Monochrome Painting - Let's Explore the Power of a Single Color for 12 Day's

1. Hello & Welcome Back: Happy World Watercolor Month. Watercolor is a medium that has captivated people around the globe for centuries. Working with watercolors can be pleasant as well as intimidating at the same. Hello everyone. Welcome back to a new Skillshare class. With me. I'm in my student body are attached to the accountant, an artist and an art educator based in India. You can find me on Instagram and other social media under the handle, creating from the heart, where I share all of my walks with watercolor, gouache, acrylics and some beautiful vintage frames. After been walking with multiple mediums since two years, watercolors is my most favorite medium. And to celebrate this world watercolor month, we are going to be exploring monochrome painting with watercolors, exploring the power of one single color at a time. This class will also be focusing on the sketchbook spreads in yeast. So basically, since we are working on a sketch book, we are going to be creating in the left side of the sketchbook with the thumbnails from our final painting. Whatever elements you will be having in your main painting, we will be breaking them down and creating a sketchbook spread onto the left side. Before diving into the class, discussing with you all the materials that you would be needing for this class so that you can have them ready before beginning this challenge. Before we begin with the color one of this series, I'm going to be discussing you about the tonal values using one color. We will have an exercise creating them. I haven't even be discussing with you some properties of watercolors which will be helpful for you in the class project. We will also be discussing a few of the techniques creating textures and blends with the help of spray, tissue, lifting techniques, et cetera. If you are someone who's intimidated to try your hand at watercolors, then what better time than the world watercolor month to explore the beauty of watercolor. So without further ado, come join me into this class and let's together celebrate the world watercolor month, one single color at a time. 2. What is Monochrome Painting?: In simple language, a monochrome painting is working with different tonal values of the same color. Blue and green are different colors, but light blue and dark blue are not two different colors. The same base color with just different tonal values. Using in white and black, you can create different tones of the same color and create an entire painting just using one single color. In case of watercolors, the lighter tonal values can be achieved by adjusting the quantity of water mixed in with the pigment instead of using in the white paints out you're in this class we are going to be exploring how to create different tonal values for watercolors without using the white color. All of these are monochrome paintings created with one single color at a time, giving in all the details with different tonal values. 3. Materials you will need: So before moving further into the class, let's have a look at the materials. The first one being the paper. I'm going to be using this watercolor sketch book, which is hand stitched by my own store. So you can see the cover of the sketchbook is an indian fabric. The Lochner v fabric that we call in your sketchbook, is made out of our cheese, 300 GSM, 100% cotton paper. Since this class is going to be about a sketchbook spread cities as spin. Onto the left side I'm going to have in the spread. And on the right side I'm going to have the final painting. So this is how we will be using in the sketchbook. This is a 20 pages sketchbook which is stitched in such a way that it's perfect for flatly photography painting, creating in the sketchbook spread. So I'm going to be using in this sketch book. If you do not have the same paper, no problem. You can go ahead and use in any watercolor paper, which is at least 300 GSM, a 100% cotton for the best results. Also, I would recommend going ahead with a sketch book for this class. As you will also be able to understand how to create such beautiful sketchbook spread using in both side of the paper creating indifferent spread with all the monochrome paintings that we will be creating through this class. But again, if you do not have, you can go ahead with a piece of paper, fold it into two sides and create both the sides. So that is about the paper that we will be using it, make sure it's 100% cotton paper for best results. Next to you would be needing watercolor paints. I'm going to be using in these watercolor paints from the brand Magellan mission of you off the shades will be from White Nights and PWC. Through each classroom. I will be guiding you through the color that I'm using for that class project and the brand that I'm using in Major League, I'm going to be using in this palette, which has all my Magellan mission shades already inside. So if you do not have such a palette, do not worry. You can use the colors directly from the tubes or whichever brand colors that you have. We are going to be working with monochromatic, and we will be using one color in different tonal values. So if you want, you can even use the colors from the tube directly and use a pallet to dilute the colors and keep creating in different tonal values. Next, you would be needing a jar of clean water for each of the class project. One jar of water would be enough since we're working with monochrome, so the water would not be getting in dirty that much. Next, you'll need a set of watercolor brushes. Do not worry, you do not need all of these. You can go ahead with just a few brushes through each class project, I will be telling you what size, what kind of brush we are using and alternatives that you can keep using it. This time they are going to be creating in certain textures and details with the help of a spray bottle. So make sure you have a spray bottle handy to create. Look into our paintings. Also, we are going to be creating in some textures with the help of tissue paper this time going ahead with the palate lifting as well. So make sure you have tissue paper handy. I'm not talking about paper towel or or sorry, not clot I request you to have some tissue paper because that will help in creating in some details in the painting plus lifting off the colors to create certain clouds in view of the painting. Next, you would be needing a pencil and an eraser for some pencil sketching few of the class projects. So you can go ahead and keep one of them handy so that you can go ahead with the pencil sketch quickly. Next, you would be needing in masking tape to tape down your paper before each class projects so that you can have those pretty clean edges. I'm going to be taping down only the right side. On the left side, we are going to be having in a very rough sketch book spread details that we are going to be creating in. Apart from that, you would be needing in a white quash. We will not be using in white quash for each of our painting. It's just in one or two of the class projects that we will be using in white gouache to create details in our painting and to give him some details in our galaxy painting. So that is it for the pains that you would be needing in. So these are all the materials that you will be meeting through this class. Make sure to have all of them ready before each class project. I will see you guys now into the next lesson with all your supplies ready. 4. Understanding Watercolor Pigments: Before you begin working with your colors, It's important to understand its property. What does the tube indicates or what does the color tried to communicate through its details? You can see I have two tubes of the same color but from different brands. If you see the pigment number of the tube from PWC, it has a single pigment, whereas this magenta mission give off the same color, has two pigments for the same color. So both of them have Pb 29. But this tool from my jello also has another pigment which is PB 15 by three. So basically, this denotes that this colony is formed by mixing into pigments. That is the PWC blue color is formed by mixing in one pigment. Also it denotes the light fastness on the tube. That is, how will the colors react if exposed to sunlight? And how fast even better off. Every tube has the light fastness detail as well, depending on the number of stars indicating the light fastness rating from one-to-five. Some cubes also denote whether the colors are transparent or semi-transparent, semi-opaque. And whether this one on stealing some cubes like these, only half the light fastness and the pigment number information. They do not denote whether the colors are semi staining or opaque or transparent. Now, this brand new generation yard, you can see on every view it has mentioned whether the feathers are semi-transparent, semi-opaque, or transparent. Now if you see this color, this is a semi-opaque color, which is the quinacridone rose color. This color is more vibrant as compared to a semi-transparent color. That is, when you read down this color on a white paper, you will barely be able to see the underlying white paper, which is not the case when it comes to a semi-transparent color. Whereas if you see this color red brown, it is a transparent color. That is the vibrancy of this color is going to be light. The underneath PayPal will be visible on the table when you use this color, even in a little thicker consistency. Now I'm going to swatch out the ultramarine deep color from both the brands. And we're going to see and understand what granulating watercolors are. Basically granulation is when after swatching out the color, when the color dries unevenly and the pigment is visible after it dries. Many watercolor just use this property of watercolor as a medium to create texture in your painting. Most of the landscape part this laughter use granulating watercolors to create beautiful textures to their landscape paintings. So ultramarine deep is one of those. Hello us, which is a granulating color. We will first be swatching out this color. Then we'll wait for this to dry out and then understand what triangulation looks like and how the pigment is seen after the color dries out. So this color is a mix of two pigments, that is PV 29 and PB 15 is to see. This color will show later granulation because of the properties of pigment VB 29 in it. So let me give you a closer view of the swatch while it is wet and you can still see little after granulation evening layer. So you also flows and look for you to understand. If you observe it closely, you can see the pigment getting separated from the water creating of granulation and the texture to your painting. At this, use this in landscape to see details for the affinity spaces or some foil HDP is. Now in the same way, I'm going to swatch out the ultramarine deep color from the brand PWC. So why is watching the colors halfway through I add the pigment and to the rest half, I just use water and try to dilute the color to the bottom space so that we can see the granulation in the lightest consistency as well. Not all colors are granulating colors. Also the same color in every brand may not be a granulating color. It all depends from brand to brand. The pigment consisted in it while formulating the colors. So ultimately lead color here, if you see. In both the set, it gives almost a similar outcome despite the pigment number being different in both of them. But the base pigment, that's pp 29 is in both of them closely see the swatch of the pigment from the outset. Even this shows granulation. We'll get the perfect granulation effect. Once it dries out completely, you will be able to see the pigment creating that texture as well. Notice those two pigment dry in. Let us watch this semi-opaque color from the brand Magellan mission and see how the semi-opaque color reacts on the white paper to begin swatching out this color as well. So I'm beginning with the dark consistency at the top and I'm just going to swatch it then the halfway through. Now as you'll see, when we squash the ultramarine blue color, you can still see the underlying white paper a little better when you begin to swatch this semi-opaque color in the same way, even in the lightest consistency after it dries, you will see that the white paper is barely visible. Had this bean and opaque color than even the slight white paper underneath would not be visible. But since it's a semi-opaque color, you will be able to see a little of the white Dutch. So now you are, if you see both these color swatches, That's the swatch of the ultramarine blue and the swatch of the quinacridone rose. In this, you can see more of the white paper underneath as compared to what you can see in the swatch of the pinna can end rose color because this is a semi-transparent pigment and this is a semi-opaque pigment. So before you begin working with any set of watercolor, makes sure to do the basic study of each of the pigment in your set. Understanding the transparency, light fastness, the pigment consistency, the granulation. These will help you in deciding which colors you need to use to create your final painting that you're wishing to work on. Because these properties will affect the outcome that you are working on. Now if you see these swatches, they have dried completely and the granulation is visible. So beautifully. You can see little greens visible. That is, the pigment is separated in a beautiful way, creating texture, giving him the granulation effect. Some artists do not like such triangulation in their painting by others loved this granulation because it creates texture and details. India painting. You'll see the dried out painting out CIO, which is a semi-opaque color. And this is a semi-transparent color. You're underneath a little white isn't visible. You're in case of the quinacridone rose color, it's barely visible. Now next, let's understand the staining property of the pigments. Some colors are staining colors by other colors, maybe non staining colors. Stealing colors means as soon as you add them on the paper and you try to lift up the color using a tissue or a brush. Now colors, we'll leave a little scene on the paper no matter how quickly you pick it up. So you already, you can see I squashed out the quinacridone rose color and I lifted it up quickly, but still you can see it has left the stain despite trying to pick it up quickly. Now again, I'm going ahead with the same color swatch and we'll try the listing technique with the help of a brush and see if that is a staining pigment even then. So now I'm going to use a damp brush and quickly let's stop a stroke from this color. Make sure to clean your brush after one stroke so that the pigment is tapped by the tissue. You can see as soon as I lift up the color, even with the help of a brush, has left two little stain. That is the reason on the tube. It's written it's a semi staining pigment. That is, the steam is not too tough, but it leaves a little stain and does not leave the paper. Why did it really quickly, even after lifting up the color within a few seconds. Now, let's see another pigment and understand this property a little more. So now I'm going to swatch out to sit in, in blue color and we're going to see how staining is a setting in blue color. Now again, some of the colors may be more staining and some of the palace may be very less staining depending on property. So you can see the serene blue color is less staining as compared to the quinacridone rose color. It is a little staining but not as staining as the rose color. So again, you know, the steaming property also varies from color to color. Some colors may be more steaming, some maybe less staining, and some may be no abstaining at all. So like this yellow color now, this is the lemon yellow color. Now, I'm trying to lift up this color with the help of the brush. And you will see this color is barely staining as compared to the blue and the rose color that we have switched out. With three to four times of lifting up, you will see almost white people visible underneath. So this kind of pigment is the least staining pigment. So if anytime you're walking in a painting but you have to lift up the fallows. You need to know the staining property of the pigment before working with it. Otherwise, it will be very difficult to lift up the colors without leaving a stain behind. So these are some of the basic properties of the colors when it comes to granulation, lifting technique, the opaqueness, transparency of the colors. Having an understanding of colors that you're using helps you better in selecting the colors for each of your paintings. And also understanding how the colors react on paper. Before it mean every class project, make sure that you have a little detail about your color that you're using, the shape that you're using, the pigment consistencies that didn't help you in handling the color better and also focusing the outcome accordingly. 5. Creating Tonal Valuessss: So now let's understand the tone radiations for one single color to work with monochrome paintings. I'm first going to pick up a little water on my palette. Now whichever pigment you wish to pick up, just begin adding in the pigment little by little into this water and keep flushing out the color. So for instance, I'm going ahead with the hookers green color. So you can see this so much of water and I've just added in a very little touch of the pigments. I'm going to swatch out this first color. Now I'm do this. I'm just going to keep adding little by little the value of focus green color, toning the color into one darker shade at a time. I'm not going to add in any more water. I'm not going to be dipping my brush into water any further, except for the water which is in my palette. You can see with the every moment that you added little more of the color to this mix, the color tool is dawning darker one sheet at a time. In this way, you can create multiple sheets with just one color and walk into a painting Walking with different tones and values of the color. So you can see that with F, the moment every brush stroke that I'm adding in one more or tinge of the color. The color tone is going darker and darker. In this way, you can easily create seven to eight tonal values of one single color. This way you can walk into monochrome paintings with different tonal values, creating in the details with different tones. Now you can see the dark is consistency is such a dark color. Now in the same way, I will quickly both with one new color that is CO shade of blue and show you how you can create the tonal variations. You can go and try this tonal mediation exercise with any color of your choice from the palette. It can be a shade of yellow paint, blues, greens, Brown's black. Any color of your choice, you need not follow the same color sheet that I'm going ahead with. The next color that I'm going to go ahead with for this exercise is going to be the civilian blue color. I'm going to go ahead with the same format. First, I began with a lot of water, and now I'm slowly beginning to add in the setting in blue color little by little and do this, I'm going to create in the entire radiation and the shade card using in this one color. I won't be dipping my brush into water further until I have the end of this exercise. I recommend all of you to try this exercise before beginning any class project that will help you in understanding whether your color is granulating, staining. Whether or you can create multiple sheets, whether your shade will give you a lighter tone or it will only stay darker. And all of this helps you in understanding rich color consistency you wish to use for the final class project and which TPAs should be off, which color consistency. So I recommend to keep trying this exercise. It is a good exercise to understand the color, the different tonal variations that can be created with just one single color. Now you can try this with any color and see how you can form in seven to eight different colors. Now before each class project or during each of the class project, as we are going to be swatching the color tones that we keep using in, in some of the class projects. You may see that the color tone that we're using in our local same. So saying you are, you can see I have flashed on all the class project colors for the one. So you can see the first and the fourth color look almost similar. But believe me, when you begin painting in the water consistency in both the Carlos is different because hello as and when needed. So again, the third and the last color shade here, if you see they are almost the darkest shade and look, see. But that's completely okay. We're feeding it a sketchbook spread as well. So I'm going to keep swatching every time I mixed up color because even a little water content can make the color shade look completely different. 6. Watercolor Techniques: So before beginning with the challenge, let me show you some techniques that we are going to be using in. One is going to be creating in details with the spray bottle. And other one is the use of tissue and then the lifting technique, aspirin. So I'm going to begin in with a layer of water first. I'm going ahead with this blue colored water. It says, because I'm going to show you the technique with the blue color itself out. I'm sure you would be acquainted with the basic watercolor techniques of wet on wet, wet on dry, the dry brush techniques. But if not, you can visit my 50 day watercolor masterclass. There. I have discussed all the watercolor basic techniques in detail. So you can visit that section and understand the basics if you are a complete newbie to watercolors, I have added a layer of water, and now I'm just dropping in some pigment of the Prussian blue color. Now you can see despite being a red background, the color does not flow much. So in such cases, when you want the color to flow in, you can use the spray bottle. Now depending on the direction that you want the color to flow in, you need to spray accordingly in that direction. Now I want the colors to flow towards the top sites. I've tilted the paper accordingly and I have sprayed out in that direction. Now here I want the paint to flow a little towards the bottom side. So I did get the paper and sprayed little water moving towards the bottom side. Now again to get little blends, you can keep tilting the paper. Now. You can see this pigment is a little dark. I want to lighten it and make it flow. I splayed out in that direction, made the pigment flow. And you can see automatically the pigment has diluted. And this flowing quickly with all the rest of the space. And creating in the blends. We're going to use the spray bottle for creating the effects in our sky, moving the colors out there. The next technique is going to be the lifting technique with the help of a tissue. Now you'll see I press the tissue so hard that it created edge through the lifting technique. And you can see all of the sharp edges that are formed. So you need to be very gentle by lifting it up with the tissue. So you can see I'm dabbing in very slowly and not adding in too much pressure. You are competitively. You can see the sharp edges are quite less in such case. So you can quickly use a damp brush and blend the rest of the edges if you want to feed the soft edge. So you can see the difference in both the lifting technique when you lift up with the help of a tissue, we are going to be using in the tissue in creating in some cloud effect in few of our paintings for the sky. Also while painting in the misty mountain ranges, I'm going to use in the tissue to create the message across the mountain ranges. In one of the class projects I'll TO, you can see I have created these misty mountains and you can see there are no sharp edges anywhere and the mist is formed. So in that case, I'm going to use in the tissue to create this mixed background by dabbing it with the help of tissue, again, adding it, softening it with the help of the brush. Now the next lifting technique is going to be with the help of the brush. So you can even lift up the colors with the help of a damp brush. But after every stroke you need to clean your brush. Otherwise, the pigments that are listed in the first row get laid down on the second store. Now in this method also, it completely depends on the pressure that you are applying on the brush that will determine as to how the colors will be lifted. So if you add a lot of pressure, you will get in sharp edges. If you add little pressure, then you will get in the soft edges. You can blend in using a damp brush and create the soft edges. Now for the lifting technique, also, there is little understanding that you need to get it so fast. I'm going ahead with just one single color. So you can see this color is of the same consistency throughout. In such a case, when you go ahead with the lifting technique where the lifting it from the inside to the out or out to the inside, it will give you almost the same result. But important thing is after every store, you have to keep cleaning your brush. So here you can see I'm lifting up the color from the inside to the out and now from the outside to the inside. So in both cases you will see that the result is almost same. I will keep repeating this, but it's very important that aspect, every listing you clean your brush to get the result. But in cases where you're walking with the same color but in two different consistency. This lifting technique makes it a little different. So let's understand what I mean by this. I'm going to go ahead with a layer of lighter tone of the raw umber color first. And then on that I will add in little darker detail. And then tried to show you the lifting technique, what difference it creates on listing of the strokes from the darker to the lighter color or lighter to the darker color. Let's go ahead with an example slowly and understand this. Do not worry, it's quite a simple technique but important to understand because this will make a difference of how your colors or react to do the lifting technique. So fast, I'm going ahead with a light layer of the raw umber color. Now under this at the bottom space out your, I'm adding in a darker layer of the color as you can see. Now, when you go ahead with the lifting technique, either from the darker to the lighter and lighter to the darker color it will make. Since then you go from the lighter color to the darker color, you will get the perfect lifting the species McDonald's light. But when you go from the darker color to the lighter color, legend of the darker color will get laid onto the lighter color, as you can see, because you are dragging the darker color towards the lighter side, creating in that stroke. But when you drag from the lighter color to the darker color, you are lifting up the light color. I'm moving up to the dark color, lifting up the darker color as well. So in such cases, when you want to walk creating and clouds as we are going to be creating in our first class project today, you will see you need to decide whether you need to move from the lighter color to the darker color for lifting or from the lighter color to the darker color for the lifting technique. So you can see I've created some lifting from the darker to the lighter tone, creating in those clouds strokes and some of the strokes from the knitr to the darker color, again creating in some lighter stroke. So this is how the lifting technique is affected when you're working with dual tone of the same color in a single color, it will not make much of a difference. So practice a little of the lifting technique before you beginning with the class project. That will give you an upper hand in the lifting technique for the coming classes. 