Northern Lights - Learn to paint a flawless night sky with Watercolor

1. Welcome to my class: Theo. Hello, everyone myself. Zanoyan an API. I'm an artist and an instructor currently residing in the by orginally from India. I really cannot contain my excitement as I'm teaching. My most favorite subject today I remember, is trying in some beautiful northern lights for the grabs and trying to paint it ever since Not a light or a robbery. Alice has become my most favorite subject to paint. Now you can easily guess how I named my Instagram handle. I'm kind of obsessed with painting night skies, especially not life. It kind of fills me with so much off energy and positivity. I haven't witnessed this magical dancing lights and trailed, Actually, that tops my bucket list. For now, all I can do as paint a magical not on lights off my own. If you are also interested in painting one showing me we will be doing to another light sky using two different techniques. Don't worry. If you don't have any prior knowledge in watercolour, I will be explaining everything in a very detailed manner. I have covered quite a lot of things in this class. We will learn about the light patterns. I will help you choose the right colors, and I'm also dating you. How to make the colors you don't have in shot. Today we will be exploring the medium particular on the technique. Getting back to the blessed This class is going to be really fun. You will be super amazed by the unpredictability of watercolor and fix. It can create the entire classes done in real time, focusing on each and every minute E too. So if you ever jumped off painting Ah, floorless not on light sky. That's just the time in this class. I'm sharing many off my signature techniques to paint a flawless night sky. I'm extremely happy to kick start 2020 with the class on Northern Lights, as this is a subject which helped me create an identity off my own. I really cannot contain my excitement without anymore delay. Let's get started 2. Materials you'll need: Tom. A quick look at the materials you'll need to full of this class. As I always mentioned, it is absolutely okay not to have the exact same brand that I'm using here. You can use any brand or any on supply that is called, which is kind of to me the most important part off any watercolor painting as choosing the right people. Even though you know the technique properly. Most of the time, you might be feeling at your paintings just because you didn't use the right kind of paper . Today we're learning to paint a flawless not on light sky, which involves a lot off layers of water on. I'm going with my arches. 1 40 will be cold press 100% court on watercolor paper as this paper can efficiently handle multiple layers of water To get the best results, go with any artist grade watercolor paper, but yourself 100% quarter on also a minimum of 1 40 l b. That's all about the paper. Now, talking about the watercolor, I will be using three main shades for our not on light sky Cabal Green by Mitchell Omission Prussian blue and Indigo by our philosophy those are the three main streets I will be using on. Along with that, I will also be using black watercolor by art philosophy. If you are a person who don't use Blackwater Glor, you can always use pains. Great inter of black. Most of the traditional artist doesn't before using black, and they are paintings because they feel that will mute the other colors. So if you are such a kind of a person, you can use Baines create or any other alternate black, which you normally use along with water close to splatter the stars, I will be using wide quash. This one is by artists on. Also to add some bigger stars. I will be using the shell princesses Sekera, Julie, role size number turn. So those are the kind of colors that you will need to mix in all your clothes. You will need a pallet. I will be using the ceramic palette. This has got three big divisions, which is perfecto. Mix your colors for the northern lights. Go with the palette, which has been good oceans as we'll be working with quite a lot off pain, which people prepare in advance. Next, let's have a look at the British study will need. We'll be trying to techniques on how you can paint a flawless not on light sky on the first bridge that it will need us a wash brush to apply and even called the water onto your entire paper. If you have a wash brush, it's great if you don't have one. You can use any off your because sized flat brush or round brush to apply and even go the water onto your clippard. For the first technique, I will be using a flat fresh what this one has a three by four INGE Wash fresh again by Princeton. Go with any medium to bigger sized flat brush study Have God. So that's the second breast that you will need now onto the 3rd 1 This is for the second technique that will be using. You can go with any bigger size rounder study Have God. So this is civil black supersize number 12 and also I have this to There's a size number two all round brush by Princeton Heritage CDs. You can use any off your bigger size round brush. I will be using one of these for our washes the three bridges that we kept aside us for the background bushes. Now, to add in all the small details, people need a smaller size push on. For that, I will be using my most February 8 size number six round brush by Princeton 108 cities. This is my go to brush. I use it quite a lot. I do most of the detail ing using this pressure. The great thing about this brushes started Comeback store. Find on that makes it easy for all the tiny details asphalt for splattering the stars. Also, I will be using the same brush on that's all about the pressure. 30 will need to follow my class now to fix your paper. You will need any kind of bored. I'm using this writing board. You can use an old magazine or some piece off fly food, cardboard anything which you can fix your paper onto. You cannot fix the paper onto your table because we will need to keep moving the paper around, tilting on and doing all sort of things to get the best result. So grab anything which you can. My ideal paper onto this board is quite important in this painting. Along with that, you will need some people tower on to mask the four sides off your paper. You will need a masking tape. Passport. Last but not the least. You will need two jars of water. One has to stay clean on the other one. A student's off the plane from Theo and that's it. Go grab all the materials and join me in the next video. Let's get started. 3. Prepping the paint: Theo Way art supply section. We had a quick look at the colors that we're going to use, which was cabal creen, Prussian blue and intercourse. Before we start painting, it is quite important to prepare your paint as we will be working with quite a lot off amount of pain, and we don't want to run out of paint. And between when you're painting a northern lights guy, you have to be a little quick and consistent. So if you have made your paint and advanced, this will make the process very easy on. That is why it is very important to prepare your paint in advance, our house quest out enough off paint onto my palate. It would be great if you could go with a palette, which has a big audition for each close so that you can prepare enough for planes. No, the next task was to add in some drops of water onto each he'd We're going to work with the liquid form off the paint, so add a few drops of water and then turn it into a watery consistency. So that is Cabal Green. Now I'm gonna do the same thing with the other two shades. The pain that I'm preparing here is watery, but they are, well, pigmented. I'm gonna do the same thing with brushing blue. Now you can see I have added 30 few drops of water on the color is very bold and vibrant. Now I'm moving toe integral and I'm gonna great a similar formed off in tickle asphalt. So we have prepared Oh, pain for our not on light sky You could see the painters watery, but they're, well, pigmented. This is the kind of consistency and rich pigments you need for your not on lights because I usually go with a single layer on die. Add all the doctor tunes and the single layer itself because you cannot really predict how the second layer is going to be. Sometimes a totally can spoil the first layer that you have applied. So for me, it is always best to apply the right shades in the first layer itself on. That's why I always go with a bit off bolder shades and first layer itself. You will be seeing that and upcoming section, and you will get to know more about that. I will be sharing to off my common techniques that I use for my not on lights. So prepare a highly pigmented watery paint in advance before we start Now, at least some off. It would be wondering. I don't have a couple cream. I don't have this nice bay still blue. What would I do? Don't worry. I have got you covered. I have a section coming up next. Where? Babel be exploring how you can make