Nature’s Palette: 12 Stunning Scenes in Watercolor

1. Welcome to the Class!: You know, those days when you want to paint something beautiful, but nothing really sparks your inspiration. So you're sitting with your brushes, you paint, and flipping through different ideas, but everything feels either too complicated or too repetitive or maybe too simple, and maybe you just want to find a moment unwind. You know, to lose yourself in colors and create something really peaceful. Without overthinking every step. And I completely get it. Sometimes, all we need is simple, joyful painting sessions, you know, one where we can let go, enjoy the process, and create something beautiful and watch it come alive on the paper. And that is what this class is all about. So welcome to Nature's palette, 12 stunning scenes in watercolor. In this class, we will explore a collection of 12 breathtaking landscapes, each capturing a different mood and moment in nature, from golden sunlit meadows to towering mountains, glowing sunsets to vast starry skies. Every painting is designed to bring you a fresh burst of creativity and a relaxing escape into the world of watercolors. I'm Githu. I'm an artist, an engineer, a mom to a toddler, and a passionate watercolor enthusiast, just like you. I also wear a few other hats like a mixed media artist, a civil Rush educator, white Knights ambassador, and a Cedar arm Stationers partner. But what I love most is sharing my creative journey with you all. If you follow my Instagram, Cal for Mystique, you've probably seen glimpses of my paintings, my process, and my love for all things watercolor. So in this class, I will be guiding you through each scene step by step, making it easy to follow along while giving you space to bring in your own artistic touch. So whether you're looking to fill your sketchbook, beautiful landscapes, or simply enjoy a calming painting session. This class is here to bring more joy, color, and inspiration into your creative time. So go ahead, grab your brushes and paint, and let's settle in and paint some magic together. 2. Art Supplies You Need: Alright, so let us have a look at all the art supplies that we need for this class. So first of alle, we need what color paper, which is really important. So this size is the paper that I'm using. So it's actually from the Saunders Waterford, 300 GSM cold pressed paper that I'm using. So it's like a 12 by 9 ", which I cut into two. So this is nine by 6 " paper. Uh, so make sure that the paper that you're using is 300 SM and cold pressed or rough surface, that would be the best and also 100% cotton paper. That's really, really important that we use paper of that size. Then obviously, the next thing that we need is watercolors. So this is a set of watercolors that I have, but this is for demonstration purposes only, because what I'm actually using are from a curated palette of mine, which is from different several different brands. So I will leave PDF that shows all the colors in my palette. So if you want to get the same, you can use that, as well. But obviously, we need watercolors preferably in tubes, I would say, rather than their pants or the little C. So here you go. Watercolors. Then we obviously need some brushes. So some watercolor brushes, which I would highly recommend. The one I'm using are from silver, the black velvet series. So I have a large flat brush to apply water to a larger surface area, and a medium size brush, which is a size eight and also a size six and smaller sizes, the two and four for the details. You can also use a liner brush which would give you very crisp and clear lines as it's got very thin elongated, bristles. Alright. So that will be the brushes stuff we need. So those are the main things. Then the additional stuff that we need for painting is basically, first of all, I would recommend having a board for your painting. Board because it's easy when you have a surface to tape your paper onto, then you can lift it, you can move it around. You can play with water. You can give the effect of gravity onto your paper. So rather than sticking it onto the table, it's best if you have a board like this, but you don't need a wooden board. This is just a plywood that I have. You don't need the exact same thing. You can go for, like, a magazine or like a cardboard or something, whatever that you can grab on, okay? Any basic thing would do a surf is for you to tape your paper onto. And having said that, definitely, we've covered paper and the board. So what are you taping it with? Tape. So you need a masking tape. So this is called Painter's masking tape. There are several different brands out there. And honestly, from my experience, I've seen that if you're facing an issue where your tape is tearing off the paper, it's mostly because of the paper, which means paper is the culprit than the tape. But having said that, if you'd like a very good brand that I literally like, it's empty empty washi tape. So it's called empty washi tape, and this one is that I use. I keep getting the same one because I really love it and it works. It doesn't, you know, destroy your paper, and it also repels paint, which means that there's no way that it's going to seep underneath because of the papery texture of the tape. All right. Then next thing, obviously, what we need is drawing materials, which would be a ruler, a compass, and probably an eraser as well if you tend to making mistakes. So I'm just using the tip of this one, which is more than enough for the uh, you know, erasing cart. And also, we need a compass. And I already mentioned ler. Okay. So those are the things that we need. Then make sure that you also have a cloth or a tissue to wipe excess water, dry your brushes and several uses that you're gonna have. So I used a cloth. You can also just use any normal tissue for that purpose. Then we also need white quash. Alright. So white gouache is really, really important in this because it's very, very opaque. So there are times where we want to paint, like, really opaque things. So, for example, like stars in the sky, and that would be with the white paint. So this is Windsor Newton, designers gouache permanent white. You can also get titanium white gouache, which is also really opaque. I would not recommend using white watercolors because it's still got that transparency effect. And you would see this coming in my lessons as well, because this is the little palette that I use for my white paint because just don't want to put it into my main palette cause it could just get dirty very soon enough. And that reminds me that I had not mentioned one most important thing, which was my palette. So you also need a palette to mix your paints in. So this is my palette and you would probably see this in almost most of my classes, in fact, and it's got a curated set of colors which I've added after, several months and years of experimentation, perhaps, and chosen these. So these are from various brands. So this is what I said I will leave as a PDF. All of the colors, but you essentially don't need all of the colors. We only need some main colors. Like, you know, go for the primaries plus mixes of those secondaries, and that's it. But some things that I would recommend having because of the projects are like the cadmium colors. That's because they are opaque. And sometimes to get that opaque effect on new paper, you need the cadmium colors. So that would be the cadmium yellow, cadmium orange, cadmium red. Those are the most important ones that I use. And also, I don't use black in my palette. Instead, I have something called paints gray, which in its darkest form looks like black, and in its lightest form is a subtle gray color. And that's exactly the reason why I use paint gray. So just in general, like all the colors I mentioned, so you can have a reference to that. And lastly, because we're painting with watercolors, the most important thing is water. So here you go. I've got this brand new What do you call this water cup? This is from the brand silver. This is their newly released series where they've just launched several of these water cups for washing your brushes and also, like, lots of brush cleaners and such. So this is what I'm using for this class. It's really helpful because it's got two slots. It's both wet now because I've actually used just for this, but this is exactly what I wanted to show you, and that's the reason why I didn't wash it. So, this, you can see, it's really, really, really dark in color because I've washed a lot of paint, and it's got all those pigments in that water. So when you want to apply fresh water onto your paper, you want another set of, you know, a little bit of water that's clean. So that would be your other job. This is a little bit contaminated, but I assure you, towards the end of the painting, even both is going to get contaminated. But one of it would be really contaminated, which makes it really pointless to use that one. Because imagine if you were to dip your brush into that one and then grabbing fresh paint, you're picking up essentially dirty water. And then picking up paint again, which then makes this color to mix in with that dirty water, which is something that we absolutely do not want, right? So that is why we need two jars of water. You can use two separate jars or just something like this. I'm just showing you. So, there you go. Those were all the materials that we need for this class. Also, I would like to point out one thing, one last final thing, which is a hair dryer. So I have this always on my table. It's a hair wire, but this is something that I use for my painting purposes now to dry my paintings quickly. That's only because I just record everything in one go and I want to, you know, have my paintings dry quickly, and you can see I've already painted and stuff. So, a hair wire or you can use a heat gun as well in order to dry your paintings really quick because for painting with watercolors, it takes a little bit of time to dry. Um, depends on your paper as well. Yes. Okay. So, now that you know all the materials that we need for the class, let's go ahead to the techniques and have a little brush up of all the watercolor techniques. 3. Watercolour Techniques: Hey, so in this video, I'm going to give you a brush up of all the basic watercolor techniques, which we will be using in all of the projects in this class. But if you're a complete beginner, then I would highly advise you to go ahead and, you know, watch my ultimate guide to watercolors class, which is, like, a detailed class which describes each of the techniques in detail. There are several beginner friendly projects as well, which she can follow. But having said that, but I will still give a very, very brief overview here so that we understand what we're talking about. Right? So first of all, the thing that I'm going to cover is wet on wet technique. So wet on wet means it's wet paint on your brush on wet paper. So this means that you need to have your paper wet. So we'll just grab empty water. It's just a large brush that I'm using. And then you wet the paper. So when you wet the paper, the paper is now wet. And then when you pick up paint, obviously, the paint will be wet paint. So when you pick up paint, that is now wet paint onto wet paper, okay? And in order to show you the wet paper, have a look at the paper, the sheen on the paper. Can you see, you can see the nice wetness on the paper indicating that the paper is wet. And what happens when you apply wet paint on wet paper is it kind of spreads. See how that's happened. And to put you into perspective, I'm going to do the same dot here and see it doesn't spread because there's no water in that region. So wet paint is movable when the paper is wet and it spreads out nicely, and you can even create gradients. So how I created gradients right now is I took a dense pigment, started at the top, and then I brought down the paint and the brush was finished. So then it becomes lighter and lighter towards the bottom, and that's how you create a gradient. Okay. And you will also be able to create gradients by mixing two colors together. As in a gradient of two colors. Let's say, for example, if I were to grab a yellow, and then I start at the bottom, and then I go up towards the top, you can see it blends up together, and now that's a gradient between two colors. Okay? So that was wet on wet. Now, there is a lot about water control as well. So again, if you're an ultimate beginner, then I would suggest going through my water control class because I explain a lot about the timing, brush movement, the basic rules to control the amount of water on your paper and so much. So that would be really helpful. It's not a long class, just take it so that you know the basic rules and you know how to work on your paper. So I even cover things like, for example, when you're right handed and left handed and all of that. Okay? Next thing is because we've just painted on that surface, it's still wet. So it takes a bit of time to dry because you're working on it. So so long as you keep working on it, things stay wet. Now, you will be able to add more things on the top. So you can add stuff on the top again. So I will just say that the basic one oh one rule of watercolors is to have lesser water on your brush than there is already on the paper. So to show that in perspective, I'm just going to apply a little bit of water here as well onto this side, okay? To show you what I mean. All right. And I've got some blue paint here, and I'm just going to apply that towards the bottom. And here again, I've created that beautiful gradient, grabbing denser paint. And as I go towards the top, I apply that. And then as I come towards the bottom, my paint is getting finished on my brush. So then it becomes less dense and the particles disperse more in the water creating that gradient effect. Now, what happens when you have a large amount of water on your brush? Okay? What happens is you drop it and you immediately see the effect. See? It spreads the water, okay? I mean, the paint. And this is what is known as a bloom or a cauliflower effect. It happens because there's just too much water on your brush. So what do you do if you want to add some nice strokes on the top without introducing too much water? Then you need to have a cloth or a tissue, make sure your brush is nice and dry and pick up literally dry paint because this region has already started to dry. And as I apply over the top, I get the nice wet on wet stroke without a drying. So this is already started to dry because we painted that first. But now, if I were to show you and I know how to adjust this watery mistake that we just did, if you just grab in more paint and mix it along, that goes away. So now this entire region is still wet. And if you want to paint in nice dark clouds on it, so I'm just going to grab a little bit of indigo here. But observe the consistency on my brush, and to show you in perspective, see, when I mix it on my palette, it's that tense. It's not watery. So this dense paint as I apply over the top, it doesn't spread out too much, but also it has a very softer edge. So this is still wet on wet, or you could call this particular stroke as dry on wet because your paint is effectively dry, but your paper is wet, so you're applying dry on wet. See, the dry on wet gave such softer, softer clouds over the top. Okay? So that would be the wet on wet and the dry on wet which we've covered. The next thing is wet on dry, which is basically very simple. You're applying just dry onto dry paper, but wet paint. Okay? So that's literally wet paint. But here's the thing about wet on dry as well. You just applied that stroke. So that stroke that you applied is wet. And while a wet, there is a lot that you can do. You can control it as in before this edge dries up, if you grab more paint and then you go ahead and join along, see, you are literally just connecting it and it's still wet on wet. Sorry, it's still wet on dry because you're applying onto dry paper. Let's try and create the same ingredient that we did. It would not be the same. But see, I'm going to grab that same yellow and I'm just putting it onto there. Okay? So you can clearly see the separation there. But case both regions are still wet, if you do that process, and then you just go back up and maybe come back down again. You get almost the same gradient, but it is difficult. It's very hard to do this way. I only follow this process when I have, like, a particular reason to follow this process, like something that needs covered entire one color or you will observe that in various projects that we're doing. Alright. Then the next thing is, let's say that we want to do the wet on dry itself. So here I'm just gonna grab my indigo. So I've got a very wet paint now. My paint brush is loaded with water and paint. And then I start and I apply the in olive green paint. And then as I start coming down, you can see that the paint and the water on my brush decreases, but there's still more paint. So then when I continue applying it, it becomes really dry because the water on my brush is, like, finished. So then I start getting these dry strokes. See? It's wet on wet. Stipa matinee. See, it's wet on dry and then moved on to a very dry dry stroke. So this is a continuous wet on dry to dry brush technique, okay? And that brings us to the dry brush technique. So the dry brush technique is where your brush is literally dry. So grab your plute, dry your entire brush, and then grab the paint. Okay? And because that paint now, I had just applied water on it, it's wet. So I got to make sure that my brush is dry. So here I'm drying my brush. Really nicely. When I apply, I get the dry brush technique. See, it's dry. So the dry brush technique in particular, will only work if your paper has a surface to it as a texture to it, surface texture to it. So this is 300 GSM cold pressed paper. You will not get this technique on hot press paper because the texture on hot press paper is really less. The best to go for this technique is cold press paper and a rough surfaced paper. This is because watercolor paper, if you look closely, has these textured surfaces. And when your paint is dry and you're doing the dry brush technique essentially, you're only covering the top surface except for the ridges. So the ridges of the paper are not getting the paint. And that's why it only stays on the top, and you get these such beautiful, nice dry brush strokes. And then let's say that you've got those dry brush strokes. You can then just use plain water to kind of blend it, and you still get like a dry brush. But then with a lot of variety in its, that dry brush still stays there, but then you've got a very lighter tone of dark color there. Okay? That's one technique, again, so now we've covered wet on wet, wet on dry, dry on wet, and the dry brush technique. So those are the basic techniques, and we've also covered a bit of the gradient. Alright. The next thing that I want to show you is basically the softening technique. So I'm just going to grab some paint, and here I have applied. A little bit of a green stroke. Okay? Now, what I'm going to do is I'm going to soften the edge. So remember where I said that while it's still wet, you can continue along. So the same way, while it's still wet, you will be able to soften the edge. So clean your brush, remove all paint from it, and just use water. If you just use water and bring it down, do not use too much water because that can create back runs. Okay? So if you've got too much water, just go ahead and, you know, run that along, but there you go. I've softened that particular edge. So I had a little bit of excess water there. Let me show you what it would be to do when there is no excess water. So here, this is my stroke, and I want to soften it. So in order to soften it, the ideal way would be to have your brush nice and not dry, but just damp. So remove excess water from it, okay? Nice and damp. And then if you run along the edge, there. So that edge is now softened. Okay? So this is the softening technique. Then we also have the splattering technique. Okay? So I'm just applying a little bit of water over this side with my brush, and we're gonna first do the wet on wet splatters. So wet on wet, as the name suggests a paper is wet and you're gonna splatter onto. So for splattering, there are several ways to do the splatters. My personal preference is just a one hand method, so I hold the brush like this. Observe closely. It's holding with the two fingers, the thumb and the index finger. Okay? And then the rest of the fingers are free to move. Okay? I start holding like that. It's hard to explain this one, you know? So I start holding like that, but then I shift to the other three fingers and hold it like that. And then this index finger becomes free. So basically, using my index finger, I tap onto the brush. So slow tapping wouldn't be enough. You need to tap nicely. You see that? And because it's onto a wet surface, it spreads and create these gorgeous gorgeous gorges, splatters. There is also the wet on dry splatter, which is basically splattering onto a dry surface. So here, that was wet, but these regions are now dry, so I'm just going to do the dry splatter and see the paint stays there. It doesn't move. It's just tiny little dots that form on the surface. Okay, so that was that, I think we've covered most of the techniques. So we've got dry brush, we've got softening and all of it. So that would be it. The other techniques, anything left would be covered in each of the class projects. So like I said, if you're an ultimate beginner, head over to my ultimate guide to begin this class. Alright. So I will see you in the first class project. 4. Taping the Paper: In this lesson, I am going to teach you how to tape the paper really well so that our paint does not sweep towards the edges or we do not get uneven edges in our painting. So the tape that I'm using is empty washi tape. We've already discussed this in the art supplies section, but just telling you in case. So here you go. You want to take the tape and make sure that you stick it to at least 0.5 centimeters coverage. You could also do more if that is your preference. I prefer to have like half a centimeter edge for my paintings. So I make sure that I get that. I do not do any measurements or any kind, but I just rather eyeball it and just stick it through. It's because this tape is slightly transparent so I can actually see where it's coming off and see through the inside there, and then you want to make sure that you stick it firmly. So you do the same for all the four sides, and then you want to make sure that it's stuck firmly. So let me go ahead and make sure that I fix all the four edges. There you go. Once all the four edges are done, you want to make sure to take a ruler or something that's got a flat edge which you can use to push along the edge of the tape. I'm using this ruler and first of all, I'm just going to make sure that there's this gap between the paper and the board. So that is eventually going to this air to come towards the inside of the paper or towards the other side. But if it's to the other side, it doesn't matter, but if it comes towards the inside of the paper, which means that the tape is going to slightly lift and your paint is going to seep inside. So just making sure to flatten that area first. Basically, the aim is to remove all a gaps. So here you go. Done for the four edges. Now the additional part. You want to use the flat edge and just sweep across on the tape, and as I do it, I can actually see the air gap moving across. So you can see it's there now, and I need to just keep pushing at it and take it towards the outside. See, that's gone. So you little line that was there, that's now gone, which means that air gap is gone. So we need to do the same for all the four edges. This will make sure that you have clean and crisp edges for your painting. Just do it for all the four sides. And there you go. We are done. So this is how you would be taping the paper. So I hope that now all your paintings will have clean and crisp edges, and I will see you in the next lesson. 5. Class Project 1 - Calm Hues: Hey hey hey he so welcome to the first class project. This painting that you see right here is what we are going to paint today. It's a gorgeous blue orange sky with some nice foliage in the front. There's a lot of tricky bits to painting this foreground and the sky, as well. There's a lot of tips and techniques involved. So I really hope that you will enjoy it. So let's have a look at the colours here. So we need halo blue, cobalt blue, transparent orange, pink grey, a little bit of dark green. And actually a teeny, tiny little bit of cadmium yellow, but you can totally skip that. It's okay if you don't have that. The other colors are what we actually need. All right? If you're ready with your colors and the paper all taped in, let's get started with this one. All right, so let us start with the painting. In this painting, there isn't a huge pencil sketch. So we'll just sketch out the first basic thing, which is going to be a horizon line. So all you need is kind of like a ruler, and we're going to make the horizon line. So we want it towards the bottom part of the half side of the paper. So around this point is where the half of the paper is and you want to go a little bit more down, okay, because that's the best way for composition rather than creating mirror images on the top and the bottom. Always stick to around one by third is the most ideal. So ideally, you should be placing your horizon line around one by third. But here I'm just deviating a little bit and taking it a little upwards, but not towards the middle of the paper. So there you go, and you want to draw the horizon line ever so lightly because you do not want your pencil sketch to be visible at the end. So there you go. That's my horizon line. And that's basically the sketch for today's painting. And we're going to just start. So I'm going to just start by applying water to the whole of the paper. I'm using my flat brush to cover a large surface area here. So just use the larger size brush that you have and go ahead and apply water to the whole of your paper. Take your time to do this because it's really important that your paper is nicely soaked in the water. Otherwise, your paper could dry quickly, and you will not get wet on wet effect that we want to achieve on this painting. So make sure run around nicely and evenly all across, making sure that all the areas of the paper is covered in water. We will also take out the sex of water later on because this can then sweep back into the paper and create blooms or the cauliflower effect, which we do not want. But for now, just sweep across to get that even coverage. There you go. I got that even coverage. This is the reason why I use board all the time because you can tilt the board and make use of gravity for the water to flow on your paper. So here, I'm just giving it a slight angle and making sure that my water can flow down so that it doesn't form any large pools because as soon as you start applying water to the paper, the paper starts to bend a little, that's okay. And you just want to prevent water from accumulating in that bend like pools, okay? So, keep going. You might want to do this multiple times, especially if you're not using 100% cotton, 300 SM paper. The cotton is the most important factor here, because if it's not a cotton paper, it's not going to retain water for so long and it'll dry out quickly. If you're not using a paper that can withstand the water for a long time, you need to do this process multiple times. Now the next step for me is to go ahead and just quickly wipe out the edges, making sure that I absorb the excess water on the sides. Can you see there the water accumulated on the sides? That's what I'm going to absorb. Okay? Right. There you go. Done the pot. Okay. And now we can get to the painting process. If you want and you feel that your paper is starting to dry at any point, just go ahead and apply water and make sure that all of the areas stays wet. Okay. The easiest part to do is to have a tilt on your board so that always work from the top to the bottom so that anytime you see that the bottom part is starting to dry because you've already worked on the top, you can go ahead and re wet the bottom part. Okay. All right. There you go. I have applied the water nicely. Now, I'm going to grab my size eight brush for uneven coverage and get some nice, cloudy forms into the sky. Okay. I am going to start with a nice thalo blue color. All right. So this is Tosin and blue. Okay, and you can see, it's a gorgeous gorgeous blue color. It's called bright blue in white nights, and we want to start at the very top. There you go. And then, as I approach towards the bottom, I am going to decrease and just start to make like some cloudy forms. So I'm just using the tip of my brush and look at also where I'm holding the brush. That's very important. Okay. There you go. Just keep going bit by bit, some little strokes, and that's it. And now go ahead, wash your brush nicely, and we're going to grab the second blue color, which is going to be Kobalsblue, right? So they're grabbing Kobalsblue now. And now that is what I'm going to apply towards the base of that region, okay? There and the same. We're going to blend that cobalt blue into the sky. So observe the way that I'm holding the brush. That's very important. As I'm doing this top side, I'm builting and painting from the top side. So you want to do the same, okay, and start creating these little shapes, and you can see how I've blended that blue in together. Okay? You can have some mixes random there as well so that there is a cohesive look to that blue, and it does not look separated out from the halo blue that we just applied. Okay, there you go. Then now continuing on towards the bottom, okay? We want to make some teeny, tiny, cloudy shapes. So here, I'm going for small, small shapes as I approach this side, and I'm going to stop right there, okay? No more over to that side, maybe a little more on this side, just like that. And that's it for me on that side. Now we're going to go back towards