankly kind of done it a few of the places which are more from not done much, since we are using a thinner brush. Hence, it is taking a lot more time than we can expect. Let's finish off one of the towers, off the castle and blending it with the lack of value. What was the slide to which the bottom and just extending the top making online like would there so that it looks more like a gasoline pumps, it becomes more organic. Let's continue to finish off a few of us where we think we can apply the color, but the lighter or darker values. But if you want to fly, you can continue doing it. And hence, keep altering the colors for showing the depth. One of the towers over here, Steady flat brush tool, just pick up the colors. Now, this is still kind of change, which I always say, oh, this is kind of input points that I say you can always talk to your painting. This really helps you to frankly alter the values and create that exactly. But you have hydrate because it's a lot of time to leave and I'm again, I'm drinking it because I really want you to understand as well. And I want you guys to get a hang of it. Having an absolute mind blue areas and again, adding some of our neutral tint. A mist is treated well, extending on but with the help of my thinnest brush towards the top, I felt money back. So creating any kind of texture or creating some lines for the forest area, which you said towards the bottom becomes more easier. Again, the tenants friendships we have been using the finished freshener taking time to be frank. Some of you might lose patients at this point in time. You have already done or not, keep your patients and you will mail it, believe me, you will need it. So don't, don't lose. At this moment. It's going to be wonderful once you finish it off. Again, in areas where it is more darker, removing some of the colors becomes so important. And it is, they're only in my mind, sometimes I think people can keep working. You should know where exactly to stop. That's something which I have told myself and it is a very important point to stop. If you know exactly where to stop, you can try Lee Neil, any kind of painting you want. Okay. There are times where I do some kind of mistakes and you can see that I have found a dark value right now. But not telling your audience that you have gotten stuck like this, you can always pick up your paint, blend it with the background. That way, you know, it becomes very easy for any one of you or even for me as an office to blend my colors and have an organic outcome rather than num seen that okay. It has not come out well or it is not grade something like that. Lastly, never be scared or obtaining kind of mistake second week. This is something that I have learned over many years. I think it's around four to five years that I've been continuously painting and doing every day. Some other stuff. I can tell you that do not, do not be feared about watercolors. If you feel watercolors, watercolors is going. If you start factoring with this medium, as I've told you always, you are going to enjoy this medium like a pro. So continue your journey with watercolors and keep painting to submit your projects in the project gallery. I can't wait to see all your projects as well as to leave me or feedback. I would request you all to please see me or feedback is a great source of motivation and I can add more classes or had more paintings, which interests you