7. Class Project 1 - Raw Umber: So let's begin with the class project one. So the D is going to be the raw umber color. Before beginning with the painting, Let's begin with a light pencil sketch. So today we are going to be painting a seascape, a very simple one, with adding in deviance but different color tones of the yellow raw umber color. First beginning with the horizon line. A little about the center line is going to be the horizon line. So if you can see the water area is more as compared to the sky space. Now in the boat closer to the horizon, I'm sorry, in the sea, closer to the horizon line, we have a long boat up there. Under this we are going to show entry human figures. Now again, the human figures are not going to be the detail one. So very rough pencil sketch that I'm going ahead with. So onto the board, I've shown in three humans to which we are going to add the reflection into the CAD as well. One of the humanist standing and holding a stick until the humans are sitting inside the board. At the bottom space, we're just going to add in a legend of the brass with details out there on the right side majorly. So that is it for the pencil sketch. Make sure to go ahead with a very light pencil sketch because we are going to be working with one color and we're going to have in lighter tones as well. So first let's begin with the sky. I'm going to go ahead with the clean layer of water onto the sky space first. So as we discussed earlier in this class, we are going to try to create a sketchbook spread. So basically on the right side of the sketchbook we're going to have in a painting, the left side of each of the painting we are going to have in the color swatches that we keep using in swatching each time we create a different color consistency. Also, we will be adding in the elements from the painting separately onto the left side as well. So every element you can, for every painting, you can create three to four elements. And I'll swatch them out separately onto the left side, creating in the entire sketchbook spread. So fast I'm picking up the raw amber color first. It's going to be a very light consistency. It's almost going to be more of water, less of pigment. I'm just going to swatch in the color out here quickly. So this is the color consistency that I'm going to use in the first layer for the sky. Now in these, if you do not have the raw umber color, you can mix some yellow ocher burnt umber. First create the thickest consistency of the raw umber color. Then from that mix, keep adding in these water to create in the lighter tones. Or if you want, you can go ahead with a completely different tone of brown for this entire class project. But the raw umber color created a beautiful field to this entire painting. And I absolutely loved the outcome. So I've gone in with a layer of the raw umber color. You can see nightly or for the Skype first. Now I'm adding in little more of pigment and it's going to be a medium tone. It's less of like almost 5050 per cent of pigment and water. Now, every time that you are create another color consistency, make sure to swatch it. You may feel that it's equal to either though, the swatch or the consistency that you've created you may have already used in the painting. Believe me, every time that you're mixing the color consistency can be different. The color swatch can be different. So now using this same color in another tonal value, I'm going to begin adding in the details into the sky. This is wet on wet the first layer, I just let it settle in a bit. Not completely dry, just around ten to 20% dry. So that will help me in adding in this layer. Now. Now when you are adding this layer with the darker color, one thing you have to be careful is to not have excess water. Whether you want to use the pigment in light consistency or dark, the water proportion makes a difference when you're adding in the details, wet on wet. Otherwise the colors will begin to spread and create one color flat loop and you will lose the lighter consistencies. Now closer to the horizon line, I'm going to add this color itself in a little darker consistency like this. So this is the darkest consistency that is without adding any water directly picking up the pigment from the pan, you can see how dark this color is. So as I told you, every time that you begin using in the color, in any color consistency, make sure to swatch it out. So now using this data consistency, I'm just going to begin adding in little details step-by-step creating in the effect into the clouds. So close it to the cloud. You can see. I'm running my brush very carefully, not having any excess water creating in some shapes into the sky. Also am still going to blend in the top area of the sky, giving in stalks into these clouds spaces and creating in the entire Cloud Loop. I'm just going to run this darker tone a little at the bottom space as well. And now using a damp brush, I'm just going to blend it in the bottom spaced. Now using this darker tone only I'm going to run a line onto the horizon line because the CDF is going to be off a lighter tone closer to the horizon line. So to define the horizon line, when you need to add in this darker color tone into this guy's face while painting wet on wet. Now this giving it a little darker strokes that you're creating in the blends as well. We're still working wet on wet. We still have to do a little more work wet on wet into the sky. So make sure that your paper is still wet. If your paper seems to begin to dry, then you'll have to run a little more quickly because we have to create the strokes now. So now I'm going to go ahead with the color lifting that we discussed. So I'm just going to begin lifting up the colors and create strokes like this to blend in the lighter tone with the darker tone out here. Stroke, you can see I'm pulling from the lighter towards the darker side and some from the darker to the lighter side. So when I pull the strokes from the darker color to the lighter side, you can see the darker color moves, strokes into the lighter side. And when I move the light and strokes into the darker side, the color from the darker side seems to be like lifted color. Now just going to add in some darker strokes are tiara, the top spaces as well. So you can see how quickly you can create in the strokes and given the effect into the sky. Now using the color again in the dark consistency, I'm just going to add in little darker cloud effect out here into the sky. So when I pulled out those strokes, you can see it blended with the rest of the light area of the sky and created a most loop. Otherwise the light, any of these guys seem to be a separate path completely which I did not want. Now we'll have to wait for this to dry completely and then we'll paint the sea area. We also have to create the sketchbook spread on the left. Completely dried and you can see how beautiful the sky is looking. Absolutely loved those tropes, that palate lifting that we did. I'm pulling up the strokes from the darker to lighter color. Now, beginning in with a layer of water onto the bottom space. Now you can see I'm using the water from the spoiled child itself. But since we're working in a monochrome painting, this won't make much of a difference. Otherwise, make sure to use in clean water only if you are not going to use in the same color. So I'm going to very carefully closer to the horizon line because I do not want to run into the sky and ruin up the sky. Now for the C, C area, also, the first layer is going to be very light color tone. So for the first layer out here, I'm going to go ahead with again, a lighter consistency of the raw umber color, which is going to be much more affordable and very less of the pigment. But remember again to swatch out this color as well because we are creating in the sketchbook spread kind of a series as well. Given D, D is one to the left side of the sketchbook. Color swatching, creating in the elements that you're going to use in the painting, or creating small, small thumbnails of those elements out there on the left side will give him the filling details onto the left paper. Now I'm just going ahead with the layer of this slide color onto the entire area. Do not worry the boat area is going to be off a very darker color so it will get covered up when you begin adding it, the details with the darker color. Now if you'll see the first color swatch and afford color swatch, they are both to offer very diluted consistency is still the color looks a little different. So as I told you, you may feel that the color is exactly same as the first color that you used it. But still because of the water content, the dilution, the color tone, BPD, even by one per cent and create a different look. That is the reason every time that you mixing a color to add in any detail, keep swatching it that will help you if you need to create the same color so you can swatch it closer to this color again and see if you've reached to the same color or no. Plus a. As you can see, it's helping us create the entire sketch book side of the left area and giving you the details to a sketchbook spread. Now closer to the board space, I'm going to keep the color light, so I'm just lifting up this darker tone from closer to the board space. Now at the bottom, euro is where you can see I'm getting a little darker details. Now. Albia going to give him more of the details wet on dry this time. So before mycelium dries in, I'm just going to go ahead with a pointed tip brush closer to the horizon line, defining the horizon line. Well at the bottom side as well. If you want, you can use masking tape at the horizon line so as to not make the colors move into each other from the sky and the sea. Now, let's wait for this to dry completely. So forth. The drying process, I use a hairdryer onto the spaces that I want to try quickly. Now you can see I use a hairdryer from a little distance, not completely closer. Keep moving your hairdryer in all directions so that you do not dry up one space at a time. Otherwise, you may begin to have in patchy look. So it's very important to keep moving your hairdryer in all directions so as to equal up the drying speed onto all of the spaces. Now, let's begin adding in the further details. For that, I am going to use the same Romberg color since we are working on monochrome painting. I'm going to go ahead with this color again. As I told you, it's very important to keep swatching in each. You are using the Palo in a different diluted consistency. Now in case C, if you will, using the color which was already pre-mixed and you already have it on your palette, like go when you use it for any of the other details. And again, if you are adding in water just to rewet it, even then you will notice the color changes because again, you're adding in water to revisit the paint has dried onto your palette. So again, that creates a different color consistency. Now using the wet on dry method, area has dried completely and I'm going ahead with a wet layer of paint. I'm going to begin adding in the detail. We discussed the dabbing technique with the tissue as well. So I'm just going to quickly keep dabbing wherever I want to create a little lighter effect. Now I'm just going ahead with a pointed tip brush on the edges you can see I have pointed tips and in the center, I fill in the spaces randomly. You will see in gaps in-between under which the base layer color will be visible. So this week, we are going to create in the viva effect this time wet on dry. So I'm forced filling in the bottom space because at the bottom space we are going to have in major of this detail. And closer towards the board space, we are going to have in very small wave details. So you can see I'm adding the details one by one, also going very slowly. Make sure to go ahead with a pointed tip brush so that you can keep adding in the tiny details as well for the beef spaces. So basically at the bottom I'm going to create a bunch of weeds closer to each other because of which it is forming a color patch. But at the top side I'm going to give him the waves separated from each other. Because if V-Q have these thin strokes that I'm adding right now. So you can see how beautiful this wet-on-dry details are looking. Now closer to the board area. I'm going to add in very tiny mini v's. And about the board line, I'm not going to be adding in any detail. All of the details is going to be majorly just below the board, a line that is below the board line till the bottom of the painting. Now closer to the board you can see I'm adding in little extra details to showing us the deflection of the board. We are even going to be adding in the reflection through the swan pretty humans that we've added it so fast. Let me add in little movies or at the bottom space now. So you can see I'm adding in very scattered small waves d, d allowed TO Support line. I'm not going to be adding in any of the VPD is it's all going to be just below the line. Now I will just add in little more details quickly out here with the same color. And then I will move ahead to adding in the further. We are still left to be creating in the entire sketchbook spread on the left side. And then the other details out into the bottom-left, bottom-right side of the painting. And the body deals as well. Go ahead with painting in the board. So for the word, I'm going to use in the color in the thickest fantasy and CO2, which is without adding any water. It's basically you're adding water to just paint, but you will not add water to dilute the pigment. So just letting the paint and directly using it. So going very carefully with the smallest size brush so that you do not run out of proportion. So I'm first giving in a dark calendar at the top, then using a damp brush, I'm going to dilute the color a little till the bottom space. So you can see at the bottom of the board, I just diluted the same color using a damp brush. Now at the bottom I'm spreading it a little to create a reflection to the board. You can see now just going to give him little edge to the shape of the boat at the bottom side. So in the board, in the center you will see a little lighter tone because of the diluted tone. And then just adding in the reflection. Now in the dark is consistency. Just adding in these human figures as well. Going very carefully because if you were out of proportion for these tiny human figures, you may ruin it and then it will be very difficult to correct these out here. You can see we've used such simple human figures, adding in the details out here and still they looked so detail and created such a beautiful effect into this painting. Now as discussed, just adding in little reflection with this darker color for these humans out here. So since whenever you feel the humanists taller, the reflection is going to be taller where the human is shorter, that reflection is going to be shadow. Now, does the waves try in, I'm going to add in the details on the left side of the sketchbook. And then we will add in the final details onto the right side of the final painting. So for this sketch book, the first element that I'm going to be creating is going to be these leaves out you're not going to go ahead with the underlayer of the water. I'm just going to go ahead with the vase. So in case if you do not understand how you how I added in that wave detail wet on dry. You can once again see it here while I'm creating in the sketchbook spread on the left. So you can see here also, I use the dabbing technique with the help of tissue and created a little lighter effects as well. Alternatively, if you do not want to go ahead with the swatch out your thumbnail of the waves are TO, you can create a small company of the sky and the clouds out here as well. It may not be exactly the same as the sky we have created. It can be completely different. The entire motive here is to create a spread into our sketchbook using in just one color, breaking down the elements from our final painting to our left side, the page showing in the entire process journey of the painting. So we have the color swatches now we have the elements breakdown. So you can see I just took the v's as element trip down. Now next I'm going to take in the grass details that we are going to be adding it. So for that again, I'm picking up the color in the thickest consistency without adding any water. I will just run one line here again because it's unfinished. So just gave him the bottom edge. You can see in the center of the board, I still have a lighter color. Now on the left side here again, I'm just going to add in the grass details and this can help you in understanding what kind of details we are going to be adding in, in our main painting. So beginning in within branches and then just popping out, we'd kind of leaves out here. You can see very simple leaves. You begin with a pointed edge, press the belly of your brush and lift up your brush. The leaves can be overlapping each other as well, moving in different directions. So you can see some of the leaves can be taller, some of them shorter, some of them overlapping each other. There are a lot of gap in-between these leaves. You can see going ahead very roughly. We are going to add a bunch of, so they're going to be multiple branches from which leaves are popping up, overlapping each other as well. So you're like, I'm just going to add in another branch, since this is just a thumbnail page, all you can see it's competing in the sketchbook spread. I'm going ahead with limited details on this side not adding in all of the details as I'm going to add into the final painting. Now data element that I'm going to add in here is the boat and the humans. Now in this I can even give you again one more time the understanding of the deflection that we added to the humans. I added in a boat Zillow hit. Now to this I'm going to quickly add in the humans as well. Again, follow sketchbook spreads side if you want, you can go ahead with a pencil sketch and then go ahead with a painting. Or since it's a very rough thumbnail that you tried to create, you can go ahead with the pencil sketch directly, with the paints directly, sorry. Now, for understanding the reflection, you can see the height of a human that you add that the top CMV, you determine the same height and the reflection space and mark out that point. So false closer to the board since it's the leg of the human, I have added in broken deflection, then giving him the body reflection and then a very small head. Now to this one, the reflection size you can see smaller, so I just mark out that size. Now since you do not have legs in this one, you directly begin with the bigger lines for the body and directly go ahead with a smaller fees reflection as well. So this is how you can add in the reflection. Now you can see this time for the sketchbook spread part I added in the board smaller in size and only to humans. So as I told you, you need not have exactly same filling space. Now, this is still not dry completely. I'm just going to speed up the drying process using in my hairdryer again. Now again, you can see I run my hairdryer in all directions so as to make the drying process equally on all of the species. Avoiding creation of patches while drying. So now the waves and the board has dried completely with the help of the hairdryer that we sped up the process. Now, I'm going to add in these grasp branches and the leaves are dead. So again, I'm just going to go ahead with the last swatch if the color out T0 to fill in this last block for this painting, it's just one tone lighter than the dark is stone. You can see, you can even use the darkest tone if you want to, or you can use in just one tone lighter. Or even if you're going ahead with the darkest tone, if you want, you can create a swatch like this. So in this painting, if you will see, we have moved from the light to the darker color first for the sky and then for the sea again from the lighter to the dark is stored in that way, even if color swatch seems to be enough fat in and fills up the left side of the sketchbook. Pretty leaf. Now I'm just going to go ahead with one branch taller, moving a little into the skies piece. I'm just going to pop out a little rusty things from this. Now very randomly, I'm just pulling out these leaves out here. You can see how beautifully these leaves are turning out. I begin with a pointed tip and then press the belly of the brush and lift it up. I'm using a smaller size brush because I do not want these leaves extra big in size. Because again, we are going ahead with very small size of a paper, not too huge. So all of your elements have to be aligned with the size of the paper and the kind of painting that we are going ahead with. Now, as I told you, I'm going to be adding in some of the branches overlapping each other as well. So now you will see that these leaves move onto each other. The branches intertwined in each other creating in the beautiful effect. Now some of the branches I'm adding in along with the leaves as well. And you can see just quickly adding in smaller details. Now out your, I'm just going to add in some more details. I'm not going to move in completely to the left side. I'm going to leave middle of the left space empty. Now at the bottom most phase-out you're in-between these branches. I'm just going to add in little details to show a little more filled up space. So now you can see I'm just adding in simple grass strokes as well to add in some filler spaces, just some random strokes in between. You can see how beautiful effect these creates when overlapping onto the phosphate here. So that is it. We are ready with the class project one for this monochrome class for the World Watercolor Month challenge. So let's remove the masking tape carefully. Make sure that the edges are completely dry, otherwise the colors may get lifted onto it. Edges that you tried getting in with the help of the masking tape. So here's the final painting for a class project, one of this challenge. I hope you guys enjoyed painting this beautiful painting with just the raw umber color. It's mostly or less use color in a palette. But I love how the effect of this color is created in this painting, using in that same color in different consistencies. I hope you guys enjoyed painting this with me. I will see you guys soon into the next class project for this challenge. Thank you so much for joining me into this class and painting along with me. 8. Class Project 2 - Hooker's Green: Hello everyone, welcome back to class project two of this monochrome painting class. Today we are going to be painting with the hookers green color. So there is no pencil sketch. We are going to be creating a misty forest without hookers green color. So let's post beginning with attainder of water onto the entire paper. Make sure you add an even do it afforded throughout so that your paper is not dry unevenly by adding the color. We are going to be going ahead with the lifting technique as well in the first layer to create some light falling into the forest. But first running with a layer of water completely. Now I'm forced picking up the hookers green color in a very light liquidy consistency. It's much more of water and they release of pigment. For the first layer in the forest, I'm going to be running with this light color but in circular manner. So in the center we are going to keep the space completely light because we want show the light effect of the forest in the center area. You can see I'm just running my brush in circular motion, leaving the center space a little on the lighter side, as in how you begin adding in the layer with the same color, you will see that the depth of the color begins to darken as you keep adding in their own layer. So in this way, you have to keep an adding in the color, get the blend right in such a way that on the edges you will get a little darker tint while in the center you will still maintain the light effect. You can see using a damp brush, how I'm lighting up the color and getting the plans still the center space. So now you can see in the center we have a very light layer of the color tint, but it is still blended with the rest of the details. Now, when you see you are using the same color but running over the first layer automatically where you apply the color second time, that looks a little dark enough because of the second layer of the same color. Now again, running with the same color, you can see him running in circular motion to create that effect in the forest space. Now, to go ahead, I'm going to use this, but one tone darker so as to get the darker effect onto the edges. Also, you can see I'm side-by-side creating in the journal effect or the sketchbook spread effect as well onto the left side. If you want, you can go ahead with the tonal value swatches at the end of the class project or alongside while painting, you can keep watching the colors side-by-side so that you can see the tonal variations which you are using it. Now again, using the damp brush from the darker tint, I'm moving till the lighter tint, but it's all in circular motion. My paper's still wet and we still have to go with the lifting technique in the center space to create that flow from the top of the light. Lift up the fallows creating in that light effect. You can see how quickly and running my brush so as to get the blend strike at any place where you feel that the blend is looking a little unsmooth, you can go ahead, use a damp brush and then from that space to the lightest space. Now like you're I just cleaned my brush, use a damp brush and blending it till the center space because I do not want the darker tones to go in the center area. Running multiple layers, you can create the transition from the center lights paste in the edge, moving to the darker tones. You can see how we've created the night effect for the forest in a circular motion. My brush in the circular angle and darkening the tones at the edges. But after adding in one single layer of color on the entire paper. Now, using the smallest size brush, I'm going to begin lifting up the colors are in the center top space. I'm going to create the light effect falling into the forest. From your I'm going to show the sundries or the light trees falling in our chart. So I'm going to begin lifting up the colors out from here. Now again, as I discussed with you in the technique section, you should know whether your colors are going to be the staining color or whether when you lift it up, it will all leave you with almost no stain details out. You're on the paper leaving the left and right edges at the top space. I'm going to mention it in lifting up the colors out in the center area, you can see slowly or the risk of falling in as if the sun rays are dropping in your so fast. I'm lifting up the colors moving from the inside to the out. Then I believe in me adding in some of the strokes moving from the outside till the insight. Both the way light fall out, you're now immediately you will see I'm running from the top till the center space of the paper and only in the top center space and not towards the left and the right edge. This is just creating enlightened light effect falling into the painting. After every stroke of listing the color, you can see I'm cleaning my brush because I do not want any of the color that I've listed on my brush to go again onto the paper. So it's very important that you keep cleaning your brush. Now wherever you feel that you've lifted up the color excess, you can quickly ramp but Diana, **** brush and blend it again because you are still working wet on wet. You can see by multiple lifting at the same place how the rays are looking as if the sunlight is falling exactly out from there. So that is what I want you to create for this, you will have to keep running with multiple strokes. You may not get this sunlight effect in just one time of lifting from that space. Because, you know, we just wants to, because the paper is still wet, the colors again begin to bleed in there and cover the space. So you need to go multiple times, run your brush by lifting the color. Now let's wait for this to dry completely. So now the first layer has dried completely and you can see the light effect falling from the top coming out in the form of these as well. Now I'm going to begin adding in the misty effect to the forest one layer at a time. So for the first layer, we are going to go ahead with, again, almost a light tone of the green color and creating the first layer of trees and little bit of foliage. So we are going to be adding in the foliage in three color details. One is going to be a little lighter tonal value. Second is going to be a medium consistency. And the two earlier is going to be the ductus consistency of the hookers green color. And with that, it says while adding in the tree trunk, we are going, you can be adding in little correlates using indifferent brush store. Those also I will keep discussing with you as and when we keep adding them. So first, leaving much of the center space plan, I'm going to begin adding in the Gita. They are going to be crooked and very natural looking. Of course, at the bottom space, I'm just going to play it in little foil age and cover it completely till the bottom space. So you can see in how light consistency I'm using the green color for the first layer. It's almost welcome to the first layer of the palate that we had added in. But since we're adding this color on an already added color layer, that is the reason it's standing out a little darker than the first clear. Now under this, I'm going to keep adding in the tree trunks. So you can see for the first layer I'm going ahead with very thin tree trunks. I beginning with the Pinto, but then as I move towards the bottom pilots paste, I'm pressing the belly of my brush creating in the day. Also you can see the trees that are closer to the growing space. I'm dabbing in the trees out there with the help of a tissue to create the light effect passing through the trees and spell. So all the trees that we will be adding in this center space here where we have the glowing light pole. I'm going to keep dabbing in the tissue to create the light effect passing through the trees. As some of the trees, you can still keep them dark out. You're in this space has been also in the center space meeting you all the t's. I'm going to keep them a little smaller in height and not take them too much till the top space. Because I want to show the light effect also being visible out here. So going very slowly adding in these trees, this is just the first layer that we are going ahead with. We'll be adding in another two layers of trees with different tones and values of this color to create the depth into this mistake. Now, moving towards the edge that is the left and the right edge, you will see that the thickness of the trunk of the tree is increased from the beginning itself. So majorly in the center space, we are going to keep the smaller looking cheese. And as you move towards the edges, we are going to increase the breadth of the tree as well. Also, if you notice, I'm adding the trees in different angles. Not all of them are moving in the same direction. Some of them towards the right, some of them towards the left. Some of them are half tilted towards the right and then moving downstream. So you have to use in a mix of all different angles so as to make them look realistic. Now, you can add in the village in this layer in three different ways. So the first one being a spoiled round brush, just dip the brush in color directly. Do not add any water to your brush. Let's lift up the color and this light consistency and begin dabbing it, holding it perfect perpendicular, creating in little cartilage effect. So since the force is in a very neither consistency, you can see that the foliage is also offer very light color consistency. Now I'm just eating in little of the lighter color again, because I hardly have any color left on my palette. And we're just going to add in very dark boil it. You do not have to worry how the college is looking. It can be rough and messy as you want. But just one thing to remember, do not overdo. Otherwise you will get rid of the entire background that we have created. Now the next week or adding in the four liters using this greener brush. So you can use this greener brush, which has no braces already split in between and just dabbing in all these details, creating little Cornish. You can even run a little left to right creating in that rough point age effect, or even given little pint effect directly with the help of this brush. But if you do not have this brush, you can even use a flat brush and adding little details like this. So I will show you next with the help of a flat brush as well. If you have any of these three brushes, That's one of coiled round brush, either a greener brush like this, or you can even go ahead. It's a greener brush. Also you can call it, or if you have a flat brush and E3, or a combination