your own Cabal green if you don't have one. 4. Choosing the right colors: way discussed about the colors that were using an art supply section, and also they So how to prep your paint before you proceed to your painting. So you guys are well aware of the shades that we are using. Now. Let's do a quick sacking of the colors that we have chosen to start with. Global green. It's a nice pace. Total bluish green, which is one of my favorite shade to paint, not on lights. This color gives an eyes glowing effect to the sky, and that is what I love about this color. It's a gorgeous color on. Don't worry. If you don't have a cabal green, I will be helping. You are making your own cabal green if you don't have one. So the shade that I used was from the brand. Mitchell Omission. If you have a belter, cries from sommelier or cabal teal from Daniel Smith. Those other colors, which goes similar to Cabal Green off Mitchell omission. So if you have any off those shades, you can directly use that next I'm gonna scratch crushing Luke. What is a very common color on? I hope most off you will have it. The one I'm using here is from the brand art philosophy. This is from their recently launched artists. Create watercolor tubes. Don't worry upto Brandt. Go with any Prussian blue that have got the brand Doesn't matter, so that was pushing blew off a second shade. Now I'm going with other third shade, which is indigo we will be using in to go. To apply Does Darko tones of the sky. On those are the three different shades we will be using for or not on light sky. The 1st 1 was a much lighter tool, and the 2nd 1 was pressuring Move, which is a moderate blue and finally vented with into go. But it's a much more darker blue. This one is to add more taco tunes on to the sky. So we went in with Carlos off three different tones. We went in with a lighter, a moderate Anadarko blue. Now let's talk with exercise to understand how these colors are acting with each other. How they are blending on is the color, creating a vibrant combination or a muddy competition. Let's find out all that whenever you're painting a scar using multiple colors. This is the first exercise you should be doing, because when you look at each color individually, they will be looking crate and beautiful. But if you try and makes two colors together, they might not give you a beautiful competition. Insert. It might give you a medical, a combination which will make your sky look very pale and muted, so it is very important to understand the colors that you're using for your sky. I'm starting with Cabal Green. All I'm doing is applying the wet paint close to each other to understand the way they're blending. Learned how the result in competition. ISS. I'm going with Prussian blue on a marrying that closer to the cobalt green on those student create a muddy competition. They are looking quite OK now. We know Interco and Prussian Blue won't create a money company. Shindig was very well together. Asked. Intercourse is a much rich on day Pablo. It doesn't generally create a muddy mixture. Then you added to any other color. Instead, it will make your color look taco. This is one of my most explored and experimented color combination, but if you're doing it for the first time, I would recommend you do a color mixing exercise, but the colors you have chosen this exercise will give you an understanding about the child . Colors can be used together. Suppose if I'm using a crimson, I won't be applying that closer to the Cabal crane as the result. In combination can be a medical ER, which won't be perfect for a sky. But that will go very well with the Prussian blue creating a nice proper so you will have a better understanding about the colors that can go well together on the colors, which won't give you a vibrant competition. As you could see here, I didn't apply cabal cream closer to indigo. These two are very distinct colors. One us very light total on other one has a much darker blue. So I used a moderate blue in between, which is Prussian blue, to make that resultant color combination more vibrant and beautiful. If you're going with the color combination, which has been already explored and you can skip the step otherwise it is better to do a color mixing exercise like those to understand your colors better, you can see how beautifully these colors have planted, creating a nice not on lights effect. The next section is for everyone who don't have a couple cream. Don't worry, let's try and make our own cabal green. 5. Let's make Cobalt Green: Theo way with shade. Coble Clean doesn't come under regular watercolor set unless and until you're going with a set off 36 or 48 shades. Cabal Green s epic man, which is very expensive. And that is the reason why it doesn't come and the regular artist's palette in decision. I'm gonna help you make a color which is more or less similar to the couple cream from Mitchell Omission. I have taken few shades here. The first furnace turquoise blue By white nights. I'm adding a pinch of that onto my palate. The next year I have a stay low green. I'm gonna take a pinch off the shade asphalt. We will try and make a bell green using all these shades on. Let's see which one us more closer to the one from Mitchell. Omission. Just keep in mind. You won't get 100% exact. The same shade Morville begetting is something close toe the cabal cream. The next year, I have a state voter cards by similar here. Andi, I'm gonna take a little off the shade as well. So we have taken three shades there. The 1st 1 was still guys blue. Then they took tailor cream and then last we took Teyla turquoise. Now I'm gonna add a little of white water glare onto three off these shapes, just a tiny drop of Whitewater clerk. All we need to do is mix the white board a clearer but the shades that we have chosen here on create a pistol version off the same shade on. Let's see how each of them are looking. Let's start with turquoise blue. I'm mixing a little white watercolor on two cars brought together on you could see I got a basil color here. Let's try this out. It is very obvious that just won't look like a bell cream because this one has a bluish tone. My idea is to show you how you can make those PE still blues like about blue cobalt turquoise cabal teal, which you don't find in the regular watercolor sets. What you see on the screen as Cabal, still blue on the color that we made using cobalt, turquoise and white, does more or less similar to CA Belt till blew off Daniels Mint. This is one trick I used to fake about Tae blue when I didn't had the actual color. Now let's try the same thing with Phil Green. I'm mixing a little Whitewater color into the stale of green. So this one is a more off a green pigment on at us, much closer to the cabal green off Modelo mission. I think it's almost the same. Such a gorgeous color, right? I would say it is 90% similar on that means when you mix Taylor green and a little of white , you get this gorgeous color, which looks more close toe cobalt green. Now, at least some of you may not have pillow green, which is also not a common color and the regular particular palette. So you could do the same thing with Viridian Green, which I hope us a much more common color. Let's try the same thing with weird in green. I'm so sorry I forgot to shift my palate. The color that I'm switching hear us made with Bavarian cream on a tent of white. Both the shades are very much similar. The one we made with phyllo cream on the one we made that word in cream iss kind off similar to the cabal cream off Mitchell omission. So if you don't have tele grain. Don't worry. You can use with it in green Internet that we already have our color started. You know what? Let's let's try the same thing with the blue turquoise Sasko. It's quite obvious that we'll be getting a shade which is close to co belt two guys because we're using a Turk guys screen as the based home. Let's try it out. Okay, this is looking more like the one we made. What? Turquoise blue. To me, it is looking more like the cobalt turquoise of Winter and Newton. Any way you could go with any off these three shades and doesn't really matter if you call with Cabal Green or Cobb Beltre crisis or cabal teal blue, which will you have called with you? You can go with that. So here's a closer look off. The colors be made. Its indeed her car just collection off. Based on blues, these are the two ones which is more close to the cobalt green, which I will be using. You are free to choose the color that you like from all these would be made. Let me quickly show you the making off Cabal creen using green cream as that might be the most common color. We can try and play with the amount of white and green that used to make your about green. If you want a more greenish portion, you can add more crane on. If you want a more lighter and paste abortion, you cannot move white. And here is the color. You could say it was