the bottom. And for that, I am going to grab my beautiful transparent orange shade, okay? Just cleaning that up. I think it's got a wash of some white paint from a painting that I did previously. Okay, there you go. That's clean now. And that is my beautiful cadmium. Did I say cadmium? Oops, transparent orange. Alright. So grabbing that. And we're gonna come down now. And there you can clearly see you're gonna put that transparent orange, but you're not gonna touch any of the blue areas. Okay? Promise me that you're not gonna touch the blue areas. Alright? There you go, keep going. And there between the edges and anywhere that you can fit your brush in any gap that you can fit your brush in. That's where you want to add that. I could fit my brush in those areas. I did. Then towards the base there, we want it nice and even you go. You can pick up then color as you go towards the bottom, you can already see my bottom part has actually started to dry, but that's okay because we're still working over the top and we can reapply towards the bottom part. Okay? There you go. Apply the orange nicely. But in order to make the orange look pretty, we have some more things to do. So grab the orange again. But this time, make sure that your brush is not too wet because the top part has already started to dry. And then we also need to make sure that you do not have too much orange in your brush because we're going to add this orange into some gaps, those white caps, but without touching the blue. Okay? Very, very important that you try not to touch any of those blue areas, okay? And also to make sure that your brush is not too wet. So observe the pain consistency on my palette as well. It's not too wet because you always need to look at water control when you're doing this process, okay? See, teeny tiny bits into some of those white areas. Not all. Okay. The next color that we're going to grab is paints gray. Okay. But I need it to be a little bit more dry. So I'm just drying my brush a teeny, tiny bit. Okay? And then you want to grab that, and that is what we will add and some points where your blue and your orange is meting. That's going to give us a little bit of gray clouds over there. Okay? And you can add some on areas like this, okay? And anywhere that you think you've ruined it because your orange has met with the blue, those are the areas that you can go ahead and put these nice gorgeous gray cloudy forms, okay? Always remember the consistency of the water needs to be lesser than that's what's there on your paper. Very important. And we're going to go upwards and also fill in. Do not fill all of the white areas, teeny, tiny bit at random places, with the gray tone, very, very subtle. And then grabbing the gray again this time now I'm going over my orange, teeny, tiny bit over to the left side. Okay? See? It creates a very subtle brown color, which is exactly what we want. All right. There you go. We're done with the sky part. Now we need to paint the bottom part, but my bottom has actually dried up. So what I'm going to do is I am going to tilt my paper, pick up fresh water. Remember, fresh water, not the water that you've been washing off, the blues and the green, the oranges and the paint gray, and then go ahead and reapply water to the bottom. But as you apply, do not touch your orange. Leave gap where you're reapplying the water. That's very, very, very important because you can always connect those two areas with your brush, but not with the water. Okay? With the brush with paint, I mean, because otherwise, this water can then sweep back and it'll create bloomy edges there, which we do not want. Okay? So first things first here, let us go ahead and repeat what's there at the top, okay? Careful now. Have a tilt to your board. And if accidentally you've touched any of the orange that you already had there, that's okay. You can always clean up the mess by just running through and connecting areas together. Eh, you go. Okay. So we've made that. Next thing is we're going to come down again. We're going to create the reflective shape, okay? So don't have to bother too much about it because we're still going to cover this whole thing up with a lot of plants. I mean, you've seen the final picture, so you know what's there. But still we need to do some random strokes, okay? So just let's do the orange first this time, okay? There you go. But these are all just gonna go, I believe. I'm just um doing some random strokes, okay? Then getting back to the other. So we're going reverse now. So we're doing the next color, which was the Cobalt blue that we dealt with, right? So remember, no touching of the orange and the blues. So leave the white spaces, keep going. Keep at it. Keep going. And adding So towards the bottom, I am not going to add the halo blue there, okay? That's because we want the bottom to have, like, a nice foliage area, and we want the foliage area to be having cool color because this is actually the foreground. It's like, the first thing in front of us. So there's no point adding cool color such as the thalo blue over on there, 'cause we're anyways going to cover up that area. Even this, I just brushed the orange and the blue together because there's no point, literally no point. Okay? Now, grabbing pink gray. That's the next color, isn't it? Yep, then just going. Okay. But this is water. So you need to actually depict some nice watery strokes here. This is why I said that you don't have to make sure that the clouds are exactly there. It's not still water. I'd like to add some ripple effect. So just going, just making some lines on my water. See, go ahead and create these lines. So the paper is still wet from the stroke that I just applied, okay? And you're just going to make these line kind of shape. Okay? At some point you can have strong lines. All right. So nice, strong lines added. And you can have a bit of a line applied towards where the horizon is so that it just like marks the part of the horizon there. Okay. And then I'm also going to use a very dry brush. This is a brush that I haven't used before. Can you see the water has spread out there because the orange that we apply towards the bottom is kind of creating an edge there. So I'm just going to soften that out with my completely dry brush. And there, that uneven effect is gone. Now I've got a wash dish Brush, and that's useless as in, I can't use it for the same technique. Anyways, this is totally and completely the background work that I wanted to do. A right now we've got to wait for this thing to dry up so that we can put in a nice foliage. Wheat. I just thought before this actually dries up, let's put in a little bit of a wet on wet foreground at first, which then we'll cover on the top. Okay. So this wet on wet foreground, I'm saying let's go with a darker green. I start with my say, pains gray, and then I'm going to grab my darker green. Okay? So if you're actually mixing the darker green with the green and pain gray, then make sure that you mix in more of the paint's gray this time because this is the color that we want. It's almost like a perylene black color. So I've got this there's perylene black. I think it's perylene green. Anyway, this perylene green color. That's what I'm trying to make here. Okay. And just along the edge. So your foliage area, I mean, this bottom part, may be wet, maybe dry, doesn't matter. Whether it's really dry or not absolutely doesn't matter. So do not worry at this point that, Oh, my paint is not spreading or that it's dry. Okay? Your painting is going to be unique in your own sense, so nothing to worry about, okay? So I'm just applying a little bit of that nice thick foliage that could go at the bottom. So I'm just giving a little bit of a color and a thing like a little bit of a shape like that that could mimic the look of the foliage. We will anyways cover this up, okay? This is just a start. And there you go. That's the first part done. So now we have to wait for this entire sky region to dry up. Alright. There you go. It's completely dried up now. Now, all we got to do is finish off with some nice foliage, as in four ground foliage on there, and we've done. So I'm shifting to my size four, or you could also use size two brush. You know what? Let's go with the size two. So here you go. This is the size two brush that I'm gonna be using. And we're going to basically use the same mixture that is the slight hint of green with the paint gray. There you go, having the green and a slight hint of green. That's what we want. We want it to be mostly blackish, but if you look closely, it's green. That kind. Okay, that's what we want. So there you go. There is a per green kind of color. And we're going to start. So I'm going to start way over to the last side, and I'm just going to put, like, lots of just do what comes naturally to you, a lot of little lines and things, okay? I'm just going to have a few uh, branch here, and this one is a little extra special because I'm just going to create, like, a plant there. So let me show you how I'm doing that. So first of all, I did, draw a line and then placed it. So let's do another one, and I'll show you, okay? So here, I'm going to draw a branch like that out to it first. Then I'm going to use the entire length of my brush. That's why I said, let's go with the size two, and then I'm going to press down the brush once and then lift it up. When you press down the brush, and if your brush, the whole of the brush has got the paint, then it's going to apply in that way. So you're going to do the same. Let's do it in different directions, like that. Let me see. I'll have another one facing downward, maybe another that way. Okay. So go ahead and put in a lot and then make sure to connect some of these, okay? See? Just some random connection. And as soon as you connect, it doesn't have to be perfect. That's the thing. Don't think that you've got to go ahead and connect each one. So see the absurd randomness that I put it there. That's actually good because it gives a sense of depth and a sense of a different feeling to how your brain perceives the paintings. Okay? And that's why we do not want things to connect always. Just go with absolute randomness, okay? See? At the very edge. See how I can connect that one? Just a random line. I think that should do. See? Okay. That part is done. Gonna go over and maybe, like, you know, parts of a little dot there. Then let's see coming down, and then I want to create like a fern kind. So when I'm drawing these lines, I'm using the tip of the brush, and then when I want to press it down, I shift. So it's always a matter of, you know, moving your brush in different manner in your hands. Okay, there you go. Just go to draw. Then made a larger one. So this one, I will show that you again. So here, just drawing a line. Okay, let me do another one. I'm going to draw another line like that, and then maybe from here is where I'll start. Okay, let's do on this side. So I'm going to start from that side, and then as I go, I press my brush lightly and then lift off again and see how that was created. I will show it to you again. Let's do one more, press my brush, and then lift off. So go ahead and try to do that press and lift off. Okay. So go ahead, try that in different manner. Okay? We want to create a lot, a lot, lot lot of depth on this area. So that's why I said, No worry if it's spread out or not because we're anyways going to cover it up like that. It's a lot of foliage on that region. Did you see that? Okay? So let me go ahead and cover this up. So you can also use a liner brush for this purpose. Let me demonstrate that. Okay? Just grabbing the color. Need a little bit of green. Okay, there you go. My liner brush is loaded with the brush, and the use of the liner brush is that you don't have to worry about just focusing on the tip because the liner brush does the work for you. See? Lots. You can just do this, and you don't have to focus on just using the tip because otherwise, you'd have to be extra careful that Oh, my God, oh, my God, just a tip, just a tip. So don't worry about such things with the liner brush. And do not think about making anything perfect. And also, I would highly recommend that your strokes go from the bottom towards the upward region. Okay? Just because otherwise, let me show you what's going to happen. If you start from the top and the bottom, you're gonna have a thicker edge at the top, which we do not want. Okay? So that's why it's always best to, like, start from the bottom and go towards the upward region, okay? I'm just creating like a dense push there. I honestly don't mind what is going it's like a criss crossed dense push there. That's it, right? And we want to do the same, right? Grabbing my brush again. I'm just going to put, like, that long fer thing that I had, okay? The long stroke, okay? And I'm just gonna do See, a few larger ones. I absolutely love. This one, probably you could start at the top as well and go down, see? But I still prefer the other way, you know, where you start at the bottom. And don't think that you have to refrain to you can have little u dot one. So that's kind of like a different plant, okay? This is why I said, not bother if there's, like, extreme tox or anything that's forming. Just just have fun at this stage and try and manipulate your brush in different ways. So this is, like, a good exercise to lose control and learn a lot of brush strokes. Okay? Do with all of that, now I'm going to put a little bit of a green on the front side, like the very front foliage. So I'm going to grab a little bit of a green now. See, go green on there, and I'm going to use just the green and put it in the front. Okay, so it's not going to be much visible because the underlying color is dark and we're using watercolors. We're not using wash paint, which will appear on the top. So in order to make it appear on the top, what you can use is grab a little bit of camiin green, or you could use the tho green light from Snelar which is a really good option because it is an opaque color, although it says transparent on it, I've always used as an opaque color, and it literally just works perfectly. So here, grabbing a little bit of a green, okay? Now, this you don't want to put too much. Okay? You just want to make sure that like some random strokes at the front are a little bit on the green side, see? A little, little, little subtle. So these are for the viewers. When they come closely and look at your painting, you always want to have some subtleties, which makes them wonder that, Wow, this is amazing. And my clock here says 29 minutes and 40 seconds. Which, after being edited will be lesser. So that's literally half an hour. I mean, under half an hour I've completed the same thing. So wait done. Let me quickly try this bottom part up, and then I will remove the tape. There you go. It's all dried up, and now I am going to remove the tape and see. That is literally the cleanest edge. So now, let me just quickly also show you how to peel off the tape. When you're peeling off the tape, start from one of the edges, and you want to make sure that you're pulling it away from the paper. Do not pull it towards the top. Do not pull it towards this side. You want to with an angle like that, a 90 degree, and you want to pull gently outward, okay? And see gently outward. That way, even if your paper is being torn, it will be torn towards the outside part and not towards the inside of your painting. Okay? And from my experience, I have always seen that if there's a tape that's actually tearing your paper, the culprit is the paper itself and not the tape. Okay. But having said that, this empty washi tape brand is really, really good. And look, because I've stuck strongly. This is even taking so hard to come out, but still gives me the cleanest edge. Look at that. And there you go. That's the gorgeous gorgeous gorgeous gorgeous painting that we've done today. So I hope you enjoyed this very first lesson, and I will see you on the next day. 6. Class Project 2 - Towering Mountain: Hey, hey, hey. Welcome to the second class project, day two of this class. And this beautiful painting here is what we're going to be painting today. So don't panic yet. This is not as tough as it looks because you don't need a lot of wet on wet strokes. This is literally almost entirely painted in wet on dry. So it doesn't matter if your paper dries up. You can absolutely go ahead and do the swing thing. So first of all, let's have a look at the colours that we need. We have a lot of colors in this one, so get ready to grab your paints. First of all, we need paint grey, transparent brown, and sienna, yellow ochre. Olive green, dark green, and sap green. So those are all the colors that we need for this one. And if you're ready, let's get started with this painting. Alright. Let us start. So we're just going to quickly trace the shape of the mountains in our painting. So we're just going to start on the left side, and let's have a mountain shape, that goes curving down like that. Then the next layer of the mountain, okay, you can have its shape changed. And then this one would go somewhere like that. Then again, another. Okay. So I'm just drawing very, very, very lightly because, you know, obviously, okay, I think this one should go a little bit towards the higher side. There you go. Then another mountain here, something like that, and a very vague one at the back. Okay. So here you go. That's our base entel sketch. So if you want to see closely, here you go. Alright. You can pause right there and make that sketch. It doesn't need to be perfect. It's just got to have something similar to this one. So you go with whatever sketch that you do, and you would be able to paint the same painting, but in a unique way to yours. Okay. So shall we start with the painting then? So what we are going to do is we're going to start by wetting the sky and coming downwards. Alright? So I'm going to grab my larger size brush, right, dip it in water. While I make it nice and wet, and we're going to wet the paper. Okay? So just the whole of the paper, it's okay. Not a lot of wet on wet to work here, so it's okay that probably one or two layers would do. So there I've just wet the paper. But like I always say, you need to make sure to go ahead and wipe the edges. You see all those excess water there that is gonna see dug into your paper, along with paint when you brush, 'cause your brush's gonna touch that area, and then that paint is gonna come back to the to the paper, not the canvas. Well, you could say the paper is your canvas, isn't it? Well, here you go. Let's just com. So, now that's done. Switching to my size eight brush, okay? And we're going to start. So we're just going to paint the sky a little bit of a gray color now. So grabbing my paints gray color. I just gonna put random shapes. Okay. So I like to make sure that the you know, the edges of my painting are always painted. So this is why I've picked up a very, very, very light tone. And the reason why I make sure that the edges are painted are because once you peel off the tape, otherwise, there will be no clear distinction between where the painting is, so this is the reason why I do that. So here, that's a very, very, very wet paint, okay? You can see the consistency of the water here and the paint. So always, when you're painting, have a look at this area. Wherever I'm picking the paint from on my palette and see how much of wetness I am applying so that you get a better idea. Okay, so there you go. I've just wet the whole thing, and then I'm just also going to wet, a little bit of this bottom region. And you can clearly see this is, like, uh, not at all, even gray, and this is even not going to be prominent when we add in the foreground colors. I mean, you've already seen the final picture, you bride. So here just picked up a little bit more of the paint. But now we're going to add some cloudy shapes. So we've already done, like a background. This doesn't need a lot of wet and wet, so don't worry. Now, observe the consistency. It's lesser than what was there before. And so always remember the number one room. The paint on your brush should be lesser than what's there already on your paper. On my paper, there's more water now and I'm just grabbing some more paint and adding these beautiful, cloudy shapes. Now, this region has already started to dry properly, so I'll grab in more paint. Then it's a little bit more denser consistency, just so that it doesn't form blooms on my paper. So that's when it forms blooms. Blooms are the cauliflower effect where your paint spreads because you've got uneven consistency, uneven in the sense that you've got more water on your brush than what is there on the paper, okay? Sometimes you could use it to your advantage to move the paints around. And let me just show that to you quickly. So this is just water on my brush and I'm going to drop it there. So that literally spreads the paint. Can you see what's happening there? It's a bit spread the paint. I know how to fix that, as in I can just always grab some more paint with a denser consistency and add it. I'll be fine. Okay? So there you go. Added. So nice, cloudy shapes, okay? I just want to make sure that it looks nicer in the sky. So there you go. That is our background sketch. But before the paper dries out, or if it's already started drying out, that's also absolutely fine. I just want to give that background mountain a nice look, okay? So this is, again, observe the paint consistency. You can see by the way, the brush moves on my palette. It's a little bit more denser. The pigment consistency, that is the tone may be lesser, but it's still dry, almost dry, see that? So we're going to put almost dry on wet here. Okay? So what you're going to do is you can see that my paper is still wet, so I'm just going to grab and go over that mountain at the back. Okay? This is why you need a little bit more denser than those clouds, okay? So you see. But you want it to be softer, and that is why we're painting it wet on wet. Okay, not a lot. I'm leaving the edges as it is, okay? You can see now when we paint this mountain in the foreground, that will push it backwards. Alright, so there you go. That's the first layer done. Now, we'll wait for this to dry out, or you can use a hair dryer or a heat gun to dry this out. Alright, here you go. It's completely dry up now. So now we're going to start with the next layer of the mountains, and we're gonna keep coming down. So we're going to paint this mountain, but we also want the top part of that mountain to be covered in a little bit of snow. Uh, not snow. I said wrong. So to be covered in a little bit of a misty appearance. So it's kind of like the clouds are overlapping on that mountain. That's what we want to achieve. Okay. So here again, but now we're going to go with mostly wet on dry. Okay? Wet on dry means you are using the wet paint to go over on the dry paper. But then we're also going to quickly work things up. So have another brush ready in your hand, okay? Just keep it close, okay? So observe what we are going to do right now. So here I am starting to, like, create some random shapes, okay? And I've gone over to that region, okay? Now quickly grab the other brush and soften that part, okay? Okay, it's just a matter of applying a little bit of water, but also don't leave the water line there. That's going to clearly show. So just blend your water line in to the cloudy region. Dry your brush while you're blending, so the water line just blends. Then now because that region is wet when you apply your dry stroke, it's going to create like a somewhat misty appearance. See that? Okay. Now, let's continue along over to the right side. Okay, and create random shapes. So this is just absolutely random. I'm using the tip of my brush. Sometimes I'm pressing along and creating lots of random shapes. But then as I come towards the bottom, I'm going to fill it up more. Okay? Use the bottom side, there isn't much of the snow at the bottom of the valley there. So we'll cover it up the entire thing. We'll get back to this mountain after this layer has dried. So let's go ahead and paint this region right now. Okay? So there you go. That part of the mountain is done. Now we want to get a little bit more tonal value on our painting. So I've picked up more paints gray and I've increased the tone in there as in the tonal value, okay? So I've already explained this in the techniques lesson. So there you go. Now I'm adding a bit more tone and adding it over the top. So darker consistency is what I want towards this rich, this part where it's joining. This ridge gets a nice darker consistency. And any sort of abstract lines and stuff, you can add over to the top. There you go. Now, can you see how that mountain kind goes into the dense, cloudy region there? Okay. Then we've got to paint this one as well. So let's just wait for this region to try out. But while it does that, we could go ahead and paint this one because it's not touching any part of this mountain. We've left a gap there. Okay? So what I'm going to do is gonna grab a little bit of brown. Okay? So that is transparent brown. This one is particularly from sanelar transparent brown, okay? And I'm gonna mix a teeny, tiny amount of black to it so that, I mean, black is in paints gray in my palette. And it kind of becomes like a color like sepia. Okay, so if you've got a color that's called sepia, you can almost use that as well. So here you go. Let me just mix that up a little bit more, and I will start at the very edge. So this mountain is obviously not covered in any mist, and you can see that. Okay? So I start at the very edge in a very, very dark sepia consistency. I'm going to bring that sepia consistency over to this region. Okay? Start bringing down. But you want to be quick at this point. Wash the paint of your brush. Now grab just the brown. You're going to blend in little of brown now so that it gets slightly lighter. Okay. Wash that off. You're going to bring in a little bit of yellow ochre. Okay. There you go. Now a bit of yellow ochre and see how that's like lightened up in that area. So a little bit of yellow ochre as you come down. Washing that off quickly. Now going to grab back the brown and going to blend along. Okay, need the brown to be denser than the yellow denser as in darker than the yellow ochre shade. Okay, there you go. It's gone down. But as you approach towards the bottom, just leave it like that there. We're going to wash off the paint again and this time, we're going to grab a darker green. So this is dark green from white knights. Okay. So here you go. Gonna grab that darker green. N more water because it's wet on dry, so it'll literally be dry, and there you go. So just gonna grab that darker green and put it along there. Okay, so it's a little bit greener on the side. Okay, no white areas in this particular mountain. Now, that's done. I guess it's almost dry on that region. So I'm going to grab burnt sienna. We're using up a lot of colors on this one, so grabbing a little bit of burnt sienna, but we also want to mix it up with the transparent brown. Okay. So there you go. Transparent brown and burn sienna mixed together. That is what is going to go over to this art in the front. Okay? So here, just grabbing that. First, I will apply this color here. Okay? This base color that we added, and then we'll add other colours over the top. So you don't want any white regis any of the white region on this mountain here, and it's okay. If it goes and mixes up with the green, absolutely fine. Okay? So just grabbing the burnt sienna. So this was the wrong line. Just go to take it upwards. This is the original line of the mountain. The other line was wrong, remember? Okay. I knew that I would be able to cover it up with paint, which is why I did not rub it off. Okay. So here, bagging that upwards and kidding. So now, applying a nice wet wet wet paint there. Okay. But then going to go ahead and grab my darker darker brown and add over to the top, especially towards the edges. So you can see how much of a darker paint I'm grabbing. So that transparent brown, even though it's transparent, it's got that literally a very darker appearance. If you want it to be dark, lighter, if you want it to be lighter, but that's how transparent paints work, isn't it? So here, just putting the transparent brown over the top like that, and we're just going to use that to paint over this region. Okay, and create the darker areas. You want it to be more dark. I'm just going to grab a little bit of pains gray at this point and now put it along at only some regions now. It's like varying levels of darkness. First, you have the transparent, sorry, the burn sienna, then you have the transparent brown. And then you have the dark black color. Okay? There we go. We're done with that part. Now, we'll paint this again when this is dry, but this region is now dry, so we can go ahead and paint the foreground first, and then we get back to this mountain over here. Okay? It's just painting these things in layers, and it's totally wet on dry so you don't actually have to worry about your paper drying out quickly. But that's a good thing, isn't it? So, starting with olive green. So this is where we start. And to my olive green, literally, I'm just going to blend in my transparent brown. And you can see you get, like, a very, very, very brownish green color. That is what we are going to start with. Need more olive green. Okay, 'cause it should not match the color that's there at the back. You should be able to literally differentiate the foreground. Okay? There you go. That is coming. Let me wash that off because I need more olive green color now. Okay? And I also need it to be a bit more greenish. So I've grabbed the sap green color. So it's just a lot of colors together. And here you go. And I grab the darker green, okay? Towards this region. Was that edge. It's gonna go over to darker green. But as you reach towards the edge, um, let it be. I mean, let it have that darker, darker appearance. Okay? So what we're going to do now is we're going to create that olive green foreground, okay? So I'm grabbing my olive green. I'm just letting it mix with whatever