of two of the brushes to create in the details. So now I'm going to show you with the help of either you can use in a angular brush or you can use in a flat brush, whichever is available with you. I'll let Ivan using a flat brush. It's a half inch flat brush. Now I'm going to hold this as well perpendicular and begin adding the foliage effect. So you can see just running left to right, giving him little detail onto the trees. Now this is just the first layer, as I told you. Also, if you notice, I'm not running with the foil, it's still the bottom of the grass area that we've created. And in the center I'm adding in very little village, which all I'm going to quickly dab in and create the light effect for the light effect falling onto these trees and foliage as Ben. So I'm going to use in my spoiled round brush and creating little correlation. Now, wherever I feel the need to, using a mix of the round brush as well. I'm just going to read and onto this trunk because I think it's a little bit of lightened up because of the pilot effect that I was just adding it. Now using a round brush, just quickly adding in little foil. If you see this at this stage, it looks completely messy and it also feels like so much unfinished because of the delayed effect that we're adding in. But believe me, when you add in the next two layers, all of this will automatically begin to look very pretty. Plus remember, in the light effect in the center space, do not add much of the foil age. So going very slowly when you're adding in the fall it so that you do not overdo it. You can still see the tree trunks as well. Now, I'm going to quickly using a hairdryer and make this entire firstly, I'll go try. And after that beginning with the second layer, you need to be exactly sure that the first layer is completely dry. Otherwise, you may mess up with a second layer because the colors will flow into each other and you will lose the lighter effect. When you're using a hairdryer, whenever you want to try all of the layers in the same manner, hold your hair brush as well, a little perpendicular and run it with equal air onto all of the species. Do not keep your hair dryer at one place for a little longer time because that space may dry up quickly creating in the rough patches and the rest of this species may still be wet. And then when you begin trying those pieces, they will begin moving you rough edges which we do not want. So it's very important to run your hair dryer on all these pieces and meet the entire paper dry equally unless and until you are trying to create some effect with the help of the hairdryer. So the first thing that is completely dry, now I'm thinking of the hookers green color in a little medium tone. You can see how beautiful the foliage is looking in the first layer. No matter at this moment, the entire painting put together looks a little unfinished piece. But if you only notice the violation, the cheese, it looks so beautiful. Now the second color consistency you can see it's one-to-one darker than the second, of course, Leo consistency. So we're going to begin with the cheese in the same manner just as the first clear. Now, energy is going to be overlapping the first layer trees AT anyhow that you wish to add them, they can be overlapping in any manner as per your choice. Now causing the same way, I'm going to add in little, while HDD lot you're at the bottom space that's creating in little grass area. But that's going to be smaller than the first layer as you can see. So you can see that the first layer, light of oil, it will be visible just behind this darker polish that we're adding in now. Fill the entire space with this darker green out here at the bottom paper as well. Now on top of this I'm going to begin adding in the tree trunks and then the violet just as we added in the first page. So I think when I keep adding in the T Jones, you will be able to see how naturally I'm going ahead and adding in the tree John's freely overlapping the first layer, but moving in different directions as well then the first page. Now in this index space, since we have the light effect coming in, you can see that we do not want to add in much of the darker G yours because we have the night effect falling in Europe. We are going to go ahead again with the smaller trees only to create in the depth as well. But I'll make sure you do not take them taller till the top space. It's very important to maintain the light fall coming in. And I said noticed my tree trunks and the second layer, they are completely different than the first layer. I'm even adding in some tree trunks moving in from the main trunk here as well, creating in more depth into the trees as you keep adding on layers. Now when we will be adding in the third layer, we will add in more trans, moving out from the major trunk of the tree, creating smaller trunks and branches, moving out as well. With the second layer of the cheese itself. How beautiful our misty forest is already beginning to look in. And I'm just beginning to add in some smaller branches in this layer as well. Because from this layer we are going to reduce the detail. So how much of a foil which we added in the first layer? Now in this layer we're going to add any less spoilage because we are adding in branches to give him dead. In the third layer, you will see that the foliage is almost equal to ten per cent of what we added in the first place. So you can see in between how roughly I'm adding in some of the branches popping out from the bottom of glass details as well. And I'm loving this class project, how it is turning out slowly, taking the entire sheet. Now that nice detail that I'm adding here in the center space, I'm going to quickly dab them with the tissue to create the light effect. So as I told you, even if you add in any D, D latch here where we have the whitespace falling in. Make sure to dab it quickly lighten it up to create the light effect falling onto the branches and trees as well. So keep a tissue handy. That is why in the material section I told you it's very important to have a tissue this time, not even a paper towel or solid clot. Because with the plot tab and you will not be able to achieve this dabbing technique quickly as much as you will be able to achieve with the help of a tissue. Now using the round brush, I'm going to begin adding in the file HT2A onto the second layer of the tree. So using the same color consistency of the second year trunks that we used in, I'm going to add in little foil HTT. It's going to be 50 to 60% of what we added in the first place. So you can see how quickly I'm just adding in little coalition majorly at the top space, not much at the bottom space of the trees. Also, you can use either of the two brushes that we discussed during the first year. And go ahead with whatever the most. Again, if you are adding much of the foliage in the center space where you have the light space, makes sure that the little unevenly so that you have some lighter effects as well, showing in the light effect falling there. Now I will quickly add in middle of the foil h d t. Now cheer as well. And you can see as I begin in the center space, I quickly dab it up to the tissue to create the lighter effect as well. Now actually, if didn't do the flag dash, I'm going to add in little detail with the flat brush. Now, if you're walking on the edges and if you want to be a little lighter effect here as well, you can dab it up with the help of a tissue. In the center species it's more because to pee it in the foil age effect. Now, I'm creating a little less detail with the flat brush here and dabbing it wherever I feel, it goes a little excess. So that is it for the second layer of the trees and the foliage. Now again, I will run it out with a hairdryer to dry it up quickly and to speed up the drying process. Now, the reason why I'm including this year is to help you understand how you should be using in a hairdryer so as to make your drawing process even throughout and not to have in any sharp edges. Also, this will help you in understanding how you can quickly speed up the process of drying as well, your watercolor paintings and listen until when you've created some textures which if you jive with the hairdryer or may not turn out as they should. Now I've been swatches the dark is consistency of the hookers green color. And with this color consistency, we're going to add in the third layer of the trees. Now if you notice, I have not created much of the sketchbooks played out here. I will create it out quickly after adding in all the details here. And then we will create the entire detail for the sketchbook spread on the left side. Now for the cloud layer, I'm going to create the grass detail, which is going to be smaller than the first two layers out yours. So you can see now, even at the bottom we have three layers of glass visible. One with the lightest tone, then with a darker tone, and now the darkest tone as the bottom-most layer. Now from this I'm going to add in all the trees moving till the top space. Now again, these trees are going to be overlapping the first two layers, and some of them can be completely overlapping as well. Just going cd with your instinct, create the entire space out your. Now you can see from the center how I took a t completely moving Tinder right side but did not take it till the top space. So that is how you have to create in the nitrogen look into the painting. Now, when you are adding in layers on layers, you even get a chance to cover up a few of your mistakes if you have made in the costlier or if you do not like something in the first layer with the foil or the trans, you have a chance to cover them up with the next layer, right? So keep adding in the cheese with the darker tone. And now as I told you with this knee or we're going to add in very little spoilage detail. Rather, this immediately going to add in more of the chunks out. So even in the center space, how fine a deterrence that I'm adding it, but in smaller heights as you can see. Also, if you'll notice from the bottom spaces this time I've moved the trees quite a lot in different directions. Moving through the center space has been. Now I'm just going to begin adding in the branches onto these bigger trends that we've added in. As I told you, we are going to be having invading limited for leach into this third layer. So we're going to cover it with much smaller branches coming out from these bigger drunk. So keep adding in a lot of branches, but remember to not overdo that as well. So you can see how smaller branches I'm adding in quickly to this layer that is the last year, even in the center space here, we can just pull out some smaller tuns out from these branches as bad. So in the current layer you can have a little more of the branches because we're not going to be adding in much of the foliage. Major Libya just going to add in the foliage towards the left and the right edge. So you can see I'm pulling out the smaller branches as well from the bottommost, class-based. Now in this centered up space, again, when I add in the branches, I quickly dab it with the help of a tissue so as to get into lighter effect and show the light falling onto these branches aspirin. Now using the round brush, I'm going to begin adding the foliage effect. So I'm going to use it though as point round brush method and use the brush perpendicular to begin adding the foliage effect out to you. So you can go ahead and either using a round brush or the flat brush or greener or the comb brush that we discussed. Now majorly only on the left and the right edge. I'm going to add in the foliage effect. And a little towards the bottom side from where the tree trunks are actually coming up. So that is it. You already becoming class project In the last video till it dries out, I'm going to quickly create in the sketchbook spread out. You are on the left side. The sketchbook spread this time, I'm going to cut it out into three different elements. The first one being creating in the background space and the light area. So I'm just going to quickly run out your and create the details for the sketchbook spread. Now, when I began feeling in the readings, sketchbooks fit, they are going to be very rough details. I'll try to keep them a little and abstract way whenever needed. So I'm going to create them very roughly so as to give it all that junk spread kind of loop that we want to create our tour. So you need not worry about the perfection for the details out you're on the left side. Just go ahead and roughly creating and break the elements of your final painting into different parts and add them out to you. So you can see I've added in the backside layer only in a circular shape as well. I did not have to convert it into a square shape this time. Now just going to give it a little lifting technique as well, creating in the light effect. Now for the second element, I'm just going to go ahead with some tree trunks out here. So you're not going to go ahead with the tree trunks and different color consistency. I'm just going to go ahead with one nail consistency of the tree trunks. Also add the top space, although oval shape that we have fun. I messed it up and eaten by lifting up the colors. So that is the reason at the top space, I just gave it, trying to show in a light space falling and peeping into this oval shape that we have created. And the last detail, I'm going to break down the foliage as well and creating the foliage effect. So this is how you can quickly create your journal spread with different elements of the final painting that you have created. Now let's remove the masking tape and see your final painting with those clean edges. How beautiful this misty forest is looking. And as you run into the center lights, you can see the forest being filled up with the light effect. I will just run up with some touch ups, strokes wherever I feel that the color has lightened up on a little extra. So just before it dries completely, you can give them these strokes so those three jumps will not completely dried. That is the reason I ran into layer of color again. So that is it we are ready with your class project for to using it screen color. I hope you guys enjoyed painting this beautiful misty forest with me today. I will see you guys tomorrow into the next class project and make a brand new color to explore the power of that single color. 9. Class Project 3 - Permanent Red: Hello everyone, welcome back to class project. The color for the D is the permanent red color. You can use permanent Scarlett or initiate a fit that's available in your palette. Or if you want, you can go ahead with a different color to them, but make sure to go ahead in the moon cone format, forming different tonal variations for that one fan or whichever you send it. Not only pencil sketch here is the horizon line. I'm going to begin with a thin layer of water onto the entire paper. We are going to create a misty looking seascape. So we are going to have in a lot of pine trees need to be on the horizon night. And for now we're going to create in the reflections the rest of the sea and the sky is going to be a very light tone in the beginning. Then after everything dries, we will add in little details into the sea as well. Make sure you add in a new era for the two out so that you haven't even knew at a photo and you are able to walk wet on wet. We're going to add in a lot of detail, even I didn't get to show using in the spray bottle creating in the details and texture for the bathroom fine T that we are going to add in right now in a very soft looking menu. So I'm going to beginning with the red color, but first in a very night consistency almost equal to a water and very listing of the pigment. Now, again, creating the sketchbook spread is absolutely your choice, how you wish to create it. You can either create while painting or created later on at the end. I didn't please, if you are not going ahead with the sketchbook spread series, then you can directly go ahead with the painting. We're off the light tone of the red color onto the paper. Now, I'm going to begin creating in the details for the pine trees that we are going to be adding on the horizon line. So for that, I'm going to shift into a smaller size brush later on. Now from your Honor, I'm just lifting up little of the excess paint or water or from the top of the sky because I do not want the pine trees that we will be adding a dog horizon line to flow at the topmost piece and even at the bottom space. That is the reason lifting up little of the water content majorly from the top and bottom space. Now we're going to add in the background Booking, buying j's onto the horizon line. I'm the deflection for that into the sea area. All of this is going to be wet on wet. Now I've shifted to a size eight brush. And using this brush I'm going to begin adding in the detail with a medium tone of red, as you can see. Now when you begin adding in these details, wet on wet, there are two things that you have to be careful about. One, you may not have excess water on your brush. Otherwise it will begin spreading and it will not lead in the shape in which you try to add it. Secondly, make sure that your paper is wet otherwise you will not get into soft details. And it will be very difficult to create the look that we're trying to go home, going very slowly, do not rush. I recommend using a 100% cotton paper for these petal width details because it will help in writing your paper, Steve it for a little longer time, as compared to verify percent cotton paper. With this painting that we're creating today, working a little bit wet on wet for creating in the misty look with the red color is very important. So now I'm using a flat brush, I'm just trying to smooth enough though. D. D is on the horizon line. Not worry if the colors have moved on to the, into the z-space. We are going to add the same details now at the bottom side. But I'm just working near on Lear creating in the deck. The same V upside down going to add in the reflection to the top PBS that you added into the area. Now this is just the beginning of the details that we're trying to create it. We're still going to go ahead given texture to this background, and then move ahead and adding pine trees wet on dry, neater. Now in between, if you feel that you are see color has, is beginning to dry into light. You can quickly run in a layer of the light red color again, this type, so as to keep them wet so that you do not run out of age and getting those sharp edges. Now using a spray bottle, you can see, I just read a little from a little distance and you can see how beautifully the textures are beginning to pop it. Now, if your people will be too wet, then all of this water will begin module to each other and given a flat look. So unique to understand at what timing to spray sprayed on it. This will help me in keeping the paper wet again. Now I didn't just go ahead with another layer of the red color and again, adding some details into this wet-on-wet only. So now you can see this time, I think that's quite less of water. And now I'm beginning to add in some rough, fine T-shapes out here into the background. Again, you can see all of this is soft because in working wet on wet. So the first layer of spray paint, a spray water that I added was to make the background Steve it for a little longer time. Now I'm just keeping on adding in some of the pine trees on the top, the horizon line. We're not going to add in these pine trees at the bottom site that's into the sea space. In the sea, we're just going to have in this rough reflection what we've added in the blurry. Now, these are just the base layer that we're adding in. Now all of this will again turn a little soft and then we will be adding in pine trees once everything will dry out. Now into the sea, I'm just going to add in little quicker one, so I slide in little reflection. So wherever you've added in the top of the horizon line, simply bottom, you can see I'm running it so quickly. It's just basically creating the patch of the color and not much detail like we have it at the top space. Now on for this layer as well, I'm just going to go ahead and spray some water using in the spray bottle. Makes sure to spray the water from a little distance, not completely closer to the book or the paper that you are using it. Now you can see when you add in the booms, it begins to create the blooming tech shop. But again, this is if the paper will be too wet, it will begin to spread and not give you the blooming or the texture effect that you want to create. So to get into the texture effect, your paper has to be a little dry only then you get in that effect. But in this one we're not working much on the texture side. Rather, it is to create little flow of the pains and to keep the paper a little wet. Now I've just defined the horizon line with a darker till. Now using the same brush, I'm just going to soften it up again. I left this. We're still working wet on wet creating in the details out here. Now, make sure that your sky and the sea has not driving otherwise. Otherwise it will be very difficult to, you know, getting the blends right. And you may begin having sharp edges for the pine trees that you are adding right now. Now I'm just beginning to add in little reflections as well into the OSCE area, giving in little details. But if you want, you can directly add all of these later on. So I've just added a little softening up quickly In one darker tint again to the rest of the z-space because the area is the need of die in very light, almost equal to a white color, which is not exactly what I want. Even in the sky. I'm going to add in a little layer of the color and give it a one-point darker. So very carefully using the flat brush, you can see I'm just adding in a very light layer of the red color again, closer to the pine trees, going very carefully. All of those are still wet. You will not be having in the sharp edges even if you adding this layer of color right now. Now this space is around 50 per cent dry. It's not completely dry, but it's not wet as well. So now I'm going to give him little of this three again, so as to give him the texture. Now at this point, when you spray, it will begin giving in the blooming texture perfectly. When you spray, when the paper is too wet, you would not get in the blooming effect much it better or the spray. But when your paper is around 50 per cent dry, it begins to given a lot of detail and texture because of the spray bottle that you use it. Now at this point, I've given him a little spray now I will wait for this to dry out completely and then begin ahead adding in the further details. If you want, you can give in a liter of the texture effect using a brush as well. I'm using a brush just picking up some water and dabbing it onto the paper. You can see the water is feeding in the bloom effect in-between the red color and creating the texture which we want in-between the pine tree. So this is how you are In the tech shop. Now I'm going to again quickly dry this up a little with the help of the hair dryer because there seems to be some excess water. Just try it out around 50 per cent again and again, adding this texture that I want to create it. Now you can see I'm keeping my book a little thin, thick so as to make the palace Flow accordingly. And moving my hair drier and drier in the direction accordingly where I want the colors to keep flowing because of the excess water. Now at this stage, again, all of it is around 50% dry. I'm going for again, stop the hairdryer now. I'm giving it enough the blooming texture with the help of the brush directly. I won't be going with the spray bottle because that is not giving you a good effect for this one. I'm directly going ahead with a brush and dabbing if some excess water. Also, I'm picking up some water onto the brush. I'm just flashing out. You're creating the effect for the background details. Now I will wait for this to dry completely without the use of hairdryer, make sure to not use a hairdryer, otherwise the blooming effect will be lost. So now you can see everything has dried completely and how beautiful the blooming effect has come up. Now, I'm going to begin adding in some pine trees at the top of the horizon line. So the main details of creating in this blooming effect is if you will splatter the water via your paper and pains or two where you will not get the blooming effect. You need the doodle scratching technique when your paper is around 50 to 60% dry, only, then you will be achieve this texture effect that you want with the slashing of the water. If you will, plateau when your paper is wet enough, then it will just create a lighter tone. And because the paper begins to dry in, the water will just spread across and dry flat without giving in the texture. Now using the darkest consistency of the permanent red color and using a smallest size brush, I'm just going to add in some detail finally on top of the horizon line. So go ahead and keep adding in these scientists slowly to not crash with the details. I'm not going to cover the entire horizon line with the pine trees. I'm just going to add in about two to three of the bigger pine trees and then just some small details in between to create the perfect looking horizon line. After that into this area, we are going to add in some details and some details to give him the look to this area as well. Now, our TR on the rightmost side, I'm just going to add in a very small one out here, which is approximately just half visible. Half of it is not visible to our view. One more big O one out here on the left side. And in the same way, I'm just going to begin adding in the foreign aid. Now you can go ahead with the pine tree that you are comfortable with. But with practice, you will be able to add in, find Gs in different shapes and different methods as this final tour, I'm going ahead with a little more scars loop. So the one that I added on the right, you can see it has a lot of spoilage. Whereas the one that now in adding on the left side has a little less four liters compared to the right one. Now on to the horizon line, I'm just beginning to add in a little of this tone and the grass effect by adding the red color. Now I'm not going to connect the entire horizon line at the moment in the center, I'm going to keep it quite thin During the show in, or I can leave that space and try to slow the movement into the sea easily. Now adding another small pine tree in the center space closer towards the left side, you can see going in very slowly with the detail and with very basic shape. We're not even adding in much detail findGene here. It's just a pretty simple one that we are going ahead with so that it's easy for anyone to follow along. Now out you're adding one more big O one out. You're now this is the biggest as compared to all of the findings that we've added and the foil lesion. This one also is a medium for an age not too much as compared to the rightmost one that we added it. Now as I've moved much closer to the horizon line, you will see that I'm just filling in the foliage with the red color. And at the top I, given the detail. Also, remember find Gs should mean the shape of a triangle after you begin again. So you begin with a pointed edge and then as you move downwards, you keep increasing the bit to get it into the triangular shape. Now in-between these pine trees, you can see how quickly I have just given him little of the filling effect with just some grass effect using the same red color in the thick consistency. So just filling in this space, creating in the deck. So as I told you, we're just going to add into the three of these pine trees and then rest of the spaces. We're just going to give him a little fine HDD. Now using a damp brush, I'm going to first begin creating in a soft edge to this horizon line so as to show the reflection of these moving into the area again softly. Now just keep using in a damp brush and softening out the edge at the bottom and blend it well into the sea area. You can see when you keep blending it with them. **** brush, you do not have sharp lines and you get the soft edge and deflection moving into the CE. So the horizon line color knew that I added was still wet and I just use the damp brush and blend it into the Cabo creating in the soft edge. And you can see now the deflection is stoned or tone darker as well, giving him the perfect reflection to the pine trees that we added right now. Now I'm just going to run a little more of the red color. I'm going to darken a little more of the reflection into this. See. Now on the edges, that's the lesson that I did. You can see the reflection is a little taller as compared to the center space, but I'm keeping the reflection little small as the details in the center, as small as compared to those on the edges. So quickly using a flat brush you can see how I have blended in the reflection Ben into the sea area without having any sharp edges. Now if you want, you can add in a little bit of this plateaus out, you're into the reflection as well. To give him more texture effect to your painting. It's absolutely your choice. How you want to use this reflection tool to create the depth into your painting. Now I'm going to quickly be wet the entire see space so you can see I'm just adding a layer of water and blending it with the reflection that we have added in. I'm going to add in little wet on wet we have the days into the sea and I could see little sharp edges which I did not want. That is the reason I thought of going ahead with a quick V waiting for the C. Now we do this, I'm going to add in little of the VAP days wet on wet, but make sure you do not use in the pigment into dark consistency just with the medium. Keep adding in the dual of the reflection like this. So in this medium tone you can see I'm just beginning to add in little reflection detail, wet on wet. That is the reason I quickly read it, the entire CSPs by adding in the reflection. So it could cover two points to me. One, I did not have any sharp edge adding in the reflection because id wet the entire surface. Plus I'm able to add in the wet-on-wet wave the days to just using in the pointed brush, adding some blinds. But when you are adding these lines, you have to be careful about two things. One, you shouldn't have excess water on your