more or less similar to the cabal careen off Majal Omission. I like some water on, make the tone lighter, and that is the shade. If you already own cabal, teal or cobalt turquoise or any such color, you can totally skip this step. The section is just to help those people who don't have such a color. Because most of the people who joined my classes are bigness. Are people off intermediate level on? When I started, I didn't hard all these colors. I just had a basic watercolor set, so I kind of understand it is not very common to have all these colors that I'm using here on. Also, I don't want you to skip this class just because you wouldn't have about green 6. Understanding the light patterns: Let's have a look at some reference photographs. The light patterns off, not onlys, are usually like a very dramatic dancing, swirly kind of lines so you could see from this photograph. There are multiples, fully lines on the sky, which gives the sky that dazzling effect. In reality, these life patterns doesn't stay the same for a longer time. The keeps moving and changing their pattern and orientation we will be exploring to techniques. Today. On one will be more off a controlled pattern where we will be creating these dancing lines . We will book what multiple swirly lines just like have you see in this photograph. It's good to have a look at fuel photographs before you start so that you get an idea how these life patterns are in jail. If you look at this photograph, you could say there is one big school off green light on underneath the green light. It's a deep blue on the result. Very nice, beautiful contrast between these two colors. Sometimes it's so hard to believe these photographs are a shell. Here is another photograph. You could say that was just one big fall on the left side, and then There is a little love lighter crane over the right side, so the main focus off does not. A light photograph is that big swirl, but just on the left side, so you can actually play worth different kinds of pattern. If you want to go with just one single twirl, that also looks great. And if you want to create multiples worlds like this that can also be done, you can see there is a wider streak on left and right side than in the middle. It's very tiny things, Triggs, and we're here in this photograph at this kind of blended into the background, you cannot really define the shape of that school. It is kind off nicely most into the blue background. This is one of four class project where we will be exploring multiple squalls. You could say I have played with three regards Falls off Cabal Creen. I didn't really recreate any photograph, but I had a rough idea how I want my swirls to be. If you're doing not a light for the first time, I just most recommended that you have a temporal sketch off how you want this light patterns to be before you start. This will give you more confidence by new paint. You may not be confused while putting the paint onto your paper In order to get those clean blend, you have to be very quick and consistent with your colors. So if you haven't understanding how you won't colors Tau Bay before you start, it will make the task easier. Here's a rough example off how you can do your top nails catch. I have drawn some swirly lines here on. I will be going with combat green right here. Andi, over here, I will add Prussian blue on over the top. I will make a darker so I will add in to go over here onto the right side again with Cabal Crane so that I have a light to looking sky over the bottom on. The same goes over the left side as full. Then you can add in mountains or pine trees or what were subject you wanna add for your foreground. So here's the sketch, which I meet if you're doing not a light for the first time, it is nice to have a temple skid so that you won't be confused while applying your paint, you will be well clear. Have you want to lay your colors? Your sketch doesn't need to be the speak you can go, but justify by five tiny rectangle. All you need to have is an idea about the colors that you're going, but on also the kind of pattern that you're creating with those colors. If you're trying to recreate any photographs, it is nice to have us catch or an idea about the patterns that you want to follow. If you look at these photographs, you can see the kind of swirls they have got. So when you have a temple sketch, it will make it much easier when you are in the paint. This is a class project on dime going with multiple squalls of Cabal Green here, just like how we did in the company's kitsch. 7. Before we begin!: before we begin, I wanted to share a few quick things with you. All some of you might be absolute beginners and some off you might be intermediate. And there would be some advanced artist also joining me in this class. I wanted to start decision saying it. It's absolutely okay to feel all these bits and pieces you see here as my failed pieces. Some of them didn't work well, some of them I wasn't happy with the blending on the kind of clothes I got. So if you ever felt like Vanina is an expert to know I'm not this oneness and it'll field bees. I wasn't happy with the blending. They didn't turn all the way. I was expecting to turn out even this when I wasn't very happy with the blending the world some strong patches here and there on even this one. You can see all the rough patches. So all these pieces you see here as either failed pieces are either from my practice ation . There is quite a lot of work on behind the making off this class. Then you see the properly edited, cropped clean bush in off the class. You may not really get the effort corn behind the making. But it's not your problem. Nobody wants to share their mistakes. Everyone want to portray their best devotion in front of the world. So all I wanted to say is that the people you feel are exports and what they're doing May how many more failed pieces that go to how it is just that they didn't give up. They kept trying under the called the perfect beans. So never be discouraged if your painting failed in your first try, you have to keep trying under you get your perfect paintings. These are the two paintings that will be attempting today. I'm not ashamed to say I didn't get them right on the first try. I had to try to times to get them right. I think the 1st 1 I tried two times on the 2nd 1 this one here I think I tried tries. So never be discouraged if you didn't get till painting right on the first try. Enjoy the process on loan to embrace your most aches. Even though this is one of my most explode color competition on, I have tried it many times. There is no guarantee that he'll get it right every time. So that was the first thing I wanted to say it. It's absolutely okay to feel but never give up. Keep trying until you get it right. Every failure is a lesson loan. So if you fail to times, it's good for you because you have a greater possibility of getting it the best in your third try. Okay, Now, on to the second thing throughout this entire class, I will be playing with three shades for our practice. For our main project, everything. I will be using the same three shades. If you're a beginner or an intermediate level, the best you could go. But as three shades limit your color palette to tree are less. Don't go beyond three close. It will be difficult for you to blend them. So no, your capability better before you start. Now, the next important thing as the paper that you're using it is very important to use ah, 100% carton watercolor paper with yourself minimum one for the L B. To get the best results. So if you are failing at your painting, the paper you're using could be one reason go with a good quality work, low paper so that the effort that you're putting in doesn't go basted. The next thing is the size of the people that you're working with. The painting you see here is quite big the size of the people that we will be using for today's class as almost half off the size off this one. It's like half the size, often a four paper. If you are a beginner, it is always best to start with a small piece of people rather than directly going. But honey four or in a tree size. That way you have a better control of what's happening on your paper. He will have enough time to blend the clothes. He won't have those panic attacks in between. So go but the size, which you are comfortable with when you are confident about the technique you can always toe Prokopis on. That's it. I think I have covered everything I wanted to say without foot, more waiting. Let's get started 8. Method 1 - Wet on wet: Let's try to first technique I have already taped on my people onto a base on Dhere. I have my Princeton light wash brush to start with. I'm applying and even called the water onto the first section. Make sure all the areas are covered on you Have a clean coat of water over the entire area . Now I'm going to switch to my flat brush this one as a