colors there, maybe a little bit of brown to make it olive green. And then we're going to start there, and then we are literally going to paint and add the foreground. Okay, there you go. So now this one I will blend into whatever is already there on the paper, okay? There you go. But then leave some white spaces, if you know what I mean? Okay, si. As I do that, it's creating some automatic white spaces, and I'm going to leave those as is. And you will see why in a moment. So here again, I'm just leaving some white spaces, but towards the very end as you leave these white spaces, just make sure that they're very, very, very small. Okay. So here you go. Wrapping the olive green, okay? Let's come down over to this side. So now I'm just only grabbing olive green, but, of course, we will add colors and not to worry about it. So here you can see how I've added and landed that olive green color in. And then I'm just gonna grab my olive green again and create some nice random shapes. Okay? And those white spaces that you see there, you're gonna leave as is. Okay, so here See? Let me fill this part, okay? So those white spaces will act like the rivers. Can you see already how it looks like some kind of river is flowing there? And these are like, little splits between the river. But now let's paint and make sure that the foreground makes sense. Okay? So I'm just gonna grab my daka green, and we're gonna put it over the top. Did I say daka green Sagreen. And I'm just gonna make sure to add it over the top to just give this part of the mountain. Nice look, so it's going to you're going to make that angle there, okay? So as you come towards the bottom, stop right there because this is flat. So it's like the mountains come and turned over. Okay? So you want to make sure that your angles are correct. Always, okay? Now, towards the right side. Towards the right side, I want to bring in a little bit of maybe, um, some rocky appearance. So here, I'm just going to grab my sienna, and we're going to put, like, dots and maybe, you know, maybe even darker brown, okay? You don't have to be perfect with this. It's wet on wet, wet on dry. Doesn't actually matter, okay? If you want to go wet on wet, go ahead, by all means. If you want to go wet on dry, go do it. So this is why I said this is gonna be totally unique to the way you do it, okay? CC, a little nice touch there. Adding props and complete random objects here and there. Okay. So you can see, we're already almost done with that part. Now this region is dry so we can go ahead and paint that background mountain. Okay? Back to the paint's gray. And I'm taking a little bit denser, although it's at the back, but that's okay. We'll add a little bit of details onto that mountain, okay? So just want to add. There you go. I think it's a little bit on the denser side. So just reduce the color a bit. We'll be able to spread it out, see? What we need is a little bit of a separate darker color along that ridge there, the ridge of this mountain, just so that there's actually that separation. The go. Okay? Then I'm going to honestly make sure that this mountain is kind of, like, separate. So just making a mix of dry and wet stroke. So I pick up a little bit of paint. And as I do this, I get these dry, semi dry strokes, and I let it be. That's how you would do it, okay? So if your brush is too wet, you will not get these semi dry strokes, and I'm going to do the same towards the top, but towards the top, I want it to be more dry. So I've just taken my brush to my clothes and dried it up and, you know, removed the excess water. And it's almost just dry paint at this point, and just gonna create, like see that? We made that background mountain, okay. But like I said, I want this bottom part to be a little bit on the darker side just so that line is not visible. Can you see, there's a line there which doesn't look that good, but you can get rid of that line if you actually grab a little bit of a darker paint, okay, and apply over that line. So only at that line area is where you want it to be darker. So I've just applied that, and then now I'm going up and then just creating absolutely random strokes, okay? See? They're just totally random. Line here as well, I guess, okay? And now, grabbing the darker paint, you can have darker abstract details at random places as well. So this is, again, you can see it's almost like a dry brushing state, okay? And there, that background mountain is done. But then this looks a bit more detailed than this one, isn't it? So we need to fix that. And how are we going to do it? Just grab extremely darker paint, but make sure that tu brush is set forth what I say wet for dry brushing, and then you're going to do the dry brushing. Over on the top, remember not to go over to that region because that is where we have set it up to be having that misty appearance, remember. So here, just going to go ahead and give that a nice depth. But still, I've just created that little separation there, 'cause I did not want it to look cluttered together, creating there you go. So now that's a bit more details. But what to do? This is a very taller mountain, and it's got the misty look. The mist is descending down onto this one. It's not descending onto that one. There's nothing to do, isn't it? So we're almost done with this painting. The only thing I want to do is now, we did add a background layer of the paint gray here. I want to make it a little bit having, like, a watery texture. So we're just going to tip of my brush, gonna grab a little a te tiny amount of paint gray, okay? And you can see, I'm just like adding some lines there. But I've washed my brush, and I'm just going to immediately try to spread it out. Grabbing a very lighter tone, maybe and spread it out. Now you can see it looks better towards the further end, it's fine. But when you come closer, as you come closer to the bottom, that's where it's getting closer to the viewer. So then there's got to be a bit more details, a bit more visibility onto what's happening. So this is where we're seeing. Ah, it's a river. It's like, it's flowing, so it's got to have some level of detail. Okay, there you go. Now, you could work a lot more on this in the sense that I'm just going to show you what additional thing that you can do. I'm only going to do a few of it. Em running out of time here. I want to stop this at the half an hour mark. So there you go. I've just grabbed a size, a toothbrush, and I'm going to grab my size. I'm just repeating myself, aren't I. So just gonna grab green. That's what I meant to say. So, there you go. What we're going to do is you can go ahead and create some make sure you do an upward stroke like that, okay? See? So now that becomes a tree there on that heart. Like, you could do that, okay? So it's basically. The reason why I do that is let me try the other way around. Mm. The other way around also works. But this gives me more control. So do whatever way in which brush gives you more control, Okay? So just, like, preshing that down so that it looks like a pine tree or something of that sort on that mountain. But as it's very further away, you are not able to see it in detail. So you could just put a lot of it there. As it dries up, you'll be able to see it. Just lot, lot, lot of there. Okay, so this is where I said, you could just go crazy and add a lot more, you know, if it makes sense. So it's totally up to you. You could also put, like, random small details, like little ebbles. So maybe grab a little bit of brown and, you know, some details, maybe, like, a rocky edge there, maybe another little rocky edge in the water there. Oh, that's so amazing. I love it. Like, and maybe over on this side as well. Okay. And then maybe a bit of wet on dry and dry on wet strokes on here as well. Okay, so it's totally up to you how you want to do it. But honestly, here you go. We've completed the painting, and I really, really hope that you enjoy painting this. So I'm gonna go ahead and peel off the tape because we have not painted anything along the edges for a really long time. So here you go. And there it's done. So here you go. Have a look at it. Oh, my God. I just love the way this hair trned out. I am a huge fan of, you know, paintings like this, where there's, like, a lot of what do you say, abstractness, I would say, but it's still not abstract. It looks very real to me, but I know that I did a lot of abstract strokes. So here you go. Here's the final painting, and I hope you really enjoyed painting this with me, and thank you so much for joining me today. 7. Class Project 3 - Nightfall: Hey, hey, hey, welcome to the Project three. And this beautiful fairy night sky is what we're going to be painting today. So I hope you do really enjoy this. Let's have a look at the colours of it. So we need quinacridone gold, which is easy to mix if you have a little bit of Alizarin crimson, transparent yellow, and a little bit of brown, then alizarin crimson, transparent orange, transparent brown, bunt amber, paints gray, and cadmium red. And burn Sienna. And, of course, lastly, a little bit of whitewash. So those are the colors that I have used. And if you're ready, let's get started with this one. Alright, let us start. So today, we are going to work on a lot of wet on wet techniques. Alright. So first of all, we'll draw in the horizon line. You can use a scale that's alright, a ruler. Okay. So here you go. And I'm just drawing a line, but I'm not completing the line because I'm going to leave a light ga there in the middle for our tend to fit in. Okay? There you go. And then, obviously, we'll have the tent that tend do not make straight lines, okay? The tents are usually, you know, when they're like, kept on their pegs, they tend to be a little bit bent and they're not perfect. Okay? So we don't want that to be perfect. And then a little bit of a surface towards the bottom. And then there you go. That's the front side. But then now we need to mark the inside part where it's lit, okay? So just something like that. Again, there is the front part. Okay? It's like, almost like a small house or something, isn't it, okay? There you go. And then if you want, you can also mark the position where the shadow of the tent is going to be. And then also it's going to have its, you know, I don't know the terms, honestly, but, you know, the lines that hold the pegs together. Okay? So here it's going to have a dark shadowy bit on this side and a dark shadowy bit on that side, okay? All right. The reason being, it's just an entirety of shadow, and there's a whole lot of light going inside of the tent, which is why we're having multiple shadows. Okay? So let's go ahead and paint the background first and then we'll come down over to the bottom. So what we're gonna do is we're going to paint this in sections. The top section, which includes the top like everything area above the top of the tent, and then the bottom part. Okay? So you're gonna have to apply water now onto your paper. Okay, so just go ahead, apply water. But as you reach towards the tent region, you want to slow it down and you want to take the water right just up to the top of the tent. See how I'm doing that? Okay. To make it easier, you can also have a lift a tilt to your boat in the other direction so that everything can just flow out and give you a nice, nice, nice, nice, uh, gradient, with the water or an angle with the water on your paper so that it can flow with the aid of gravity. Okay. There you go. This brush is literally angry with me. It's been shedding a lot of hairs. Okay, there you go. So now, repeating the same process. We want to make sure that we do this multiple times, 'cause there's a lot of wet on wet and we did not want our brush to dry out, do we? No, of course not. So there you go. Just keep going, keep going. Okay, add it literally a lot, and you can see all the water flowing towards the other side. Okay? And then now I've got to absorb the excess water, right? So here, I'm just going to grab my cloth again. Just go to absorb all the excess water from the side. Stay go. And a little on my table, and then it'll be on this side as well. Okay, there you go. That's a lot of the water gone, and my paper looks good enough, okay? No water accumulation. Ooh, the water was actually accumulating at the bottom side of that paper, which now I've pushed it towards the outside. And absorbed with this cloth. So there you go. That's it. Now we will start painting. So I'm going to grab my size eight brush and going to grab my quinacridone gold. Okay? So it's a nice, nice golden shade. You can easily mix the quinacridone gold. So don't worry about that. You can just mix a little bit of a yellow and Alizarin crimson. There is a bit of red together. And in order to get that golden touch, maybe add in a slight amount of burnt sienna or burnt umber. And that should also really work. Okay, so there you go. You want your mixture to be a bit on the watery side because this is the first layer and we want the wet on wet to appear. So if you actually put a dry paint onto your paper, then it's going to dry out really quickly. So you want the brush stroke to be reinforcing the water on the paper. And then as you come down, you want to decrease your stroth. So you see, it's kind of like something fiery going on towards the top, right? So I want to take it there. And maybe a little over to this side as well. Okay, making it a little denser. There you go. That's done. Then we'll pick up the next color. And for me, in that case, is going to be Alazar and crimson now, okay? So if you've been mixing up the color, then go ahead and just pick up the pure red pigment right now, and that is what we're going to paint. Okay? So you're going to put that over the top of this, okay? So we definitely do not want any white areas. You have to make sure that all of the white areas are covered. Okay? So here, just rubbing the nice gorgeous red paint, and we're just going to make sure that it's all over and on top of the yellow regions, as well as the white, no white should be seen, but just leave some random yellow spots here and there. That's basically what we're doing. My Azaren needs to be a little bit more wet. Oops, I dropped a little bit of paint, but that's okay because we are making this tucker, isn't it? So you've seen the final picture, so you probably already know that that's not going to affect us, isn't it? Okay. So here, just added some nice strokes. Make sure that none of the white is seen. Yellow can be seen, but not white. Okay. There you go. Then next color. I want a little bit of orange on the areas where there is the yellowish golden color. So I'm just grabbing a little bit of the transparent orange, and I'm just going to add it, okay? Uh, just in some of the areas. There you go. It's right next to the red areas. That's where I am adding the orange. Okay? Okay, there you go. I think that should be enough. And now is the point where we are going to make this darker. But in order to make stuff darker, especially because I'm using paints gray as my black, we need to have a base color. I always always always say this. That base color is going to help in getting the black to look like black. Even if you're using pure pigment black and not something like paint gray, it's still not going to look that dark if you do not have a base color. I will lighten up. Eventually. So in order to make it darker, pick up a very darker color, something like dark brown. In this case here, I am using the transparent brown, as you can see. Then all the colors that we do not need, forget it, just go over. I only need a little line in the middle. So that's why I'm just going over all of these with my brown observe the paint consistency. As soon as I note that my brush is like the water consistency of my brush is decreasing, I add more water. Okay. Very, very, very important. But then this is too much water. See that pool forming there. So then now I've got to take denser pigment and make sure that that's dense enough. And then here I will come along the edge and along the edge of our horizon line as well. Denser pigment. And remember, this is just a base we're adding. So, okay, that's absolutely fine, isn't it? Okay. See, that's a lot of water recognition. Get out, get out, get out of my paper. So I'm not picking up anymore from there because I can see that my paper has a lot of water, which is really dense, so I don't want to be using that, okay? So there you go. Okay, then coming Oh, the way to the bottom. Okay? So in the areas where it's already red, it's absolutely fine. I mean, that base colour can act as that itself. Okay? Now, time for the blacks. All right. So here, I'm just going to grab the black, black, black, black black. It's not black in my palette It's actually paint gray, but I'm going to go ahead and add it over the top. Okay? So now, make sure that you take a nice amount, you wet the whole thing. The denser the pigment, the much better to get that darkness. Okay? So that brown that we added was actually the base layer. Remember, we talked about Okay, now we want to go ahead over on top. Let's actually paint the area on top of the red, okay? And the yellow region. The reason being that's the one that we painted first. So that's the one that's gonna quickly dry out even before the, the brown one, okay? So you want to make sure that you go, you add in your stroke. Okay, it's okay. Just go ahead. Put it on the top top like that. We only need some random reddish and yellow areas. It's just a dreamy magical night painting where you are able to see a fiery night sky. Okay? That's clearly the aim of this painting. So go ahead and even though there's, like, um, very little of the red and the yellow being seen, absolutely fine. Okay? So just making sure that area is covered. The first because that's the one that we painted first, so it's most likely to be getting dry soon. Okay? There. Now that's covered. Now, I think it's time for us to go over to the other areas and make it darker and you might have to do this multiple times. Okay? So I am just now grabbing paint and you can see I'm putting it over to the sky. Okay. So imagine if that base layer was not there, the base layer of the brawn. This wouldn't look that nice. It wouldn't look this black as it is now because that layer doesn't exist. Okay? So again, you go need to make sure. Same over on this side. Coming up to the very, very edge there. Okay, that's one pass done through the whole thing, and you can see how we've got that fury thing in that night sky. Now, if you want, you can go ahead and pick up more dense colour and make sure that everything is nice and black in all of the areas that you see. Because trust to me this color that you see now, it's completely going to lighten up, okay? Watercolor tries lighter. Believe me on that, it's gonna dry one or two shades lighter at least not at most, at least. So it's definitely going to be lighter than what you see here. So you've got to make sure that you pick up very, very, very dense pigment and you put that on your paper. Okay? So that's what I'm doing right now, making sure that the pigment density is very, very dense, okay? Especially towards the top. That's where we want it to be nice and dense. And from the reflection of the light in my studio, you can actually see that my paper is indeed still wet because I'm still working on it, and that's how you keep your paper wet. Okay? So you can see there's a little bit of excess water at the bottom here, which I will move over and fill up with some nice black paint, paint gray paint. Okay, there you go. Alright. Now, what we're going to do is we need to paint the bottom part so we're going to wait for this top region to dry. Alright, here you go. It's completely dry now, and you can clearly see what I meant when I said that it's going to dry out lighter because you can see where the azarin and the brown is being seen through. It's not entirely black. But that's okay. That's the variation in the sky. But you see the top part where I had applied all of that black color is indeed truly I mean, almost, you can qualify and I mean, qualify as black color, right? So now time for us to paint the bottom part. Okay? So again, I said we'd slit it into two, but I guess we need to probably into three layers because we a gonna paint the tint later on. Okay? So here you go, go ahead and apply water to the bottom. This is a very small area, so you don't have to paint or apply water multiple times. We're only applying water because we'd like a nice wet on wet touch right. So there you go. We just want to blend things together, but you can also do the wet on dry blending, like we did on the previous day on Project two, okay? So here you go. Okay, something of that sort. I've wet all of that region, and we'll start again. So this time, a little bit of a lighter shade. I guess I thought I was going to grab that yellow, but that's a little bit mixed with green, and I do not want green there. So I think I'll go ahead with my quinacridone gold itself. Okay? So that should give us the absolute lighter shade. Yeah. It's giving me yellowish tones. So here you go. Gonna put that yellow there, white across. So this is where it's bright. Okay, because of the light they have, they've lit inside, okay? Then gonna grab the next color, which is orange, in my case, okay? And here you go just grabbing the orange nicely. And now this is where we want to achieve the blend. I'm going to start with the orange there, then I want to make sure that I leave a nice area of yellow at that top there, okay? So that area you can see, it's got a nice yellow region now towards the bottom part. I want to add in more of the orange. Okay? There you go. It's lit, anyways, we will darken it up, but let's just cover that. Okay, so that's a teeny, tiny area. And if you've accidentally put orange on it, just go ahead, lift off a little bit of the orange and that should reveal back your yellow. Okay? In fact, that's what I'm going to do because I think I've put a little too much of the orange there, okay? And I want to reveal back a little bit more of the yellow. So I'm just running my brush along and maybe at this point, I will grab the yellow, yellow, yellow color, not the inacroton gold, but just the pure yellow color and apply that at that point. Okay, there we go. We've done with the yellow. Okay? Just lightening it up a little bit more 'cause I feel now it's starting to get darker. Okay, now, that is pretty much what I had in mind. Okay, now we're going to darken up the areas. So starting with, uh burn Sienna. Okay? Start to darken up the edges. So here you go. You need dense, dense pigment while you're doing that. Okay? At the bottom, starting to darken up and this dark color, this burn CNA color is what you can actually start applying towards the back side as well because we need to apply it. So this area that we applied, the water might have started to dry up, but that's okay. So long as you just go ahead and make sure that the stroke that you apply there touches with the wet on wet stroke so that it just unifies that whole thing. See? It's dry here, but I had connected this part. Of my orange yellow. Now I just make sure that the rest of it is connected together as well. So so long as I do not let the edges of my strokes to dry out, that's what's important. Do not let the edges dry out. So I just painted that stroke, and if I leave it there, then that edge just going to dry out and it will look good when I add paint over the top again. But that edge is still wet because I just painted it. And if I go over that one, then there you go. I have a clear lens. See that? Now, we want to make sure that the color is more appropriate. Then let's go ahead, grab an even more darker shade that in our case is brown. Okay? Dark brown in my case, and I'm just going to go ahead and apply. All right. So that dark brown, we are going to apply at the very back. We did not apply the base color as the brown because we still want an underlying color. We do not want it to look lighter, especially because I'm using transparent brown. That is the reason why we're doing that way. Okay, so here you go. Taking that brown. So that will give an undertone of, like, a golden brown color because it's burnt sienna, which is almost like I feel it's almost like a golden color when we use burnt sienna, okay? But there you go. So just blending along that bottom part, okay, making sure that my colors look harmonious together, okay? Okay, there. So now we can clearly see how that front area is nicely lit. The front area of our end is nicely lit. Okay. Then now what we're going to do is we can probably go in and add in the shadow or you could do that wet on wet. But the thing that I'm going to do wet on wet is to basically add in some random details. And for that, you can become pain screy because it's going to be darker. So just going to use a very dark faint gray, and I'm just going to create dots at random places, C, something like that. And it's just details in the sand, and Details as in, it might be where the sand is lifted so then the light doesn't reach there. That creates a very edge. It could be anything of that sort. So we don't know, and we don't need to know. Here lots of smaller ones. But all these smaller ones, make sure that you add to only the brown areas. Be towards the orange areas, we're going to add it, but we're going to use a color mixed with burnt sienna and your burnt umber or transparent brown together. You're gonna mix that up together, and that's what we're going to use, okay? So it'll be slightly golden brown, see? Okay. Something of that sort. And that's brown in color. See that? All right. So we're almost almost almost done with that part. Now, let's just finish the inside part of our tint. And we might you might want to shift to a smaller size brush while painting the inside part because we're going to paint really some of the things teeny, tiny. So you might want to start with a nice fire. Here I'm just rubbing my yellow. Okay, we're going to do this wet on dry. So just here, there's a fire, so I'm just doing a negative negative as in you're going to paint around the fire. This is around the white region. Okay? I know it's a very bad decision. You're not supposed to the fire inside, right? But dreamy, dreamy, you can dream anything. You can wish for whatever you want. Okay? Maybe it's a tent made of non fireproof material. Who knows? I don't know. Okay. So here, just that fire part. Don't care, then I'm going to grab my red, and I'm going to paint the inside part. So the inside part of my tent is actually red. The tent is red, but you only see it in the inside because the rest of it is drowned out in the night. Okay? There you go. Or you are going to literally say me change my decision life now, which is, let's put that light source as some kind of light source inside, it could be a tube, a yellow light, I don't know, some kind of light source. I am literally just adding a yellowish light like that. Okay. That's me. Hanging from a fire. I know, I gave a lot of speech about fire and fireproof material for the tent, and here I am changing it. Right? There you go, so again, going towards the inside and painting the inside part of the tent. Okay. I am probably going to have to push a little pigment over here because I can see that the light area which I intended has been covered by the red. So I'll just push it across. There you go. And now there's that mysterious, light look there. Okay? Now, we need to paint the outer part of the tent. At that probably I'd have to wait for this to try. So while that region dries up, we can probably add in the shadow right now. So here, just grabbing my paint gray. Okay. And I'm going to add in the shadow. So a mixture of brown and paint gray, literally almost black in color, and that's what we want. Alright. So over starting from the left side, going something like this. Okay, there you go. Taking it over to there, and then it's going to go ahead and join, like the front. And maybe like that. And then again, come over to this side. Okay? You need to touch the tent. The shadow part, need to touch the tent, okay? So this is a slightly bit more bent, so that's why I'm going to try and straighten it out. So I don't like the way it was bent. Okay. There you go. I did not like the way that shadow looked, so I've corrected it. There you go. Now that looks actually better to me. Okay, there you go. And now I think that other region has dried out, but we need to be making the tint area darker because it's somewhere where the light has gone. So here, I've mixed up my red, which is my cadmium red Ops I forgot to mention it earlier so that my cadmium red, and that is what we're going to be using over on there. Okay? I think it needs to be a bit more reddish so that you can see it through the night sky there, dark cadmium red mixed with paints gray. That's what we're using. And you can use the same for the top region. Fill it up. We're almost finished with this painting. Okay? Uh, fill up with the color first, the color where you've mixed up the paint gray and the Black together. Black. I mean, paint grey and cadmium wrote together. I'm just focusing on filling up the details, which is why I mess up my words. There you go. And on this side as well. There, that's done. But this doesn't look nice yet because now we need to add in the shadowy bits. Now, mixing more of paint gray. We're going to put in lines, and make it seem like the fold on the tint. These lines it's okay if it's wet on wet or wet on dry. Absolutely doesn't matter, but towards the bottom of this region needs to be darker. Okay. Because that's where the light source is right there. So that's where it's going to have more darkness as well, because the light is inside and the top ocean is actually lit by this fiery region. Okay? That's what's actually happening there. So this is lit and you can see because our paint hadn't dried completely there, it's spread out into that region, but I can fix it. I can just pass a little bit of red in that region, and that will be fixed. But with my watercolors, I like subtle nuances like this because that's what makes watercolors so special. Don't you think so? So the last bit, which I want to do is to go ahead and add in the tent poles. You know what I mean? Little tent poles, and then we're finished. So, here you go. I've got my usual white palette, which is really, really dry. I should have poured water onto it earlier, but I only needed to be very, very light. Start by not picking up fresh meint. So this is a line of brush that I am using. Literally, what we're going to do is from the top or the side, just add, like, a very small line. Okay? I will become feeble. I will not be this dominant, white. Okay, just make sure it's not too dominant, maybe, okay? There you go. And then some of it, you can also add with Pains gray so that it looks believable. Okay? So here is the one with pains gray. Let's see. One that goes over to the edge. And I think I'm going to have, like, a hole in the middle, as well. Pole in the middle of the tent. Okay. I think that's good enough. I love the way this has turned out. So now I'm going to try this thing completely, and then we can remove the tape. Alright. Here you go. It's all done, and it looks looking so pretty, right. In fact, you see that little mistake that actually happened there on my paper. It feels as though, for me, there's a person sitting there right by the light that is facing that side. I mean, there's this teeny, tiny figure there. So, you see, it worked out for the best. That was completely not on purpose. It just happened. So even if there's no person on yours is completely fine. Okay. So let's go ahead and remove the tape. But at least it tore towards the outside because I'm always careful to make sure that I peel it off towards the outside. And here you go. Here's the firy magical painting that we did today. So I really hope that you enjoyed painting this with me, and thank you so much for joining me today. 