brush. Otherwise, you, the big deflection that you're trying to add in all the waves that you're trying to add, it will spread out and you will not be able to read in the shape of the waves. And you shouldn't even have much dark pigment. Otherwise, you will get in a lot darker color which we do not want. Ok, closer to the horizon line, you can see I've added in the waves with darker color so that they're visible. And at the bottom side, I've kept them very light in both the cases makes sure that you are not using in a lot of water. Otherwise, the shapes that you can see, our reading will not be read in your painting. Rather, you will get one flat color loop. Now quickly using a hairdryer, I'm drying up this entire space, running it in all direction so that all of the details join equally without leaving in any sharp edges. Now again, using the red color in the thick consistency, I'm going to begin adding in of your boards into the sky first, and then we will move to the CEO, adding in some details into the sea. So just adding a flock of birds out, you're closer together in different flight movements, as you can see, very simple ones, not the retail ones you can see. So you can quickly add a few of them moving in different angles and different slight motions. Now using. Consistency of the red color. I'm just beginning to add in some details into the sea. So you can see how I'm going to add all of these details. Make sure you do not overdo this, otherwise you will lose the look of the C that we are trying to create it. So going slowly, add the details step-by-step so that you do not rush because once you add in the details with the darker color, it's very difficult going back to the lighter tones and getting into details, correct again, now before adding few of the rocks, I'm just going to add in little splat does too. So in some very intimate need, rocks floating into the water as well. So just add in little splatter. Now when you add in these plateaus, make sure you do not let the splatters go into this Brightspace. If you are not confident about adding them directly, you can cover the horizon line completely and then begin adding in these plateaus. So now I'm going to add in a little more rob details after I'm done adding in the splatters. So you can see how random here I'm creating images of the rock deviance out. You're giving it the debt to the sea area. I'm showing in some sort of spaces as well in between. So I guess now this painting looks perfect. I don't want to add anything more and make it look overfilled or something. This look satin, beautiful. So now I'm going to quickly go ahead and fill in the sketchbook side. Out. You're on the left side with the elements from the details that we have created in the final painting. I'm first going to go ahead and create a very small background space. Then the second element that to add in is the brine cheese and then some rocks and some splatters as well. To fill in my sketchbook side, on the left side. As we discussed, you can go ahead and add these sketchbooks spreads series as per your choice. You can go ahead and add in the DPS whatever you wish to, how you wish to break your painting and create smaller thumbnails to fill in the sketchbook CVs. Now in case if you are not going ahead with this sketch book series, then it's absolutely your choice. But this was just a different exercise then just painting on a regular paper. So the first element here that I'm creating is the background effect. Now just going to add in little splatter of water as well using in the breast in a p. Now the next element that I'm creating is some grass strokes that we've used for adding closer to the pine trees in between to create the filler effect. I also added in some birds on top of the filler effect. Now at the bottom just going to create the pine trees and then some rock details. And then we'll be ready with this class project for d t. Can you believe you can create such beautiful paintings with just one color using the color in different tonal values giving us such pretty landscape, use. These kinds of exercises using N1 fallow fields in understanding the Palo much better. And also helps you in creating debt using in one color. Plus. It also trains your mind how you can add in details, but just limited our resources and also create the depth into your paintings. Now the last element you are I've just added in some rocks, I'm going to add in some color splatters you are as well. And that is it. I'm ready adding in all the details to the sketchbook spread as well. Now I'm going to quickly use a hairdryer and dry off all the details before I begin removing the masking tape. Make sure always before you begin removing the masking tape, you have your age is completely dry. Otherwise, if you will have excess water on your edges, then the paints and begin to flow towards the whitespace that you're trying to create with the help of the masking tape. So when you walk before painting in the masking tape, It's very important to make sure that the edges of your painting are completely dry. Only then peel off the masking tape. And now everything is dry completely and I'm just beginning to removing the masking. You can see here, removing the masking tape against the paper and the clean edges have come out for beautiful, giving it so much more pity look to the entire painting. You as a class project for d3 of this 20 challenged celebrating the world watercolor month. I hope you guys enjoyed painting this beautiful misty seascape with me just using one color. I would like to see all of your class projects into the project section. So keep them coming and thank you so much for joining me in this class. 10. Class Project 4 - Van Dyke Brown: Hello everyone, Welcome back to D4 of this monochrome painting challenge. Today we are going to use one of the most unused color from my palate, which is the Van **** brown color. We are going to be creating in the entire painting using just one color. So let's directly beginning with a thin layer of water because we are going to go ahead directly with the details. There is no pencil sketch for this one. Directly go into beginning with the colors and create a very pretty simple sky for today. I'm giving you a good layer of photos so that my paper stays wet for enough time till the time I paint the sky. For this guy, I'm going to create the color effects using in the different tonal values of the color and rest of the details, we will be adding it with a good dark consistency of the color. So first beginning in with the lightest consistency you can see it's majorly water and very less touch of the pigment that I'm using in your using this light consistency of the Van **** brown color. I'm just going to begin adding in a layer onto the entire space, creating the base layer for the sky. Now in case if you do not have the Van **** brown color, you can go ahead and use any dark brown color that's available in your palate. And since we are working with only one color, you have to create in the tonal variations with that color itself. So you can see I'm just giving a very light wash of the entire color first. Then I will begin adding in the darker tints out you're creating in the details into the sky and the rest of the details. Now I'm picking up the color in 1to1, darker consistency. So to that same mix, I've just added in a little more of the pigment. And now using this dark consistency, I will begin building in the sky, adding in the layers, creating in the Cloud effects. So now with a darker color, I've added in little of the spaces now quickly using in a spray bottle, I will make these colors float easily. So using a spray bottle, I'm just going to spray a little water from a little distance so that you will see how the colors begin to flow and having the soft blend. Now you can see just by adding in one little spray, the colors begin to bleed, move downwards and blend easily on their own, creating in very smooth flow and blend between the sky. Now just joining in with the same color layer. Now, we are going to later on be adding in some mountains are there for detail. So do not worry much about the bottom space, how it's going to be, because it's going to be covered with the dark most consistency of this color. We just have to build in the sky in a good color band, Justin z, such that you have different color tones visible in the sky, making it look like a thunderstorm, kind of a sky. Now I'm picking up more pigment and I didn't get to the same mix. You can see I'm hardly adding in any water to this mix now. Now using this one tone dark consistency and beginning to add in for the Data Cloud details. In the center you can see I'm maintaining that little light glowing space to create the candle look out there. Now I was just laying down these darker tone colors as well. Then again, using the spray bottle, I will make the colors float and flow into each other. That helps in making the colors bleed and have the soft edges as well. So when I use the spray bottle, you can see I keep the book a little inclined. This makes the colors flow towards the bottom side, blending easily with the bottom colors and also have such smooth, soft transition between the colors. Now whenever you use this method, makes sure to keep a tissue handy so that you can lift up the excess water that flows down on the edges of the paper so that it does not see back-end spoil the painting. Now, wherever I feel I need a little more of the darker tint. I'm just adding in little of the colors out there. So you can see I'm keeping a tissue handy and lifting up all the excess water that streaming down at the bottom. As soon as I turned my paper in-between, make sure to do this so that excess water is lifted and it does not seep into your painting from the edges and spoil it out. Also, you can see the flow of the colors as soon as you tilt the paper flows towards the bottom space. Now in case if in your painting you want the colors to flow in any other direction, you can accordingly tilt your paper in that direction so as to make the flow of the color goin easily. Now again, going ahead with a darker consistency, I'm just going to begin adding in little more depth now. Now in this layer, I will not go ahead with much of the water spray because we have enough of the blends happening in. Now I'm just going to begin adding in the dark or depth and create the Cloud space. Now in between in the center you can see we still have the lighter patch visible. Make sure when you begin adding in the darker tints, you still have the lightest pieces visible to create the effect into your sky. We're also going to use in the tissue and create little effect into the clouds as well. Now going bunch shade more darker, I'm going to add in little more depth. And then we will be ready with the sky. Then we'll wait for the sky to try and move ahead codon. And I've very simple silhouette details this tight. So you can notice every time I begin with a darker tone is majorly from the edges that I just adding this color and in the center space, I lead the spaces be light. So now when I'm adding in the dark is consistency also you can see in the center I'm creating that light effect, be there. And creating that panda loop B, they're out there. So at the bottom space, as I told you, we will be adding in details later on. So just quickly cleaning it up and blending it when using a damp brush. Now I'm just going to give him some final touches and then use a tissue, create some cloud effect. Again adding in this darker layer, but this time you can see from the edges it's even less than the previous layer. So since the previous layer was already of a darker tone, then on top of it, again, you add in a darker tone layer, the color tones more vibrant. And you can see I'm just adding it majorly more towards the edges. I'm just trying to blend it with the rest of the details in the center area. Now using the tissue and lifting technique I'm going to create in some Cloud spaces as well in-between these darker deaths. Now, we have already discussed the pressure that you should be applying onto the tissue while lifting the colors. If you want any sharp edges you need to that the tissue quite harshly. And then these, if you need lighter species, you can adapt the tissue lightly like this and lift up the, it doesn't create the lighter spaces into the sky. You can see how slowly I'm going in, lifting up the colors from the edges creating in some clouds spaces. You can do so with the help of brush as well. But it becomes quite easy in handy with the help of a tissue. So when you use a tissue, it becomes a little more easy because you can shape the tissue in whichever shape you want and just use a pointed edge and keep lifting. Alter since the tissue is made out of paper, it absorbs the water and lifts up the Palo much more easily, making the paper dry out a little more quicker. In case when you use a brush to lift up the colors, it does not dry up that space a lot. And because of that, the colors may bleed in there again in that space. So quickly you can see how I created little lighter Cloud effects onto the darker tones where we have added in giving in the cloud effect out there. So now I will let this dry out naturally. I won't be using a hairdryer to speed up this process because I do not want the colors to flow in. So let's wait for this to dry naturally. So my sky has dried completely and you can see how beautiful the colors of the sky are visible. Also, you can see how the lighter effect in the center of this guy is visible. And the Cloud details that you lifted at places are lighter and some may you can see beautiful sharp Cloud effects as well. Now let's begin adding in further detail. Now using the dark most consistency of the Van **** brown color, you can see it's such a dark, vibrant color with very limited water just to make the pain come in the right consistency. I'll begin adding in the details at the bottom out here and just begin adding in simple strokes, creating in some bush kinds of details out here. So I'm forced filling up this entire lab space with a darker tone. And then on top of this using a smallest size brush, I haven't given the detail, the kind of Bush detail that I'm talking about. So now you can either go ahead and dive out to be the tip of your round brush and given these grass and Bush detail like this as I'm giving right now. Or you can go ahead with another method which we will be discussing just after this. The detail is just adding in simple strokes at the top, creating in some grass details in the silhouette form. So one was where we were dabbing the tip of the brush to create boost detail. And the second one is this grass to BD. Whichever you are comfortable with, you can go ahead and add the silhouette detail onto the entire bottom space like this. So the bottom-most piece you can see it's filled in with the darker tone. And just at the top we are giving in the silhouette detail. You can see I'm reading the height of these throughout, not keeping them in one single height. So make sure to vary the strokes and create a difference as how you keep on adding them. So now in-between, I will just give him some more bigger strokes randomly at places wherever I feel I need to. So I'm using the brush, which has a pointed tip enzyme evil to achieve those points at the edge. So in case if your brush does not have a pointed tip shift to a smaller size brush so that you get in these fine details. Now using this liner brush, I'm going to begin adding in some violence into the sky. So make sure that you do not lay your hands onto the bottom space because it is still wet. You can see how find the lines are out here. I'm using the size 0 liner brush. This is from Princeton. You can go ahead and use any detailer brush which has appointed with which you can achieve these fine lines. Now in-between these grass strokes, I'm going to add in some details as well. So for that as well, you can see I'm using the liner brush and giving me good fine pores. You can adjust the thickness accordingly with the either 12 strokes depending on the size of the paper and the details that you are adding onto. Now the two to three goals that we added, I'm giving it some violent connections through them as well. So you can see it's the Canvas sky looked at. We wanted to create in a field kind of a detail that's coming in your. So just adding in little more of these lines. You can see as soon as you feel that your brush does not have a lot of pigment, make sure that you stop in there and began again lifting up the color so that you do not get the dry brush strokes in between. This is the day four of the 20 challenge. We are still left to go ahead with eight more monochrome paintings. And I hope you are able to understand how you can use the power of one single color and create such beautiful landscapes. Now you're on the left side. I'm just adding in one more poll didn't, because I found this space a little empty. So I'm just filling in the sky with a little more of the lines. I also added one more poll on the rightmost side to give it more detailed look. Online. If you want, you can even add in boards into your sky. You can show a lot of boats sitting onto the wire lines as well. I'm just going to quickly add in a few of the boards as well. You can add a whole lot of boards and create the sky. You can even less than the amount of violence that we have added and added more of the boards if you wish to. So you can see, I'm adding in very simple boats trying to show them sitting on to these guidelines. And I don't think I would wish to add in any of those in-flight movements mentioned here, I want to show these boats onto these wires that we have added it. So I'm almost done adding the boards as well. You can see I've hardly added any bird flying, only in the center one that I've added. All of them have been adding them onto the wires. As of now. You can see the bottom space is still wet and when I lay my hand there, the color from there got lifted up. So you have to go in very carefully when you lay your hands because the bottom space is still wet. You can either dry the bottom space force with the help of a hair dryer and then move ahead and add in those details for the boards and the lines so that you do not mess with the bottom space. So now on the left side I'm going to quickly go ahead and create the sketchbook spread as well. For the spread, I'm first going ahead with a little bit of this tidy the color shade swatches we already have on the left side here you can see, I'm just going to create some elements of the final painting out to you. So basically the left side acts as the thumbnail to your painting. And you just break down the elements out here and create a small details and create the sketchbook spread that we need. So the first element, I've created a rough sky with the same color that we have been using for the final class project. Now using in the tissue, I will just give him little cloud details here as well. Now next I'm just going to go ahead and add the religion of the bush details with the dark color to add in as the second element. Now lastly, I'm just going to create a middle of the detail of the wire lines and the poles that we have added in that little space which is left at the bottom area. So you can see how you can build in your sketchbook cities as well and create your sketch book details with thumbnails of the painting on the left. You can even go ahead and write some details about the painting or about the scene that you're painting with the color. And adding more details to your sketch book tour. Now before removing the masking tape, I will quickly dry all of these using a hairdryer so that the masking tape does not leaving those unclean edges because of the colors flow from the edges. So now everything has dried up equally and I'm just going to begin removing the masking tape and see the final painting with those clean edges. Our final painting for D4, you can see how pretty the standard sky is looking. I hope you guys enjoyed painting this pretty easy, but yet another beautiful sky with me today. I will see you guys tomorrow into the D5 of this class. Thank you so much to each one of you for joining me into this class and painting along with me. 11. Class Project 5 - Indigo: Hello everyone. Welcome back to day five of the 12 days from class. Today we are going to use in the indigo color. So this indigo color from the branch in an odd, sort of more closer to a Payne's gray color, then a bluish indigo color. But today we will use this indigo color because we're going to create a misty mountain lookout TO we're going today at the beginning, Rapporteur on client diamine class project site. So beginning with a layer of water, we're going to begin working wet on wet. We're going to create the entire misty mountain v, u. We have seen the image in the beginning of the class project. Do not get intimidated by seeing it and we bought it. How you will see the misty look. I will be guiding you through each of the step. You just need a few of the things handy. One, the indigo color to a jar of water, a few brushes. And the most important thing, but it's too painful because we're going to create that misty look without having those harsh edges with the help of visual display. Then having hemophilia for that item, the brush multiple times. So that might be most easily for enough time by the time, I mean that older. Now using a round brush, I'm going to begin with a light indigo color first. It's going to be a lot of water, very less of pigment. We are false. We'll be painting on the only took this guy space. I'm going to keep swatching the panels as well onto the left side to fill in the schedule space. And when I keep adding in. So firstly, I'm going to add in a very light layer of this color onto the entire paper. So you can see it's a very light tone. The entire bottom space of the white sheet is clearly visible underneath. So just joined with this light tone to outdo the buttons, please make sure to not adding the darker tones match at the bottom side. At the bottom you will just having this light layer after that, all of the details will be first only in the sky. Now slowly, I'm beginning to build in the sky. Now these darker tones I'm only taking in below this guy's face. This time of year is going to be hardly just the 30% off the top space. Just 70 per cent piece is going to be covered with the misty mountain ranges. I'm just running with them. I don't know if I'm now giving in some depth. They didn't run into the problem space. Now in case if we were using in the darker tone, we wouldn't have run down the bottom space because at the bottom we need that either tone for the mist. Now I'm shifting to a smaller sized round brush and I'm going to begin in with the second consistency of it is going to be one-to-one darker than the base year, what we have used it now fostering this thickening us to get out your very little of it. So as to whether the mean, the midst, we have DBAs out there. Now in the top spies based on blending it all well so that they all look into this. I gave you in the cloud effect at the bottom mountain range, those plateaus be there. Now I'm going ahead with the second consistency. It's just one digit or knock on then the false color consistency that we have been using. Now slowly just begin reading in the Cloud details. You can see I'm going in very gradually. I'm not increasing the palatal altogether at once. I'm going in very lightly so that I have a perfect blend. The bottom species as well. When I'm reaching the bottom, you can see I'm hardly picking up any pigment so as to have the blends, right? I'm going ahead with a damp brush to keep the blends happening in school. Now it makes, I'm going ahead with one mode, one darker consistency. You can see how gradually the colonists beginning to go in intense so that you have in the forefront look into your sky. Now with this darker tone is going to be much less of this piece, just this buys B's better. I'm going to be in, in the misty effect has been. So by now adding in the need is you can see I have the perfect control. That is the veins on getting the sheep in which I'm adding them as it moves towards the bottom side, you can see I'm just using a damp brush and blending it to the bottom space so that right, not have sharp edges in between. I'm just going to run the heck with more some of the darker strokes and giving some details. So you can see only the top 30 per cent of the space I've met this guy b and this of the space. I've just blend it with clean water and just let the light cone be there. Now quickly using the edge and I'm going to try out this piece. So using a hair dryer, you can see how I'm running it equally in all directions, not only at the top space in the sky, you can see the darker tones visibility showing in the cloud effect under Mr. Lu. And the rest of the space is almost equal to a white paper but still implanted into the sky. So just below the sky, we are going to begin adding in the misty ranges once it's completely dry. Before you beginning, just have a little check so you can see it's still wet. I have those fingerprints now, which I'm going to quickly go ahead and bend in Ben again with the help of hair dryer. So be very careful before you lay your hand just laid on the edges so that you're not Window painting like this with your finger marks. Now I'm just going to repeat, this is dry. So running the hairdryer in all directions as you can see, if you're using a hairdryer, It's important to keep running it in all directions equally. Otherwise, you will begin to get in touch. Having an equal, even the fear of trying out of the base. Now, my sky is completely dry and I'm going to begin adding in the mountain ranges one-by-one. So I'm again going to begin in with a very medium consistency of this indigo color. I'm going to keep swatching out each of the color consistency that I use for the mountain ranges. And I moved the beginning with the light consistency first. Then as we move towards the bottom space, I will just darken the edges, top edges of the mountain, giving in the top details with the darker tones. Now beginning with this light consistency, only the center space I'm going to fit in a small mountain range. You can see I'm not taking the mountain on the left and the right edge. Then I'm going to blend it into the background with the help of a tissue and a nice uniform. So fast I'm going to explain a little what route you're so as to make the colors flow towards the bottom, say, you can either use a spray bottle or you can simply use in your brush and begin dragging it downwards. I'm going to use in a brush and keep dragging the color downwards. I'm going to keep a tissue ready because we will be needing to dab it. So now you can see I've taken this water layer on the left and the right edge. Now in order to avoid those sharp edges, I'm going to quickly dive in those ages, the help of a tissue so that you will see that this piece dries out quickly and you do not have that sharp border line as well. Make sure to make it tried to make it have on the bottom space. Now the storage is your you can see I'm going to dab it with the tissue so that I do not have this line in between. Otherwise you will have this sharp line, so forth giving you the layer of damp brush. Now I'm just going to blend it into the sky using in the tissue, dabbing it quickly. So you can see we get rid of those sharp water edges if you dab it when it is still wet. Now while this is still wet at the top of it, I'm just beginning to drop in some darker paint. So just using the tip, dropping in the darker tones and you can see it flows into the bottom space, blending into the bottom layer of the mountain. Top, you have the darker tone of the mountain. And as it moves down, it gives you the misty look by having the lighter tones. Now on the edges you can again create some shapes if you need with the help of tissue. So we've blended it with the layer of water till the bottom space so that you have that misty look going equally. Now again from the edge you can keep lifting up the pallet. You feel wherever you are adding the layer of color, if you've seen that you have some shopping, you can keep lifting it up. Now again, using a hairdryer, I'm going to quickly dry in the first year of the mountain v. So I'm going to run it equally from left to right so that everything dries out equally. Now let's begin adding in the second layer of mountains. So the first layer is completely dry. You can see how beautiful the Mr. Luca stone down. Now for the second ranges mountain, I'm going to go one bond market and of course the amount in the first year of mountain you can still see when I've added the darker at the top space, still blended it well, so you have very light, darker highlights. But when we go down to the second mountain range, the darker highlights will keep on increasing as we move on moving towards the bottom side. Now this time I added the second mountain range from the left or little descender space, and again, using the damp brush, just blending it to the bottom so that when you move to the next month and read, you do not have a sharp line in between. So with every mountain range makes sure you take the layer of blending the bottom space with the help of a damp brush. Now again, using the docker team just beginning to drop it from the top space. Now in this mountain range, you can see on the right most edge of the mountain you have a sharp edge. And we will get rid of using in the tissue by force using a damp brush, blending it into the bedroom, and quickly dabbing it with the tissue so that you do not have a shelf life. So now you're already you can see I'm extending it and quickly dabbing it with the tissue so you can see you get a soft blend into the background and you do not even have a sharp line there. So that is how we are going to be creating into the CEJ more of the mountain ranges. But if we can make this dry again with the help of the hair dryer, running the hairdryer, or where did this mountain data equally? So my second mountain range is also dried and you can see it's just a tone darker than the first one. Now I'm going to go ahead with the third consistency for the third mountain D, which is going to be on the right side moving through the center space. So now you are, you can see I'm