three by four INGE flat brush by Princeton Just like how we saw in this reference for the crap. I'm gonna apply fuel swirly lines using the color combats green. The paper size is quite small, so I'm gonna go, but to our threes Worlds maximum. I'm taking my brush in a Schooley pattern on creating our dancing light I added three patterns here. Now I'm gonna switch toe brushing blue Andi, I'm gonna fill those in between spaces using Prussian blue Let me clean my brush Now I'm switching to crushing blue Andi, I'm gonna fill up these in between spaces and Prussian blue. As the background is red, the colors are nicely blending into each other. You can see I'm walking with my paper and a tilted position this will make the paint flow down and create a natural blend with the other color. So I have added slowly lines off Cabal green and then Prussian blue. Now I'm gonna meet the pressure a little more Tucker on the top eight ers. Now it's time to blend these colors properly on washing the paint off from my brush on Dwight Ping Mei brush on a people tower. I'm taking a little of cobalt green on my brush. Andi running my brush along these areas, but colors are meeting, so you have to take your fresh from top to down in one go. You shouldn't be taking your brush in the opposite direction only from top to bottom on. Every time you do that, remember to clean your brush. Now I'll take my brush along the remaining area and try to blend them. Our next task is to go into the dock atones. Before that, I'll just clean this pressure. You There was a little off pain, two missing there. All right, now let's go in with Indigo on. Add them onto the top area where we have applied the Prussian blue. This will make our sky more. Why print and also make our lighter tone stand out. Now what we're going to do is before the background rise will quickly lost that Dr Carlos down in a single goal. Just take your brush in. That's fully Patil and pull down the darker tones. Always remember, take your brush only in one direction. You shouldn't be taking your brush back. If you do that, then your doctor close me, get mixed into the lighter tones. So take your brush only in a single direction just to make the bland little most motor. Have a lots impression. Blue over here, and with that, we're done with other sky. So we added trees, worlds off cabal green here. First we made the paper wet. Then we added the slowly lines of COBOL Green. Then we went in the Prussian blue on. Then we added Darko tones off Interco. You can see the nice cabal cream dancing lights here, and it's nicely blended into the background. So depending on the size of the paper, you can keep adding more and more schools. I have done a quick one with a single swore on the right side for a class project. We will be working something similar to this where we will be adding multiple swirls. Give it a try on a small piece of paper so that you get an idea of how to go with your main painting. 9. Method 2 - Watercolor pouring + Negative painting technique: in the previous technique, we try it more off a controlled bushe. Now, this time I'm going with a more laws washn off northern lights on applying and even goto water onto the first section off my paper. I have nicely taped it on toe A base just like the name says. We're going to pour in some paint onto the wet background. Now I'm gonna directly apply the wet paint going to this wet background. I'm going in with Cabal Green First. It is just like I'm pouring the paint because the background is bet on. The pain that I'm applying is also in a loose form. I'm randomly adding some paint on to the border. Now I will switch to a fresh in blue Andi randomly here and there I will add compression blue passport. You can see how the paint is floating as we keep tilting and moving the board. The paint will start floating to each other on. They will create a magical blend. Go with your institution bearable. You wanted out in the dark cartoons. Go ahead. You don't need to think a lot when you add in your paint on taking some integral and I'm adding the darko tunes on the top corners. The trick is to add your paint in the liquid form into a bet background so that it will keep moving. You can see the kind of blend that I'm getting cure by tilting and moving the paper around . I'm just helping those colors move into each other and create a beautiful blend. I'm adding little Darko tunes at the bottom to give it more contrast, you can see how the colors are bleeding. Oh my God, look at that. That's really magical. To see the way the colors are moving and blending into each other, it's kind of impossible to get the same kind of blend using your brush. That's why watercolor pouring method as a great technique to paint, not on lights as the colors are freely floating into each other. It will create a flawless blend on that old make you not on lights. Kyle really look magical. I'm gonna Adam Dakota wounds at the top. My background, the still that so I'm making use of the time on adding more taco tone so that it will blend into the background layers. Andi, I wouldn't need to put much effort and blending them. I'm just moving my paper around. You can see how the paint is floating down, creating a beautiful blend, so with a kind of blend that you get totally depends on the way you're tilting your paper. If you are tilting your paper at a much steeper ankle, the paint will start floating down fast on. Blending will be much easier onto these areas have allowed to more darko tools. I'm using Prussian Blue Andi. I will keep tilting the people down so that all the darker tones will float into the lighter tone, creating a beautiful blend on done adding the paint. Now my only task is to keep tilting my paper on helping all those colors blend into each other. You can see I've ended, but a much brighter tune off each color. You need to have a people travel or a cotton cloth next to you and keep fighting off all those excess Runnels. If you want a more dramatic plan to keep moving your people onto all the sides, and this will give you a very dramatic and interesting blend, I won't be going with the second layer. That's why I vented with all the darker and lighter tones in the first layer itself. So you could see I kind of played with the darker on the lighter tones in the first layer. Andi, I think this will kind off dry beautifully with vibrant colors. So here we randomly applied the three colors. We went in with a lighter tone at the bottom. Then we went in with Russian blue on over the top. We added in to go with the Sabata kowtow, and we kept tilting the paper around so that the colors will blend and bleed into each other, creating a beautiful result. You can see the kind of blend that I have got here. Now, on the other, please. We will be trying a little more advanced devotion off the same technique where we will combine watercolor pouring on and negative painting together. I'm gonna apply and even called the water onto the second piece. Make sure the entire paper is covered and you have a clean even called the water there on this base. Also, we're trying to article a pouring technique just like hope it it in the first piece. But we're compiling the negative watercolor painting technique along with Water club Boring . This is to create more contrast and more interesting character to your sky. Here we will be deliberately adding a pattern. Just watch out. I'm adding a streak off cobalt green. Now I will make the surrounding areas darker so that the cabal to green will stand out. You can go with any kind of pattern you like. Now I'm switching to Prussian blue. Andi, I'm gonna add Prussian blue closer to this cabal green battle. So here it is just that I apply the paint in a particular pattern. I will be doing the same tilting on moving the paper around all those things to get a beautiful blend. The closest is all the same. It is just that I apply the paint and the more talk for manner Barras and the 1st 1 we just apply them randomly and kept holding toe get a beautiful plant here I went in with a pattern. I added the cobalt green at the center in an inclined pattern. Now I'm keeping on adding the Darko tunes around it to give it more contrast. And that is why I'm combining the negative painting technique here which means my sky is going to be defined by that contrast between cobalt green on intercooled, I will be concentrating more on the talker area around the lighter color. Finally, I have allowed some taco tone to the bottom. Then I'll do the tilting business. The more you tilt on, the more you keep moving your paper around. The different angles will result in an effective blend, so don't keep your paper at a stagnant position. Make use off the time when the paper is bet. Keep moving them around so that you get a flawless blend. As I mentioned earlier throughout the class, I will be working with a single layer for both the techniques. You can see the kind