8. Class Project 4 - Colours of Sunset: Hey, hey, hey. Welcome to the next class project, the project number four, and I really hope that you enjoy painting this one. So first of all, let's have a look at the colors that we need. A lot of colors in this one and a lot of white and wet techniques, so keep an eye out for and also listen to some of the tips and tricks and also some challenges that I'm talking through in this one. If only you want to do it, there's no pressure. Okay? So we start with a nice transparent yellow, quinacrodon gold, transparent orange, quinacrodon rose, cobalt blue violet, Taloblue and paints gray. Okay. So those are the colors we need for this one. So if you're ready, let's get started with this one. Alright. Let us start. So no pencil sketch today, but unfortunately, a lot of wet wet. So let's go ahead and grab a large size brush and apply a lot of water onto our paper. So today, you're going to have to apply the water multiple times to make sure that your paper stays wet longer, longer and longer. Okay? So now it's back to a lot of Btonge wet practice again. That's what we're going to do. So take your time, let the water sink in. So something that I like to do is to basically apply the water onto your paper. There you go, and then hold on, like wait for around three to 4 minutes until you see that the paper has soaked up the water and the water's gone in. So what actually happens at that point is that? So you know that the paper's got some thickness, right? Because we're using 300 GSM paper. See, it's a bit thick. So what actually happens when you wait like that is the water goes into the fibers of the paper. So it goes through the thickness. It settles inside and goes to the fibers in the middle of the paper. And then, like the top portion of the paper has started to dry out, so we apply the water again. Okay. So what happens is now the middle layers, that is the middle fibers of the paper are still wet. And then when you reapply again, going to take a little bit longer for it to dry because there is no space for it to penetrate deep down because it's still already wet inside. So that's how your paper stays wet longer. So if actually you're not using 100% cotton paper or you're in a place with, you know, a lot of dry arid conditions, okay, then you might want to definitely do this multiple times. Okay? So you can see, my papers, like, started to dry in as in dry out on the top, but the waters actually sinking in, okay? So if I go over the top again and again, making sure that my paper is really, really wet, okay? So I'm going to wait again. You're not going to see the waiting time. Don't worry. I'm just going to wait for it to dry not dry, but the water to go into the fibers, and then I will reapply the water because we literally have some nice wet on wet techniques to do. Alright. There you go. It's been around 4 minutes now. So you can see it's almost tried, but it's not, though. So let me show that sheen on my paper, which shows that it's still wet. It's got still some water in it. So now we are going to apply over it again. Here you go. Grabbing my brush and applying the water nice and evenly. Okay? I know this needs a little bit of patience. So if your paper like you've observed from your past paintings that your paper starts to dry out quickly, then you definitely definitely probably, you know, need to wait. Okay? So there you go. I've applied the water nicely. Now I'm going to have to absorb the excess water, right? So here you go, just grabbing your tissue at the moment, just whatever I got in my hand and absorbing all the excess water from the sides, breaking up any excess water there, and there you go, absorbing all that excess moisture from the vapor, then from the top regions as well. Okay. There you go. Okay. Then, holding my paper at an angle, I'll probably run along just the middle. I did do a mistake at the beginning where I touched the edge and the tape, so that's now left a little bit of water. Okay, now, I think that's at a very good level, and we will start painting. So the trick part today is basically we're going to use a smaller size brush, a smaller size brush to get those smaller, smaller strokes. Okay? So that's what we are basically going to do. So let us start, how are you? So I do want to paint at the bottom here, but as I'm looking at my paper, I can see that it's a bit more watery than how I would like to paint the bottom part. So you can actually remove some of the water by running a brush along and absorbing any excess water so long as you have a tissue or something of that sort to absorb the excess moisture that you're picking back, from the paper. Okay, so there you go. I've absorbed the excess moisture. Absorbing the moisture from the top of the paper does not mean that it's making your paper dry, but rather is just you're picking up excess water from the surface. Now that we've done that, let's go ahead and start the painting process. So here I'm going to grab a nice yellow color. That's what we need. This is transparent yellow. Transparent yellow is the best color to use in this case because it just gives a beautiful, glowy look and it's transparent, so it actually looks beautiful. So we want the bottom part is where our land, the foreground is going to be, so we want to start somewhere on there. And this is the reason why we're using a smaller brush. So we're going to make small teeny, tiny clouds and teeny tiny lines. Okay. See how we are doing that. Okay. There you go. Then over as we come to the top, you're going to drop in teeny tiny amounts of paint again. Okay? And then again at the top. Literally teeny, tiny. Here, I'm just going to have some paints flow like that. We are creating absolute beautiful shapes for our clouds. That's what we're trying to aim here. There you go. That is done. Now we'll go on to the next color, which is basically going to be a little bit of quinacrodon gold. Here you go, just grabbing my quin gold, and now you're going to put that quin gold over on top of the yellow region that we just applied. Not on all the areas. Again, just some random. Now the yellow will be the dominant color and you're just going to place at random towards almost the center, maybe some of the color strokes, see? Okay, now we've done that. Now, let's grab on to the next color, okay, which is basically transparent orange. And we're going to put that transparent orange at random places as well. Okay? So we want a nice orange at the base. So this is where we want to make sure that our paper is still wet. So we're going to blend in some of the areas, especially towards the bottom here where we want it to be a bit more nice orange shade. Okay, so but leave a nice gap of the orange there, and then come down, leave that white space, okay, do not cover it up. Very, very important, okay. So then again, this here at the right side is okay. You can cover it up. Just leave that space there. Then again, coming back to here, picking up the orange, start from the yellowy region as well and then just go inward and create these random strokes. Okay? So then again, just going to create a lot of these smaller, smaller strokes. There you go. Then maybe some ones here. Then now as we approach towards the top, we're going to create some random but smaller clouds over to this region. Okay, see, lots of smaller clouds there. Maybe even to this area, we can put a lot of smaller clouds. Okay. Then let's get to quinacrodon rose now. My quinacrodone rose is mixed with a little bit of white, so I need to clean that up first. Okay? Because I need it to be transparent. If I don't use the transparent color, it'll, you know, have a denser pigment, okay? So that's why. So there grabbing the pink now, and I'm going to put it onto the areas in between. You know, the white areas somewhere in between the oranges. So that's where I'm going to put my quinacrodon rose, okay? Just at random in some of the areas. Definitely, it's going to mix up with maybe the yellow to create an Azarin or a red dish color. That's okay. Nothing to panic about. Let it do that, okay? But here's the shade where we're just mixing it up, okay? So we want to make sure that you put the pings more towards the areas where there are orange because when we're applying the blue later on, we do not want our blue to be touching the orange. This is how we're going to distinguish our blues in the sky, with the orange. Okay. So there you go. That's a lot of drama there already. Okay. So now we're going to go ahead and grab the blue quick. And this time, what we're going to use is cobalt blue. The reason for cobalt blue is that it's not going to mix up easily with the yellow to create a very denser green. It would still make green. Okay. Do not misunderstand that. It would still make green, but it would be very subtle, but you don't know want it to touch any of the yellow areas, but rather take a very, very light pigment of the blue. See? It's a very watery mixture right here that I'm using and this is what we're going to put onto those regions, okay? So maybe towards the center, you can actually put in the blue, but as you go closer to the yellow regions, you want to make sure that it's lighter, okay? Because then otherwise it's going to make green on your paper, which we do not want, okay? So, see, just in the areas, okay, that is probably a little bit on the green side. That's okay. Okay, but still see where I am able to just grab my cobalt blue, and apply. So over to the pink, you can apply on the top. It's just going to make a little bit of a purple shade, which should be okay. Okay. Then again, if you've picked up denser pigment, go ahead, apply it to the top. Then once the color on your brush is lightened up, then apply onto the other areas. Okay. See that? Okay, let's grab more now. So we're starting to pick up more tens of pigment. Maybe if you want, when you reach towards the top, you can actually switch your brush to a larger one because the top areas are mostly going to be covered in this blue paint. So you could actually shift to a larger one, okay? That I just wanted to challenge myself, and I swore that for this entire painting, I'm only going to use this one brush, okay? So it's going to be a challenge for the four grounds as well, while we paint. Watch out. So this is a size four, okay? Sometimes it's good to challenge ourselves as in, Okay, I will only use a single rush or, like, one kind of brush strokes or some sort of challenges, which will make you better. But you only need to reach up to that challenge, state if you're confident with all the other works. Like, for example, for me, I know that I'm very, very confident with my white and red strokes, which is why I'm able to challenge myself. But if you're not confident yet, you don't have to go through this challenge, okay? So that's why you don't have to do exactly as I'm saying, to go ahead and use just single one rush. You can use more than one rush. It's absolutely fine. Okay. So see now all the drama we've created in the sky over there. So we can go back with any of the other colors that you want. Like here, I'm grabbing a little bit of the pink shade. And then, you know, just adding. So as you add it along to the bluish regions is actually going to make a little bit of the violet tone. Okay? That's okay. We love it. We the violet, let it turn into the violet shade because that's also something that we want in our sky. Okay? Then see. What I'm going to do right now is I've created some violet strokes so that I know in my brush that it's violet, okay? It's a dull violet, but it's still there. So now what I'm going to do is I'm just going to grab my violet, which I picked from here. And I'm going to put it onto this region. Okay? Over onto the orange, as well. So then that would make it a little bit of a brown. So see, at this bottom here, we're getting a little bit of a brown stroke, which was actually made from a violet. So we're not mixing any brown, but see how that's turned out and see how back when I painted on the white region, it's got that beautiful red purple, violet touch. Oh, from a single pink shade that we started with. And then we painted on the blue, and then it's picked up and made into a violet no brush. And then as I apply, see, it's coming as purple. So this is the magic of watercolors. So I know this is a little bit tough. Seems a bit tough, probably, but it's okay. Your painting doesn't have to look exactly the same as mine. So feel free to, like, you know, change stuff if you want. Okay? Then I'm also going to go for a teeny tiny amount of violet. You go. That's a teeny tiny amount of violet. I want to put that violet over onto some of the areas here. Because I can see that my pink and orange has blended and see how it's very lightened up in that region. You could also, instead of the violet just grab a little bit of the cobalts blue and add that. See? Okay, see, adding a bit of the cobalt. But now I'm not done yet. I want to make this more vibrant towards the top. So here, now I'm grabbing my thalo blue, and I will put the thalo blue over to the top and make like little cloudy shapes on the top, okay, with the thalo blue, but only towards the top regions, okay? There you go just at the top, grabbing that dense color and adding but do not bring this cool blue. Halo blue is a very cool blue. Do not bring this over to the bottom region. We do not want it there. Okay? We only want it to burst the top. Then I think now I'm also going to grab in a little bit more of my violet for some of the upper regions, ok? There you go. And then I'm going to mix it with cobalt blue, so that's like a bluish violet color, see that. And that I'm going to apply over the top. So on top of the to blue, it turns into a dark blue color. Okay? That's okay. But as you come down with it, it turns into an ice purple shade, Okay, which is exactly what we want. Okay, so just go ahead, blend some of that in there. But here, Okay. See? I'm creating nice random shapes and everything. Okay? So if you feel that some of your color has gone, you can go ahead and put it back onto the paper. But just make sure that your brush is dry now. You need to paint with dry and wet. So here I'm drying my brush, okay? And then picking up the pink because I know that my paper has dried out. But then when I'm applying dry and wet, the color stays and it blends along nicely because there's no water on my paper that I'm reintroducing back onto the paper. Okay? I mean, no water on my brush? Did I say water on my paper? Oops. See? Okay. So nice strokes a little bit denser there. Mix that up. And there you go. That is our background, very, very, very, very dramatic, dramatic sky, indeed. Okay? So in order to make this exciting, the one thing that we can do is to have a background that's on wet on wet as well, but we don't need to do that. Let's not do it. I will do the wet on dry. So what we'll do now is we'll wait for this to dry out so that we can put in the foreground. Alright. There you go. It's completely dried up now. So now we'll go ahead, grab the same brush because of my challenge. You can go with whatever brush you want. Alright, and we'll paint the foreground, okay? Foreground, pretty simple here. What we're going to do is we're gonna grab in because this is a sunset scene, we need to make sure that it shows a sunset touch. So I'm just going to mix in paints gray and let together. The reason being Sunset, the colors are not really black. It needs to reflect what's there in the sky. So it is darker, but it also reflect the colors in the sky, which is why I'm grabbing violet. I'm mixing it up with my paint gray, so that it's like a black violet shade. Can you see the color when it goes to a lighter tone? What color is it? But at the denser state, it looks like black, but it's not because it's see. That's what we're going to be using This denser color at the base. Go ahead. But in nice foliage, don't have to make any details, okay? Wrap the color, just put something random. There you go. Then I think towards the right side, I'm just going to increase the height, a teeny tiny bit. Then sir, also, make sure that the color that you pick up is very dense over to the bottom so that begs what colors dry lighter or always always remember that point. Then obviously, what I need to do is kind of create the effect of the foliage. I'm going to have to create a variation. So I'm just like you just creating vertical strokes like that to mimic, like, grass and some plants. I don't know whatever, but just go ahead and create, like, a denser foliage. Don't do the same things. So go with whatever you want. Okay? Like, see, I'm just putting. So when I'm doing these upward, larger strokes, I'm using the tip of my brush. And then as I come towards the bottom, I again might press it down. So just bring a variety of strokes, okay? I'm doing this only because it's the challenge you could go opt for a small size brush. Please don't be pressurized to use the same brush like I in voluntarily choosing here. Okay? And nobody is forcing you to do that. It's just a personal challenge for me. Okay. And to make my paintings look absolutely haphazard, I would say, okay? And I do really enjoy when my paintings have that random look. See that, okay? It's completely random. I didn't even plan it. It just came naturally out of the brush, but I love it. So some things like that, okay? So here just gonna do. Okay. And then as I approach towards the right, is where I'm going to increase the heights of my plants that I'm adding, okay? But observe here that I don't always connect all my plants because I leave that for the eyes. I leave that connection part for the brain. I mean, I enjoy it. But if you would rather, you know, have, like, perfect realism, absolute realism, then by all means, go ahead and draw perfect lines. But I believe that with watercolors, this looks much more attractive and it makes it pleasing for the eyes to see when you've got, like, you know, such absolute randomness going on, okay? It's just personal preference, again, and it's personal perception as well. So don't believe everything that I say. It may not be true for others. Okay? So again, only over to this side. So just gonna put like denser branches and, foliage. Again, using this brush, okay? See? Okay. It's just random branches of a tree, I suppose. Okay? That's extending outward. M. Okay, see? It's just the tree branches probably here. I mean, the main trunk is probably here, and this is where it's extending outward. See that? So that's just absolute random detail. You don't have to put anything perfectly. You can even go for, like, you know, some random splatters, maybe, but you need something to cover on this side because you don't want all the splatters to be on that side. Let me see if I do with my hand. Yeah, maybe. That does work a little, see? A little bit of a splatters on that side. Actually, that's the reason why I like to do the splatters with my hand like that because it would only appear on one side. Okay? So there you go. That's our painting. But in order to make this a little beautiful, one thing that you could do is to add in birds, okay? Something that I really love to do is to add in birds. So in order to add birds, you need to know how. So what I usually do is so observe the tip of my brush, and then I do a little bit press on one side, and then on that same starting point, I press a bit onto the other side and see, that's created like a bird. Okay, so now I'm going to do it on the paper, which is basically something like that, okay? And then you're going to do it at the same thing in different directions. So here, resting along this way, and then another towards the other side. So that means the bird is kind of flying, okay? So this is how you would add different birds. See that? Okay. You could also add them in different sizes. So there you go. See, a lot of birds. So you could totally skip the birds if you want, but that's okay. Anyways, here you go. Here's the finished painting. Let me go ahead and quickly dry this up so that we can remove the tape. Here you go. It's all dried up, so let me remove the tape. And here you go. Here's the final painting. So I really hope that you enjoyed painting this with me. I honestly did, and look at that subtle violet color peeking in through after it's dried up. When it was painted, it looked black, but now it's picking up a little bit violet, and it's gorgeous, isn't it? Alright. So here you go. I will see you in the next class project. 9. Class Project 5 - Moonglow: Hey, hey, hey. Welcome to project number five. And this one here, this magical, beautiful night sky with the meadow in the front is what we're going to be painting today. So let's have a look at the colors that we need for this one. So we need to start with quacrodon gold, transparent brown, paint gray, a little bit of dark green, and most importantly, cadmium red and lavender. And of course, a little bit of whitewash. So here you go. If you're ready, let's get started with this one. Alright, let us start. So we're going to sketch out the horizon line and go for around one by third down on the paper. So here's my compass with my pencil attached. I'm using that for the sketch right now because we're going to need the compass later on, so have it ready, right? And here you go. Roughly that's what is the horizon line going to be I'm just drawing it very, very lightly, as you can see, and for now, that is our pencil sketch, and we're going to paint the sky parts. All right. So let's go ahead and apply water to the whole of our paper. Here you go apply water nicely and evenly. But for now, you can either apply just to the top of our painting. Okay, or you can just apply to the whole part. It's not going to affect much considering that the color at the bottom is also going to be a darker color. Okay. So here you go. Let's go ahead and apply water to the paper and the whole of the paper. Okay, I am doing that. If you want, you can split it up. It's absolutely fine, okay? It's not going to affect your painting at oh, honestly, so just go ahead and apply water nicely and evenly. And now this is the point where we want to make sure that the water is even and not forming any large pools of water anywhere. So here you go. I'vetilted my board slightly so that all the excess water can flow down and nothing will stay on the top of the paper. Okay? So let's see, just making sure that my paper has nice consistency of the water. Okay. So I think that's more than good enough. So now I'm going to just grab my cloth and absorb the excess water from the sides like we always do. So here you go. That's my excess water from the sides and also breaking up the excess water at this bottom so that I can absorb it all. And the same from the top region as well. Alright. There you go. That's all the excess water absorbed, and now our paper is ready to go. So let's go ahead and start painting. So here I'm grabbing my size six. Oh, you can even go with a size eight brush. You know what? Let's go one size larger because it will cover a larger surface area. And that's what we want, isn't it? So, here you go. Gonna grab my brush, and we are going to start painting. So here I am. Gonna start with a nice quinacrodon colour, okay, quinacrodone gold, which is already here on my palette so I'm just going to mix in that same area. Okay? Making sure that it's a nice watery paint because this is the first time that we are actually painting on our paper. Okay? So here, just dropping the color at random, okay? You want to create some nice streaks, maybe not too dense color. It just needs to be a little bit of a golden yellow color. That's it. Okay? Nothing towards that top region, maybe more to this bottom area. Now I want it to be a little bit more golden. So here, I'm grabbing the golden color and adding an extra layer over the top of what we've already done. Not towards the top just at that bottom region and also here maybe because I want it to be a little bit more denser golden color. See how that's donned out. The same here at the bottom. Okay? There you go. That's more than enough. Now we're going to quickly grab our paints gray we need the whole thing to be dark. But remember what I've always used to say about paints gray, where if you just add one layer of paint gray, it's not going to be dark enough. So what we are now going to do is we're going to grab the dark brown color instead, and we're going to apply this. Also, because this brown color does not have a green pigment or any blue pigment inside it. It will not mix with the yellow to create any green. Whereas if you directly apply the pains gray, the pains gray actually has a green component in it and it can, you know, literally create, Sorry. Did I say green component, I meant blue component in it because it's a little bit on the gray side, and that can create a lot of greens on our paper. Okay, so we don't want that. What we need is just a nice black color and a nice, fiery night sky. Okay, so here you go. What we're going to do is we are going to apply water, make sure that you are taking nice dense, dense, dense pigment and go ahead and mix it up like that. Fill up the areas of the gaps in between, see how we're doing that. Okay, so anywhere closer to the yellow, we're going to apply this round color, okay, use will give the dense dense sky nice color when we actually apply the black on the top. All right? So towards the bottom, you can lighten up the thorn, but not absolutely necessary. But here you go, just blending the whole thing, making sure that I have enough color down there. And see, we reached up to the horizon line. Okay? So you can paint towards the bottom, but I'd rather not paint with the brown, but with the paint gray instead when I am painting towards the bottom. Okay. So now I'm just reinforcing the brown color. In all of those areas. There you go. Fit that one nicely. Now time for paint gray. There you go. Grabbing paints gray and starting over the top, making darker areas where it's supposed to be really nice and dark. I want this region to be dark. But now with your paints gray, you are not going to go to any of the black areas. Sorry, the yellow areas. Here you go along the edge. That brown is going to stay and you're not going to touch the yellow areas. Okay? So here, just only on top of the brown is where you're going to apply your path gray. So you can pick up nice dense pigment while you do this because it's very important that we get and cover up our sky. So you can see, see not going to my yellow, just over the brown. So that black area is actually going to have like a touch of brown towards the edges of it, and then the rest of the areas will be covered in black. That's what we want to aim here. Here, going with the black and here again, that's going to be a little bit cloudy. There. And as I come down, now, it's just pure paints gray, which we're going to apply towards the bottom. And you will see here exactly what I mean by not having an undertone because see the color difference, this is going to literally lighten up a lot. And you will see the entire difference of what I am talking about and how this changes the look on your painting because this is very, very light. And because of the brown undertone there, it's very light, in fact, okay? And that's what we want, isn't it? Okay. So what I want to do is I'm just going to grab a little bit more of that golden color. I want to make sure that my paper stays wet in the areas that it should and the color mixes out nicely. Okay? But if your paper has started to dry out, do not do this process. Also, now I've just washed my brush. What I'm going to do is can you see where the gray has not blended in with the brown over this region? Like, here's a harsh line. I want to get rid of that harsh line. So what I'm just going to do is I'm just going to use my brush to blend in slowly. Just make sure you blend in nicely. Now, grabbing the paints gray where I can go over to the edges. Okay. This is where I want it to be nice and dark. Now, just going to grab my paste cray again and I am going to paint more of the bottom region now. But still, this paint is going to literally lighten up and that's the reason why I'm painting. It's not going to turn out as black as the top region. So you're free to go ahead and still add the paint in this manner, as you can see, and there you go. I have added the paint. Okay. And it all looks black right now, but trust