beginning with the thought mountain range. You can see all the mountain ranges out of differentiate, not similar to each other and of different length as well. So this right most mountain range that I'm adding right now, you can see it's quite a small one layer of dark color now using in water, just sending it towards the bottom side and adding in little darker tint again at the top. Say, now again, remember using a damp brush and blend it in the bottom space so that when you begin painting the next month and you do not track sharp line on top of it in-between the mountain ranges. Now, in this endless PCR, if you see you have in those sharp edges because of the blade name, then again, use brush, try to blend it into the background and giving in the BST looks so this is how using in a tissue, you can get rid of those sharp water lines by blending class. You can still get in those misty than just running a layer of water. You're going to blend it quickly around. So I still get that misty look for the mountain ranges. So at the bottom, as I'm moving towards the bottom side, you can see I'm running the layer of water much lower because I need to cover the entire next range of mountain. Otherwise, in the next change of mountain in between, you will have the sharper lines. Now you're in this mountain range. I'm giving you a little texture with some water splatters using a brush. I'm just adding in some status of the water to create some texture. Now again, I'm just going to quickly use a hairdryer and dry this a little force. And then again, I didn't get this plateaus and dry it again. I'm just going to make this piece dry around 50 per cent. So once it's dry or 50 per cent of the limit, I'm just going to go ahead and add in little most plateaus because that will help me in getting more texture the deal. So now just using very little water on my brush, I'm going to get it out. You're again, I still get little texture the day. So now these rooms will create a much better teacher than the fourth layer because in the force near the mountain day it was due because of budget was very difficult to achieve in the loop. Now I'm going to let this texture dry, nice. And even though the use of her hairdresser, otherwise you will lose the texture loop. Select this mountain range, die out that city. So now this has dried out and you can see how beautifully it has moved up, creating the texture on the glow effect actually. Now it's beginning with an exchange of money. So now the next change of mountain I'm going to run again, you're in the center of these two mountain ranges that we added at the top. Now this landing page is going to be one more tone darker than the first two ones. So first I'm just going in with a medium tone. Then I will blend it well and added. So now this time began the mountain range from the left side but moved into complete it in the right site. And using the water, I'm just going to blend it to the bottom-most piece now because we're just going to have in one more dark is strange at the bottom media once all of these trays in, so far as going ahead with the darker at the top space giving him the shape as well to the mountain ridge. Now just blending it when you can see making the colors flow, as soon as you use a damp brush automatically the fellows begin to flow. Now using a damp brush, I'm running, it fills the bottom space. Now you're on the left. You can see when I add the 0 for better blended, you can see the sharp line of the water. So to get rid of that sharp line quickly use a tissue and debate. So this will help you in getting those clear, misty look and the flow between the mountain ranges as well. So I just keep running my brush up multiple times so that the colors bleed easily and you get perfect transition from the darker to the lighter tones. And wherever you feel, you need to dab a little with the help of this, will get rid of those edges. You can quickly dab it off. Now again, I'm going to use a hairdryer and make this mountain range dry out quickly. So you can see this mountain range is one more turn darker than the previous two mountain ranges. Also, you can see, as I told you, this indigo color dries out like a Payne's gray color, but when you are using it, it gives you a bluish tint when it is wet. But when it dries, it dries into a Payne's gray color. Now make sure you run the hedge or equally. And now I want the colors to flow a little towards the bottom side. You can see I'm giving you the pressure from the hairdryer from the top space and so that the data that is flowing towards the bottom side giving you more transition from the darker to the lighter tones. Now for the last change of mountain, I'm going to head for the darker consistency. And this time I'm going to cover almost the bottom space with this darker tone. After this, we're just going to be adding in little of the fine Jeannie days at the bottom of the mountains to give you the details. So just half, half of this piece moving from the left, I've given in the dark post mountain range out to you. I'm just going ahead with father little dark tint that the dolphin going to blend it fills the bottom of this mountain range. Now you are as well, too little misty look towards the edge. I'm just quickly lifting it up with the help of tissue creating in that Miss Blue, trying to show that this mountain range is also having a little misty and towards the bottom side. Now to get this mountain range as well, a little misty look, I'm dabbing it with the help of tissue. Then again, just using a damp brush, I will try to blend and move this top most dark color towards the bottom side. Now again using a hair dryer and I'm going to make this piece dry out quickly. Then after this, we're just left to add in the pine GDPs and painting in the scheduled spread onto the left side. Now again, this time you can see I'm pulling the header pressure from the top towards the bottom side, make it good news flow, giving an abbreviation of the deal, the bottom space. So now everything is dry completely and I'm going to begin adding in the pine trees. So for that I'm going to use the indigo color in the dark most consistency and begin adding in the pine trees medially towards the bottom right side. So this is the darkest consistency now in which I'm going to add in the pine trees. So now I'm just going to begin adding and find Jason different heights. So I'm not going to go ahead and match the look of the buying team. But still this time we are going to fit in a little detail one. So that is you're going to give him the file is looking in such a way that it looks, you know, detailed one victim before at least but still a detailed look at the pine tree always, always at the end has to have a triangular loop. At the top you beginning with a very thin part and I so move towards the bottom space, you'll begin increasing the length of the foil is between nasty near the end, give it a triangular shape. So you can see from both the sides and just simply pulling out the foil is creating in that triangular shape giving into detail. Now adding in another one. Isn't it taller than the first one that we had it? Let's see me. When I'm just adding in the late, which is going to keep it really hasn't moved towards a more concise. So as I told you this time, the binding is not going to be one because that's going to be eligible for this part of the painting. So make sure before slowly and adding these details of the brine cheese. Bottom left side of the sketchbook? Yeah, Glenn divorce and the findGene mountain ranges and described as being small thumbnail for the final class project. Now you can see at the bottom space, I'm just filling in the space is trying to show that these pine trees are stand not either from a mountain range or a small family space. Now, as I'm moving towards the left side, you can see I'm trying to vary the height of the pine trees to vote. Now I'm just going to add in one more use detail, find D almost in the center space out. And after that I'm just, I did a little smaller ones and magneto fill up the space. So you can see I'm going very slowly because the point is the day I'm not sure because I want before I used to come up naturally and you read this this time. This will also be on the boundaries because of them is they look at the backdrop. So make sure to going very slowly and give it a nice look to your pine trees is a very easy task. You can send just running from the right to be at that point somebody, at least for the fine Jesus, quite easy, but you just need to go in and it is for me. Now in-between your I'm just going to give him some smaller pine trees again so as to fill in the space. And that will be it for the pine trees and do a final class project. After this, we will immediately be left to create in the sketchbook spread and we will be ready with our class to check for the right as well. So now let's quickly, in this case books. Then the pine trees will dry out and then even removing the masking tape. I hope you guys enjoyed this sketch. Looks great to me. And I would love to see you. Nice because that will tell us where to building a sketchbook city as the means for the final painting. The first one at the top, I'm just going to be in the small cloudy not using the indigo color. Now, as I told you from day one of this class, the schedule, the schedule is not a d11, it can be avoided. And if not exactly the same as your final thing, then you cannot even some other elements as well. Or you can go ahead with a very rough moves north of elements from the final painting. So you just add in some small companies to fill in this space with the same partner. So that it looks like a complete sketchbook spread. Now for the second element, I'm going ahead with a mountain range that I'm just going to go ahead without that kind of stuff and going to dilute it as I move towards the bottom side with the help of a **** brush, using a damp brush, I'm just going to blend it in the Bowman's space, giving it that misty look as well. Now this guy yard was still wet, so I'm just going to give him some darker details because PVC, the sky was too wet. So as soon as I was adding in the dark days, it was spreading along and getting that flat loop. That is the reason I waited for it to dry around 50 per cent in then I added in the other details and now quickly adding in little more of the Cloud DB. So you can see how if you have excess water, the colors begin to spread and give you one flat color. Look. Now the last element urine quickly adding in a fine G as well. And then we'll be ready with this class project for the five. So this is almost a detail finds the look that I'm adding in. But as I move towards the bottom, I'm just giving them that space company. So that is it. We're ready with our class project for the five. Let's remove the masking tape and see your final painting with those clean edges. So I hope with every class project you are getting to learn the new DJs plaza understanding the power of one color, how using the different tonal values, you can create such beautiful watercolor paintings. Also, you can add in a few boards into this in-between the midst of the mountain ranges and show flock of birds floating around. You can even use in the golden color to add in some boards or cure that will give another golden blink through your painting. Define your class project for d Phi. I hope you guys enjoyed painting with me today. Must be eternal fuel for joining me for this class. I would love to see all of your class projects coming into the gallery section of this class. Thank you so much once again. 12. Class Project 6 - Quin Rose: Hello everyone, Welcome back to D6 of the 12th day monochrome painting class. Today we are going to be exploring yet another unused color from my palate, which is the permanent rose color. It's almost like equal to any other pink shade. You can consider it to be Carmine Scarlett, almost the same, but yet a little different since it's the most unused. I thought of using that color so that the little collect these gets used. I'm going ahead with a layer of water first, we are going to paint in a very simple thing, detail or feel this time with a pretty sky off the same color since we are going ahead with a monochrome paintings. So this time as well, we're going to go ahead with a pretty simple sky with different tonal values of the Queen Rose color, creating in depth of the clouds, using in the darker tones for the sketchbook spread. Again, we're just going to go ahead with the color swatches and breakdown of the final painting creating in this for the painting. I'm going to pause, go ahead with a very light consistency. So I'm going to dilute the color with a lot of water. So this time leaving a little white caps, I'm going to begin adding in the Cloud detail so that we have little lighter tones as well into the sky. So you will see automatically the colors spreading and creating in the deck. So the first layer of the color you can see I'm taking it completely till the bottom space because the bottom field area also we are going to have in the background of the same color. So just a lighter tone, lighter wash that I'm giving in your. Now next using in 1to1 darker consistency, I'm beginning to add in the folder Cloud dy dx. Now when I'm using in the darker tone, you can see I'm not having much of the water. That is the reason the pains are not spending beyond the limit. Also, I'm just beginning to add in the darker details from the edges maintaining the center space white, which we have tried to leave it right from the first layer itself. Now I'm just beginning to add in the darker that at the bottom space as well for the field. But not much of the darker tones because we're going to add in the field with the darkest consistency. Once everything dries out. Now in the center you can see everything has got covered up with one flat color loop. So I'm quickly lifting up little of the color using in the lifting technique. And I'm just going to sprain little water. You're in the center space so as to make the colors flow downwards. So I just kept my paper tilted and you can see the flow of the colors happening moving downwards, which will lighten up the sheets out there as well. Now I will leave the sky to settle in, but till the time the background is still wet, I'm going to go ahead with one further darker consistency. I'm going to add in some background grass DTLs, wet on wet. So that you have that little blurry details in the background. So using a smaller sized round brush, I'm just going to begin adding in some leaves and some branches out. You're now when you begin adding in the details, wet on wet, the entire technique Yoda again is the water control. So you can see I have two water control on my brush. That is the reason when I'm adding these details, they are not spreading despite the background being wet and be working wet on wet. So it's very important that when you begin adding in these details, you have to forfeit water control so that these retain the shape and do not move out of proportion. Same to the entire bottom space. I'm going to keep adding in these strokes so as to give them the background blurry detail. When we will add in the details in the foreground later on when everything dries it. So at the bottom as well, I'm just giving you little bush detail, spreading the darker consistency of the same wind rose color that we are using in your now for the of it One more darker tone. I'm adding in some of the leaf details here again, you can see I'm maintaining the height and also at the top space now, you can see how beautiful the pink sky is looking with those white gaps in between creating in the cloud effect. Now these TDs we're still adding mean veteran back. You can see that they're not spreading beyond the limit because if the water control, we are still going to add in the details in the foreground once everything dries out. But I just wanted to add in little soft details in the background. That is the reason I've gone ahead with this layer for now while the background was still wet. Now quickly using it dried, I'm going to speed up the drying process and write this out quickly. So you can see I'm running the hairdryer in all directions so that everything dries up equally without any rough patches. So make sure you run your hairdryer out in all directions so that it dries out evenly. Now you can see as the bottom layer is beginning to dry in, everything is turning out blurry and so soft. That is the details what I needed in the background before we begin adding in the foreground details for the leaves and the branches. Now, everything has dried up completely and using in the dark most consistency of the color that we are painting way. I'm going to go ahead and add in the details in the foreground. For that, I'm going to add in the same leaves and the branches that we kept adding in the background, wet on wet. Now I'm going to add this wet on dry. So make sure your painting is completely dry otherwise the colors will begin to spread out. So using this dark most consistency now, I'm just going to begin adding the details in the foreground. I'm using in a pointed tip brush because of which I can add in all the details together without shifting between multiple brushes. I'm going to begin in with the pointed tip. Press the belly of the brush and lift up as soon as I'm satisfied with the length and shape of the leaf. So that is how you can keep adding in the leaves as well. You can see, I can go ahead with thinner leaves as well as some thicker list with the same brush. Because of Appointed tip of the brush. Now some of the leaves are going to be crisscrossing each other. In the background, we had mentioned he added all of the beat is moving in a little street manner. But now in the foreground I'm going to begin adding these moving into left and right directions as well. You can see how quickly and swiftly I can add in these views without applying much pressure. And also they are so easy to add them in the one stroke method. You begin with the pointed stem, press the belly of the brush and lift it up once you're satisfied with the length of the details. So just keep adding in these leaves moving in all direction. Make sure you do not overdo any kind of detail. So in-between you can see I keep running between different kinds of details with different angles of the leaves. And now I'm adding in little off, just simple Bush details as well in between. Now in-between I'm going to add a little of these details as well. So you can see just adding a little of the weak field kind of details that you have in your. Now you can see when you are done adding in these details, the background details create an effect into your painting, giving in that little blurry background look of the details that you're painting in the foreground, making it look like I've clicked picture. Now I'm just going to add these little more of this De Beers before moving to this case. Pray. And I'm loving how this beautiful field is toning now just with one color. So with every class project, I hope you are able to understand more about the power of one color. How you can create in different tonal values given the details, highlight shadow all of the details just with one color and given depth to your paintings. So going very slowly for adding in these details, you can see I have been shifting in-between all kinds of details so that I do not overdo anyone kind of TV. Because after adding the details in the dark is consistency. There is no going back and correcting any of these. Now using this color in a little lighter consistency, I'm just going to add in little details in the background. So just using one tone lighter, you can see adding in some of the details to give it a little more color variation. So be very careful when you're adding these details so that you're not overdo and mess up the darker details. Now I'm just going to add in more details into the sky as well. Now if you'll see is that the BOD colors turnout to darker, you can quickly dab it with a tissue and creating the data. Look for the boats, trying to show that these bonds are quite at a distance. Make sure that you use in a smallest size brush by adding these details of the box. Otherwise, you know these details but not too big and you may not be able to correct anything later on. So quickly I didn't let him off the boat details. Now I'm going to quickly just adding a few more of these in-between. And then I'm going to shift into the sketchbook spreads side and picked me adding the entire sketchbook spread. So now the first element for the sketchbook spread is going to be the sky. So I'm just going ahead with a layer of water. Now, this layer of water has already a little pink tone, but I'm not worried because as it is, it just a rough sketch book spread that we're creating with the thumbnail of the painting, making them the elements creating it in a very abstract, rough way and not in a detailed look. So roughly have created in this guy out. I'm just going to add a little darker deck. The next elements are going to be the bottom leaves that we've had to do that I'm going to add Vn of the details with them. I'm the third element. I will split up the buds as well and add them as well. So in the background, I've added imaging of these soft details as well. But now you can see they've spread it a lot because there was a lot of water into the sky. So I'm quickly dabbing it with the tissue so that the excess water gets lifted up and you retain a little of the sheets instead of having those completely, you know, spread out color patch kind of a loop. Now at the bottom you are, I'm giving in the leaf details are the kinds of needs that we've used it. Just giving in those details out here to fill in the sketchbook site. So these are all the different elements that we have used in this painting. And we have combined all of them to create the final look for the painting. Now, just simply to create a sketchbook spreads side, we are breaking the elements, creating the thumbnail for the painting and painting in the sketchbook spread as well. Then diet bottom side I added in more of these are leaves and now I'm just adding in middle of the butt hovering over this. Alright, and then we will be ready with this class project for the six as well. So now let's remove the masking tape, make sure your edges are completely dried. If not, make sure to use a hairdryer to dry it out so that you do not mess up the edges and the colors do not flow and ruin your clean edges. So I hope you enjoyed painting this pretty simple field with me today, which we would have never otherwise painted with a pink color. But you can see how beautiful this field looks even with the pink color, the sky, the birds, everything put all together. I hope you guys are enjoying this 20 painting challenge of painting in the monochrome painting. I will see you guys soon into the next class project. Make sure to keep your class projects coming in. Also, if you liked this class, make sure to drop in a review so that it can reach more students. Thank you so much for joining me into this class and painting along with me. 13. Class Project 7 - Violet: Hello everyone. Welcome back to day seven of the 20 monochrome painting class. Today we are going to be painting a pretty galaxy using just one single color. So for the galaxy we are going to play alone with a violet color tone. So again, we do not have any pencil sketch. We are directly going to go ahead with a layer of photo onto the entire space. We are going to be adding in the layer of photo and the details we will be adding all wet on wet, creating enough beautiful galaxy. This time using a little bit of the white quash as well to given this task detail in, because otherwise it will be very difficult to create this style into the galaxy by leaving in those spaces white or using the masking fluid, maybe a very difficult task. In such cases you can use in a light wash. I'm going ahead with and even layer of water on my brush multiple times so that my paper stays wet for enough time. Now I'm going to quickly squeeze out a little bit of the bright violet color onto my palette as well, because the violet color seems to almost be over here as well. So this is by the shared bright clear violet from the Magellan mission set. It is usually by different names and different palette. It can be in the name of violet, permanent violet, right? Clear violet. So by whichever named sheet, it is in your palette. It's a population violet tone that we are using it for creating beautiful galaxy today. So far, the first layer going ahead with a very watery tone, as you can see now in the center, I'm going to keep a little space white as we begin painting from the first layer itself to create the glowing space in the galaxy. So you will notice in this endometrial layer, I'm just going to give him blending effect but not adding much of the color details. Now I'm going to go ahead with one tone darker color and begin adding in debt. Now as you begin adding in the depth, make sure in the center you still maintaining the light space. And I have lifted up my book from one site because I want to begin adding in depth and keep rotating the book as well. So I will quickly, you know, first or tie up that people on the left side with the help of a bookmark, flips so that the paper does not flip out here. Now you can see I'm beginning to add in the colors in such a vena liquid consistency. And why did adding it says, I'm rotating my books so that the palace flowing naturally and create the growing space in the center, yet have a soft, smooth blend. Now using in this play button, I'm making the colors again flowing the center space. Now whenever you are using in this technique of the spray bottle, you either keep a tissue handy but have perfect control because the pains you can see on the edges there how much water and paint that gets collected which may flow andrew, when your entire sketch book, as well as other spaces as well. So it's very important to either have control when you're using this technique or keep a tissue handy so that you can keep cleaning or lifting up the excess water from the edges so that it will not ruin your painting as well, plus the edges as well. Now you can see how beautifully the entire detail is being created on the edge as well. Plus you have the soft smooth blending in the center space, maintaining that glowing area. Now, going ahead with one tone further.com, you can see as I begin adding in the darker tones, It's majorly from the edge that I add in the color and let it flow in the center and having a soft blend. Now, with every edition you can see I'm limiting the space in which I'm adding in the darker tones. Also at the bottom you can see major of this piece is maintained. Why? Because they're going to have in a mountain range coming in later on. So for now, I'm not going to add in much detail there. Now, again, after the addition, Let's sprain little water so as to make the colors flow easily. Deeper tissue handy if you feel it will go out of control quickly for you. I'm going to keep tilting it didn't direction you can see how the colors float flow into each other, creating the debt. Now you can see I've been using a tissue lifting up all of the excess paint from the edges still I have so much of water playing throughout. So be very careful when removing in. Now you're in the center as well. You can see it's difficult to remove the water from there, but I'm going to quickly using a brush and lift up all the excess water from data has been collected does not ruin up the entire sketchbook. So it's playing with the watercolors is fun, but at, it can even be messy. But such a mess is absolutely what the results that you will be getting at the end of it. For now, you can see in the center, the glowing space is still maintained. So whenever you take your book in directions, you have to be very carefully and your eyes should be able to know when the colors are flowing in the center and it will cover up the center space. So at that moment you need to tilt it out again so that they're the flow stops and the glowing space here is maintained. Now with one more layer darker consistency, you can see almost equal to the black color. It looks like in the dark is consistency. I'm going to begin adding in some depth further from the edges and make it blend in the center space using the spray bottle and the same technique. You will notice with every layer, the space in which I add the darker depth reduces. Now again, you're going to go ahead with the spray bottle, make the colors bleed and flow naturally into each other. So keeping the spray bottle at a little distance towards the edge of the color. Now, you can see I missed out this part and you're the color bleed it onto the table as well. So as I told you, it's very important to keep an eye whenever you are using this technique to make the colors, because there becomes excess water on the paper and then you keep tilting in the fallows flow in all directions and that may seep out through your painting as well. So you can see multiple times we have been repeating the same process to get this flowing space into the galaxy. It's very important to repeat this step again and again so as to get the depth into your painting. If you would have tried to get in this step, in one layer itself, I'm showing you wouldn't get this effect. So to get the effect, the flow, the bleeding of the color, the softness, and differentiates of the colors. It's important to go in and build a galaxy layer on layer. Now again, I'm just going to go ahead with little more darker color tint and add it on the edge. So just little darker tones on the edges. And now I'm just going to let this flow up naturally after this into the galaxy to create lethal effect. I'm going to use in the splattering technique and given the texture into the galaxy. At the bottom again, we have maintained in a quiet glowing kind of space because we're going to add in a mountain range from behind which we are again going to show in the glowing effect that is the reason. The bottom, I haven't added much of the color. Now very swiftly wherever I feel that the paint is not flowing smoothly and just adding in a little of this praise. But again, you can see it was moving into the center space and I quickly tilted downwards so that it does not