of vibrant and bright colors I have got here. That is because I went in with a brighter tone on the first layer itself. So the trick is to keep moving your paper around by the background. This wet on do you will get a beautiful blend. The kind of blend that you get totally depends on the way you move until two people around , you have to be very quick. You have to do this before your background dries Willie trying all the same technique in one of her class project. The 1st 1 we invented with Oh, blend There be had zero control and the 2nd 1 be deliberately added a pattern in the middle . Then we started building the paper, so we caught a little off a controlled blend over there will be trying the 2nd 1 in our class project where we combined the watercolor pouring technique and also the negative painting technique. Let go off all your fear. Just trust you're intuitions and pour in some paint on your paper and move it around and create a beautiful blend. I'm very sure you're going to love it. 10. Splattering the stars: so under now, we explored quite a lot of things on also, we tried to different techniques. Now let's see how you can Are those tiny little stars on your painting The background you see, here is something which I had done earlier on. And I wasn't very happy with the reserved I thought I would make you suffered on Try the splattering exercise on this failed to appease. Okay, my palate is ready on day. I have a piece off people travel also right here on the spread of the stars. I will be using my size number six round brush by Princeton. You can use any off your medium sized brush. Now I'm gonna take out a little of wide wash on my ballot. You can also use why toward a color if you don't have a squash. Now I'm going to add a few drops of water into this wide quash paint on to make it into a loser consistency. It shouldn't be too watery, and it shouldn't be to take as well. The consistency should be a something in between and can see my precious loaded with white gosh color on. I'm not quite sure whether the consistency is right. So what? I'm doing this. I'm doubling my brush on a paper towel a few times to remove the excess water. And now I'm tapping on this brush using another brush to create stars. You can see this plateaus that I have caught a snow to tiny So I'm again dabbing my pressure on the people troubles on repeating the same exercise. Now my stars are looking to tiny keeps flattering on. Once I'm done, I will show you the size of the stars. So whenever you double oppression of people trouble that removes the excess amount of water on it will give you these kind of tiny stars you can confidently ardent stars when you w oppression of people tell here is a closer look off our stars. You can see how tiny the stars are. You also will end up getting these kind of stars If you remove the excess amount of water from him brush using a paper tower. The big ones you see here is from the first tap where I hadn't removed much water from my brush. And then when I removed, I got all these tiny stars. Whenever I add stars for any off my painting. I go in with the second round of stars using my brush or using a by Children. I just had these kind of because Charles a trying to medias it's nice to see those little stars, and that's because stars together, so it looks more natural. I mostly do this but my job in because that is much easier. You can also use your detailing brush and art stars wearable you want. This is the gel pin that I normally used to spawn a size number 10 and it's called Sekera Julie Rule. It's very nice and creamy. It is very Opie on its best to are these tiny stars. So this is my usual procedure off, adding stars. First I go but splattering on once I feel like I have got enough or stars on my sky. I go in with a wide shell pin or a detailing brush. Then I randomly add his because stars to make that combination more natural. So that's it. I think now it's timeto jumped over class protects. We explored quite a lot of things. We explode different techniques on how to add these tiny stars, so we are good to go without wasting any time. Let's jumped over main projects 11. Class Project 1 : Part 1 - The Sky: way tried to techniques. Now we're going to use the first technique we loaned and this class project where we will be using the baton by technique. I have nicely fixed my paper onto a base. This is very important as we'll be working with multiple layers of water on and paint. It is very important to fix your paper formally onto a base. Now you see my wash brush, I'm applying and even coat of water to the entire paper. I'm hoping you all are using an artist great watercolor paper. Otherwise, that result won't be that in Brazil, because the normal watercolor paper can't handle multiple layer off water on also go with the paper size, which you are comfortable. But if you are a beginner, I would recommend using a smaller size of paper. If you go with the bigger size, you will be in panic most of the time. For this technique, I'm using a wash fresh to apply paint onto the sky. This one is a three by four inch wash brush by Princeton. I'm starting with a lighter tomb, which is cobalt green. Andi. I'm gonna apply the paint directly onto the paper just like this on a swirly pattern. We had a look at some photographs. So if you want to go with a different kind of a soul or a different kind of a pattern, you could do that. I'm going with multiples walls. I'm adding one big sports right of the centre on maybe one or two on the right side, a tiny one on the right corner on another one on the left. So this is the kind of pattern that I'm going. But now, the in between spaces, I will add brushing blue, I clean my brush and now I'm switching to brushing. Blow on. I'm gonna apply a darker version of Prussian blue along those in between spaces. I'm adding Prussian blue over here. Similarly, I will be picking all these in between spaces, and I will add Prussian blue. You can see how nicely the colors are blending into each other as the background this wet. When you add in the paint, it will be better if we could keep the paper at a tilted position so that the pain will start floating down, creating a natural blend. It is much easier to blend the colors as We're working with a liquid form off the paint on the background as wet on. Also, I'm keeping the paper at a tilted position so the colors are floating down into each other , creating a very nice blend. Now I'm gonna do the same thing over the left side passport. As I said in the techniques section, I will be going with only a single layer. I will be adding mood taco tunes as we progress. I'm cleaning my brush properly on time, wiping off all the excess pain from my brush on. I'm going to switch to Cabal Green again once you have got a clean blend of Prussian blue and cabal cream, then we just need to add in. The dock atones over the top areas off the pressure in blue. So the initial step is to get a clean blend off. Cobalt green on bond, Prussian blue. To get that seamless blend, I'm going with a much more taco toe off cobalt green. Andi, I'm adding it over the base layer. Now wipe off all the excess pain from your brush. Now go along all those places where the two colors are meeting on. Try to blend them with each other. As our background is bread and there is no much pain on the brush. This is going to be an easy task. Now I'm going to repeat the same thing with all these worlds here. It would be great if you could wipe off the excess paint on your brush in between. This is just to make sure your brush doesn't have Prussian blue because when you're taking your brush along those lines, the right chances that the different colors can come together and spoil your lighter tones . Now I'm going with a much more talk abortion off Prussian blue. My background is still bad on I'm just building on the intensity off brushing blue. I'm adding these darker tones on to all those places where I had applied Prussian blue earlier. This is just to make the tunes more Prater and Tucker. I'm quite happy with the vibrancy of cobalt green and Prussian blue. Now onto these areas, I'm gonna add into go just onto those top areas to make the colors look more vibrant, cleaning my brush properly on switching toe intercooled. It is when you applied those darko tones, your sky will start to look more dramatic on Blonde. Also, the lighter tones will stand out once you apply your Darko tunes. This will make your sky very vibrant and pretty. I think I'll just keep the paper at a tilted position so that all the DACA Don's will float down into Depression blue. So as we were watching, I think you have noticed I'm applying more and more layers in a single goal on This is making. My people went for a longer time on. I can keep on adding more and more layers as my background is wet. First I went in with cobalt green and Prussian blue. Then I came back with a much more doc, Odin