me, when this dries up, you are going to see the color pop up. Okay. So there you go. Let's go ahead and wait for this to dry because this is our first first layer. Alright, here you go. Here's how it looks after it's completely dried and see what I mean, see the darkness here and see how it has lightened up over this region. So this is exactly what I said, isn't it? Beck is it's the nature of water colors they turn out one shade lighter and for the reason why I'm using a paint gray. So it's a gray, so it's going to turn out gray. Only in its densest combination would it become black like this? I don't like to use black in my palette, so I always shift to paint gray and then manipulate that paints gray in different ways. As if I need to get black, I give it an undertone, and I also would take a very, very dark tone tonal value of that paint. And if I needed a lighter, I would go for a lighter shade. That is a lighter tone. So it helps me to control the way the gray paint moves on my paper. So now that we've done that, my horizon line is somewhere over there, and that's where I am going to paint right now. Okay? So here, what I'm going to do now is I'm going to grab a green color, and I want a dark green color. So here, I'm mixing paint gray with that. So this is like a color, almost like, I believe, Perlin black, if you have that. That's this color. So we want it to be a nice, almost dark color. Okay? So now, I need to figure out what my line is. It's almost not visible. So what you can actually do is if you want, you can go ahead and make that line over again. It's absolutely fine. Not going to affect, but now I can actually see my line there. I know it's not visible probably in the camera, but then I can see it, and that's more than enough for me to trace my line. To get that horizon line. Then you can see it's this greenish color and you also want to paint quick because you don't want your strokes to dry out. Here I am just putting the color paints green, but I'm also mixing and using a lot of water so that I am able to bring my paint down. Because towards the bottom, I want it to be more grayish and a little bit of the dark at the top. This is where it's very tricky by understanding what um, perspective is. So I always say your darker tones to what should be at the bottom, but that's only during the day, during the night. Darker tones are towards the top because as you come closer to the viewer, you are able to see more details of what's happening. Did you understand? So those details would what is be here, which means it's going to be more lighter there because that's closer to the viewer. So here you go a little bit more on the darker side there. So we've kind of painted that. Now let's put in a bit more dark there. I've just grabbed my paints gray in a very dark consistency, and I'm going to place it there so that it's more dark, just like we've talked. And then as I come down, it's getting lighter and lighter and I will not paint towards the bottom there. Here you go, add it and just blending along to the bottom so that it's a nice gradient down there. Now, this is the second layer tan and we are going to dry this up. Here you go. It's done and the color was almost not visible when we were painting because it was wet, but now after it dried up, you can clearly see what I've done there and what I've tried to achieve. So now what we're gonna do is we're gonna grab the same color, the green and the paint cream mixture. Okay. And we're going to create like maybe like a background mountain or something just to depict that this is not actually some water body, but rather, I don't know, like a field, but that will be obvious as soon as we add in those flowers, but I still wanted to give, like, you know, a bushy effect or something there at the very end. Okay, maybe finish off there. Okay, so that's done there. Grab in a bit of dark paint so that it's actually visible there. Alright, now that part is done. And now the next thing is to probably add in some streaks again. But this time with the wet on dry method. So here I'm just grabbing my paint again and I'm just going to add in some random, streaky lines on the top. This is not water. This is just random detailing I'll make absolute sense as we add in the flour. It's just some shadow elements, probably, you know, so it's just go ahead and create lines like that. Okay. And then once that is done, let us grab in a smallest brush. So here, I'm just grabbing my size two brush, and now this is where it gets tricky. For this to work, you would need cadmium red. And if you don't have cadmium red, that's okay. And if you have, like, acrylic colors or gauche colors in fat gauche would work perfectly. If you have that, you can substitute for this color that I'm adding right now. So this is cadmium red, very dense, very vibrant, and it is opaque, which means you can even paint this on a dark background, which is what exactly going we're going to do right now. But before we proceed with that, we need to again discuss what we just talked about, but towards the back, it's going to be a bit darker. Here, I'm just grabbing my pink grey and I've mixed it into my red. That's probably not enough, let me grab more red. It'll be a little bit more darker than the color that's going to be there, towards the front. Here that is the color, and I'm just going to do is we're going to drop in a lot of smaller dots. Remember, towards the back, it should be smaller. Teeny tiny ones. Okay, picks perspective again. So based on perspective, your flowers, they're gonna be smaller. So you're going to make these teeny tiny dots towards the back. Okay. See how we're making a lot of teeny tiny dots. And clearly, you can see they are not at all visible, okay? As in, because they are at the back, but the color is opaque, so it's coming over on the top. See that? So we want to repeat the process. So this is what's actually going to take us more time to do, but so worth the effort where we're adding. So you can go ahead and add, like, clusters of flowers. Okay, so just lot together, clustered together. So this is why we need to use the pointed dip off brush. As soon as we've added this, you can clearly see that it's become the fields that we were just talking about, isn't it? Where it's these beautiful flowers scattered everywhere. So let me just make a lot more over here. And then I'm going to slowly come down. Okay. What we're going to do is let's grab the paint and then just make these larger ones. So here, just making these. They're poppy flowers, so you need to try and make the shape of a poppy flower, okay? But it may not be that perfectly visible, so don't be too tensed about it. So, as you come towards the bottom, we need to make sure that they are a bit more bigger and nicely visible, okay? It's towards the back that they actually get very, very dark. So I'm using the same paint right now because we will paint over the ones that we've painted towards the front, okay? So this will also give it an additional layer of death, which is exactly what we want. Okay, then I'm also probably going to add in a little bit of splattering 'cause we're not done splattering yet, isn't it? So, here you go. I've just grabbed the paper, and we'll put in the splatters. The paper is to cover the top region so that our splatters don't fall on unnecessary areas, okay? Okay, there you go. That's a lot of splatters, and I need to clean my table, I hate the splatters on it. Okay, there you go. Alright, now you can see it's become really, really, really dark, and it's kind of settling into the paper. That's okay. Now is the point where we're going to paint over it. And reveal the lightness. Here grabbing just fresh fresh fresh fresh camim red paint. Now we're going to go over it, but not on all the areas just randomly. This would give it that well tone appearance where there are some of the lighter flowers and there are also some of these bright flowers casting itself as lit because of the moonlight. That gives a very dense dense dense look to painting. All of those ones in the front, make sure you cover them up nicely. Let's see that one. That needs to be very dense. Towards the front, okay? And can you see how gorgeous that's looking? You want to make sure that you're picking up dense paint while you're doing this, else this process won't work? Because this could also eventually light up if you are grabbing a paint that is full of water. That's why I'm not even mixing on my palette. I'm going directly from that slot there and applying onto my paper. Very important that you do that. Oh, there. Oh, they are gorgeous. I just love the way this has turned out. Okay, there we go. Then let's see. That's almost done. Now let's put in a teeny, tiny amount of lavender flowers. Okay? So lavender is again opaque color. So here I'm just gonna mix it up on this right side here. Okay? Here I'm mixing up on the white side because I just took out fresh paint, so that's, like, really, really wet. That's okay. So again, we're going to put these. We don't want to put a lot of these, and these lavender flowers are actually really small. So that's why we're even just giving smaller dots, even if it is to the bottom. And towards the further end, we won't even add them because of the size of these flowers. They're not visible to us to the naked eye, although they might be there at that further end. Okay, so you want to put these at random in between. So just maybe a few tiny specks towards the top, but you want to make sure that they're absolutely tiny. Okay? See? So just that. So those lavender specks actually make the painting look beautiful when you look from over the top. So we're almost done with this painting. Now is a point where we go ahead and add in our moon. So here, I'm just grabbing my compass, and we're going to add that nice large size boon. Okay? So you want to draw a circle. Let's draw it in that black region. Okay, so there you go. I'm going to draw in my large moon, okay? This is going to help me as a guide to create that moon structure, okay? So I'm going to grab in my white uh to paint that moon. Okay? So here just squeezing that on to my little palette here. And let's start, okay? So basically, how we're going to paint this is we're going to wet that region. But when you're wetting it, make sure that you wet it in one circle. Do not go over it too much because then you would be disturbing the underlying layer of black paint, okay, which we do not want. And the reason why I'm painting this wet on wet is because we want to get some smooth edges to the moon region, okay? So, also, do not take too much water because then it'll just spread unevenly, okay? Let me just move this out because I want to make sure that my hand works out, not don't I do too much of a stroke strokes. Okay, don't not too much. Just enough. Get that white in there, without disturbing the underlying black. Alright. There you go. I'm going to switch to a medium size brush, probably a size six, so that it's easier and comes out better. Okay? So here we need to make sure that we grab densest of the dense white. So I'm just making sure that my brush is devoid of water. Don't want too much water, and then grabbing in the white. And here you go. So start along the edge at the top edge. And because we've applied water, it'll start to spread out a little. That's okay. And every time you do this, you're going to pick up some of the black paint from underneath because you've just actually disturbed the layer. So you might want to wash your brush, even though there's paint in it, if you're going to pick up fresh paint, otherwise, you're going to put that back into your palette, and that's going to create a gray color, which is not great because we're trying to create a better white version here, isn't it? Then now I will come back and then go into the center and here again, just going to apply that off because like I said, again, that's picked up a lot of gray bag, which I really do not want. And then here just going to go ahead and make that nice circle. I start there and maybe, you know, some s or dents or strokes as though it's the moon's craters. Probably we want to create some shapes like that. I think that's more than enough. For now, I'm just washing my brush now, completely again and going to pick up dense white. We've done the runaround. Now what we want to do is we want to drop in more of the white shades because this, trust me, is going to lie dry lighter. Because there's that gray underneath, okay? So we don't want it to dry lighter, so I want to make sure that it stays white itself, okay, rather than drying lighter. So here, I'm just adding more and more white over on the top, okay, to make sure that we get the desired consistency, okay? And let's see. We probably want to wait for it to dry a little bit, just a teeny, tiny little bed so that we can add in more white. Now, it's still too wet, okay? There. I can see that it is started a little bit dry out now, so I'm just going to grab more white. Okay. And can you see how it's lightened up at the top? So I want the top to be nice and Oops. You can see it's actually started to dry out. But I guess that's okay. I can still work it out. Okay? This this bottom part is wet and the top part has dried. That's okay. Let me show you how to fix daras droeda. So you can see that top part is dried, but that's okay. As soon as I just take in a little bit of my wet brush and start to blend along, it's worked out fine. See? It's just blended it. You just want to make sure that you blend your stroke. That's it. Okay, I think that's good enough now, and I just love the way this has turned out. If you want, um, you know what? Not just if you want. Let's just finish off with that beautiful part because I just love it, and I think I'm just gonna do it. Just go to add, like, a branch here, which I think will make this painting look beautiful. So you want to make sure that you pick up a very, very dense, dense black color, and you want to take that black color upwards. Okay, something like that. I go. I've painted the bak. Okay. See that? Added the paint. You want to make sure that your paint is nice and dense, very, very important. And then once you've done that, I think I'm going to shift to a smaller size brush because then we would be able to add in smaller, smaller, smaller, smaller branches. Okay? See that? Okay, we want a lot of smaller branches, right? So let's go ahead and add plenty as well. Just adding a lot, okay? You don't need to have everything connected. A lot of it being disconnected is actually beautiful when it comes to watercolor paintings. This is something that I've learned over time. Things looking perfect is maybe too realism, which is not my style. But then maybe having, you know, lots of disconnected elements and letting your brain complete the scene. See how that's done out. I just absolutely love it, okay? So this is probably why you need to make sure that you have a lot, lot, lot, lot of smaller branches, okay? See, just adding a lot, especially towards the edges is where you want to make sure that it's got a lot of connections because those will be like teeny, tiny branches which are stretching out and you want to make sure that your branches coming outward from the tree very important. I think that's more than enough. So we're almost done. I just love the way it stand out. I honestly would have waited for this moon to dry out and then have maybe one branch growing over the moon, as well. That would make it so pretty. But that's okay. So here you go. I'm gonna dry this up, and then we can remove the tape. Here you go. It's completely dried out. So now I am gonna remove the tape. And here you go. Here's the final painting. So I hope you enjoyed painting this with me. And thank you so much for joining me today. 10. Class Project 6 - Night Vibe: Hey, hey, hey. Welcome to Day six. And this gorgeous thing here is the painting that we are going to be doing today. So it's a beautiful ocean sea kind of painting with a nice, most amazing sky. I love the combination of orange and paints gray, you know? So let's have a look at the colours that we need for this one. So obviously, transparent orange, Paints grey, alzar and crimson, violet, and white quash, those colors, and you can create this beauty. Alright, are you ready? Let's get started. Alright. Let us start. So we'll first quickly make the pencil sketch. The pencil sketch is going to be around one by third of the paper. So my pencil again, don't worry. We don't need a compass for this one. It's just that. It's attached to the compass, and I was very lazy enough to take out the pencil from that one. Okay. So there you go. That's our line. Maybe today because our paintings are darker, you can have a denser line. Alright? So that is literally the horizon line for our painting. But while we're painting, we don't need to be bothered about the horizon line in the beginning, we're just going to go and, you know, wet the whole of the paper, even the foreground region. So just go ahead and really apply water to the whole of the paper. My brush, I really need to change this one. It's like shedding so much hair. Okay, so anyways, go ahead, apply water multiple times. Remember the trick I mentioned the previous day where you have to make sure that your paper stay is wet longer. By applying the water, then letting it sink in and then reapplying the water. You might want to do the strick if you find it really helpful and you live in an area where it is prone to having the paper dry out quickly. So here, I've grabbed my clothes and I'm going to absorb all the excess water from the paper. There you go. That's all the excess water absorbed. And now we'll start painting the beautiful sky. Okay? So the first gol that we are basically going to need and use is transparent orange, but we won't need it to be denser. So pre wet your palette if you need. I'm just running my brush along. Uh, nicely, and I'm not going to mix on my palette because that just reduces the color according to me. So if ever I want a dense color, I usually pick up like that. Okay? And here, this is how we're going to be starting. So they're just applying, and then we're going to come down over to here. Then as we come down, now we start to leave areas of white over to that right side. So here, just coming down. Then again, now I'll have my strokes go over like that. That's it for that part of the orange do not come below that. Then again here. Okay. Now on to getting our orange mow denser. Here you go just grabbing that and adding nicely. Okay. And maybe a little along that side as well. All right. Then now the next thing is we obviously need to create shadow areas. So go ahead and put in a lot of the orange strokes to the bottom, as well. Just upward enough. You don't need to mimic the exact same shapes, but a deadly with a little bit of a line. That's not necessary, though. The reason being it's water, so it's bound to move, it's bound to play around, and it's absolutely fine. Okay. Then obviously, the next color is faint gray. So you're going to have to go with the paint gray. Okay, and you're going to touch uh, start at the very edge. This is what I mean by when the paint cray gets lighter because we do not have an under painting color there, but that's okay for today because we don't want it to be extremely black, just a teeny, tiny amount. Okay? And then this is what we're going to be adding. So some of the areas, which is coinciding with the orange we definitely turn into a brown shade, but make sure you pick up dense dense black. Okay, that brown shade will have a tint of green to it if you do not make it denser. So we do not want a green tint in our sky either way. No, absolutely not. So here, again, now we're going for the wet on wet technique and grabbing. The paint gray and going to add all of the gray over to that side. Okay? We need to remove all the whites towards the left side. Did I say removing all the grays. Anyways, removing all the whites to the left side. Okay. Cover it up completely. Okay. Nicely. Cover the whole thing up. There you go. I've covered up the whole thing over to that left side, okay? Nicely done. Right. Now, as we come towards the bottom, we're just going to grab a little bit of purple. Okay? Just a teeny, tiny bit of that purple, and this is what we're going to be mixing along there. Again, the purple shade will mix with the orange to create, like, a brownish shade so that it's not a problem over there, okay? But we're not going to be leaving it as distense purple. I'm just starting with it, okay? So here at the base where the land is joined by the water, it'll be purple. Then we need to go back with paints gray, but over on the water, you can have a lighter tone of pain scray but you don't need to. There that's a lighter tone of paints gray, maybe a bit more. And then also onto the purple region. Remember, I said that I didn't want it to be dense purple color, but rather prefer it to be a very tone down version. Now, we've covered up the sky. We've covered up everything. This is going to lighten up very, very much. That's why we need to now create the effect of clouds. So grabbing more of my paints gray. I'm going to drop in the color and I'm going to create the shape of some nice cloud, like going to paint along the edges. Create some dense, dense, dense clouds. You go again over on this side as well. So these will dry up and the clouds will start to show up. So see the area here oops I touched it, and I picked up paint. Okay, see the area here. That is going to lighten up, and this is going to slightly darken over there. Okay? Then I'm just going to grab a little bit of Azar and crimson because, you know, some of the edges of the orange, I would like to give a very dense approach, so that's why I just teeny tiny bit of the alizarin. You do not want too much, just little. And if your paper has dried, then by all means, do not paint with the alizarin. I think that's what it is. If it's dried, don't with the alizarin, okay? My paper is somewhat still wet, which is why I'm taking the alizarin. But then also, I do not like the dense alizarin that's popped up there. So I'm just grabbing my orange, but I'm making sure that my brush is in a dry uh zone as in dry stroke. We want it to be making sure that it's dry on wet stroke, otherwise, you're going to ruin your painting. Okay? So see, just mixed it up. And now that red is really subtle. It's there, but very subtle. Okay. So that's what we've done. And also over to this side, as well, we've lightened it up. Now we need to create the bottom part is still wet. So now we need to create the shape of waves. Okay? So here, in order to create the shape of waves, grab in the pink grey and start to create like that. Okay? So what I just did is, I pressed my brush, and then I did, like a wavy motion. Okay, and we want to do this in multiple ways. So here, just go to drum. Join that region together. And it's okay. You can go over to the orange areas as well, okay? It's not gonna make much of a sense now. And as you go further away, you want your lines to be smaller. So start using only the tip of your brush and also not to smaller because of perspective there'll be more straight, okay? Adding some nice strokes onto this one as well. So this will make sense when we actually add in the form. Okay? So now just go with the flow and just add a lot of abstract kind of shapes there. And there you go. That's our background kind of done. Okay? I'm just moving my paint here because I see a little bit of a drop there. Can you see it in the camera? So I'm just softening that and flattening that out. I think it looks good. Now, all we need is to kind of dry this up so that we can move on to the next layer. Alright. There you go. It's completely dried up. And you see what I mean? When I say it's going to dry up and become lighter. Look at this. It's not black anymore. When it's wet, it looks black. That is actually and unfortunately the property of watercolor where if it dries up, then it dries one or two shades lighter. So what do you see when it's wet is actually not the color that it's gonna be when it dries up, okay? So that's a little bit of an unfortunate case. Okay? Alright. So now let's go ahead and put some things in the background. And in order to do that, I'm going to pick up the same violet that we used for the background, in fact, because now I have the horizon line there. I can see it on my paper, and I suppose you can see as well, see this line there. That's the line that I drew with a pencil. So then I'm just going to put in some mountain shape. Okay, so just something random, then going to draw on the very top of the horizon line. I turn my hand because I am comfortable to draw the line in that manner. That's why. So here you go. Okay, there you go. And then and now to just fill it up. I mean, ideally, you should be drawing the mountain like that, but because it's a flat line that I wanted to cover, that's why I painted it in the most absurd way that you can think of, which is really and honestly not ideal. Idally you should be painting mountains, using your whole brush, like just like that, you know, using the entire brush. We did not do that. Okay, there you go. That's that mountain done. Now, over to this side here, I want to paint, like, a dark rock there. So I'm just going to grab a little bit. I guess I'm going to do with the violet itself cause the sky's got a lot of those colors, okay? So this grabbing violet, and I want to put, like, a large rocky surface there. So that part of the white is a bit covered. I didn't intend to have that white there at all, so that's why I removed it. Now, because of the light sources there, which means we need to have a shadow here. So the shadow, I'm going to add it with pains gray. So here, just grabbing my pains grey, make sure you touch the shadow with the rock as well. And then here, I've just softened out the edges. Very important that you soften out the edges of your shadows, okay? So see, just ring it and then soften out the edge of the shadow. Okay? Okay, just want to make the shadow denser at the very bottom, but then it gets softer towards the bottom, right? Now, that rock is done. Let's add just another. So another totally background mountain there, because it's background, but it's, like, in front of the other one, give it a dull level. Now I'm grabbing pains grey and observe closely. Okay? So grabbing pains grey here, just go to put like another rocky surface or a mountain here. Then go to bend on top of my horizon line again. Okay, where's my horizon line? That is absolutely not my horizon line. That is my horizon line. Okay? Let me cover that up because it's paint gray, and see. Now I'm using wet on dry method and how the paint gray looks like black because the paper is dry and it's still the paper is dry and the paint is dense. It's only when there's water on the paper where the pigment spreads out more, so the particles disperse and it becomes lighter again. So now, this is like, two levels of mountain, isn't it? There's one at the back and there's one at the front at the level of the horizon, right? So that's that. Let's put in another kind of rocky area here, I would say. Then I'm going to create like a cliff edge to it, perhaps. Okay, there. And I'm going to paint that in, but I'm also going to, like, do a mixture, grabbing a little bit of paint create, little bit of violet. The violet. So now, this thing has a dull color effect. Do you see that? Right. Okay, dull color effect on that one. And then that also probably I would need to, like, create front edge for that. It's like a land area right there. So you can grab your dense dense paints gray while you're doing this. Almost done. Now, the only thing left to do is to, like, kind of darken out the bottom part of water. So just adding water. Then I mean, I've just added paints gray, and then I'm softening out the base, okay, so that it looks like the water, okay? So I'm bringing some of the paint down. It's absolutely fine, okay? I think that's much better, how it looks? Okay, 'cause it's got that dark eth in there. Just spreading the paint to make sure that it's not too bad. Okay, there you go. Maybe we can grab in a little bit, paste gray and, you know, kind of add it towards that very end. Lots of lines and a little bit of a shadow effect again. Okay. So that gives it a little bit more shadow, especially to this land area there. Okay. There you go. So now let's dry this up, and then we can finish off with the white strokes. Okay? Alright. There you go. It's dried up. I know that it was not visible earlier, but now can you see the dull tone of the violet and the black here and the violet over here and how it's looking so nice? Alright. So now we're gonna go ahead and paint in the form. So in order to paint the foam, we're gonna use white paint. Okay, not entirely white paint, though. We're gonna mix it with some other color. And you probably guessed it because you know already the list of colors that we are going to use for this painting. So here, just go to grab that and then a little bit of lavender. So it's white, mixed with lavender. Of course. What else could it be? Right? Then here, we're going to just create some dry strokes and we're going to create the shape of the foaming region. Basically what I'm doing is I'm just pressing my brush along and, you know, dragging it along the paper so that it creates like a random shapes. See that? Okay. And we want to do it in all of the areas. I think towards the right side, you can use more of the white, in case it's very, very light there and it's got uh lightest region there. And if you feel that there's too much water, just do it on and I mean, dry your brush, okay? So we want it to be like a semi dry strop. This is not completely the dry brush technique, but it's also not the wet from wet. So it's like I'm drying my brush, okay? And then I'm going to use to create the foamy effect, if you know what I mean? Okay? So we want to definitely create a lot of form here where it's actually going and hitting the cliff region, but then you want it to be smaller because the cliff is a little bit further away than these waves over here. So you want to make them smaller, and then here, just, like, probably hitting that little region there. So, see, teeny tiny strokes towards that region. Okay, a lot of teeny tiny reging. I've added a layer of lavender fist, and then over the top, adding yellow. So that should I say yellow, white. So that gives the fam a sense of dull nature as in see that. So then the lavender actually looks like the shadow part of the form. Does that make any sense? It's really good, isn't it? 