cover up the growing space at the bottom area. I'm done adding in a lot of layers into the galaxy, has built in the galaxy with multiple layers. Now I'm going to go ahead and splatter little water into the galaxy to create little texture. So I have some water on my brush. And now just beginning to debate a little from the distance you can see how beautifully the splatters is creating in the blue. Now in case if your paper is extrovert at this moment, then all of this will again create a bigger patch all together and creating a lighter color effect without giving him the texture effect. So you need to keep a hold of this while this is drying out. So basically when this is drying out, you, by the time it is 50 per cent dry, you would get an estimate whether you need to add in the splatters at that step again. Because when this dries out, you can see automatically right now as well, the splatters are beginning to merge with each other, creating a simple space out there because the paper is too wet. Right now I'm even going to go ahead with little of the vapour splatters. And maybe while this dries out around 50 per cent, I'm going to add in some more splatters, because by that time then add the splatter, it will not module together and we'll give it a good blooming effect into the painting, giving in that picture as well. Now again, using the darker, I'm just going to drop it a little on the edges this time you can see at the edges you hardly have any darker tint left because of the color lifting through the tissue. So just on the edge, adding in little darker tints very randomly. So I've added in the data tend in such a way that the growing space is still maintain, the status is still maintained. So at this point you can see almost all of the blooms I've got covered up because of the pains that we added again, plus because of wetness of the paper that the balloons reacted and work together. So now when this is 50% right, I'm going to add in the blooming effect and then you will get the texture depth into your painting. So then this will dry out 50 per cent. I will add a splatter and let it dry completely and then see you once everything is completely dry. Plateaus when it was 50 per cent dried and you can see how beautiful the effect has come up. I did not use a hairdryer at this time to speed up the process because I wanted all of the layers to dry out naturally, only then the blooming effect will come in. So make sure when your color layer dries out around 50 per cent. Adding this plateaus and let it dry naturally without the user for hairdryer, otherwise you will not get this effect. Now again, I'm going to go ahead with a range of mountain with a medium tone of the violet color at the bottom space. So now you can see it's looking as if the light is coming from between the mountains moving into the galaxy, creating in the beautiful effect. Now with this medium tone, I'm going to take it completely till the bottom space so that I do not have any sharper, rough edges when I add in the second mountain range. So in-between this, I'm going to use in the hairdryer to dry out this mountain range. Because in the mountain range there's no texture details which will dry unevenly if we use a hairdryer. First at the top of the mountain, didn't I'm just giving it a little bit of the shape and a little darker tint as compared to the rest of the mountain. So again, it's kind of a gradient mountain range that we are painting in your so does this dry is what I will do is rather than using a hairdryer, quickly go ahead and add in the details which we have to end the galaxy. So you know, we won't have to even run through a hairdryer. We can get done with the other details. I'm going to create in some glowing stars into the galaxy this time for that I'm going to use in the white quash and first Peter Del background using the white gouache. So first I'm going to use the bike cost just adding small dots. Then using a damp brush, I'm going to blend them into the background and create the dull spaces. Now using a damp brush, I'm just going to blend these dots into the background creating them or dull white patch out here. So you can see small dull white circles. Now, when these will dry up in the center of these, we're going to add white. Gouache again can look that will create the glowing stars effect into the galaxy. So each of the bigger dots that I added and quickly blending all of them creating in the glowing species. Now some of them are, if you blend a lot, they will dry out much done. So you can go ahead with one more layer on top of DOS. Now in the center, the glowing space there, if you use white quash, it will not give him that glowing effect. So I'm using a very light tint of the violet color. I'm going to create a glowing space. And on top of that we will add in a glowing study. So you can see in the center and the violet color itself to create the glowing effect for the styles that we will be adding with the white quash later on once everything dries out. Now till the time the LDL patches settling, I'm going to use an appointed brush. I'm going to add in some shining stars as well. Basically some diamond, the stars that we're going to add it. So use a pointed tip brush or a detailer brush so that you get in these fine details for the stars. So apart from the glowing stars that we will be adding, we're adding in these shining stars. So very randomly, some of them I've added separately, and some of them I'm going to add it on the patches that we've created. Along with that, adding in some fine line to actin as the shooting stars. So major new on the violet color so that it's visible. You can see very fine line. I picked as the shooting star into the galaxy. I'm absolutely loving the texture that is created in the galaxy because of the waters plateaus. Remember, I added those plateaus when my Leo was around 50 per cent dry. This helped me in achieving in the effect of the splatter that you tried to get him. Otherwise you will not get that texture effect. Again, all your splatters, we'll just mix two, undo each other, and create a lighter effect instead of giving in this texture detail. Now my force mountain range has tried in, and I'm going to use in 1to1 darker color of the violet color. I'm going to add it at the bottom space, a second mountain range. So this time the sketchbook spread site has been spoiled too little because of the water overflowing onto the left side and I missed it. And, you know, we just within a second or so the color seeped out there completely. But it's okay. I hope the entire painting at least turns out body. So now the entire bottom layer I've added in the medium dark tone of the mountain range. Now, again, while this dries out, Let's begin adding in the glowing stars for which we've already created in the space. So make sure those background patches are completely dry that you've created in the first place. So now just in the center of these you can see I'm adding in these small dots to actin as the glowing stars creating in effect into the galaxy. So do almost each of the styles that you've added didn't add this glowing star detail, you can automatically see a galaxy is beginning to happen so much more depth just by adding in this task quickly. Now randomly, I'm just adding in some smallest stars you're in there. You can even use the splattering technique, but I don't want to add in a lot of stars. That is the reason I'm adding them one-by-one rather than using in this splattering technique because I want to have a little balance detail and let the violet color be there, visible standing out because of the monochrome effect that we want into the painting. Now there is one last eaten left to add in, but till the time the mountain range tries and I'm going to quickly go ahead and create the sketchbook spread. So for the first layer, I'm going ahead with a simple galaxy background, our tour as the first element for the thumbnail. I'm going ahead with the color directly wet on dry. I'm not going ahead with the wet on wet technique here. I'm going to leave in a whitespace in victory. And then using simple damp brush, I'm going to blend it in the center space as well. Now for that I didn't didn't little darker that thought you're onto the edges creating in the background for the galaxy. Now to this as well, to give in a little texture, I'm just going to go ahead and splatter literature of the water, your Asbell to give him the death. Now makes sure that if you are unable to have in controls pleasure of water, you cover the right side of your painting so that your main painting does not get spoiled with it. The next time named element that I'm creating is going to be a mountain range. In the final painting, I'm still left to add in a little of the bush effect below the last mountain range that we added in. But I'm waiting for the mountain range to die. So till then I thought of quickly creating in the sketchbook spreads side so that we do not have to waste time in between and we can go ahead rather than using a hairdryer. So again, you're, I'm adding in little splatters because you can see the slackers again had almost blended into each other because of the weakness of the paper. So once it's around again, 50 per cent data added little splatter so that now when they try to give you the texture effect. Now lastly, using in the dark most consistency of the purple color, I'm just beginning to add in the bushes as the thumbnail here. And then we will add the same bush effect into our final painting as well. So now I'm done creating in the entire sketchbook spreads side as well. So now to speed up the process, I'm going to use the hairdryer so as to make the mountain range dry out quickly and so that we can add in the final detail while drying out the galaxy, I did not make the use of a hairdryer. I'm repeating it again because I wanted the texture to be there. So if you will, use the splattering technique and again use a hairdryer to dry out the process. The splattering technique will not give you the texture effect. It will give you a plain flat, look. Like you're in this small space. You can see as soon as I started using a hairdryer to dry up this, you can see the splatters have not given the texture as it gave to me on the right side in the final painting. So to have that effect uses splattering technique once you're painting is around 50 per cent and then let it dry naturally without the help of a hairdryer. Now using the dark most consistency of the violet color, I'm just going to begin adding in dog bottom Bush detail. So for that I'm going to use in the violet color in the darkest consistency. Before that, I'm going to quickly add in one more mountain range for the thumbnail as well. So the even that will dry out till the time I add in the bush effect out there. So now we've shifted to a smaller size brush and I'm just adding simple Bush detail with the darkest tone at the bottom most space of the painting creating in the depth as well with one more darker tone. So make sure to keep reading the height of this bush details that you add in throughout do not keep them off one single height. Otherwise it will not give you that effect. So it's very important to keep feeding the heights throughout. If you do not want to add in this kind of brush, you can go ahead with the tabbing of the brush technique that is using a rounded brush, just dabbing it at the bottom space to create little bush detail. You can go ahead and add in some small pine trees as well or any other kind of fatigue. Or you can simply go ahead with one more mountain range if you wish to. Now lastly, do the thumbnail pad. I'm just going to add in some smallest stars onto the galaxy patch that we've created. And then we are ready with this class project for these seven as well. So let's remove the masking tape and see our final painting with those clean edges. I hope the edges are not doing much because of the flowing water technique that we kept using to create this class project. So you also final painting for D7 of these 12 day challenge. I hope you guys enjoyed painting this galaxy by just using one color. I will see you guys soon into the next class project. Thank you so much for joining me into this class. 14. Class Project 8 - Prussian Blue: Hello everyone. Welcome back to D eight of the 12 day monochrome painting class. Today we are going to be exploring a simple cityscape with the Prussian blue color. I'm going to squeeze out some color on my palette because this color is out in my palette right now. I'm just going to squeeze out fresh one from the tube directly. Now there is no pencil sketch for this exercise as well. I'm going to directly go ahead and add in a layer of water onto the entire Sophie's. And then we'll directly beginning creating in the sky first and then going with the Leo's of the cityscape. It's going to be a pretty simple but yet beautiful looking class project as well. So I've added a thin layer of water evenly throughout so that there is equal liter of water everywhere and you haven't even spread of water. And you know, so that your paper does not dry out quickly if you run your brush multiple times, especially when you're using a twenty-five percent cotton paper. This helps a lot and keeping your paper wet for a little extra time. Then what it would stay otherwise. Now, going ahead with the Prussian blue color, first, I'm going to begin in with a little lighter consistency to begin building in the layers in the sky. This time I'm going to again be living in white gaps in the sky that given the natural cloud looks as well. So very casually you can see I'm building in the sky, leaving gaps in between to act as the Cloud. Now as I reach towards the bottom, I'm going to end up this guy space with a complete line. Because at the bottom we are going to have in the cityscape. So as it is, I won't be adding in much of the Cloud details at the bottom area. Now this time I will swatch to all of the left-side sketchbook spread together by the end of it. For now, I'm just going to go ahead and building the layers and first prepare the entire painting. Now going ahead with one tone darker. Now as we move further in the last three class projects as well, I'm going to focus more on the painting and less on the sketchbook spread. Because by now I'm sure you would know how you can create different sketchbooks spreads with different kinds of painting need not be specifically just a monochrome painting. Even in regular paintings, you can create a sketchbook spread with the thumbnails of the final painting or the swatches of the colors that you use and that may even help you in future reference value one to create the similar painting, you would know the elements that you're using, the color sheets that you are using. And in that way you can try to create an almost similar looking painting. Now going ahead with photo darker tones billing in the layer in sky. But you can see I'm still maintaining in the whitespaces for the clouds. So be very careful with every layer you can see. I have the water control on my brush. That is the reason these paints are not spreading much. You can see they are retaining the shape in which I'm adding them at the place. That helps in maintaining the effect as well. Now, to give all of these little blend, I'm just going to tilt it and spray little water using the spray bottle. Now the reason of tilting it upside down is because I want the flow of the colors to go towards the top side to blend in and create the cloudy effect at the top. I do not want the colors to bleed much into the city side area. I like. Now you can see on the edge extra water that gets collected because of the spray bottle Tiki. So you either lifted up with the tissue quickly or you use it and blend it well into the rest of the painting so that by the end, but everything begins to dry. This should not ruin up the edges of your painting. Now just beginning to add in some more further darker details. So you can see how step-by-step moving one tone darker we are creating in the entire effect of this guy out here. Now at the bottom, I'm going ahead with a bigger cloud effect. You can see how I'm running my brush in circular motions, giving in that Boston cloud kind of a loop. Now, all of this, I'm still doing wet on wet. That is, my paper is still wet because of which I am able to have in the soft Cloud details. So it's very important that you have in the paper wet only then you will be able to achieve in the soft edges to all of the details that you tried to add it. You can see I'm lifting up the color again in circular motions to create that cloudy effect until the bottom, I'm just going to be this so that we do not have any sharp edges when we paint the cityscape area. Now I'm just creating some layer of depth. So at places you can see I'm lifting up the water wherever there is excess water. So to create the cloud effect along with the lifting technique, I'm just running my brush in circular motion that gives him little of the cloud effect as well, and easily helps me lift up the excess water and pigment from the places that as well. You can see the blue sky we have the darker depths plus, plus. We also have the whitespace is creating in the sky effect beautifully along with the blue tone that we have added in. So just some last lifting technique again to create some lighter and darker depths as well. So you can see it places I'm just moving the fellows on the whitespaces to get in the blends and fluoride. Now that is it for this guy. Now, I'm going to quickly using a hairdryer and make everything dry out quickly. After that, we're going to begin adding in the cityscape. So the cityscape, we are going to add it into color tones. One is going to be a medium tone, and then one is going to be of a darker tone. So you can see I'm running my hairdryer in all the directions equally so that the entire painting dries out equally and does not have sharp edges. If you will focus specifically on one species, then that species will dry out quickly leaving him ages of the other species that drive after the specific space has dried out. So that is it. My entire first layer is completely dry and now I'm going to go ahead with one photo, darker tone of the blue, what we have used for this guy to begin painting in the cityscape. So now before I directly begin adding in the details with the color, I'm just going to go ahead with a very light pencil sketch for the first layer of cityscape. Now I'm going to go ahead with very random shapes of houses out here. We're having in different kinds of groups and different structure. And make sure you go in with a very light pencil sketch to not use darker color of the pencil sketch because one, you will be unable to use an eraser because you already have a base layer of paint out there. To these marks will be visible underneath the tones that you add in because we are going to use in the medium tones. And then you will not be able to get rid of them and they may create spots into your painting. So very important to go in very light handed leave and it comes to painting with these or pencil when you are in the center stage of your painting. Now this cityscape pencil sketch may not be clearly visible to you because as I told you, I'm going ahead with a very light pencil sketch, but still a little of it is still visible because it's the lighter color tones of the sky in the base layer. Now in case if it is not visible to you much clearly, you can wait till I add in the outline for this entire thing before filling it with color. Then you can go ahead and have an outline for yourself. Or you can simply go ahead with any kind of structure for houses and buildings across the entire space and create your own looking different cityscape. It's not compulsory to following the exact same layout of the cityscape that I have gone ahead with. I'm going to quickly add in a good outline to all of it. And at the same time I will keep blending it with little color so that this outline does not dry out. Because after that, when I will try adding in the color, it will give me a different path altogether, which I do not want. So I'm keeping a check that these nails should not dry by the time I add in the outline to the rest of them. So you can see I'm using a medium tone of the blue color and I've gone in with a very basic outline now I'm going to fill it with the same color till the bottom space. Make sure you fill it till the bottom space for now. Because the second layer of cityscape, which we're going to add is going to be of a darker tone. But in case if you will leave this layer of maybe, then, you know, underneath the second layer you may begin having in sharp edges. So now this entire layer you can see I'm going ahead with a medium tone to make sure I do not go in with a very dark tone for this layer, because we are going to go ahead with one more layer of cityscapes still. Now using the same color, I'm going to split it till the bottom space. Make sure to not leave it midway through our knowing that your second cityscape is going to start somewhere about it because then you will have sharp edges in half of the space in the second layer, which will make your painting look a little out of order. So make sure that you add in this year of lighter blue tone till the bottom space. And in case if you are going to have in a third Leo than at least cover the entire seconds piece of this with the mesial color. So now till the first layer of the cityscape dries, I'm going to quickly go ahead and add in the Swatches out to you're using in the different consistencies of the same blue color. So just adding in four to five color swatches of color so as to fill in the sketchbook spreads site. As we move ahead for the last coming three days, I'm not going to focus more on the sketchbook spread. Rather, the focus will only be on painting and creating a quick, beautiful landscape painting using in single color. So in the last two projects, I won't even be creating in the sketchbook spread so that it's easier for those who do not want to go ahead with sketchbook spirit can create paintings on both sides and have a color swatch of the color directly in different tonal values. Now I'm going to go ahead and fill in the rest of this sketch book series you are as well quickly. So the first element that I've created here is a quick and pretty simple sky with the white cloud effect as well, while you're adding in the details in the sky itself. Now the next element, creating in a small city scape lookout, you're at the bottom space. Now I forgot to add in little details out you're in the main painting for the first layer of cityscape. So my painting is still wet. I'm just going to quickly go ahead and add it and just some details to these cityscape building that we have added here. So randomly to one of the flag buildings, I'm just adding in little tedious detail with the same color tone that I used in the obese Leo for the first cityscape that we have added it. So make sure to use it in the same color tone. And given these details, if you can add these details while it is still wet, it will give a little better effect. But in case if your layer has dried out, you can quickly try and blend it using a damp brush. Now, you are, you can see the color tone was too dark out yours. I'm going to quickly dab it with the tissue because I do not want this darker tint out here. So I'm just going to quickly blend it again using the damp brush. So very randomly you can see I'm just creating little details now again, you can see this piece is still wet because the fish, the color is bleeding in the bottom space. But I'm just going to add a little of a dish detail out here. So this is something which has not turned out exactly how I wanted this digital lookout. But it's okay. I'll let it be there as just a structure in the cityscape. But I'm just going to go ahead and correct this detail so that it looks a part of the cityscape. Now I'm going to quickly go ahead and use a hairdryer and dry out the rest of this piece in the first layer so that now we can quickly add in the next video, because there's nothing more to add in which we can add until this layer dries out. We have to add in little boats as well into the sky, but that will be the last step after we're done with everything. Now. Before using the darker tint, I'm going to go ahead with a very rough pencil sketch so that I know and what shape and detail I wish to go ahead with. Now again, make sure that this pencil sketch you go ahead in a very light consistency. In case if you feel that your consistency maybe are too dark or something, then go ahead with a lighter pencil tone. This will just help you in understanding what shape you need to add it. Again, you cannot use an eraser. You'll also going very slowly. And the pencil sketch may not be visible to you right now on my paper because of the light strokes that I'm using in here. This method, you can again wait until I fill in with the colors orange. You can go ahead with your own layout for the cityscape as for the first clear. So I'm going ahead with almost the dark is consistency of the pollution blue color here. And creating in the final layer of the cityscape. After this, we'll just be adding in some details just as the force TO like creating in some terrorists look some lines, awesome chimney details to the houses that we have added in. And then just add in the boards into our sky and we will be ready with our class project for the eight. Make sure you use an even layer of the color so you have enough of the color ready and prepared so that you would not have different tonal values out here. Now on top of the roofs of these as well, I'm just going to go ahead with little details so as to give it a little detail view to the cityscape. So you can see how simple details create so much more depth into your painting, especially using in one single color. You can see we're able to add in so much depth into the entire painting. With just one color but different tonal values. Now the last thing to lifting is some birds into the sky. So I'm going to quickly go ahead and add in a good flock of birds are there together. So for the birds you can see I'm going go ahead again because lighter consistency, not too dark. I also am going ahead with very random shapes of the boats. And wherever I feel that the color is going to turn darker, I'm quickly dabbing it with the help of a tissue so as to get it into a lighter tone. Now you can go ahead with the boats in different flight motions create a flock of birds moving either from left to top right or bottom to top left, depending on whatever way you wish to go ahead with. Now you can see every time I'm dabbing it to get it into lighter tones wherever I feel that the tones are going at tone.com. So you can use this dabbing technique as well, but make sure you're using the clean side of the tissue. Otherwise, the colors from the tissue me get laid down on the paper while dabbing in. So I'm just going to go ahead and add a lot of boats out here at the bottom side of the left space, moving from left to the top, right. So I'm almost done adding in a lot of boards here as well, just the last few. And then I'm just going to add in a few birds into the sky off the sketchbook spreads side as well. And then we'll be ready with this beautiful class project. This is one of my most favorite class project. I don't know how do I select one from all of these class projects because I am absolutely loving how with just one color we are able to create so much depth and detail into a painting, just using in and seeing the power of one single color here. So I'm just adding in some random boards urine data as well. A few closer to the cityscape. It has bent so as to make everything look balanced together. Now instead of adding it into the sky, I'm filling up this little space out. You're just underneath the swatches with the bird silhouette. So now let's remove the masking tape and see your final painting. Now, make sure you remove the masking tape against the paper going very slowly. And also make sure that your bottom most layer is completely dry it off the cityscape. Otherwise, the colors will begin to move on to the clean spaces and they may get lifted onto your hand as well. So either you can use a hairdryer to speed up the drying process or wait for it to dry and then remove the masking tape. So the final painting for the eighth, we adjust for these away from closing this 12 day challenge. And I'm loving how we're able to explore one color each day and create such beautiful pieces. I hope you guys have enjoyed painting this with me. I will see you guys soon into the next lesson. 