off cobalt green than I did the same thing with Prussian blue I made the pressure grew , also darker. This made my entire backgrounds stay, But for a longer time, Andi I was able to blend the colors might smoothly now here, adding the darko tunes off into cool on. You could see my back from the still wet. When I went into the second layer, I made all the colors docker and you could see the colors are looking very bright right Now , whenever you're adding your Darko tunes, you have to keep your cabal greens worlds Lassiter's because that is the highlight off your painting. I'm quite happy with the way my skies looking right now. I'm going to stop it here if your background is still that. And if you want to go but a much more DACA layer, you could do that, but only if your background was staying wet. Otherwise, I would say just to stop it here, I took only six minutes to do the sky. If you are a bigger, it might take a little longer for you. But don't worry. I have done this quite a lot of times, and that's the reason why I could do it in six minutes. But don't be discouraged. The only trick your is to act spontaneously and keep on adding new layers while the bathroom, the sweat. Now let's wait for this to dry, as I always say, is but watercolor. When the background drives, you will get a color, which is a little faded than what you've seen. When your background was wet on, you could see that here. My colors have figured out a little. It is not as vibrant as it was looking when the paper was yet no mind. Now I'm gonna split toe some stars. I have taken a little wide quash on my palette. Andi, I have added a few drops of water. Even if you feel like you're consistency is right, please try splattering stars on the scrap its off people and make sure the consistency is perfect. Also, you could w brush on a people travel to remove the excess amount of water on this way you're quite sure you will get those tiny stars now, just like how we did in the practice section. I'm gonna tap on the brush where I have the white paint. You think gonna go brush on granting so many stars here? You can see the kind of size I'm getting. The stars are too tiny. When you work with the right consistency, you will end up getting these kinds of Chinese stars. It is only when you have a lot of water on your paint. If you bring this to watery, you will end up getting those Deco's plateaus which might spoil in your sky toe. Always try splatters tossed on the scrap is off people. Before you proceed to your main painting this way, you could be sure off getting those tiny stars. Now I'm switching to a wide Children. Issa, Sekera, Julie Role size number 10 on I'm gonna add some because Charles here and there using those Children. This is not really necessary. It's an option and step. If you have a job in, you could add Strauss using inch open. Or you can use your detailing brush on the same fight. Quash Mean, which used to split of the stars and using your detailing brush. You could add in thes because stars it is quite easy with the jump in. And that's why I went in with the Children. Just go in a random pattern on our does pickle stars, especially where you have those darko tones. I'm kind of obsessed with hiding the stars. I never get done with this. If you don't talk me, I will keep on adding millions of stars. Looks like we have a god enough. Maybe I should stop it there. All right, now, in the next section, we will be adding the details. We will be painting a beautiful snow caped mountains which is going to enhance your sky a lot more on. I'm sure you're going to love it, so just wait for your entire background to dry. Then we will be adding the mountains. 12. Class Project 1 : Part 2 - The Details: All right, guys are sky has beautifully dried. I have taken Blackwater Glor here on my size Number six strong grudge by Princeton I'm loading my brush with enough off paint on I'm gonna add Come mountains Atala one Right here . Andi, I will be adding fuel smaller ones. Aspar. Now this is going to enhance your sky a lot more because the mountains and the sky behind has a lot of contrast on. This will make your sky look as if it was gluing. If you are someone who don't use Blackwater color, you can use any alternate you normally use. You can use Spain scree on. You can also use Interco. I'm using those Blackwater glove from our philosophy. Please give her my messy hands. This is the everyday situation off my hands when I paint wet in where turned particle A pouring technique. Anyway, let's keep on adding more mountains and finished the foreground layer. I'll quickly add in some shape off mountains on all those area. I will be filling up with black watercolors Way E America, PLO, smaller mountains. Haskell. We will be adding move details onto this Now we'll have to wait for the background. Black layer to dry. Once you're Bagram, Leo has dried take out wide glass or whitewater color on any off your smaller sized brush. I'm using the same size Number six pressure. Andi. I'm taking enough off paint on my brush. I'm starting with the Staller Mountain. I'm adding white paint onto the tip of this mountain. Just solid white paint, either watercolor or gosh, both of them. That'll work fine. Once you have added solid white beans onto the tip off the mountain, the rest of the area will be adding some dry strokes using the same wide quash paint. So I have painted a triangular kind of a sheep right here. Now the remaining off the bottom area, I will be adding dry strokes. I'm removing the excess amount off pain from my brush. Andi, I'm adding some try strokes over here just like this. To get the perfect dry strokes, you can always w brush on a. People travel a few times so that excess among the water is removed from your brush and you have that try paint on your brush, which will give you beautiful, dry strokes on the tips. You can make the white more solid so that it will make it look like there is a lot of snow accumulated on the tip. Now. Similarly, I'm going with all this time peaks for this little one here. I'm adding white only on to the right side, only for the bigger peaks. I will be adding white paint onto the entire trip. For all the smaller mountains, I will be adding white only on toe. One side I have taken right side. You can either take right or left as you progress. You can also keep cleaning the shape off your mountain. I took black paint again on I'm just making the tip cleaner on also adding some black here so that the white will stand out. Now. I'm going with the next tiny mountain on the right side, adding white paint, leaving the left side on adding some dry strokes. Asphalt over the bottom are based on a boat to dappy oppression of people trouble so that you can't those perfect tries, folks. You can see the kind of stroke I'm getting here. That is because I removed the excess water content from my brush using a paper towel. Now I'm against waiting to black watercolor just quickly in the shape off this tiny mountain here because we just need the white paint on the right side. You will have to divide the mountain and to to like a left side with black color on the right side with white color. You can see how gorgeous this class trough mountains are looking with those solid white color. And those try strokes. We have got a nice texture here. In a similar pattern. I will be going but the mountains on the left side as well. First, I will just clean the shape of thes mountains, just giving them a nice tip. Nothing much I'm doing here because the shape which I drew earlier goes and had to good. It didn't had a nice to. So when we're adding the white paint, we will need a nice step on the top. And that's why I'm making all the shapes cleaner. All right, We have quite a lot of small mountains there. For each of them, we will be following the same technique which we used earlier. We will be added bite paint onto the left side off each of them. Then we will be adding some try strokes to give more texture to the mountain. First, I'm gonna add white paint onto the right side of all of these small mountains which will be decided. You're adding the highlights. It should be consistent. You shouldn't be adding white paint onto the right side of one mountain on dawn, left side off another one. Be consistent. If you're focusing on the right side, do it on the right side, off all the mountains. Now I'm adding white onto this tiny but you're now on to this. I only have one more left and that is also done. No, I will be adding dry strokes. I'm dabbing my brush on a people tall and I'm going ahead with the try strokes. You can see the difference between the left cluster and the right cluster on the right, those solid white on but those dry strokes. The textures are nicely blending into the black background. We're going to do the same thing on the left side as well as we add the dry strokes, all the textures Well, kind off march into the black background, giving