'Cause you wouldn't expect, but then it looks like the shadow part of the form itself. And then here let's add in some nice foam again. So that's next to the water. I mean, next to the rocky region. And then again, as you would go further away, you would see lesser and lesser of the foam, so then stop and do not add too much, decrease it as much as you can. Okay? And then come back down where we will add more of it. Okay? So here So the thing with this form is that even this white paint, it's going to dry out into a lighter color because it's on a gray background, so that's not going to be really visible much, but that's okay. We want it to be lighter. It's a night sky, so it's not going to be that absolute white in color that you would expect, okay? So let it go. We don't want it to be that dense, either. Okay, so here again, just go to give it sense of do well, color here. Okay, they're all gonna try up, so don't worry. There. Anyways, that's a lot. You can even add, lots of small dots, I guess. Okay? Because it's not just lines. They will be dotted. You could even splatter, but I think the dots are more than fine, okay? And they're going to be a lot of Now, I need to wash my brush because I need to get rid of the lavender on it. Okay? Completely get rid of the lavender on it, and then I'm going to just grab the pure white. But let me also clean up the palette because as I was mixing, I dropped lavender into there, so I'm cleaning that as well because I need pure white at this moment. Okay? I need the pure, pure, pure white. You can also grab fresh from your tube if you want. Okay? Be now we're just going to, like, ad in some nice white areas under there straight, but these would be the reflection part of the white region that we added into the sky. Okay? We could essentially have left the area white rather than do this, but then that's okay. This is more fun, I would say. Okay. So there you go. That, many of the things are almost done. I'm just trying to see if I can bring a bit more vibrant you to the white because I felt that it, like, really faded. So that's the problem with lavender. It can fade a bit really quickly. Okay, so there you go. That's more. And I think that dense white didn't work, so I probably need to grab extra fresh white to do this process because the other white is almost dried up. So I would need the good consistency to do this process. Okay, I think that should do. Okay, I think that's enough. I'm more than happy with the way that has turned out. So now I um, don't need to dry up. I was gonna say I'm gonna dry this up, but it's already dry, 'cause Edges, there's just a few white strokes that we added. So let's go ahead and remove the tank. I just absolutely love the sky, though, that orange and the paints gray. The combination is just amazing, wouldn't you say? Okay. And here you go. Here's the finished painting. Look at that sky. Oh, my God. So, here you go. It's amazing, isn't it? So, I hope you enjoyed painting this with me, and thank you so much for joining me today. 11. Class Project 7 - Milky Way: Hey, so welcome to Project seven. And this one this painting here is probably going to be painting today. See that gorgeous effect in the sky and the meadow. Oh, my God. So, let's have a look at the colors that we're gonna be using for this one. So we start with transparent yellow. Hello blue, indigo, paint gray, alizarin crimson, a little bit of violet, then dark green, cadmium orange. And lastly, my gosh, as always. So, if you're ready, let's get started with this painting. Alright, let us start. So we're going to mark the horizon line, which would be around one by third of our paper. So somewhere along there, and I'm not going to make it straight perfectly. Okay, so just going to, like, make random, but it's okay. It absolutely doesn't matter. It won't be even visible whether it's gonna be straight or not. So just a line, make sure that it's not in an angle or any way. So I can see it's almost straight, isn't it? Okay. There you go. So this is what we're going to be starting with. Nothing else. Alright, and let's just get started, shall we. So we're going to apply water now to the whole of the paper. Yes, go ahead and apply to the whole of the paper because it absolutely doesn't matter, even if your horizon line is gone and that you apply over it. So just go ahead, apply water multiple times. We need to make sure that our paper stays wet. I know I say this absolutely every day, but that's because it's really important when we're painting with the wet format technique. Okay, so go ahead and keep your paper wet. I'm going to give my paper a little bit of an angle because I can see some pools of water forming, which now I'm going to get rid of by making use of gravity. So here using gravity to have the water come down, okay. And then going to use my clothes to absorb the excess water. So here you go. Grabbing my clothes and all that excess water is absorbed, along the other edges. A amount of excess water is definitely dangerous because it can flow back into our paper and create, you know, what is known as blooms or cauliflower effect, which we do not want, okay? At this point, and can also use your brush to absorb the excess water. So that would be make sure to dry your brush the run along. That would also absorb the excess water. And I think I like the way it looks now, so we are going to start. Okay? The first color is obviously transparent orange. So it's a beautiful orange shade that we're going to have right now. Okay. And let's go ahead, grab it nicely, and then we're going to put that at the horizon line. There you go. I just absolutely love this orange, you know. So here, we're going to put that orange, start with it, make it as vibrant as possible. There you go. Then we're going to start slowly, stop somewhere around there, and then we're going to take it upward and just, you know, some random strokes they may be visible, may not be visible in the end. That's okay. But whatever peeps through, that would be enough for us. Okay. Then here you go. The next color that we're going to be grabbing is thalo blue. So here, just grabbing my poblue and now we're going to paint along the edges. So make sure your brush is nice and wet because this is the first layer, and we have a lot of layers to drew. So when you add that watery paint onto your paper, you're actually essentially making sure that your paper stays wet more, whereas if you add in a dry paint, also means that you're absorbing excess water back from the paper, which we do not want, obviously. So again, while you're doing this process, get rid of all the whites at this point. That's what we're trying to do. Okay? So you go trying, trying. And then, obviously, some of the orange is only going to remain because those areas where it meets, it's also going to form like a slightly greenish color. It's okay. Absolutely okay. Okay. So here you go. I've brought it down up until the orange. Now we're going to mix the same, in order to do that mixture, you've brought it out until there. So now you're just going to use whatever's there on the paper to kind of mix it and get that slightly greenish hue. You do not want to introduce more of the blue over to that region and, you know, ruin our orange. Because if you bring in a lot of that blue, then the entire thing is going to turn into a greenish sheet, which we do not want, okay? Maybe a little bit de tiny bit because you don't want it to be too lightened, as well. Like, this one, I know that when it's dried, it is watercolor is dry lighter, it's gonna be very, very light. Okay? And also, we're gonna be covering it up with something else. So it's nothing to worry about. There you go. That's done. Now time for the next part. Which is, we're gonna grab a little bit of indigo, and we're going to go over the top now to create that galaxy effect, okay? So now, again, only a little bit of the thalo blue is gonna be popping up. So the reason why we add that halo blue first is it's kind of like the underpainting, okay? So they're again bringing that across. But now, careful, you do not want the indigo to go below the halo blue range at all. Okay? So all the denser colors towards the bottom, and then as you come towards the bottom, sorry. I said wrong, all the denser colors towards the top, and as you come towards the bottom, you want it to be lighter. Said the ego. It's absolutely light at that point. Okay? So again, here, dense, dense, dense colors to the top. Okay. And then also we want to grab in the indigo, and then you're going to put, like, these doted stuff right there. Can you see? Like, it's as if you're like, faming the galaxy, and then these dotted stuff that you're doing, you can actually bring it down over to some areas of the orange. See that, okay? Just a teeny tiny bit. But again, this process that we're doing, we're going to be using the pointed tip of our brush. Here, I'm just bringing that down at random. Okay, something of that sort. All right. Then you can see all of that color is still popping through, and then make it like as though there is some kind of explosion of the galaxy effect in the sky. Alright? So here that's gorgeous, isn't it? Now we're going to grab in paint scrape before things die dry up, okay? So I'm gonna grab the paint scrape, but I'm first grabbing it in a wet or dry manner because I want to put in do some cloudy shapes here, and I know that my orange and the region has started to dry pick I haven't worked on it for a long time. So in order for me to make sure that it's not dried up, I'm picking up a very, very dry amount of the pens grave. So always look at your paper before you start working on anything. If you observe areas that are starting to dry out, that's why we need to work first. Okay? So, see, adding a teeny, tiny amount of clouds into that region. And I think that's enough for that cloudy part. Now we're going to grab in the denser amount of paint gray again, and we're going to put it along towards the edges on top of the indigo. So again, it's not going to be much visible. It looks dark now, but when it dries up, that will be visible. That area will be darker. Okay? So here, just grabbing paints gray. So that area has actually got three layers of colors, isn't it? It's got palo blue, then it's got indigo, and then it's got the pink gray, but it's going to be darker. Now we need to put in some more clouds. So what we're going to do is we want to let me just switch my brush because this is still a bit of a larger brush. So probably let me grab my size two brush. Okay, 'cause we're going to put in some clouds onto the bottom part. And for that, we're going to grab inviolet, but I know this paint is very, very wet. So let me dry my brush and just grab only the wet paint. Okay. Then we're going to put some nice clouds there. So it's gonna turn into, like, a brownish shade, and that's okay, okay? So, see? And probably it's going to be a little bit wet. On dry as well. That's okay. But try and mimic the shape of some clouds as much as you can. Then maybe a bit of Azarin as well as you approach over to this side. So it's a bit reddish clouds that we want over to this ide. See how we've got that nice reddish touch quick because it's approaching towards the center where there is more light. So you want to give it a little bit of the lighter clouds. Then as you go towards the right, maybe go with the let. Okay. So it's like a blend of those two there, uh, some nice, beautiful strokes. Okay. So see, even if you applied water towards the bottom, we were not working on there, and it turned out absolutely well. Let's also just put some white strokes in there. So what I'm going to do is I'm going to grab white paint directly from the tube itself because that is what is going to be the densest. Okay? So just gonna run my brush along inside. There itself, okay? I'll make sure that the paint that I have is the most densest. Then you're going to put that in there and you can see your paper is still wet and it's going to pop out somehow, some places because I think my brush is actually extras water as well. But then this is what I talked about, you know, little bit of the cauliflower effect, but that's okay at this point because we're just getting some nice lighter strokes. Okay? So bright strokes into that galaxy part. That's what we've achieved. Now, we will add more towards the bottom. I guess maybe let's add a little bit to the bottom now, a teeny, tiny bit. Want to make sure that my rush is dry and then just grabbing that paint, and I want to put, like, little bit there so you can see my stroke is actually literally dry at this point, okay, but I'm not bothered. Alright. There you go. And that's just our galaxy, the background layer done. So all we got to do now is, like, we're gonna completely dry this up so if we can paint the foreground. Alright. There you go. It's dried up now. So before we proceed to the bottom part, what we're going to quickly do is we're going to add in a little bit of mountain at that region. And for that, we're going to just grab indigo, okay? So it's just a very dense amount of indigo. The only reason is, I do not want it to be looking like black, although when you apply that much dense indigo, it might look black. But then there is still that possibility that when it dries up, it might not have that black effect, which is why I'm using this indigo. Okay? So it very dense amount over on top of that orange. Okay? See, I can already see it looks a little bit on the bluish side than the entire black. So it's okay. And there you go. Rubbing. And then as we come towards the right, I want it to be, like, very, very short. Okay? So that's why. And then maybe, you know, just some perforations towards the top there. I think that's much better. I've got the land every year. I mean, the background mountain area done now. So now we're going to paint bottom part. In order to paint the bottom part, I'm just going to quickly wet that not up until the very top. You only need a little bit of wet. You can always connect both areas together. So I've wet that region, and now wrapping my larger brush Again, I'm going to paint that bottom part. So in order to paint that bottom part, okay, what I am going to do is I'm going to grab in the orange itself, okay? Because it's not water or anything, but it's where the denser flowers are creating that dense color at the back. We will also fill it up, okay, but that's not to worry. Okay, there you go. Just, filled in with the orange to start with. Then I'm going to come down and add in a mixture of my dark green and faint gray. So very, very dark, dense color. Okay. There you go. That's how I'm starting. Now, indigo. Ss. Dark green and paint's gray, not indigo. Sorry. So here, what you could also do is, like, paint with the darker green first. Okay? So just grabbing my darker green. So this is actually my darker green. You can see that it's very, very dense. And then I am going to paint and mix that up together. Okay, let me grab it. Nice and dense. Then now gonna grab the paint's gray so that it'll be over the top. I'll make that green darker, which is exactly what I want. Now, my brush has got this dark green color. What I'm going to do is, you know, the area where we actually painted and separated the orange out. It's not meant to be separated. So what we're gonna do is we're going to, like, add in, like, drops, okay, little drops so that the areas excluding the drop would actually look like flowers. Okay, so this is like the negative painting effect. This is what is cars negative painting. So all those areas which are not the orange, okay, will look like, flowers, okay? So, also, we did not want it to be extremely flat, like a flat brush stroke. So I'm just making sure I get rid of that flatneess in my brush stroke, okay? That's why. And then here, just gonna go ahead and add these dots. And you also want to make sure that the areas where the orange is actually visible needs to be lesser than the greenish, actually, okay? So this is I just wanted to cover this technique, which is why I brought this in, okay? I go. This area is a little bit rough, and I think that's okay. So I'm not bothered as to how big my brush strokes are because we only want a very little of the orange to be visible because those are like, really far off flowers. Okay, be peeking through the orange. And they also need to be absolutely smaller. So go ahead and fit in. You see? So, that area is done, but, you know, the area where this is actually very lighter there. Let me get rid of that lighter. Region, okay? So those flowers there are, like, very, very light. Now we need to add flowers to the bottom part. So what we're going to do is we are going to crap cadmium orange at this point and add some background ones in there, then we'll add it later on as well. Okay? So here, I've got some spare paper, so I'm just going to grab my cadmium orange. I want to make sure that it's nice and wet on my paper. Then I'm going to drop in. Like that and see how it spreads the paint and comes on top of the paper. And this is because cadmium orange is opaque. So you can also use a gouache paint instead, if that works for you, okay? So you want to make it appear closer, you know, those areas as well. So it's like a very dense and beautiful field that we've got here. Okay, see how gorgeous it already looks. Alright. So now we're going to dry this up so that we can add in more flowers over the top. Okay. All right. Here you go. Here it is after it's completely dried out. And you see all that magic that was there while the paper was still wet is already gone. Even for the white region, see how very light it has become and see how all of it has just gone into the background. But I can still see it, and I can see that it's very, very lighter in here. So now we're going to make those denser, not those exact ones. So those exact ones are the ones that are going to be under the shadow. We are going to add some fresh nice ones. So go ahead, grab in your orange, the cadmium orange and go ahead and fit in a lot. So we're going to put in a lot, not on the same ones. Okay, let the background ones be right there and make sure that the ones towards the back that you add, okay? Oh those ones to the back, we want to make it lighter, okay? Or smaller, as well. Okay, so being small is very, very important. So we'll make them smaller. And then as we come towards the bottom is we're going to make the really, really larger ones, okay? So, see, a lot of flowers already there. And then to give you into perspective, when I speak larger, I mean, this, it's really large, and this is where you can actually and probably, you know, go ahead and make the shape of a petal, perhaps, okay? So see, you don't need to make it perfectly, but just mimicking the shape of the petal would actually do, okay? See? So those are now like bigger flowers, bigger flower clusters. You don't want to do it over the top and cover all of the work that we did with the splatters okay? Just go Okay. This is where you can actually get lost in the painting and, you know, go on forever and ever, honestly, because there's just a lot and lot of flaws that you can add and, you know, possibly never stop. But we've got to stop somehow. So just fill in as much as you can, you know, make it as beautiful as you can. That's interesting. Okay, there you go. Now, in order to make this attractive, I'm going to place a lot more of the smaller ones. So smaller ones means very, very smaller dots towards the back. Okay? So see extremely smaller ones to the back. So the part where I added that orange at the back was actually me trying to make this process of adding the dots easier. Otherwise, if that orange was not there, then we would have spent a lot of time adding these dots to the back because at that back point there, you need a lot of dots because it's further. So the flowers actually look denser, although it's not, and that when it's coming closer to the viewer, that's when it because of perspective, how it would look, you know, scattered and more spaced apart. So towards the further end, it should actually look really dense together. See, that's why I'm adding a lot more of the dense ones. Probably we should have brought that orange more towards the bottom, isn't it? But then that means we would have added those green dots more. Mm. Anyway, this process is just, I would say, really, really, really calming. For me, at least I don't know about you. Okay, there you go. That's a lot, lot, lot, lot of flowers. Added, okay? Go ahead and add, like, some really big ones and probably create, like, the shape or the petal of a flower. See? Some of them has been done that way. And you can also go ahead and put in some wet on dry splatters. So that would be us grabbing the color again and then just literally putting those platters. And it's better if you can add in a lot of splatters towards the back as well, make sure that you close off the edge of the paper there. Okay, see if it's a lot of flour, and I still got a little bit on the indigo region that we added. So to get rid of that, probably grab in a little bit more indigo and, you know, absorb that. So now we're almost done. Now the best thing is to add in a little bit of white strokes now. So I'm going to grab in my white paint. The splattering process is always tricky. My hand Clot in orange. Always, always, always, always. There you go. We're going to grab the white paint now, first of alle. And what we're going to do is we're gonna put in a little sun in our painting. Okay? So it would go right there just above that little Alizarin stroke that we did. And make a teeny tiny circle. Okay? That's it. Very, very teeny, tiny circle. And this is probably what's actually creating that light effect over there, okay? And in order to bring that light effect in to a nice look, we're going to grab some white paint, but we want to make sure that it's nice and watery. Okay, uh, just a teeny, tiny amount, and then we're going to put some more white strokes. So these are going to dry up, like the ones before as well. But then there will still be some light. So whenever somebody looks at your painting closely, that's when they're all gonna see like these beautiful details in your painting. Like, oh, look at that. So I'm also just softening up the edges. So you see, it's a very, very nice white stroke that's appeared over there, but then I'm softening out the edges. Okay? We can do the same at some of the other places. So I'm putting a little bit of a white there, a little bit of white there, maybe, you know, just go ahead, add in some white to some of the areas where we added the wet on wet white, okay? And then only to some of them, you need to mix. I'm not going to mix the ones towards the top. Mix as in soften the edge. So I just soften the edge of these ones. Okay? There you go. Alright. So that would be the sky part. And now for the last and final thing in our painting, the white, starry slatters. So here we're just grabbing my white paint. And just like we discussed in the techniques, I am going to do the splatters, but this time, cover up the bottom. We don't want stars in the meadow, right? So there There you go. Lots of stars added. And we're actually done. So anything to as the edges? Nope, nothing. So safe to remove the tape, clad in the movement. And here you go. Here's the final painting. So I hope you enjoyed painting this with me, and thank you so much for joining me today. 12. Class Project 8 - Lightning Strike: He he he welcome to Class Project eight, and this is the one that we're gonna be painting today. Can you imagine there's only three colors in this, but hey, come on. I know it's too obvious, isn't it? So, the colors are Quinacratn rose, violet and paint's gray. Literally those three colors. Plus, obviously, white gouache, that is, you know, goes without saying you suppose. But okay. So just three colors, and we can make this gorgeous one, especially. You see that glitter on the water there. That's my favorite in this painting. Okay. So if you're ready, let's get started with this one. Alright, let us start. So we'll first start with a pencil sketch. So for the pencil sketch, mark the position where the horizon line is going to be, which is somewhere along the one by third of the paper. But we don't need the horizon line to be perfect. What we need is to mark in the river area, actually. There you go. The rivers kind of, like, having a bend over there, and there comes over to that side, and then again, there is the land area going over to that side. So that would be the basics of our pencil sketch. So have a look at it. Here you go closely the pencil sketch that we need for today's painting. Okay. So again, we're going to start with the Biton white technique as usual. So we will go ahead and apply water to the whole of the paper. Okay? Again, we need to work on a lot of wet on wet technique. So go ahead and apply water and wet the paper nicely. Make sure to have an even consistency of water and do it multiple times if needed, without forming any large pools on the water on the paper, okay? Large pools on the paper. None of it should be there. So just go, make sure that it's nice and wet. Okay. And then now I've done that, and I'm just going to absorb the excess water from along the edges of my paper. We go all of the excess water, and now, let us go ahead and start with our painting. So I'm going to start with my size eight brush, right, and I'm going to go with a queen nacrodonRose shade. So I think we haven't used this queen rose in this class yet, or have we? I can't honestly remember. But anyways, here you go. I'll grab my queenose and observe also where I'm holding the brush to the very end. And then I'm going to go with a very, very loose stroke. Okay, see? And then, like, we want to do some brush dancing. So just keep rubbing the pink, and let's add some over to that center, then maybe a little bit over to that region, and then I'm going to come down into that area, okay, into that water region. So again, don't bother about the land area right now because we're going to anyways paint it with a darker paint, so it won't be that visible. So we're free to go ahead. And create these random shapes. Okay, so there you go. That's the main part of the sky that we want to capture, and I want to capture, like, some areas here as well. Okay, there you go. Now, time for our next cada. So you've heard the colors already, so it's gonna be now the violet. Okay. So, starting with the violet paint, we're going to start along the edge and start building it inwards and on top of the pink. So when it goes on top of the pink, it's gonna create, like, a beautiful, red purple shade, like, a very subtle red purple shade, which is nice and gorgeous, in my words. Okay? So here, just grabbing the paint and adding, okay. And we're gonna come over to the middle and, you know, kind of blend that in the same way here. Let's blend that inwards, okay? In some areas, let it be white. You don't essentially need to cover up the entire thing. Okay? So here, just adding. I have a little bit of a white there. I don't know how much is going to remain once I'm done with adding more strokes, but that's okay. So here, again, grab the violet paint, and going to add probably maybe leave a little bit of a white violet there as well. And then let's just, you know, keep adding. So then as you come towards the bottom, you do not want to go mimic the sky, but then you want to go and try and do, like, water. So maybe, like, you know, from the edges towards the middle is where you want to add in. Okay? So you go from the edges, but I think that's too less watery. I want to introduce a little bit more water and try and mix it up. So there you go from the edges towards the inside. Okay? So leave these areas. I mean, it doesn't matter how we paint it, okay? So there you go, towards the inside, the same wing towards the inside. Okay. These ones are anyways gonna be the land region. Okay? Now, we've applied all of the strokes. Now we need to start forming clouds or, like, you know, the big, big shapes. So I'm now picking up my very, very dense violet shade, okay? And then here you go. Using that dense violet shade, I am going to, like, create shapes, okay? Now, biggies the paper is still wet from what we just painted. It's gonna come and, you know, create these soft wet on wet clouds for us, okay? Same along the edge here. Just go to create like these denser, very, very denser shapes. Okay, gonna come down and add, like, some small cloudy shapes over here as well. So how they are looking. See that. And then I going to need, like a very dense cloud here. Okay. I think I want this area to have I want that bottom part to have that white, but then I want a very denser cloud here as well. So here, just taking that denser cloud over to that pink and then adding on the top. Okay, so here there goes the tenser cloud. Alright. And then gonna pick up a little bit more of the dark violet and go to take it towards the bottom part here at the very, very bottom part, okay? Here you go. And just blending. Again, at the bottom, where you're blending, you want to make sure that you blend in a very horizontal manner because that's the water region. Okay? So anytime you pick up dense colour, go ahead, put it on top of the cloudy regions that you've added, okay? Okay. I think that's really good manner right now. So you can already see how this thing is, like, gorgeously turned out. But there's one more thing that we want to add. You know, those clouds, so we add it. We want to give it a nice bright glow. So in order to do that, go ahead and pick up lavender. So that's my lavender, but I'm just cleaning it up because it had a little bit of white on the top from a previous pent wet in this class. So here you go. I'm