15. Class Project 9 - Payne's Grey: Hello everyone. Welcome back to day nine of the 12 day monochrome painting class. I hope you guys are enjoying the world watercolor month along with painting some beautiful monochrome paintings. So today we are going to use the Payne's gray color and create a beautiful winter landscape using this one color. The sky, the landscape, the snow, the trees, everything just using one color. That's the Payne's gray cargo. The phosphate being in with a little pencil sketch. So I'm just going to take the horizon line. That's going to be a major pencil sketch. Major part is going to be the sky space. Also, you can see around 60 per cent of the paper is my sky. Area below 40% is going to be the snow space from where we are going to give in simple wooden door standing out without any foreign niche. So beginning in with a thin layer of water onto the entire pie first, make sure you add an even near reported throughout so that your paper stays wet for enough time. In case if you're using a 25% cotton paper, then running multiple times weight via paper to settle in a little and then rerun earlier of water. In that way it will help people to Steve it for little longer time. Writing work, wet on wet adding in the Laos, getting into depth into the sky. So despite using a 100% cotton paper, you can see I've run my brush multiple times because they had been had been keeping my paper wet until I added all the layers into the sky. So fast going to begin in with a very light tone of the Payne's gray color, with more of water, very less of pigment. I'm going to begin leaving in white gaps in between procreating in effect into the style while adding in the layers. Now it's very important to keep building your sky in Laos rags and going ahead with her directly darker tone. Because building is kindly OS will help you get in depth into your sky. And also building or more of beautiful sky with different lungs coming out with the help of fun coloring. I'm going to hit one more tone darker. You can see the difference post it was almost equal to a water new that we added in, but just a little dusty elastic loop. And now I'm going ahead with one tone darker. I'm going to begin adding in details in the sky. Now, as you keep adding in the deck to the color that as n, how your tone value of the color goes on, darkening. The space on which you enter is going to reduce the false. You can see we added in almost the entire sky. But now we are going a tone dark all we are going to reduce the space in which we add it to begin getting in the tip. Only then all the new year of your colors will be visible separately and stand out and create depth in your sky. Now you are, I feel that the darker tone has gone into darks and quickly dabbing it gently with a tissue. I'm going to quickly run in a layer of water. This was that everything stays wet. So quickly you can see how easily you can lift up the color and revert that space and blend it in the rest of the background so that you do not have rough patches as well. Now you can see I have so much white gap in between in which I'm going to begin adding in blending the colors from the base layer. Now this color has gone into darks. I'm going to keep lifting the color from this edge and keep diluting it into the rest of this piece. One important technique when it comes to adding the Leo's wet on wet is having in the water pen tool. If you will have excess of water while adding in these things out, then the color will begin to spread and cover the entire space and give you a rather medium tone instead of maintaining the light and the darker tones. So it's very important to have what we've been told by adding the Leo's wet on wet in any kind of watercolor painting. Now very randomly you can see I'm giving in this trots moving diagonally from left to right, creating the effect into the sky. You made a mistake. Ok. Now saga, going with Dawn darker, I'm going to begin adding in more depth to this guy. In this scene, we, as we went with the second layer of the color, I'm going to go ahead with the third year of color, but now this is going to be further less as compared to the first two layers. You can see the darker tones I'm adding very less as compared to the second darker tone that I had added in the center at the top space, I'm maintaining that white looks so as to create that are glowing effect into this phi. And given that winter, Lucas, now read whatever place you feel that the calories exists, you can quickly lifted up with your brush and dab it onto a tissue before moving up to lift up another stroke so that the colors do not get laid back because of them being into the brush. Now why is the sky is still wet? I'm just going to go ahead with a little darker color and I've lifted off the soft brush effect on the horizon line. So you can see again, I have to want to control that He's, the beans are not spreading beyond the control. Limit. The *** thing in the shape that I'm adding on there. But because it's the red background, they just have a soft edge and create a beautiful blend, giving him the soft look through the bushes that we're trying to pee it out here. I'm almost done adding in the details. Again, it's very important that you have the water control. Otherwise, these Bush's will begin to spread and begin covering up the entire sky. We do in your sky look instead of giving you the soft edge. So water control is very important and an important thing to keep in mind whenever you're working with wet on wet details. You can see I have the soft debt, but the beans haven't spread beyond the shape that I've added it. Now I'm going to go ahead with a layer of water into the bottom space. I'm going to blend it with the Bush's space because napalm wet on dry even further define the DBAs. Now, we can quickly run out of water and the base layer for the eyes to the base here of the eyes is going to be off of very light tone and value of this fellow given the snow effect. So just joining with a very light layer of the color you can see now. Horizon line, it was thin vector. You can see the fallow softly leading into this null space. We even need to define that area when we begin adding in Livy deals wet on dry. For now, you've learned to love the meeting happened into this small space. It will give a beautiful effect or do not have to worry. But for the rest of this course space, you can see I'm going ahead with a very light layer of the Payne's gray color. Now, we have to wait for the entire first layer to dry in. Under speed up the drying process, I'm going to go ahead and use a hair dryer and ran it all directions. So you can see I'm running the hairdryer in all directions so that everything dries out equally and there are no patch is formed by using the hedge. If you will keep the pressure of the hairdryer at one specific space, then that's piece will dry out quickly leaving the alveolus pieces still wet, which will create a rough patches in between. I'm rough edges in between the painting while it begins to dry. So now everything is dried completely and I'm going to begin adding in the wet-on-dry details. Now, we're going to go ahead with the same Payne's gray color because as we are going ahead with the monochrome painting. But now I'm going to force begin adding in dry brush D1 for the snow. Dab your brush onto a tissue so that the excess pigment and water gets laid onto the tissue before you begin laying it on the paper. And now since maybe poison within drafting paper, it helps in adding the drivers stroke because of the greens in the paper, it's very important that you do not have excess water or pigment. Otherwise, you will begin to get in patches of the Palo instead of fitting in these dry brush strokes. So from the book ends left and right, I have followed in some strokes moving through the center space. And from the bottom, I have pulled the strokes diagonally moving to the center space, giving him middle of the snow deposit the DNS your as well. At this point, also, this painting looks so beautiful and gives him that Summary window feeds out here. Now I'm just going to begin adding in little patches. So basically the dry brush that I have, I'm just going to use in a damp brush and blend into the paper and create some patches to give it a little more snow details. So variable you'll see is that the patches are dawning of data quickly use a tissue and dab it off so that all of the excess pigment gets lifted and you're getting lighter patches to reflect as the small, it's very important to not go ahead with darker colors. Will you get in this tool path, make sure you have the color control. Because after this we are going to be adding in the tree trunks and we are going to add in deflection to that. So that is going to be often don't darker. You will have the ice patches also have the darker tone than all of it will just blend in together and not give you the distinctive. So to have all the beat is standing out, it's important to have in the control in the color or tonal values for adding in the detail. Since we're working with single color, I'm going to go ahead with the darkest consistency, which is almost equal to a flat colors you can see. And I'm going to begin adding in the tree. John's very loosely. So I'm going to begin adding, then they will be moving up to the sky. They're going to come out from this null space. Now for the t jumps, you can see I'm going ahead with Betty random shape. I'm going to add in the reflection, do all of these they did onto force. I'm going to go ahead and add in a few of the trunks quickly. Now in-between I'm positive finding the horizon line so that we remember that we have to add in the details here as well. Now, make sure your tree trunks are moving in different angles and have differentiating. He not look exactly the same each other. Otherwise it will not give you the nutshell bite. Now some of the GI John's, you can see I'm just pulling them from the horizon line, the line that we had it out there. We're going to add the reflection for these as well into the school space needed on when we begin adding in the reflection the rest of the GI John says, now the two terms that I'm taking from the bottom-most piece of this more you can see I'm taking them on knees closer to the horizon line. And also some of the GI John's. You can see we're not going to be adding any point leads to these DJI drones. We're just going to add in a few smaller branches of bonds coming out from these drugs. So there is not much detail to add onto these chunks. Now next one to the horizon line, I'm just going to add in some form BD is I'm just kidding to pull out some small ponds out your in-class sheets closer to the three turns that we have added it. So I'm not going to be adding in these poems on the entire horizon line. I'm just going to add them little water in there to give a little detail. Horizon line as well and not make it look empty out there. Now I'm done adding in the DTAs. Now it's time to begin adding in the reflection first, it's important to understand the light source for understanding that affects you. So if the light source is c from the left to right or center, for now, we have two light sources. You're in the center. So that is flexion as well. False tree. So the genes that are on the right side, the reflection will go a little tilted towards the right. And the trees that are on the left, the reflection men fall towards the left side because the light is falling from the central space. So in guessing if the light was falling completely from the left side, that all of the reflection would be towards the right side of the g times. And in case the light was falling from the right side and all the deflection of the Tetons, that is, the shadow would be falling towards the left side. So now for the tree trunk on the left side, the light is coming from the right, that is the center. So the reflection will fall towards the bottom left side again, just using in the Payne's gray color in the night consistency. Beginning to add in draft lines to act as the shadow to these tree trunks that we have added in. You can see the tonal value of the shadow that we're using. It's a very light. Payne's gray color diluted with water. And I'm blending it till the bottom space of the tree trunk so that it looks exactly coming out from that space. Same VM just going to go ahead and add in the reflection to each of the three chunks that we have added. So now on to the right side you can see the reflection is calling from the left of these fiefdoms. That is the reason the reflection will be moving towards the bottom right side. You can understand the perspective of the shadow and deflections by keeping any object and giving it a little light source to understand how the light and gimmicks and effect onto the shadow and how in what angle does the shadow fall? So you can keep an object, throw light from the left side and see where the reflection falls. Keep the light source in the Santos event the reflection falls. And Keith. Let's towards its right side and see how the reflection falls towards the left side. So the same technique and the same methods we've used. That is the reason the trunks on the left, half, the shadow falling towards the bottom left side. And the terms on the right have the shadow falling towards the bottom right side, because the shadow is coming from the left and right of these trunks. Now, Very good. I'm feeling that I need to add in a few more of the Tetons. I'm just going ahead and adding into war of these under these as well. I'm going to add in the reflection. Also, you can see I'm adding in some thinner branches to these bigger trends that we have added it. So you can just go ahead and use a point if they bought a detailer brush and add in some of these branches as well. So now adding friction to these as Ben that we added right now. And again, remember wherever you feel that the reflection is donning a little darker with me, dab it with the tissue. I still give it that will fit shadow effect out to slowly variable. I feel that I need a little more of the smaller ones. I'm just going to go ahead and add them. So a little onto the horizon line and small reflections to these as well. So now since this is a smaller branch that we added, you know, sleep is also going to be on a smaller one. Now into the sky, I'm going to go ahead and quickly adding some boards as well. This time I'm just going ahead with little detail boards. And you can see they're quite bold enough aspirin in case if you feel that the colors in sweet toolbar, you can use a visual and dab it off a little lighter. If it says that. This time you can see how about identifying board with a little detail angled view. I'm just going to add in two to three of these deviant ones. And then I'm just going to go ahead with little of the free ones out there. Now a little closer. Left side box as well. I'm just going to go ahead and added up the birds flying Doris van. That is it for the buds as bad. Now last week before moving to the journal spread site, I'm just going to add a little more darker patches in the snow showing as the snow collected out to you. Then I'm just going to go ahead and add in few more branches. At the bottom was based off the snow area. So you can see I add the patches here and I quickly dab it off with the tissue so as to pay the light bill effected not heat these colors in much of the darker tone. So you can see from the bottom space how added few of these branches. I plan to add the reflection to these because variable the reflection for these may be falling is out of app preview area for the moment. So just some branches moving from the bottom space. Now I'm going to quickly go ahead and feed in the sketchbook spreads site. So I'm just going to break the elements from my final painting and feed small companies out onto the sketch books. For the last two class projects that we are going to go ahead with. That is on day 1112. I'm not going to be creating in the sketchbook spread site because in the first ten class project, I'm sure you would have been able to understand how to read in this case, if you are using a sketchbook, understand of baking the elements, creating thumbnails to create this series. So the first element that I've created out to ask from me is this guy. So pretty simple by using this file to your own. I've not gone ahead with much of the loading, have discarded heads and PPE to do the simple-looking sky. And at the bottom, just adding in little off the bush tea with the darker tint. So just adding a little darker data as well to p if needed, cloud effect. The next two elements that I'm going to pick up for this gift book straight side is going to be some branches and then some boards as well because those are all the elements that we have added it. You can even add middle of the grass detail that we add on the horizon line, the candy deal basically. I just added few of the branches and add it smaller branches to them. Now you can see these branches, you all look completely different from what we added on the sketch, main painting. And you can use of branches as well, moving in different directions and as well as in different sheets and giving them listen for VDD so as to get more of the national look, looking into these scared branches that we've added in little reflection to them as well. Now lastly, I'm just going to quickly go ahead and add in some grass strokes out your and then some words hovering on top of it. And then we'll be ready with the painting for the nine of these 12 day challenge. Now on top of these just quickly adenine a few of the so that is ignored. Let's remove the masking tape and see our final painting with those clean edges. Make chocolate. Remove the masking tape on snow painting is completely dry so that you do not pay off the edges. The beans from the edges do not see onto this white edges that you've tried to preserve with the help of the masking tape. So you also find them painting for the nine of these two and the challenge, we are just three days away from closing this 20 challenge for the world watercolor month. I absolutely enjoyed painting the shadows and now how to glowing effect falls on the snow and creates a beautiful effect into this winter landscape. Thank you so much to each one of you for joining me and painting along with me. I will see you guys soon into the next lesson. Make sure to keep your class projects coming into the project section. And you feel like this class for whatever reason, make sure to drop a review so that it can reach maximum students. I will see you guys soon into the next lesson. Thank you once again for joining me. 16. Class Project 10 - Ivory Black: Hello everyone. Welcome back to day ten of the 12 day watercolor challenge. Today we are going to be using in the black color to create a monochrome painting. I know you may be thinking that how using a black color you can create an entire painting. But believe me, we are going to create a beautiful night winter sky loop, just using in the ivory black color. So beginning with the pencil sketch, I have first mapped out the horizon line, which is approximately a lot below the center line. And now using a small circle thing, I'm just going to mark out the moon space. So you can go ahead and mark out a small soccer at whichever space you want into the sky. So I'm keeping it towards the right side. Make sure to go ahead with light pencil sketch because these charcoal marks will be visible as we're going to use in the lighter tones. So I'm going to go ahead with a layer of water, but I'm going to leave the moon space empty and just run the water into the sky space. I'm just going ahead with a layer of water onto the entire sky. Make your make sure that your entire sky area is wet enough so that you can walk layers on layers and do not add the water layer into the moon space because we are going to add the details in the moon. Once the sky is completely dry, we are going to have a bright full moon kind of sky that we're going to create. So make sure to go ahead and mark out the edges of the moon very carefully using the brush while adding in the layer of water and the layer of paints as well. So around the wound space you can see I'm running very carefully so as to secure the edges of the moon. But if you want, you can lay down a masking tape in the so-called shape and move ahead easily. You can even use masking fluid and secure this piece of the moon well, and then done the colors easily. But I'm going to go ahead without using the masking tape or the masking fluid. So first I'm going to go ahead and use a very light layer of the black color and just giving a layer into the entire sky. So this is the shade ivory black that I'm using in their various shades in black as well. Ivory black, neutral black, lamp black. So all of them, if you try to flush them closer together, you will see a slight difference between the pins of the colors you're using in the ivory black from the Magellan mission set. So I'm just going ahead very carefully around the moon space so that I do not run the color into the moon for now. And I'm going ahead with a very light. First for the base layer of this guy. Now this time the sky you can see I'm running a little in circular motion closer to the moon space. And then as I reach closer to the horizon line, I'm making sure I have a well-defined horizon line. And after dark I'm giving him to do circular loop. I'm going to go and then keep adding in little darker tones as well into the sky moving from the edge to the center of the moon, the moon space. I'm going to keep it like the EV around the moon. I'm going to keep it very light. Glowing effect of the moon as well. I'm slowly beginning from the edges. I'm going to begin giving in the darker debts with 1200 darker value. So with every layer that you keep adding in or into the sky, make sure you blend all of them well and have a perfect transition from the wound edges so closer to the moon, the lighter space to show the light effect of the moon. And moving towards the edge of the paper, increasing the tonal value given in the darker value so as to show the light getting towards the edge of this guy. So closer to the moon you can see, I'm trying to maintain this time moving in circular shapes so as to get the depth into the sky and even towards the top edge, I'm moving my brush in a little Coby angle on even at each closer to the horizon line, I run my brush in street manner so as to keep the horizon line in fact. So you can see I'm adding the darker that's majorly on the edges and blending it till the center space, giving him the perfect transition from the lighter color in the center towards the darker tones onto the edge of the sky. So slowly keep moving and adding in these details and keep blending with each layer so as to get the perfect transition, you may have to run your brush multiple times to and fro so as to get good blends. Easy going. So you can see, again, I get it into the circular angle and now moving to the center, I'm just going to blend it with the sky so as to get the perfect movement from the moon space. So a little has moved out yours. I'm just going to blend and give this line is soft edge and I will define all of this well, when I begin painting the bottom snow space, if you have the perfect horizon line, you can just let it be there. So that is it for our sky. A pretty simple sky with using inches to tonal values. Ivory black color. Now using a hairdryer and I'm going to quickly speed up the drying process and dry the sky area completely. You can see I've preserved the moon glow around the plus. I've maintained the whitespace for the mood, for adding the details once everything dries out. Now using a hairdryer, you can see I'm running in all directions so as to having the perfect giant consistency throughout. So now my sky has dried and you can see whenever watercolor dries, it dries the tone lighter. Now, using this medium consistency of the ivory black color, I'm going to go ahead and begin painting in the snow space as well. But in this new space, I'm majorly going to go ahead with more of the dry brush pattern after adding in a very light layer of this color. So it's going to be a very light, almost equal to a white tone. So it's going to be more of water. And just to touch off the pigment. You can see just that little pigment is what I've used in spreading it across the entire ice paste. Now at this step, I'm going to go ahead and define the horizon line perfectly. I'm going to blend the color that is bleeding at the horizon line well into the bottom space. Now, as I told you, this is just the first layer for the snow area. This is just the base New York. On this, we are going to go ahead with a lot of dry brush. But before that you can see I'm running my brush multiple times at the horizon line, finding a perfect straight line plus blending the colors that have pleaded, well, so as to give it the perfect finishing on the horizon line. So this is a very light consistency that I've used in almost equal to water. Just a little touch of the pigment to give in the sky effect falling on the snow area. Now with the same palette of the snow that we added, I'm just going to go ahead and add in a roughly or on the moon. So you can see again on the moon as valid systole or almost equal to water. I'm going to leave little off the edges. White only so that I do not run into the sky. And I'm just going to add this detail onto top half of the moon. You can see in between I have little white gaps. Now this was again just the first layer for the moon. I'm going to go ahead and keep adding in more layers and creating debt. So I'm just blending this entire first layer into the entire space of the moon. Going very carefully towards the edges slowly so that you do not run into the skies piece. At this stage, you can even define the so-called perfectly by giving a sharp edges with the help of this base layer that you are adding right now. So you can see using a damp brush how I am deactivating the color that has entered the wound space by not adding this guy and blending it with the rest of the skies. Peace giving you the perfect round edge to the moon that we are wanting to add it. So you need to go in a little slowly and they find the perfect age to your mood. So very carefully using the tint of the ivory black color, I have almost define the entire edge of the moon. Now, outside the wound space, you can see how beautiful the glowing light effect is giving because of the light colored tone that we have used in there. Now slowly I'm going to keep adding in layers with the ivory black color and using a tissue, I'm going to keep dabbing it to give it little texture effect. And bit step-by-step, as you keep adding the ozone layer, some parts will become toning darker, which will give the depth into the moon space. So then this first layer dries in, this new area also dries in. I'm just going to go ahead and create a little of the sketchbook spreads site. So for this case, we've spread this time first I'm going with a circular sky this time leaving the moon space in between black. So I've left the whitespace to look in as the moon and just creating a small circle out there closer to the rest of the Moon space looking as the sky. You have added that good depth and closer to the moon and maintain the light effect. Now I'm moved too quickly again using a hairdryer and speed up the drying process for this bottom space here. And then go ahead adding in the further details onto the horizon line. Also, my moon is still wet so I cannot add in the next layer until it dries out completely. Now using the dry brush technique, I'm going to begin adding in the snow effect. So you can see I quickly pick up some pigment, dab it onto a tissue so that the excess water and pigment is absorbed by the tissue. And then just begin running my brush onto the snow space, giving in the dry brush detail. You can see as soon as you begin adding in that little dry brush gives him so much depth to your painting. Make sure to have a tissue handy. Otherwise, if you will have excess pigment or water into your brush, then it will give you patches of color instead of giving in this dry brush technique. Also, since my paper is a little just green paper, it adds to helping in the dry brush technique, easily giving in the texture of the paper to help the brush to move in smoothly and create the dry brush effect. Now on the horizon line, I'm just going to go ahead and give him little bush tea then lake of fire of you. So you can see I'm adding it in very small d. D is our choice. We're going to add in one huge find G on the left side. And it's going to be the single pine tree that we will be adding it. So on the rest of the horizon line, I'm just going ahead with very little and simple Bush t. Now let's begin adding in that huge pine tree on the left side, beginning with a thin branch and moving downwards, I'm increasing the breath. You can see I'm going to take this small space and using the damp brush, I'm going to swipe perfectly coming out from this small space. So just using a damp brush, you can see I just diluted the bottom layer of the ivory black color and blend it into the snow space trying to show the shadow effect as well. And quickly using enough tissue, I normally do so as to show it blended well into the small space. Now I'm going to go ahead and begin adding in the foil HDD into this using a pointed tip brush. And this week need to add in very thin branches coming out from this huge stem. You can see towards the top, the branches are very small and just pointed edges and slowly moving downwards. I'm going to begin increasing the lens trying to get the entire tree into a triangular shape. Also, you will notice that the branches are moving in randomly in directions. Not all of them focus moving towards the same side. You can see some of the branches have some smaller branches coming out from it. And we're going to add a little detail at the end. But first I'm just going ahead and adding in all the branches out GO together. So going very carefully and adding in these branches do not rush and add a lot of them because we are going to still have in the file and we do not want much detail into the tree. It's going to be a pretty simple one. But some of the branches are going to be visible as it is because we will be adding in fighting only to some of the branches. It's very important to add these branches out your analytics panel because they are going to stand out in the painting because of no foliage onto all of them. Santana in the branches to all of them. Now just using the tip of my brush, I'm beginning to add in the foliage to some of the branches. I'm just dabbing the tip of my brush to create little texture on the foliage effect out there. So I have added a lot of foil is towards the left side and now on the right side I'm going to keep it very limited Polish because major of it I've added on the left side now I wanted to give the right side little less populated and more of the branches being visible. Now wherever you feel, you can just give a little finishing touches. You can see at the end the entirety is taking a triangular shape. And now I'm just going ahead with some finishing touches before I move ahead to the next detail. Now let's begin adding in the detail on the moon. So on the moon as well, I'm going to go ahead with little dry brush stroke, but with a very lighter tone and majorly towards the top half of the moon. On the bottom half, I'm going to give him very little details later on. Now with every layer of patches and dry brush that I keep adding, I'm going to keep dabbing it with a tissue so as to keep giving it lighter loads and the depth detail. Now in the second layer you can see the tone is a little darker, but the details that I'm adding is a little less. And to this also I'm giving you the dabbing detail so as to give, create a little lighter effect for the next layer to be visible again. So basically the top half of the moon, me, I'm going to keep it a little on the darker side and the bottom