it a more natural look. You can see how those check shows are writing more life and character to our mountains on As you restore solid white patterns, make sure you blend them into the background. Riley are those. Try strokes. Otherwise those white patches will stand out from the rest on. 2 may look hard, so you need to get a clean blend like a clean transition from that solid white into the background. And that had done adding the dry strokes on all the textures. Now, to add in the final details, I'm switching to black again on wearable. The shape of the mountain is looking but off. I'm cleaning the shape. I'm really loving the kind of texture that we have caught here. So go dry on to the final touches. Just making this one cleaner on also respect here. Uh, and I think we are done. Now let's quickly peel off the master T. I'm using a plastic surface here, and so the same reason It is quite easy for me toe promoting masking T. When I fix my paper, the paper kind of sticks to, though plastic sofas on it also prevents the paper from buckling. Glass of force is also a good option to prevent buckling on Dhere is our finished painting . I'm so happy with the way this one turned out. Especially the way those mountains are standing with so much off pride I really allow the textures and also that green glow behind them. Go give it a try. I'm eagerly waiting to see each off your class project. So we tried a more controlled washing off Notre Lights in this class project. In the next one, we will be electing the pain Flute and bleed by its own on create a pattern which is not so much in our control. So Yah, without any for the waiting. Let's jumped over second class project. 13. Class Project 2 : Part 1 - The Sky: for a first class predict revenge in that the more control Bushnell sponsor lights. Now, this one, we're just going to play with the colors without having any control over them. We will be trying a sky, which is kind of similar to the one we tried, and the practice section where we will combine vertical, a pouring technique and also negative painting technique. I have fixed my paper already onto a base. I'm starting by applying a clean coat of water onto the entire paper. Make sure you fix your paper on toe aboard, which you can keep moving around, which is very important in this technique. I hope you all have your pain to ready because ones they have applied and even called a water. We will be really going in with the paint without any waiting time. You can see I have got a nice coat of water. Some places are missing. I'll just apply a little of water over those missing areas on that Sirte, just like how we did in the practice fiction. I'm going with Cabal confers. I'm loading my brush with enough off paint. Now I'm applying the wet paint directly onto the paper. Ah, because freak right at the center. I'm going to the random pattern. I wanted this area to be lighter on. I'll make the surrounding areas darko so that the whole focus will be on the center, where you have that glowing light. You can go with any kind of pattern asked for your child's, you don't need to stick to the same way I'm applying the paint if you wounded lighter tones at the bottom on, if you want a natural creation which goes towards the top, you could do that as well. As you know, I'm not controlling the way the pain is going to plant. I'm not really sure how this will look at the end. The only thing I know us. I'm applying lighter tone at the centre and I'm making those surrounding area Docker. But I'm not quite sure how this is going to blend as I'm not controlling the way the pain is going to blend. I'll just keep moving my people around on, let it blend and create those patterns by it All right now I'm adding Prussian blue, and I'm just pulling that into the couple crane, which I have the background so that those will be together. I'm switching to Indigo now, and I'm gonna apply that over all the corners. I'm going with a very dark ocean off Interco. This will make my lighter tone stand out, so there is no order or procedure here. You can keep our in your paint into the wet background however you want toe on. Once you add in the wet paint into the wet background, keep tilting York paper around so that all the clothes will plant and create a magical pattern. I have added enough off pain. Now I'm just tilting the people and can see how that could belt green and intercourse was floating down, creating a very nice pattern. Let go off all the control, just randomly keep applying the paint onto the bed, background on to move until your people around, so that everything will blend well. The way the paint flow down is directly proportional to the way you tell them. So if you told it in a very steep ankle, the paint will start flowing down, creating a nice pattern on it will blend well, so I'm tilting on. I'm just shaking the paper so that the colors will blend Well, I'm really loving the way the paint is floating, so I have some more time to play. With more clothes and darker tones, you can see how nicely the color is floating down. Andi. I'm loving the contrast off that compelled green and integral, and this is where we incorporated the negative painting technique we kept. Though Cabal Green Streak Lassiter's on be made the background darker so that the whole focus will be on that particular, lighter area. And that is what defines our sky. I'm feeling the bottom remaining part. Then I'm gonna tell my paper around so that the Calos bowl blend evenly. Once you tilt and move the paper around, there will be a runoff off paint. So you need to have a paper travel or a court include next to you so that you can wipe off the excess. I'm really enjoying the way the pain, this floating town. Maybe at this corner I Vlade center taco tones Onda. We're here s people, some decor tones. This is quite a messy but of fun technique on Also, it requires fight a lot off paint, unlike the other traditional political or painting methods. You will be working with quite a lot off paint. I'm adding some dark kowtowing to the bottom. I'm not so sure. Should I be doing this or not? Anyway, let's see how this is going to blend with the background. I'm just going with my intuitions. Just trust your intuitions and Adam pain wherever you want. I'll escape tilting and move my paper around so that the streets, which I added now well planned and Toby background Don't be scared. Be fearless. Just apply to paint and to give it background and enjoy the way the paint is planting. Just think what is the worst that can happen? Maybe you will fail at your painting on. That is absolutely. You can always go for a second try and make it better. So keep away the fear of failure and go ahead and trust you into shins are in the paint variable you want toe and keep tilting and moving your paper around so that you get a a beautiful blend. And this is how our skies looking At the moment. I'm not going with the second layer. I have applied enough off lighter and darker tones of the first layer itself. Now I'll just keep the Internet. Looks like the paper is starting to dry, and there's no point mean moving paper around. It's not floating anymore, So let's wait for the Bagram to dry. I went in with very bold and rich pigments and first layer itself, and you can see the kind of clothes that have caught here. I won't be going with the second layer. This will be my first and final layer. I usually stick to a single layer where I apply all the taco tunes along with the lighter tones. I don't usually go with a second layer on the top when this one dries, because I'm not quite sure how that is going to turn out. Sometimes that can totally spoil the nice plan that I have got on the first layer, so I usually stick to a single layer. Now let's have a quick recap of war We did. We went in with the cortical, a pouring technique. We made all the close in advance, and we kept adding the wet paint onto the wet background. You can see the pattern we have court your this is very be implemented the negative painting technique. They re focused on making the background tucker and kept the lighter tones. Acid is the whole focus off. Our sky is at this area very created, that beautiful contrast. So go ahead with any kind of pattern you like. Don't rested your imagination toward I have done here You can play with any kind of pattern you feel like All right, now let's wait for the background to dry. I'm keeping to fasting tape and I'm just keeping my paper at all Uncle position. I know the pain does not floating anymore, but I'll still keep it at a tilted position. Okay, there is one thing I want to tell you all Now, when you look at the paper, all of your colors will look very bright and beautiful. But when your background drives, it will tend to fade a little. Actually, quite a lot when you look at your painting when it is red on when it has dried has a lot of difference. Yeah, Now look at