picking up lavender, nice and fresh in my brush, and your paper needs to be still wet while we're doing this process, okay? And what we're going to do is we're going to grab that lavender and you're just going to literally drop it to some of the areas on the cloud over the top. So it's denser. The lavender is, honestly, much denser than the transparent pigment that we're adding. So then it, you know, kind of visible on the top, see what's happened there. So that's exactly the kind of stroke that we need, okay? But do not leave the lavender floating over the top. You want a little bit of the violet. And try and blend that in. As in, it shouldn't be the lavender that's floating over the top, but rather the violet. Just a teeny tiny bit of lavender on the edges. Trust me, it's going to lighten up so much, but it's only going to be truly visible when somebody looks at you painting up toes. Okay. So the next thing I'm going to do is I'm going to grab a little bit of paint gray. Which is my substitute for black. I mean, you know that by now. Okay, I was gonna add the paint scrap, but I think I'm too late, 'cause my papers dried up. While I was doing that lavender thing, my papers dried up, and I do not want to go paint wet, try to paint, wet on wet. Okay, so I'm going to ditch the paint gray on this layer. That's honestly not possible, so I'm honestly gonna just ditch. Now it's time for us to go ahead and dry this up so that we can add in the foreground. Alright. Here you go. Here's a thing how it looks after it's completely dried up. And now we will go ahead and start. Foreground, okay? So that fkground that we want to add, we are going to do it with a nice amount of paint gray. Okay? That's our foreground. But let's mix it with a little bit of violet so that we have a little undertone of the color that we've actually painted the background with. So we've already got a little bit of violet here on my side here, and I'm going to reuse that sing thing. Okay? So that was violet, and then mixing up in scret away so that it becomes a very, very dark violet color. Okay, that's what we want. There you go. And then this is the color that we're going to grab to add in the foreground. Okay? So now we've got to look at a pencil skirt. So my river turns here, and that is where I had added in my horizon line, okay? So I don't need to mark my horizon line, but what rather I need to mark is the position where I said the river was coming in. So there you go. It goes like that. Then it turns that way, okay? And then we have again the river coming down like that and going like that. Okay. So everything above that is the land region. Okay? So this is where I need to cover up inside. Okay? There you go. I'm just covering up the inside part. So you need to mix that and pain spray together. So let's go and densely cover that up along the inside. Okay, then stop where you reach along the horizon line. Not exactly to stop, we're going to have to build some foliage. So I'm just going to this line, okay, let me show that to you to put into perspective. That is where my horizon line was, okay? So what I'm going to do now is I'm going to bring, like, a little bit of a foliage here at the horizon line. Okay? So here, just go to take it a little bit upward. And then now I've got to make my tree, my trees and any random shapes. Okay, so that's what I got to do. So here, just adding like random dots and I don't know, maybe it's pine trees and stuff, you know, whatever it could be. Okay, see how we've made that area. Now, the same way across. So this area here, the river just vanishes inward there. So which means I've got to do and add some foliage here as well. So let me take that inward. Again, this entire thing. That's where my land is gonna cover that up. Knead the pins color, okay, there. After the horizon line is now done, okay? And you can already see how it's like now the river is coming into picture, but we have a lot of things to do. Okay. So again, let me just make, like, maybe the shape of a tree or something. There you go. That's like the shape of a tree. Nice and gorgeous, maybe some more along here. Okay, I think this tree should go a little bit more up. Okay? Okay, I don't want to cover up that white that we added because that was, like, plain, upright, gorgeous there to have that white visible. Alright, there. That is, like, a long free slash, some foliage there as well. So we're doing the same. Okay, there that is it. So now we've added a foliage where it actually meets up with the land and spread out the river as well. Now the next thing for us to do is to go ahead and add in plenty of details in the river. Okay, so a lot of reflections again. But this time, what we're gonna be doing is you need it, like, a watery paint so that it's very subtle. You do not need it to be very dark paint gray. So the land here is not perfectly lined like that. So there's gonna be lots of areas where, like, inside the water, there's just I don't know what they are. Like they're probably some, you know, maybe seaweed or some dirt stretching. So when there's dirt, they do not reflect light. So that's why they are not going to be visible, okay? So you're going to add, like, several lines and stuff. Okay? So here, I'm just going to add some. And this is, again, not going to be perfectly stretched out. Go again, coming over to this side and then taking a knot. And then as I come over to this side, I want as I come towards that center region, okay? I want my brush to start drying up. So let me pick up the dense paint, okay? And then here, I'm starting with the dense dense paint, and I will apply all of those dense paint at the bottom and along the edges until it finishes over, okay? And then once I notice that it's finished over, I'm going to pull it up towards the middle so that I start getting these dry brush stroke. See that? Okay? Not in all the places, but just up until that bottom region. And we want to blend those up. Okay. See. Now that's something I call amazing, okay? And again, I have to add a bit more there because this edge was still looking pretty course to me, which I didn't want. And the same along here. Alright. Now the waters looking gorgeous, I would say, I really love the way. It's looking at the bottom there. And now the main thing for us to do is go ahead and add in our lightning lightning stroke. So for that, I am going to grab my liner brush, okay? Very important. My liner brush, which will give me the beautiful stroke. Okay. So here you go. That is my erminent white. And then I'm just grabbing freshh because it's, it's actually better if you have your paint nice and, wet. The nice gorgeous. Okay. And then you want to pass it along the pink areas over to the white areas. Okay? Anyway there's white, you want to pass it along there. So actually, let's start. This white area is where the lightning is max, okay? So then you want to go as if you've got some problem. You want to shake up your hand, okay? So here I'm just shaking. Just keep shaking your hand and see needs to go through that. Okay. And then let's also kind of create like a spet and take this upward to that region. Okay. And probably do this white region. Okay. And now, from those ones, you can create like several smaller branches. But remember that these smaller branches has to be always, always, always, always smaller and thinner than the main branches, okay? Okay. So you've got to essentially make your middle branch really nice and thick. Okay? That's what is the main source of the lightning. The others are just like a continuation or what do you say? The others are just the part the small parts of the lightning, okay? Like seeing little subtle parts. Okay? So that's why I'm just using the liner brush. Okay, there you go. Love the way that one turned out, okay? Now, the only thing is for us to go ahead and add in some white spots in the water. So it's not gonna be a perfect reflection, but then there's gonna be lots of dot doty reflection where the lightning is. So it's turning this way. So bring down your reflection over to the left, as well, okay? It doesn't need to be perfect, some random dots would do. Okay? So it could be forming these really sharp, what do we call it? The glisters? Nos that even more than the glister? Oh, that's funny. So glitter. Kind of like glitter on the water, you know, that's what this is being formed. See that? Okay? So I think that would look really good. So if you want to add more, you can do that as well. Okay, so I want to add in a lot around these areas because that's what's actually the lightning is creating that glitter on the water region. Okay? Now it's actually looking perfectly like the water, right? So these glittery branches could be the branches of the lightning itself. It could be anything, okay, but it's actually the reflection of the lightning itself, okay? And anytime you notice that your lightning is getting lighter or you can just go around it. I mean, go on top of it multiple times. It's absolutely fine, okay? There you go. And I think that's pretty much it. I just love the way this has turned out. So, this one, actually, we've finished this pretty quickly, isn't it? With a lot of time remaining on the clock. That's awesome. And I love the way this has turned out. So I've got to dry the edges because I can see that this area is still wet, so I'm just going to dry it up and then we're going to move Alright, here you go. It's completely dried up. And you know what? While I was drying it up, I was looking at this, and look at this. Does this kind of look like a unicorn to you? I mean, I think I've been talking about unicorns way too much 'cause of my son. And this is now looking like that for me. Anyways, let's go ahead and remove the tape. Okay. There you go. So, here you go. Here's a finished painting. I love it. Do you guys love it. Alright. So thank you so much for joining me today, and I'll see you in the next day. 13. Class Project 9 - Orange Ocean: Hey, hey, hey, welcome to project number nine. And this is what we're going to be painting today. Isn't that gorgeous. Alright, so let us have a look at the colors. There isn't a lot again. So it's just starting with transparent yellow, transparent orange, transparent brown, paint gray, cobalt blue, and literally some white guash. That's it. You can a little bit of cabby melow if you want, but that's completely optional. So if you're ready, let's get started with this one. All right. Let us start. So we'll first start with the horizon line. So again, around one by third, just below the halfway point. So the halfway point is here and the one by third is here. So I want it somewhere in between those two, okay, but not exactly at the halfway point. So there you go. That's where my horizon line will be. And we will start thing. Okay. So we're going to apply water to the whole of our paper again. So make sure that you apply water to the whole of the paper nicely because again, we have a nice wet on wet technique to add onto our paper. Okay. So here you go applying to the whole of the paper. Make sure you cover it up nicely and evenly on the whole giving an angle on my paper to make sure that it's nice and even. Okay? There you go. Now I will absorb the excess water. All the excess water from the edges. All right. And now we can start painting. So here, just grabbing my size eight brush, and I will start with a nice, transparent yellow shade. I'm going to put it right there in that middle region. So this is where my son is going to be. So that's why I'm putting it down there, and then we'll have some colours. Over at that region as well. Then maybe a little bit of the queen gold because it'll give us that gold and glow, as well. But honestly, if you paint it as a very lighter tone, it's going to look like yellow itself. So that's why I sometimes refer to use the queen gold rather than any other colors. Okay, there you go. That's yellow bit added. Now we'll go with orange. So that's going to be a nice amount of transparent orange. And there you go. I pick up that orange, and I'm going to go apply it at the part where it's the horizon line joining onto the yellow. So at this bottom region, I'm going to get rid of all the white, okay? Only at the bottom. Um, honestly speaking, I think in this painting, we don't need much of the white strokes, so there you go but leave that yellow there because that's where our sun is going to be, okay? So wrapping my orange, now I'm gonna stuff it into the areas in between my yellow to reveal out, I mean, to take out all of those white strokes, okay? There you go. Got here as well. And over on this side. Okay? Now we've taken out all of the nice white strokes, okay? But we actually need to soften it out a little bit because we're going to start applying blue there. Okay? And the blue that we're gonna be using Kobatblue. And why we've discussed this a lot of times because Copal doesn't mix, I mean, to form intense greens. That's how I like to call it, okay? So if your paper has started to dry off, make sure you just go and wet them. So see, this region had started to dry off, but I didn't want it to dry off, and I also didn't want color over that region. So instead, I just applied a teeny, tiny amount of water. See that? So just start blending and adding random strokes, okay? See? So this is where you want. I want some nice, denser strokes here towards the top. Alright. Now, there's a clear separation in the sky, but that doesn't look good, does it? So we need to take out that clear separation, and what we're gonna do is we're going to grab some paint gray, but make sure that your brush doesn't have too much water now because your sky has started to dry off, okay? So now I'm just going to put my paints gray. And you will notice that as you put your paints gray over on top of the orange, it starts to form like a brown shade, which is okay. And when you take it upward, it's a very, very different gray tone. It's the beauty, and that's the reason why instead of using black, I actually use paint gray. Okay? So just gonna drop in some nice, small, small, cloudy shapes over to the left here. Okay? And this is where also you can add it to the areas where you have the joint. Okay. And here we left some nice white regions, and I want to have the clouds over there as well, and a bit over to the side. So make sure that your brush does not have too much water, especially if your paper is starting to dry out. That's very, very important. Like I always say, okay? And you can clearly see how we're getting nice, nice strokes now. Just making a lot of clouds into the sky there. Okay. There you go. That's done now. And now the next part is I want to add in a little bit more of denser clouds. So for that, I'm grabbing my transparent brown, and I'm going to mix it up with the transparent orange that we did earlier so that we get, like, more of a golden brown shade. Okay. And we're going to use that to create some denser clouds towards this bottom region, okay? And I can see that my paper is, like, literally started to dry up. But then it's still got that softness. It is coming as soft because I'm using very, very dry brush for this purpose. If your brush even has a little bit of water, then it's going to spread and create plumes on the paper. But if it doesn't, then you will get these nice clouds. Okay? There you go. That's some nice clouds. Extend some of these clouds over to here. Ah, that's perfect. Still that golden shade, and I also don't have too much water. If you have too much water, then this technique won't work, but now you can see, we've got that nice gorgeous sky in there, and that's our background layer. Honestly speaking, we could continue painting towards the bottom, but Vicki's I want to create a separation there at the part where it's joining the horizon. I will dry this up. Alright, here you go. It's completely dried up. And here, at this point, I want to show you something. So see how there's a little bit of um pigment spread over there. I think there might have been some excess water over here on the tape, and it just run back into the paper and created this. So this is what I usually call as back run cauliflower effect. In this painting, though, however, it looks like a cloud, and we can pass it over Rosa Cloud, so it's not much damage, but this is what could happen potentially. Just remember, just imagine if that were to happen somewhere here on another part of your painting. It wouldn't be nice, isn't it? And that's the reason why I say that probably you have to always make sure that you remove the excess water from the edges. And I don't know I did, but I think there was still some left behind. Noh did you there. Okay. So now I'm going to apply towards the bottom part. So I'm just giving an angle on my paper just to make sure that it doesn't flow back up. Okay, so that's why I've lifted my boat, and I'm going to apply water right up to that horizon. Line. Okay. And now anything excess water will always flow down. I will make sure this time to absorb that excess water from the bottom, okay? There you go. I've absorbed that excess water from the bottom, and now we can start again. Alright. In this time, okay, very, very careful. So just going to go with an orange shade because that's what we've got at the sky over there, but our bottom part orange can be denser, okay? There. So just I've lifted the board again so that when I apply my orange, it literally flows down. Nice orange. So what we are going to do for the bottom part here is we're going to apply orange to the whole of the bottom part. So if you have a very large flat brush that could easily cover up that, it would be really helpful at this point, I guess. Okay. So go ahead, grab your orange very densely and just cover it up because this is the water area. We don't want any light strokes or the blue. We're not creating, like, a perfect reflection. It's absolutely fine. We're just going to create some waves. We have not covered waves in detail in this class over yet. So, I thought, why not? Let's do a little bit of a waves in this one. Okay? So there you go. That's a very flat wash, flat orange wash. And now it's time for the waves. So what I'm going to do is I'm going to grab my size six brush at light the waves at the top to be a bit smaller. So there you go. That's my size six brush. And you need your paper to be wet if you're going to be doing the waves, okay? So we'll start with the larger ones first because it's okay, even if they spread out, but the smaller ones, they shouldn't spread out a lot. And when I mean spread out, your paper is not too wet, so you do not want that to spread out a lot, a lot a lot. So this is the reason why you can do the larger ones first. So the larger ones are the ones that are very, very base. Okay? So I'm starting with paint gray, and I am applying over at the base, but see how that's turned into a little bit of a brown when it lightens up, okay? So we need to create that at an angle. Now as we approach towards the top, that's why we're trying to create the waves, you're going to have to press your brush, use the entire length of your brush and you're going to do Just press your brush at random. That's how we create waves. Then as you go towards the top, you want to decrease the Length. Okay. Let's do it over to this side as well. And I'm just going to create some few lines now as I approach towards the top. So this is why I say that I want my paper to be less wet towards when I start painting this top region, okay? Now over to the top, I will paint again, but then I'm just drawing some random lines, okay? Be towards the top, you'll only see lines and not the waves in detail as such, Okay? Okay. See? That's a lot of nice waves added, isn't it? Okay, there you go. I'm already loving the way it has done out nicely. So if you see a lot of back runs or if it's spreading out too much, just grab the orange again and go in between. See? Okay? So I'm just grabbing the orange because I would like to add a denser orange to the bottom part there and to the bottom part there. Okay? So those lines that we added at the further end is gone because I think my paper was, like, still too wet for that purpose, so maybe I should go ahead and add them again. There you go. Some nice strokes added. I mean, we could possibly also do some wet on dry strokes. Let's see. So now I'm going to do Ads. I'm going to dry this up so that we can finish off soon. Okay. Alright. There you go. It's dried now. And like I said, maybe a little bit of some wet on dry strokes might also do. So I'm just grabbing my Beans gray. Just going to add some larger ones towards not larger, but, you know, like, wet on dry ones over to the back there, so just a little bit. Just a few lines. Do not add too much. Okay, else it will not look good. Okay. Is making sure that some of the edges are coloured nicely, and there you go. That's actually done. So now the only thing left for us to do is to actually paint that little sun, okay? So grabbing my white to put that sun there, okay? And also go for fresh gouache white. This is dried up paint, but Hans don't mind. They go, and then a teeny, tiny circle there at the bottom. Okay? And then what you're going to do is we're going to make that circle and the reflection come down a bit. So I'm just mixing it up with a little bit of yellow because we've got some nice yellow strokes there. So first, we need to capture the yellow. Not too much. S, a teeny, tiny amount. And just gonna wrap the white again. I want that white to have little teeny, tiny touch of yellow. That's why I added that. Also, you do not need too much of the white or a lot of jokes because the sun is literally so tiny here, okay? So we don't need much. Okay, and do not add to any of the black areas. Okay, only to the orange areas. And the tax ducks more than enough for what we want to capture. And now we can finish off with the birds and the birds. They're easy, right? We've done this so many times. Yes, but today's birds, we're going to actually create pattern in those birds. You know, like how the birds fly in different patterns. Okay? And that's what we're going to do, okay? So I'm going to start at the horizon. So those birds at the horizon, they need to be really teeny, tiny as they move away from the horizon, and that's when they become bigger. Okay? So there at the horizon, teeny tiny. You can't even see I literally put a speck there. Okay? I'm just adding they're starting at the horizon. All right. And then you're going to go ahead and create and in the way they fly. Okay? No, they're starting to get bigger. You can see that. Getting bigger, bigger, and they're in a pattern and this pattern is going to flow towards that side. Okay? That's what I'm going to do. And as you come closer towards the horizon, you can also increase the gap between them. They don't need to be as close and clustered together. Getting bigger. Can see that. So now we've added the pattern, but now we need some stress. Always happens. There will always be some birds which, you know, wanders off from the pattern. Okay, there you go. Okay, I just like to make that pattern a bit more evident, seeing that I've got lots of time left, so I'm just making that more better. What are they even doing flying from the sun? It's actually not flying from the sun. They're probably just, you know, they were just like that coming off on top of the water, and then they just turned. Possibly, that's just what's happened. Okay. I think that's more than enough. We've covered a lot and added in the bids. And honestly speaking, there you go. That's all to this painting. It's done. That was really quick, isn't it? So let's go ahead and remove the tape. And there you go. Here's a finished painting and how it looks after it's been completely dried up. Isn't that gorgeous? I think I'm in love with this, you know, orange, blue, and paint cream combination always. I also love how the yellow is peeping out at certain places. Okay, so here you go. And I will see you in the next day. Thank you so much for joining me today. 14. Class Project 10 - Winter Scene: Hey hey hey, welcome to Day ten. And this here is a painting that we're gonna be doing today. So it's a gorgeous winter scene because this is nature, again. So let's have a look at the colours that we need for this one, which start with a transparent yellow, transparent orange, cobalt blue, paints gray, to blue, transparent brown, a little bit of lavender, and, obviously, lastly, white guash. Alright. So if you're ready, let's get started with this one. Alright, so let us start with the horizon line. We will draw it around one by third position or just below the halfway point. We don't want it exactly at the halfway point, but just below the halfway point, and there you go. All right. And then we're going to draw in the leg. So you start at the right side. You're going to come over like that, and then you're going to probably do like, you know, some random haphazard manner, and then you're going to come over to this side. Okay? That is your pencil sketch. Can you see closely? Okay, so there you go. And now, this is what we will paint. Alright. So grab your large flat brush, and we're going to apply water. Now, just only to the top portion, not the bottom part. So you can lift your board and give gravity towards the other sides because we're only going to paint above the horizon line at this point, okay? The other area is for a separate type. And there you go. That's done nicely. I will absorb the excess water from the paper using my cloth now all along the edges. Can you see all of this excess water? I showed you what a background was. Even if I do, there might be still some which, you know, literally escapes the cloth and just skips through. Okay. There you go. That's done. Now it's time for the painting part, okay? Wait, I just saw that my uh, vapor had already started to dry out while I'm trying. My goodness. Okay, so I'm just gonna do this, only apply water. Towards the inside of it. Okay. There you go, like that. And then I am going to start. So what I am typically going to do is so starting with a nice, transparent yellow shade, okay? And we want that nice, transparent yellow over in that sky region. There you go, nice stroke, lots and lots, leave a lot of white caps, absolutely fine. And then coming down here, and then going to have a bit of a line. Liney liny stroke here at an angle, something of that sort. Okay. There you go. Then next thing is I'm going to grab a teeny, tiny amount of cobalt blue and start with that cobalt blue at the very, very top. Okay? There you go. That's the top portion where I'm starting with the cobalt blue, coming down slowly, bringing down into some Randomness. Okay, then. I'm going to grab in a little bit of halo blue, okay? So halo blue, actually, but do not let your halo blue mix in with yellow. It's gonna make a very, very vibrant green, which is not our intention for this painting, okay? But it's a very vibrant and beautiful color for adding to the sky. So that is the reason why we're adding this, okay? And you can see. And in some places you can blend along Yoco balls blue with the yellow blue, especially at the top where we just added it and see, we've blended that along. Now we're going to grab a transparent orange. Okay, orange is what we're going to start with at the horizon. So in painting from the bottom Biggitat area, we have not touched it yet, so it's very prone to drying. See how that tip edge is already dried up. So I've got to paint that real quick, okay? So here rubbing the paint, and adding no white area towards that bottom part. And you can also, paint some of the areas orange towards this point, but leave those white areas there. It's good to have. Um, it's just a little bit of, on a lighter side. Then we're also going to add in the orange into some of the areas in between the Blues. Not all. Okay, some of the areas. Alright. There you go. I've just added to some area that didn't turn out soft, so I'm just going to soften it out a little bit. Then we're also going to crab in a teeny, tiny amount of paints gray to start adding some cloudy shapes. So I can see that my paper has already started to dry out and I'm not getting the perfect wet on wet stroke. So then I'm going with a very, very lighter shade and also a completely and almost dry stroke at this point, okay? Only then would be able to get these random smaller clouds in the sky. Here just adding Alright, I think that's enough. I can't work anymore on it, okay? But now I want to add in a little bit of a wet on wet stroke at the background there. So just grabbing my brown and adding it to that point. And you can see it spreads towards the top, which is exactly our intention. We want a soft touch for that background region, right over there. Okay, so that's the reason why I'm using a very soft stroke and the same for this side. Okay. I can come decreasing over at that region, and there. So this region has almost started to dry, but then I'm decreasing the stroke. Okay. So reason why it gets less dense over there is because that's where the sun is. So in order to depict the sun, go ahead, grab in a little bit of Aesarin and a little bit of orange mixture and that is what's going to be there. So the bushes are reflecting the dense color of the sun at that point, see? All right. So that's basically it for sky. We don't need to wait for that one to try because we can go ahead and painting the lake considering that there's only a very small joint there. Alright? So that's essentially okay. So what I'm going to do is I'm going to start by applying water inside that region, okay? I inside the lake sketch that we did inside that part. Okay, there you go. And then we're going to go with the same colors that we added. So here, start with a nice yellow shade. Okay? Let's go start with a nice yellow shade. Okay, there you go. Then we definitely need orange as we approach towards the bottom in this case of the lake, the top. Okay? Because it's reflection, so it's reversed. Remember that. Okay, then teeny tiny lines at random. And then we also need the part of the foliage. So only a teeny, tiny amount visible here and more over on this region. There now we can clearly see the nice reflection in the lake. Here, it's