half, I'm going to keep it a little on the brighter side. Shining bright enough. Now I'm going to hit diving in a tissue gently because that is helping me given the depth. If you feel any other method works for you, where you can go ahead with that. But you can see as I keep dabbing it with every layer, the darker, you know, after the next day or the details are getting darker one step, even after dabbing in because we are building in the layers creating in the depth into the entire moon. Now with a little darker tint you can see I've just given it a little dry brush and little patches as well. So you can see how slowly from a 0 level color, we've built-in little, little, little darker depth and given him the entire depth to the painting. Now, I'm going to quickly go ahead and add in little final details. And then we will move on to the sketchbook spreads site. So just giving you little random point H detail into the smallest piece of very little you can see just random months with a darker to give him the death. Now on to the edge, you're giving indigenous wireless detail. And in the same way I'm going to give him little foiling detail towards the right end of the horizon line as well. Now giving some last final details out you're at the bottom, some grass strokes. And then we'll be ready with this class project. You could see using the black color. You've created an entire night winter sky. I'm with such a beautiful view. Like the sky, the blow that it has around the moon space, and that lonely tree creating the entire effect on detail and the focus into the painting. So now I'm going to quickly add in the rest of the sketchbook spread. Now for the last two class project, as I told you, I won't be creating in the sketchbook spread. And I will make it with class projects for you to follow it. If you want, you can create your own sketchbook spread by breaking down the elements of your final painting and creating in smaller thumbnails of your painting onto this sketchbook spreads site. So just a quick pine tree I added your, you can see this pine tree and the final pine tree that we added looked so different, yet both of them look so beautiful and natural. So make sure to go ahead with whatever your instinct is and the type of tree that you like it. Now I'm just going to add in some grass strokes here to fill in this spreads side. And lastly before removing the masking tape, the last element, just some dry brush stroke to give him the snow detail. Here. We are just two days away from closing this challenge and creating two more beautiful monochrome paintings. I hope you guys have been enjoying painting the first ten days. And we laughed and asked to ten days as well. Plus, I hope you enjoyed the world watercolor month painting in these monochrome paintings, seeing the power of a single color, how beautiful you can create, and how much a single color have many colors in it and create such beautiful paintings. So let's remove the masking tape, make sure your edges are completely dried and always remove your masking tape against the paper? Or is it material of your painting and ruin up your clean edges as well? In the sky you can see towards the left topside you have that little darker debt, which is giving another level of detail look into the sky. So yours, the final painting for the ten. I hope you guys enjoyed painting this beautiful monochrome painting using in the black color with me today. I will see you guys soon into the next class project. Thank you so much for each one of you for joining me into this class and celebrating the world watercolor month with me. 17. Class Project 11 - Ultramarine Deep: Hello everyone. Welcome back to day 11 of the 12 day monochrome painting class. Today we are going to use the ultramarine deep color and create a beautiful seascape. So let's begin with a little pencil sketch before we go ahead with that painting. So for this last two class project, I'm not going to be creating in the sketchbook spreads site. Rather, I'm going to directly be just going ahead with the painting for these last two days. Horizon line, a little about the center line and below the horizon line in this area, we are going to have enough fat fee on which we are going to have in a lighthouse. I'm just going ahead with the pathway. So the pathway in the center is little smaller and as you move towards the right side, you can see it is turning wider. Now on top of this using our scale, I'm going to mark out the lighthouse detail. So I've just added a lighthouse on top of this out here. Now, the rest of the details majorly we are directly going to add in with the paint. For now I'm just going ahead with very simple details and important markings. Now on top of the pathway and the lighthouse there, we're going to have an offense space as well, which I've just given him a simple line for now. We will directly adding those details with a pointed tip brush and the darker consistency of the blue color directly. So let's begin in with the clean layer of water for the entire sky and then move ahead further. I completely forgot that I was yet to adding the layer of water and I went ahead with the layer of color. Now, adding in water to this layer first before moving ahead further with the color. So I just added a little tinge of the color. So it's easy to overdo with a layer of water. I'm going to go ahead with the layer of water onto the entire sky. You can run into the space of the lighthouse as well, because we are just going ahead with a very light in for the sky. And the lighthouse is also going to be of the same ultramarine blue color which we are going to use for the entire painting. Now I'm going ahead with a light layer of the ultramarine blue color. Now on the edges you can see that it's accessible to paint and water. So I'm just lifting up the water as it how I'm going ahead. Also closer to the lighthouse that is in the light of space, try to maintain adding in very lighter tone. So in case if you feel that the color layer is going into darker out there, you can lift up the colors as well. Now this guy is going to be off for transitional tone to add the top we're going to have in the darker tint of ultramarine blue color. But as we move towards the bottom side, we are going to lighten up the shape. So you can see I've added one more layer of the dark ultramarine blue color at the top space. But as I've moved towards the bottom side, I'm just getting the transitional color by blending the color with the help of a damp brush. So you have all dedicated was of the same color that is, at the top you have the darker tint and moving downwards, you've created the lighter in color. So I'm just again going to run with one more layer of this color so as to get the perfect transition. So that is it for the sky space. Now I'm going to wait for it to dry out completely. So to speed up the drying process, I'm going to run a hairdryer to dry the entire sky. So you can see I'm running the hairdryer equally in all directions so that everything dries out evenly and equally. Otherwise, you may have in patches in between if the drawing is not even throughout. So my style is completely dried and now I'm running with a layer of water into the entire CSPs. And after that, we'll begin adding the details into the sea as well. So closer to the horizon line running very carefully so that you do not mess up with the sky as we do not have much details to add again onto the horizon line. Now, when I'm just running along with the layer of the ultramarine blue completely. So I'm just going ahead with a very light layer of the ultramarine blue color in the entire CSPs. Now on the horizon line, I'm running the head with a darker layer of the ultramarine blue color so as to give the horizon line of perfect distinction from the sky. Now you can see I'm running my brush multiple times to one foot so as to get the perfect blend. And with this, I'm lifting up all the excess water which is there onto the paper. Now at the bottom I'm going to give him the darker depth. So in the sky he had given the darker depth at the top space and in the CV of giving the darker depth at the bottom and just defining the horizon line. After this wet on wet, we are even going to go ahead and adding the c wave effect. And now you can see adding in the darker effect. I'm not adding it into the lighthouse space. To the top and the bottom. We've given the darker depth and in the center we've maintained the light space. Now, white mycelium is still wet. I'm going to go ahead with my round brush, which has a pointed tip and I'm going to begin adding in some details, wet on wet. So I'm going to make sure that wine adding in the details, wet on wet. I'd not have excess water or pigment on my brush. Otherwise, it will begin to spread completely and will again give me one single flat color loop. So you can see now he carefully using in the little darker tint of the same color, I'm beginning to add in the waves effect, leaving gaps in between. And as you can see, as soon as I had excess water, the paint is spread it off completely OTO. But in the initial waves that I've added, it did not spread. Rather it just had a soft edge because of the water control that I had while adding in the waves. Now in the same way, I'm just going to add in some leaves at the top space as well and create the perfect software. Look wet on wet while this area is still wet. Now in this npn, you can see how C is already off to a very light color. So the v is also am going to keep them off the light. And at the top and bottom you can see the waves are also of the Docker. So in the center you can even notice that the waves are quite thin as compared to the waves the boat we have added at the bottom side. That is because the waves in the center and the top space are far from our view. That is the reason I've kept them smaller so as to show the perspective view as well. Now quickly using a hairdryer, I'm going to dry up the entire bottom CSPs and then we'll go ahead with the details for the lighthouse and the pathway into the sea. So now main diocese completely dried and I'm going to go ahead with the further details of the pathway and the lighthouse. So first beginning to add in the detail for the past week, I'm going to go ahead and mark the outline very carefully using the pointed tip of the brush so that I do not flow out of proportion. Because once we go out with proportion, it will be very difficult to correct these details because we are going ahead with such a dark consistency of the color. Now, the entire path we, I'm filling in with the dark consistency of the ultramarine blue color. So I'm done adding in the detail onto the path p. Now I'm just going to tilt my books so that it's easier for me to adjust the angle for the lighthouse. And I'm going to go ahead and add in the details into the lighthouse. So very carefully first I'm going to create the fence detail on top of the pathway. So for that again, I'm just using the pointed tip of my brush and adding these details in case if you find it difficult, you can go ahead and use in a detailer brush for adding these fine lines creating in the details. Now to create the fence loop, I'm going to further add into more of the lines out your and create the deck and giving those small lines in between to make it look like a fence. So now I'm just giving these fine lines in between these horizontal lines that I've added to create the fence lookout. Then we will move on to adding the DVDs into the lighthouse. Now on to the fence out your onto the path. I'm just giving you a little more details to give it a little detail view. So just some polls are very randomly standing out there. Now for the lighthouse, I'm going ahead with a medium tone of the ultramarine blue color. So you can see it's not as dark as the color that we have used in the past week, but it's not as light as the seed color we have in the center space. The reason of going ahead with a medium tone your is because we still have to add highlights to the path. We also either Lighthouse, which we can add in only with the darker. That is the reason you have to go ahead with a medium tone so that the darker tone will be able to add in the highlights on the lighthouse and create the depth into the painting. Now again, I'm going to quickly using the hairdryer and viable space so that we can add in the further details on the lighthouse. Because now we are only left to add in the highlights onto the lighthouse and a little detail on the horizon line. And then we'll be ready with this painting for d 11 of these 20 watercolor challenge. So neither lighthouses completely dried and I have picked up the ultramarine deep color on my point if they brush in a dark consistency. And I'm this going to begin adding in the details onto the lighthouse, creating in the depth on the lighthouse. Now at the top space here as well on the lighthouse, I'm just beginning to add in some details using in the pointed brush and the darker consistency three, giving him the details of very slowly using the pointed edge. So very simple details that I'm going ahead with. You can go ahead with any other kind of TPS or any other silhouette of the lighthouse if you wish to. So using the same dark consistency, I'm even adding the windows onto the lighthouse. You can see very tiny v views, but they are giving so much more depth to your painting. We are also lead to add in the reflection to this path. We end the lighthouse into the CAD to be or even going to add that once we finish adding the details now. So now very carefully, in the darker tint of the ultramarine blue color, I'm just adding in little reflections. I'm just adding some thicker lines below this detail of the pathway and lighter, just adding in some thicker lines to act as the reflection. Now to act as the deflection of the pathway and the lighthouse. I'm just going to go ahead with the smaller lines out your two actin as the reflection of the light. So you can see there you have the light off just in the underneath space of the C. You have to go ahead with smaller lines because you can see that the lighthouses tenor and the pathway was broad enough. That is the reason we added that reflection abroad space. So just using the darker tint, we've added the reflection as well for the lighthouse. And you can see how beautiful the reflection is acting out. And as soon as you've added in the reflection, it has given one more layer of depth to your painting. Now very randomly, I'm just adding in some wet-on-dry be VPNs out here to give it more depth to the painting as well. So very little of it. And closer to the horizon line, I'm going to keep these waves very thin and very small, and also not going with the darkest consistency. You've added a medium brown consistency so that everything looks well blended together. Now at the bottom space, when I'm adding in these wet-on-dry, you can see I'm adding them a little because these waves are closer to our view and that is the reason they have to be a little thicker as they are much more closer visible to us. Now using a tissue, I'm just going to lighten the reflection of the lighthouse because I'm finding the deflection too dark. So quickly, just lift it up middle of the color. And I'm just going to run with a medium tone of the reflection again for the lighthouse because I was just a little unsatisfying. So now you can see I have the deflection of the lighthouse and two tones. One was the beast here, lighter color that I just note that and got the lighter tone. And now just added in-between little highlights with the darker tone as well. Now, one last thing to left arm is going to be a small mountain range on the horizon line using a smaller size brush. Again, I'm just going to go ahead and adding a very small mountain range, moving out from the left side closer to the horizon line and close it in the lighthouse and closer to the light and you will see, are you not taking the mountain range quite lower? And then on the rightmost side as well, I'm just going to go ahead with a very small range of the mountain goat as well. So this mountain ranges when you can see a very dark color consistency that I've tried to use it so that it stands out and it also defines the horizon line quite well. So you also closer view, you can see how the reflection of the pathway and the lighthouses adding so much more depth to the painting. Now, before removing the masking tape, I'm just going to go ahead and add in more details onto this path. I'm just going to add a little bit more of the poles. And those are loops that are connected to each other. So just some more details, give it more depth as opposed seashore out here. So that is it. We are ready with a class project for day 11 as well. So let's remove the masking tape and see your final painting with those clean edges. We're just one day away from closing this challenge of the monochrome painting class for the world watercolor month. I hope you guys have enjoyed painting these beautiful monochrome with me for the coming for the past 11 days. I'm one more for the coming day. Thank you so much to each one of you for joining me into this class and painting along with me. I will see you guys soon into the next class project. I hope you guys have created the first 11 paintings. And if so, I would love to see all of your paintings into the project lesson of this class so that I can share them as well. Also, I feel like this class for whatever reason, make sure to drop a review so that it can help me reach more students. 18. Class Project 12 - Indigo & Thank You: Hello everyone. Welcome back to day 12 of the monochrome painting class. We are on the last day. And today we are going to be using in the indigo color from the white knight. So I'm going to go ahead and squeeze out a little of the indigo color out on my palette. We're not going to be having in any pencil sketch via directly going to go ahead with the paint colors. I have some color already on my palette now I'm going to go ahead and add in a layer of water onto the entire paper. I already have my paper taped down and make sure that your edges are paved and there is no loophole in-between the masking tape for the water to seep through. Go ahead with an even layer of water throughout so that your paper stays wet evenly throughout. You are able to add in all the details wet on wet. Despite using a 100% cotton paper, you can see it on my brush multiple times to one floor so that my paper stays wet evenly throughout and it does not dry out in between violent working with the wet on wet details. I'm going to go ahead with a pretty simple sky and then going to add in a lot of rage at the top. So I'm going to show you some simple tricks that you can use. A quick foil it. And then just given little details, look to it with the detailer brush. So I'm almost done adding in the equaled layer of water. I've made sure that I do not have any excess water on the edges. Otherwise, it will sit back into your painting. Now I'm going to go ahead using the flat brush. I'm going to go with a very nice consistency of the indigo color. So you can see it's a very lightly you that I'm beginning with. So as the first layer evenly, I've given him the indigo color throughout. Now beginning from the top, I'm going to go ahead and begin darkening the tone and run my brush horizontally from top to bottom so as to get a variegated wash that is on the top we will have the darker tone of the indigo color. And as we move downward, the color will get diluted and have a lighter tone consistency. So in short, you will be having a darker consistency of the same color at the top. But as you move towards the bottom side, the color will go on telling lighter. Now from the edges keep lifting up the water or excess paint that comes onto the masking tape so that it does not see back into your painting. Now I'm going ahead with the darker tone you can see I've listed more color and now again, from the top, I began with the darker they are and moving downwards. I'm just trying to live down the color by just running my brush without lifting any further color. So you can see slowly layer on layer, I'm building the Docker death at the top. And as I'm moving downwards, slowly though, color is being diluted and turning into a lighter tone at the bottom space on this lighter tone, given some cloud effect. And I put off, we will have to file a defect later on. That is the reason at the top we already have a darker sky look at the bottom as we move downwards, I polluted the color tone. Now picking up the indigo color in a medium tone consistency, I'm going to begin dropping in some clouds on the lightest pieces of cure at the bottom space. Now when you are adding the details wet on wet, you know the two important key points, one being the water control on your brush. Otherwise, the colors to begin to spread out completely and do that. Your pigment should also not be much on the brush. Otherwise it will spread and cover up the entire space. So fun. Now if you see my Cloud effects are not spreading much. They are retaining the shape in which I'm adding them. Because I do not have excess water on my brush. You can see the cloud effect is not spreading beyond the limit which I'm adding them at any place where you feel that it's not even spreading religion. You can go ahead, use a damp brush and spread the color simply. So very gently. I'm just adding in little of the cloud effect only then the lighter tones. Because the top space will immediately get covered up with the Cloud if with the foil age effect that we will be adding it. So at the bottom, we have kept in the light color for the background space so that these cloud effect be visible. So at the bottom space, make sure to create a good cloud effect using in a medium tone consistency first. And then you can use in a little darker tone and just adding a few highlighted clouds with the darker tone. I'm just going to go ahead and add a few more of the cloud effect out here before we let this to dry out completely. Now at the top space as well, I'm just giving little cloud effect so that in-between the little cloud effect is visible. So we are almost done adding in all of the cloud effect. Now wherever I feel, I need to give a little blending or make the edges more than just running with a damp brush. Now let's wait for this to dry out completely and then move ahead Further. Adding in the further details. Sky is completely dry it and you can see how beautiful the clouds are looking. All of them have such a beautiful soft edge. Now I'm going to go ahead and begin adding the foliage details for that time. Foster new thing or data consistency of the indigo color. So I've just added very little water so that the consistency stays Docker itself. Now using this pointed round brush, I'm going to hold it perpendicular and lift up little color onto the brush and begin adding in the foil age effect. So holding the brush perpendicular, I'm just going to begin dabbing it and it will create the file age effect. So you can see how the foliage effect is being created. Once we add in the village effect with this big technique, go ahead with the smallest size brush and adding little details for lesions. Now when you're going ahead with this technique, you have to be sure that you've not dip your brush in water. Otherwise it will not give you this dry brush pattern because of the bristles that are separated. As soon as you will add this brush into water, the bristles will again be connected to each other and then they will not give you this quick foil age effect. So it's very important that you do not deploy brushing water. Also, you need to be sure that your pigment also does not have a lot of water. Otherwise, it will again make the bristles of the brush coming together and then you will not get in this dry brush effect. The head first creating in the foliage. So from the left and the right edge till the half of the sky, I'm going to have in a lot of spoilage in the center. I'm just going to give it different shapes as well. And then I will go ahead with little detail for an edge loop after adding in this wireless with this brush. So you can see I'm trying to move the foreign legion different directions. I'm trying to keep him little spaces as well. So it's very important that you do not add the foliage in a single straight line. Try to vary the direction and angle of the foil is because that will make a difference to the painting. Now in the same way, go ahead with the foil h out here on the right, a left side as well. And keep adding in the foyer leach out here. And as I will move towards the center space, I will keep little off the center space empty. So that does tie in between is visible. And then in-between the varnish, we are going to go ahead and add a bright shining moon as well. So now even from the right side you can see how I'm pulling up the, the angles of the foliage as well as creating some creepy kind of creeping kind of violate effect as well. Then we will add in the details. Look to these, you will see how the shape takes, how all of it takes shapes and create such a beautiful blend into the painting. For now, make sure that you do not add the foliage in a single straight line, try to mediate. Now at the bottom most right-side here, I'm just going to add in little foliage as well. So just quickly running with last time. Round off the foliage effect and then I will shift into adding in some detail. For now. I'm just going to squeeze outer leaflet of the Payne's gray colors so that I can go ahead and add in the detail for now, I'm going to use my size one liner brush so you can see how thin this brush is. Plus I'm going to use the indigo color in a good right consistency so that I get good enough details out. You're now using this liner brush. I'm just going to begin adding in some veins in between the foil is before we begin adding in the detail for each loop. So very naturally and very roughly just begin adding in veins. You need to back a little of the directions of the formulation that you have added in. So very often mileage is going towards the center outside side. You need to add the veins accordingly so that all of these points, which looks coming out from these ways. So that is a little perspective thing that you need to keep in mind while adding in the veins. Similarly, even on the left side, I'm just going ahead and adding in little veins out here. So very randomly you can see in between the foliage, I'm trying to show all of the wings moving towards the center part of the sky. Now I'm going to add in some of the veins coming out from the foil is peace as well. That is the excess been peeking out from the foil age effect. So very randomly, you just need to go ahead and keep adding in some smaller veins as well, coming out from the bigger wins. And make sure to give them moving into the direction of the foliage. So you can see how I'm pulling up the excess beans picking up from the foil lid space, giving in much more detail view. And now the foil is begins to look so much more meaningful after the veins that you have added with such a dark consistency. Now on top of this, we're going to go ahead and add in more detail so as to make all of these look more detail. Now I've shifted to a round brush and using the tip, I'm just going to begin dabbing in some of these outside onto the foil age as well as onto the veins. So you can see I'm just using the same darker consistency and just dabbing out nice sheets so TO onto the outside of the wind as well as a little onto the foliage effect that we have added. So automatically, as soon as you begin adding in the data, while each loop you can see everything begins to get so much more detail. Now just keep adding in little detail leaves like these onto the veins and onto the foil. So it may take a little time to add in these nice, but you can see as soon as you're given little DBAs, it looks more natural. Painting gets another level of depth. Now in the scene via am going ahead with the deviant, look onto the right side as well. So I'm creating a bunch of five leaves closely knit together. So they look kind of an autumn leaves together as well. But they're just normal leaves that I'm trying to depict out. I'm going to quickly go ahead and add a few more of the detail leaves before moving to the next detail than having the detail leaf. Now next I'm going to move ahead and add in a glowing moon effect in-between the spoilage into this dark sky. So using in the whitewash, I'm going to create a small glowing space. So I'm going to pick up the white gouache. I'm going to dab it and create a glowing space. So I've added in a small moon out, you're in-between the foliage in the center space. Now I'm just going to go ahead and use a damp brush and blend this into the background and create a glowing space. And then on top of this I will add a moon only in the center of the growing space. So very carefully you have to be at this glowing space. Make sure you do not touch the darker stroke off the indigo color. Otherwise, it may land up onto the whitespace of the glowing moon. Now, whitespace is drying. I'm going to quickly go ahead and add in little more detail news wherever I feel there is a little need to add them. So on the left side, on the right side still, I feel a little knee to keep adding in little more of the details. So does the time the whitespace dries in, go ahead and utilize the time and add in some detail leaves. So whenever you feel the need, you can pull out some veins as well and add in more details. In the center closer to the moon you can see I pulled out a longer visa details looking leaves. Now rewrite, growing space for the moon is completely dried and I'm going to go ahead and using the white wash and add a small wound center out to that music via lady with our final class project for the deep 12 of the 20 monochrome painting class to celebrate the world watercolor month. So let's remove the masking tape and see your final painting because teenagers make sure to remove the masking tape once you register are completely dry. So here's our final painting for the d 12 of the 20 monochrome painting class. I hope you guys enjoyed painting this beautiful monochrome painting with me using the indigo color. Thank you so much to each one of you for joining me into this class and celebrating the World Watercolor Month with me. Along with me.