this. This is a commenting with watercolor. No matter which expensive brand off paper are painting Corbett What? The global tend to fade a little once everything dries, so you have to go with the brighter tones in the first layer itself so that you get a considerably brighter output. At the end, I went into the much brighter turns off all the three shades, and that's why I got a considerably brighter output. So always remember, the color that you see while the paper is wet won't be the same When the people dry, so go but our darko tones in the first layer itself. If you are looking for a brighter inter Celt on now, it's time to supply to the stars. I have taken little by brush on a separate ballot, andan adding some doctor looks like the consistency is fine. If you're still doubtful about your consistency, always have people trouble next to you on w brush on a people travel toe are three times and remove the excess water. We already discussed these things in the earlier section. Now I'm gonna splatter the stars to step tapped up and create as many stars as you want. If you are still not confident about the consistency, trying your stars on a sample piece of people on once you feel your constancy is right you can add stressed on your main painting. If the consistency is to lose, you will enter getting big splatters but can spoil your background. So a little castle. It's always a good idea to try your stars on a sample piece. I really love ad in the stars. I always go overboard. I don't know how many off you'll feel. This is addictive, really. It's just high problems. I think I should stop there now. I'm sweating to mind, Children. Andi, I'm gonna randomly add fuel because to us here and there you can also do the same thing. Using your detailing brush and wide quash. I'm really loving the kind of blend tohave court here. I think I should kill. You have to credit toe my watercolor on paper because it's the color and the paper. Help me create this effect. The watercolor pouring technique we tried is quiet, unpredictable on unpredictability. Off this technical sport makes a beautiful. If I asked him to create the same painting again, I may not get a similar result because I had no control on the way how the paint was floating on merging with the other colors. This is a beautiful technique, very will get to enjoy all the magical watercolor. I hope you all are quite happy with the way your skies looking right now on, but that our skies done in the next section, we will be adding the remaining details. 14. Class Project 2 : Part 2 - The Details: Now it's time to add in the details on I'm using Blackwater Girl. This ministry art philosophy. If you are somebody who don't use Blackwater color, you can use Spain's great. Are any other Diaco shades, which you normally use and stuff Blackwater color? I'm squeezing out a little on my palette. I'm gonna go with the decline off pine trees at the bottom. If you don't prefer adding pine trees if you prefer mountains or are any other subject, you can go with that. You don't need to stick to pine trees. That is absolutely your choice on Let's Begin. I'm using my size. Number six. Wrong Rush by Princeton. As I mentioned on the art supply section, this dress has a nice tip, which makes it easy for me to draw all the little details. Now let's start with our pine trees. If you have any signature style of adding pine trees, which you are comfortable with, please go ahead with that. Anyway, I will quickly show you the way I do them. I'm loading my brush with enough off paint and I have a scrap its off people here. I'm starting by adding a line now on to the top area, I will be adding very little foliage. I'm just having some scruple e lines at a distance. Now. As I come down, I will make it more dancer. I will increase the length off each of those crumbly lines on. Also, I will add them close to each other so that it looks thick and dense at the bottom on. That's it. This is the way I will be adding the rest of the pine trees. Now let's move to our main painting on on the pine trees. In a similar way, I'm starting with a line. Then on the top, I will add smaller and thinner lines, which are quite far from each other on. As I come down, I will make this lines ticker on. I will add them close to each other. You just need to take your brush in a daughter pattern so that it will look more natural on also when you're adding your pine trees, play with different heights, don't at all of them on the same height. Now let's go with a slightly taller tree. I'm going with the same pattern, adding something no lines of the top, which are quite far from each other than as I come down. I'm making the lines ticker on close to each other. You can play with your own composition. If you want to add three big pine trees on like the rest Lassiter's, it could do that. Or, if you want to add a mountain on fuel, tiny trace on the top, you could do that ass full. I have added to trees, and here is a closer look. In a similar pattern. I will be adding trees at the entire bottom line. You can actually look at some real photographs toe. Understand different subjects that you can paint with, not on lights. You don't need to just limit your ideas to pine trees or mountains. There are plenty of other subjects that you can paint along with. No tonight's. Maybe you can paint a huge tree, but no lives. Just some overgrown branches that looks really great. Or you can paint sel out off people sitting or standing on a rock. Keep exploring new subject so that your painting will look new and different every time I often get asked. Where do I get the inspirational pictures for my paintings? from It is very simple. I kind of combined two or three photographs are something which I have seen in my real life . Like maybe I'm trying to recreate a sky from a particular painting and maybe I'll take the subject from a different photograph or something, which I have seen. That way you're painting the look 100% unique. Okay, now, coming back to the painting, I'm adding a solitary here. Playing the different heights is an easy to add more interesting character to your painting . So never adu trees in a similar height and similar pattern play with different high. It's different and city, maybe some of the trees. You can make the Foleys tico from the top itself, and some of them can have very less folly age. Paying attention to these little details can make your painting a lot more interesting in the previous painting prevented with snow capped mountains are think that goes well with this car I asked for. Maybe the next time I should try those kind of mountains with all similares chi, and that tree is almost done. We have some more to add. I've allowed fume or on the left side, than over to the either side. I will add some toiletries, which is leaning towards the center to make it more interesting. Personally, I'm not really a pine tree person. I prefer painting mountains a lot more than pine trees because this is like a never ending process on. I'm not really tack patient to keep adding too many little details. That's why I readily go in with mountains on. Also, I feel that has got more textures. So maybe that is one more reason why I allow painting mountains and pine trees. But then I wanted to play with two different subjects for Buddha. Four paintings. And that's why I vented with pine trees. So here I am, adding a tree which is leaning towards the center. Maybe aval add one more on the top on maybe some some low trees on the right side as well to make our painting look more interesting. Otherwise, all of our trees will look the same, and it will make our painting a little boring. One down, maybe allowed one more right here. Then, similarly, I've allowed one more on the left side asphalt on, but that we will be done with our pine trees. Here's a closer look off over painting, and I'm happy with how it is looking. So far, the sky is really illuminating when the added does black pine trees. That contrast is really nice. I will add one more tree over here on, but that we will be done. I'm going to stop it right there. If you want to make it more than so, you can add some more trees in between. I'm really loving the way my sky turned out. I adore this contrast, which I have got here. Now let's quickly beloved the masking tape. Always the movie of masking tape at an ankle. This will prevent your paper from roping horse. Also, make sure your paintings dried completely before you peel off the masking tape on humorous, ever final painting. I'm really, really happy with the way this one turned out. Those beautiful blend of close the Contrast of the Sky Aunt. How those pine trees are making our sky look like it's illuminating. Everything is kind of perfect with this piece. It's a very cool technique to try to come out off your comfort zone. You will slowly get over all those feel that you have on you will enter. I, working with what color