getting less dense because there's a separation of the land area as well in between. And also only a little bit of the orange Alizarin should be visible over to this side, okay? Because there is actually that land area in between. So there we've captured the lake. Now we need to go ahead and add in the snowy part. Again, I am just randomly applying water, but I'm not going to touch anywhere that we just painted, and I just realized I didn't actually paint this region here, which was meant for the blues. So that's going to be the little amount of bolt blue and halo blue that we needed to add. For the sky region, don't need to add it entirely and also only need it in a lighter consistency. The reflection of that color need not be that evident. So there. Now back to applying water. The snow areas that is outside the lake. This is where my paper is, like, starting to dry out, but it's okay there. I've just applied the water. And what we're going to do is B is a lot of yellows. The reflection, that is the snowy areas would have violet color, and that's why we're using Lavender. Okay. But again, mind you, we are using lavender, but then it will definitely still have a reflection of all those not reflection. But yeah, but maybe reflection is possibly the right word reflection of all those oranges and those lights, lighter shades. So we definitely do need to depict that into the and as well. Okay. There you go. That's nicely done. Then let me just grab more of the lavender, and I'm just adding to the edge of the lake. So this is where, like, the snow is probably thickened up and creating like surface or an edge. That's why there is very dense edge. And you can also use it for places where you want to show some dense areas of the snow. See that? Okay, now that's, like, clearly evident that it is a snowy region, isn't it? So now we're done with the entire thing. All we need to do is add in a lot of branches. So let's go ahead and dry this up. There you go. It's entirely dried up, and now it's time for us to go ahead and add in a lot of those branches. Okay, so we can start with a transparent brown, and I am just going to start. Okay. So the first of its branches, it's going to go like in a horizontal manner. So it's probably just a branch that's been um what do you say? Like end? And we can have its branches going that way. And then a lot of other branches coming over to that side as well. Okay, I think I'm adding the main ones now. The smaller ones I will definitely add with a liner brush because it makes it easier. Okay? So I want another one, another denser one coming along this way. And then it goes like that. And goes like that. Okay? So those are my denser denser ones. And then I want. Okay, nice dense ones added. Think I can go for another dense one here. Enough of the dense ones. These dense ones that we've added, we can actually split it up and create a large variety. Okay? So this is where this painting is gonna take time. I mean, you can just go on and on and on and on and keep adding as many as you want, okay? So it's up to you how many of these punches you want to add. You can just go on and on forever. So, here we go. Adding, going on, adding. So that, you know, most of that area starts to be in between these dense branches. So it's not those branches are actually laying there, but it's like we're seeing this view of the lake through a dense, land, dense tree, bushy area. I don't know how do you describe that. Maybe like through the woods or something, okay? It's like this is like you're walking through the woods, and then you start to see the lake and then there's, like, Oh, my God, so many branches right there in front of you. So that's what this is. So you're only just beginning to see a lake and you want to walk, you're walking towards that lake, but then you start you open up your phone, you take a picture. This is that. A Okay, I think that it's looking really great now. We don't want to, you know, completely This area is the clearing that I'm trying to achieve, okay? I think that's good. Now, the only thing left is to add in a little bit of a snow effect, okay? And that we're going to do it with the help of lavender and white. So we start with, obviously lavender, and we're going to go ahead and place it over the horizontal area. So this one is a horizontal area in which the snow can actually settle. So that's why we're adding the lavender over to that region. Then probably a little bit of there. So any of the horizontal areas, we don't need to add to all of them. Some of them are too small for the snow to actually settle on, so that means you don't need to add them. Okay, so see some of those ones. Now, we've added the lavender ones. Now all we need to do is to add the white ones. Okay? So here I'm just grabbing the white, reactivating the dead quash. Here. N a bit of a brush dance on top of him. Okay, there. So just sticking right over the top of the lavender. Okay? It's going to spread out a little bit with the lavender. That's exactly what we want, okay? Because otherwise, then you're not going to get that shadow effect. Towards some of the other areas where it's horizontal, you can just add in white as well. Okay. So there you go. We've marked the nice clearing some of the area, some of the horizontal ones, do not add it to know really those thin thin ones because it's not gonna settle at that point, okay? A little there. And then we also need lavender added sase. Okay, I think that you really do, and we're actually done with the mating. So let's just try the edges so that we can remove the tape. Alright, here you go. It's dried up now, and we can remove the tape. And here you go. Here's the finished painting. So I hope you enjoyed painting this with me. Thank you so much for joining me today. 15. Class Project 11 - Flowery Meadow: Hey hey hey. Welcome to Project 11. And this is what we're going to be painting today. So look at that cloud. Look at the depth, and then look at the depth in the fields. This is my favorite part in this painting. So let us have a look at the colours that we need for this one. So we start with transparent orange, cobalt blue, paint gray, violet, olive green, sap green, dark green, and then CadmRd and cadmium yellow. So if you're ready, let's get started with this one. Alright. Let us start. So today, the horizon line is going to be around one by third at the top region. Okay? So let's go ahead and add in that horizon line. That is around one by third on the paper, and now we will start. So we'll start with the sky first and then head downwards. Okay? So here, I'm applying water to the sky region. So we're again going to split this up. Do not need to continue on both areas. So just apply water. To the sky region, and then we can start painting the sky. I'm grabbing my Si six brush, and now we're going to paint the sky. Starting with a nice gorgeous transparent orange color, and this is what we will put right above the horizon line all the way over to that right side. So there you go, take it and let it go. The way over to the right side, and that's it. Okay. Then let's also add in some nice cloud shapes. I'm trying to create like, you know, some cloudy shapes like that, which we will fill up later on with some paints gray. I mean, you've seen the final image, so you clearly know how this is going to turn out. All right. So at the base region here is where we want it to be nice and orange. Then before this entire thing dries up, a little bit of copalt blue, and that's what's going to go over there, but do not touch the orange. Okay, very, very important. And then here, again, over to this side as well. Nice copalt blue, but make it in directional like that. The strokes needs to be directional, okay? So that it's clearly visible. These strokes, that's what we want. So as if it's coming over to that Cloud over there. That's how we want it. Okay? Now, next going and grabbing my paints gray right now. We're going to add in the clouds as we discussed. But we need to make sure that my brush is not too much watery and there, we're going to add in the paints gray clouds now. So some amount of lighter colors are okay. And here as in white areas are okay. So here I'm just grabbing my paints gray and I'm putting it over on top of the orange strokes that we did. It's somewhat going to turn into a slight brownish soak, perhaps. That's fine. Then some of the clouds over on that side. And then let's come over to this side and start again. And we're going to create like layer of pains gray clouds over to this side. Okay. So here this would go on top of the orange areas. Okay. So always observe closely as well how I'm holding my brush that is absolutely important if you want to get some nice strokes, obviously. Okay. So now we've added those cloudy shapes there. I'm grabbing a little bit more of my orange, and now I'm going to go over the paints gray. So that would then make it turn into a slightly brownish color at that region. So only over the areas where you're actually pushing in the paints gray would be turning into brown. Then I've washed my brush, and then I'm going to go with my orange again, and only touch to the orange areas and not onto the gray area that I just painted. I'm just trying to unify that whole thing so that it feels like a continuous cloudy so see what I've done there. So it's it feels natural. Feels like a slight, continuous phase for that, uh, amount of cloud there, isn't it? That's what we want to try and do. If you want, you can also do some nice lifting inside and, you know, create some lighter strokes. See? I've just created lifted my paint here. Lifting basically is lifting using the brush like that. Now you've got the paint in your brush and you want to wipe off. You want to wash your brush, and then you want to wipe it off again, so that you're not putting that paint back on to your paper, ok? And see that lifting process has revealed as though this looks like it's given volume to that cloud. That's how we describe it. Okay. Now, once that is done, I'm just going to grab a little bit of violet and we're going to put in a ground there. Okay? So just over some mountain shapes or anything, it can be wet on dry. It can be wet on wet. If your paper is too wet, don't bother if your paper is dry. That's also fine. So do not be panicking at this point if it's spreading too much or you know, your strokes are dry out. So towards this left side, it was slightly wet, but now over to this right side, I can see that it's completely dry and I'm getting a wet or dry stroke. I'm not bothered. It's okay, okay? Some nice background strokes added, and that is it for our ultimate sky there. Okay, now the next thing, we're going to paint the bottom part. So here again, I'm going to apply water to my bottom part. I'm not going to touch anywhere at the top, so I'm just going to give a slight angle so that my water would flow down instead of going over to the top side. And, no, that looks amazing, isn't it? So then let me go ahead and grab the excess water from along the edges. Right. There you go. Just a little bit more. I saw some excess water there. I wanted to take that off. That's why I've done that again. Now I'll grab my size eight brush 'cause we've got a lot of ground cover. That's the reason why I'm grabbing that size eight brush. Okay? And then here I start with my olive green color. The reason being the sky there is very warm with the orange hues. So at the back side there over to the horizon, it needs to have those colors. Here I'm just grabbing my olive green and I'm going to go apply that right below the horizon. Okay, so if your horizon is too wet, it might have some paint flow down to the bottom. I would say that's absolutely fine, okay? I just I love watercolor techniques that way. Okay? So it's absolutely fine. If it actually flows down, let it do so. Alright. So now, we've done that much. Now, I'm just going to grab a little bit of a green color. Okay, my dark green, and then I'm going to mix it up with my brown because I want to create an olive green shade that's like almost darker, but I want it to be warmer and brownish, and that's the reason why I'm mixing it with brown. Okay? And then using that, we're going to create some bushyness to that pack area. It's maybe some dense forest or some kind of bushiness exist. Okay, that's done. Now I'm going to go back with my olive green. We'll add more. Don't worry. Now when you're grabbing paint, make sure it's nice and watery see the amount of watery paint that I put in, because we want our paper to stay wet and also observe the angle that I have. I'm holding my paper literally at an angle so that it would flow down. There you go. I'm rubbing that, and then I'm just going ahead and applying. So we'll apply the olive green all the way to the bottom, okay? First, all the way to the bottom, and then we'll try and add in other colors over the top. So then applying really, really wet paint. We want to make sure that dye paper stays wet at this point. You can also go ahead and bite your paper multiple times if your paper is really prone to drying. Now I'm going to go back with that mixture that we did, ok and try and create that foliage region once more. Okay? I want the color to be more dense, so I'm picking it up in a denser manner. Also, remember, wet on wet roof where we're trying to do wet on wet but our paper might start to dry, so you need to pick up dry paint. So look at the consistency of the paint. There. Okay. And then go ahead and add. So here, I'm just adding and I'm trying to create like mimic the shape of some pushy hedges and as such. So maybe this is like a pushy hedge area there. Now we want to bring in some nice gorgeous color. So I'm just grabbing my sap green, and I'm applying that over my olive green. Again, you can apply nice wet paint at this point. Then using my sap green, I'm just going to create these upward strokes which would then mimic the grassy structure. Look at my brush, how it's going upward. So there you go. Then grabbing darker green now. I'm going to do the same with my darker green, but again, upward, upward strokes. So we want to try and mimic the shape of a grassy texture at that bottom region. Okay. There you go. Okay, so decrease as I come towards this bottom, you want it to be at probably like an angle or something. Okay? Okay. Then the next thing that I want to do is because we applied the olive green in flat stroke, that's gonna look flat, but here I am. I'm just going to grab my olive green, and then I'm going to create, like, vertical strokes down there as well, so that that olive green would look and feel like a cross itself. See? Okay, now, I've laid my paper down flat. Okay? I want my sap green. And then going with darker green, we're trying to create a dense field here and those are the regions further away. Next thing we'll grab is probably a little bit of paint gray as well. In order to create depth and the depth areas go over to here, okay? So the more cut, can you see how dense and depth that area has now? Okay, that's the reason because we are adding a lot of, uh, light to dark contrast here. And that's exactly what we want to bring over here, okay? Light to dark contrast. Literally, it's a nice contrast, okay? So here, just grabbing my sap green. Okay. So as I go towards the top, also observe that I'm decreasing the height, okay? Like I'm not drawing a larger one. As I go towards the very top, I'm creating smaller, literally, smaller, smaller ones. Okay? That's exactly how you want to do it. Perspective, bring it smaller towards that top region, okay? So that part is now done. We've got some nice coverage in the front. Okay. And then let's add in some nice flowers now, okay? So the easiest way to add those flowers is, first of all, using the wet on wet splatters. So here, I'm just gonna grab in a nice amount of my cadmium red, but I only want the flowers to the front. So here I'm just gonna grab and, you know, mask out that region. And here, Okay. So nice flowers added. You can also go ahead and make some larger drops if that helps. There you go. See that. We'll also add some with yellow. So here, I'm going to grab my cadmium yellow, okay? For that, that will also give us make sure your paint is denser when you're doing this process. Okay? There you go. Really want some nice dense flowers. Ah, look at that. Okay. Got some nice, dense flowers in that region. I'm just going to grab my olive green and mask out any areas where it's got flowers where it's not meant to be, okay? Only in these areas is where we want the flowers. Alright. So I honestly and personally like to keep the background and everything lighter this way. I mean, the splatters this way and not actually paint foreground flower. But if you prefer, you can go with that method as well. But for me, this painting is almost done. Let me completely dry this up, and I will see if we need any foreground strokes, okay? That decision is actually going to come after I've finished with this. I mean, drying this up. There you go. It's dried up now. Okay? So I am really cool with it, although if you want, you can go ahead and, you know, make the centers of some of those red platters more evident by just putting in tiny dots there if it's kind of, you know, pierced into your paper, otherwise, leave it as it is because I honestly love the way it's turned out. And uh, just these yellow flowers though, they've become very lighter and the reason why that's become lighter is our undergrow color color there is olive green. Then that green mixes with the yellow. As in mixes, as in, you know, there's a possibility of that yellow getting lighter because of the color. See the yellow is there, but it's not seeing because there's no contrast. Contrast. That's the word that I was meaning to tell you about. Okay? So because there's no contrast between the yellow and the underlying color, you can go ahead and put in some nice yellow flowers, that would be absolutely okay. There you go. And we're totally done. I absolutely love how this one has turned out. Okay, so since the edge is so dry, let's go ahead and remove the tape. I think the sky here is my favorite part and also these splatters and flowers. Alright. So here you go. Here's the final painting. This one was really quick, right? So I hope you enjoyed painting this with me, and thank you so much for joining me today. 16. Class Project 12 - Pink Path: He he he welcome to the Project 12, and this is what we're going to be painting today. Look at that gorgeousness. And you can also see obviously it's a little bit too wet. But let's have a look at the colors for this one, and that's the best part about this because there's only literally two colors. And that is Queen Acron Rose and paint's gray. That's all. Only two colors, and we get this beautiful gorgeous painting. Okay, so if you're ready, let's get started with this one. Alright, let us start. You see some dots here. This is actually from the splatters from the previous painting this piper was lying on the side and the splatter has even reached up to that point, you know, so it's okay. I know it's gonna spread out a little, see that. I might be able to salvage that. If I just run my brush along multiple times, it's watercolors. It just gets reactivated and it goes away. That's it. Sisi. I don't mind the pink because, you know, this paint thing is entirely pink. It's only the yellow, but that's gone. Now it's not even visible. That's okay. So here you go applying water nicely and evenly. Make sure you take your time to do this. Apply all the way. Then let me now absorb the excess water. We go absorbing the excess water from the edges of my vapor. Okay. And now it's time for us to actually paint. Okay, so I'm going to start with a nice pink shade. Okay? So here is the pink shade, and we want to create a bright sun region. So that is the right sunny area. The rest of the areas we are going to paint pink. Okay. But we want some areas to be lighter, we want some areas to be darker, so we need to be controlling that. Okay? So here we just applying using water here because there's already a lot of paint in my brush and also whatever that we applied there. That is what we're trying to bring down. Okay? So see, bringing that down, let's give a very lighter wash at first. Okay, very lighter wash of the pink at first. Now, at least we've got the entire paper with that very lighter wash. Okay, you could actually stop here and paint the rest of the things in the next layer, but we're just going to continue over on this one. Okay. So here, just having a little bit of some pink shades there. And then there's the road. Okay. And we're going to do that with our pink. Okay. So go ahead and create that nice shape for the road. See that? Then again for the next part, remember perspective always. See the frat comes and then as it comes closer to us, this region at the bottom has to get bigger and we're doing this now with our brushes. Here comes down there again and that needs to get bigger. You can see it goes and vanishes into that region. Okay? All right, so now we've managed to put that road reach in and now it's time for us to go ahead and paint a lot of background. Okay. So like I said, only two entirely two colors in this painting. So the next color basically just paint gray. Okay? So just grabbing a teeny tiny amount of paint gray, okay and we're going to put those paint gray, apply it closer. Okay, to the road area. So there. Okay. That again, can you see how the paint is spreading? That's because I'm applying it with a little bit of water, and I'm letting it spread into that background. Okay? I don't want it there, then we'll add some nice trees. So go ahead create those vertically upward strokes. Okay. Then some of the trees, okay? So dense foliage going towards the top. But this, again, as you can see, it's wet on wet. Okay? So it'll dry up with a softer edge, which is exactly what we are looking for, isn't it? Okay? So here, added that, okay? The road literally just vanishes. Now we want to paint the center of the road, okay? So the center of the road, grabbing the paints gray, and then you can see, making it grow bigger as I came towards the bottom. And there that's how it gets bigger. And the road gets bigger. But we don't want to leave the road that way. Okay? So again, over to this side as well, we want to have the nice strokes, okay? Depicting the foliage. You can see how this is dried up. I'm just going to go ahead and make that tree bark again. It was just because it was a bit too watery, so it's spread out a little, but nothing stopping you from going ahead and adding that again. Okay? So the same thing here. Right, there you go. And we want to create a denser region here. So grabbing paint gray, making it nice and dense. And some of the pink can be visible there. Okay, a little bit. And then again, coming over to this side. Now, over on the road. You don't want the road to be you don't want this to be looking like a aurora on the road. Rather, have some It's a dirt track, perhaps. So go with these small horizontal strokes, okay, trying to get rid of that line that we actually did, okay? Because we want to make sure that it looks like a dirt track, okay? There you go. Some of it. Rest of it, we can also add on the wet on dry method, okay? Now, we're going to bring that over to the left, as well, okay? Only up till towards the edges. Okay. You can already see how this is actually looking gorgeous now. Now, you don't want to go ahead and touch anywhere around those areas because we haven't worked there for a really long time, and that is, like, completely dried up now. Okay? So here again. Making sure my road is a nice reflection. There you go. That road already looks really nice, isn't it? Okay, so I want to make sure that my road is tapered and thinner towards that region. So that is now our background layer. Okay. Once this is completely dry, we will work on the foreground. We realized my color there has lightened up, so I'm just darkening it up a little bit more and adding some nice darker paint gray strokes over there. Okay? Just want it to be darker. Okay, I think that should do. All right. Now let's go ahead and completely dry this up. Alright. So here our painting is now, like, almost dried up. There's a little bit here and there that needs to dry up, but that's okay. I figured we can still work on it, right? So I'm just slightly turning this because I want to create like a vertically upward stroke, and this is how my hand works to get that perfect stroke. Okay? So starting around somewhere there, Okay. Grabbing a denser pin scray now and going and creating a nice vertical stroke. See, it's a little bit softer there towards that bottom, and denser. This one needs to be softer, the other side not yet, so we'll wait for that area to dry up. While that dries up, we can go ahead and paint over to the left side here. Here I'm applying denser strokes over to this left side now, this denser strokes, like I said, you can have some of it over to the road like that. Just creating some nice lines. Okay. That's how you want to add it. You can see it's almost like a dried up stroke, but also not entirely dry. You want to make sure that you're not covering the entire part of the road. Very, very important. Okay. And then as you approach towards that left region, where the road actually turns, let that turn away. We're going to create foliage here, okay? So here, you're going to create like brranches and some foliage. See how I created that and see how the road just goes over to that side. Okay, and we want to do the same. So you can actually grab in a smaller brush or even a liner brush now to get that foliage in. Okay? So here is my beach gray. C. Just adding some dense and nice foliage. Okay. Then we can also have some let me draw in some branches. See how that is coming off, okay? And then now we will fill in to this branch, okay? I think I'm going to shift to my size four, which will give me some nice smaller strokes. Or you could even go for a size two, I guess, that would be even smaller, isn't it? Maybe size two is much better. Okay, so there you go. So this is, I think the branch, the branch of pine tree, perhaps, looks like it. Here as well. You want to make sure. See how that we've converted that foreground area. Now this region. So let that branch remain. I'm just bringing it downwards. To create a bit of a depth and dense there. Okay. So let me see that area is a bit still wet. So let's go ahead and paint over to this side, okay? The dry strokes that I was talking about. So go ahead, grab in the paint gray again and we're just going to do some random wet on dry and wet on wet stroke mix together. Okay, like that. So I've got my strokes, but then I will also make sure that some of the underlying things are visible, some of it is going towards the road. Okay, see that. That is what we want. Then we also want to create a dense foliage here, and then let's create the base. You also don't want to blend it all This towards the left side should be somewhat blurred and lighter. So then this is visible. Okay? You only want to put in the foliage over to this side. Okay? The denser parts towards the right side. Let that areas towards the left here to be in a misty region. And you can already see how when I'm putting these strokes, the misty region is coming into play, right? See? Okay? That mist already looks nice, isn't it? Okay. So we have that foreground to paint. I'm just waiting to see if this is dry yet. Okay? And if it's dry, then we got to start with a pink shed. Okay? Pink is the area where the sun is bright and shining. The branch will have pinkish touch. So we start. Okay? There you go. It was nice. It was dried. So I start with the pink, and then we want to grab in paint's gray, okay? And create that branch over to the bottom. Okay, in the same way over to the top. So it's depicting that pinkish vibes there. When we're painting towards the right, it doesn't matter. I mean, when it's not over that sun region, it doesn't matter. You can go ahead and add this way. Now, time for a lot of branches. Okay. So go ahead. This region, like I said, it's a little bit misty over to this side. That's the reason why we add it, right? Okay? So these lots of small branches. But then as we go over to the top, it was lighter, okay? Lots of strokes like that, and see. Okay. And the same way over to the right. Okay. Now, as we come over to the right, careful now. Again, we're going over the sun region, so you want to grab pink. Okay. Wait, grabbing pink. Okay, see that needs to depict pink. Very, very important. And then as you go out again, you can go ahead and add in different color. So try and create the shape of some dense foliage here like that. Okay? See? That's really working out, isn't it? And then the same over the bottom. Okay? Let's draw the branches for these other ones these other trees as well, okay? So going over to this side, we over to this side. So it's just a lot of end branches there. Okay? Again, coming up over to the pink area. Okay. Lots of pink at it, then back. Okay. Then remember the little branch sticking out there. I want to give, like, a little bit of a binary effect. Like, it's like the branches are stooping down. See that? Nothing has to be perfect in this thing, so don't worry. It's a lot of dry strokes. But see how the painting already looks amazing. It's got a lot of depth. Trees in the background, that light poking through, and all of that. It's because of the the whole thing, the best thing about it is it's just literally two colors that we've used for this, isn't it? And you see how gorgeously we've been able to manage and create that depth in our painting because of the way we've painted it. I absolutely love the way this is stand out. I think this is my favorite painting in our whole thing. So let's wait for this to dry out, and then we can remove the tape. Alright, it's dried up now. Let's go ahead and remove the tape. Here is the finished painting. I think this is my most favorite, especially because the way that we painted this with only two colors, it's absolutely fascinating, I suppose. Don't you think so? All right. So here you go. And thank you so much for joining me in this painting lesson.