Seascapes for Beginners : Learn to Paint 10 Easy Watercolor Seascapes

1. Welcome to the Class: Everyone loves to watch the waves roll in and out, the weighting colors of the sea, and even the texture of the sand. I think that is something very calming about just being on the beach. Hello, my dear friends, my name is Laneena Nabeel. I'm a mother, an artist an, architect, and a Skillshare top teacher. Being a color lover, I'm very much obsessed with Taylor turquoise, which makes me crave tropical beaches and clear blue waters. In this class, we'll be together painting 10 beautiful seascapes, which is absolutely beginner friendly. As someone who was very passionate about teaching art, my major focus has always been big-nose and intermediate artists who are trying to develop their skills and become more confident in art. Considering every beginner who wants to achieve a satisfactory result, each project as explained in real-time giving great importance to every tiny detail. Before we start with our seascapes collection, we will have a look at the materials you will need in detail. We'll also have a look at the color palette that's been designed for this class. We will also try different recipes in creating our own cobalt green as it is one of the major color you will need for this class. Keep your art supplies ready. Let's head to the beach to paint some stunning seascapes together. 2. Class Overview + Class Projects: First of all, thank you so much for joining my class. I'm really happy that you've decided to join and paint along with me. This class is designed in a daily challenge format, which means we will paint a beautiful seascapes every alternate day. There will be a total of 10 paintings that we'll be doing. The first project is already uploaded. Every project is very carefully chosen so that a beginner artist can be comfortable throughout the process. The best part is all of these paintings can be done in less than 30 minutes. They don't involve a lot of complicated techniques or details so it's going to be more of a relaxing time with watercolor and it will easily fit in your busy schedule. In the next sections, I'll talking about the materials you will need for this entire class. Then we will have a thorough look at the beautiful color palette that's been designed for this class. We will also look at how you can make your own cobalt green if you don't have one, as cobalt green is one of the most important color you will need for this entire class. If you don't have cobalt green, there's nothing to worry, I'm here to help you. That's a real overview about what to expect in this class. Now, go watch the next videos, have your art supplies ready, and join me in painting the first project. 3. Materials You'll Need: Let's begin by having a look at the materials you'll need for this class. I will start with the paper. According to me, watercolor paper is the most important aspect of a watercolor painting. This is the one I'm going to use. It is Canson Heritage watercolor paper. Canson have a lot of varieties of paper. This is the one that I love particularly. It is cold-pressed, which means it has a light texture and it is 140 lb. That means the paper is quite thick and it is 100% cotton. I would recommend going with any artist-grade paper with soft minimum 140 lb, which means the paper can handle multiple layers of paint. This is the texture my paper has got. It is cold-pressed, which means that it's just moderately textured. You don't need to stick to Canson. You can go with any artist-grade watercolor paper over this soft 100% cotton, 140 lb, and cold-pressed. This is the size I'm going with. It's in a square format, 15 by 15 centimeter square. I have composed all the painting in a square format. You can choose to go with the same composition or you can go with a portrait or landscape manner. I have cut my paper into 10 squares and that's what I'm going to use in this class. That's all about the paper. Now coming to the watercolors, I'm going to use, I'm stiil going to prefer watercolor tubes compared to watercolor paints and I also love to work with freshly squeezed paint but it is absolutely your choice. You can go with either watercolor paints or watercolor tubes. I'll be using watercolor tubes from various brands. I'm not sticking to one particular brand. The one you see here is Shizen, the other one is Sennelier, and this one is Rembrandt. I have included a section called color palette where you will find all the information about the colors that you will need for this class, including the pigment number and the brand. Don't forget to check the next section to know more about the colors. Now to mix your colors, you will need a mixing palette. It can be any palette. The one I'm going to use is a ceramic palette. This is the one. You can use ceramic or plastic, or even a dinner plate. I love ceramic palette for two major reasons. One is the pain doesn't stain the palette and also it's super easy to clean. Ever since I started using ceramic, I have never gone back to plastic. Anyway, that's all about the color and the palette. Now coming to the brushes throughout this class, you will see me using six different brushes. All of them are from the brand Silver Brush. The first one is this one-inch flat brush. It's quite wide. I'll be using this one to apply a coat of water onto the anterior background at places where I need to make the background evenly wet. That's a fuzzy brush. You can go with any of your wider flat brush. Before you use your brush, just make sure it is clean so that you won't accidentally add any paint stains onto the background. Now, the next one is another flat brush. This one is a half-inch flat brush. I'll be using this brush mostly to apply paint onto the sky and wherever I need to apply a smooth gradient gouache. That's my second brush. Now I have four different-sized round brushes. The first one is size number 12 which is obviously to apply paint onto a larger area. That's a first-round brush. Now I have three more, half size number 8, size number 6, and size number 2. Size number 8 is obviously to add paint onto a larger area then size number 6 is for medium-sized detail, and size number 2 is for very delicate too. This brush has a really nice pointed tip when dipped in paint and that makes it perfect for all the detailing. Anyways, those are the brushes I'll be using throughout this class. You can use brushes from any brand. It doesn't really matter. Just go with sizes that are nearly similar. That's all about the paper, the paint, and the brushes. Now the next important thing you will need for this class is some white gouache or white watercolor. As we're going to create a collection of beach painting, obviously, you will need to add some waves and some white texture on the water. For that, you will either need white gouache or white watercolor. Here is one of the painting where we'll be using white gouache to create the way. See that? This can be either white gouache or white watercolor. If you have gouache, I would recommend using that as it is more opaque than watercolor but if you don't have it, that is totally okay. Just go with watercolor. That's the next thing you will need. You'll also need two jars of water but it has to stay clean and the other one is to rinse out the paint from your brush. The next material you will need is a masking tape or a washi tape. We will need to fix our paper onto a board or onto a table. To secure our paper, you will need some masking tape. I will be fixing my paper directly onto my table. You can choose to fix it onto a board if that is more convenient for you. That's masking tape. Even though there is no much sketching involved, we will need to add some simple sketches for some other painting. For that, you will need a pencil and an eraser. Last but not least you will also need some paper towel or a cotton cloth to dab off the excess amount of water from your rushes. That summarizes all the materials you will need for this entire class. Keep them ready and chime in the next section. 4. Color Palette: All right, so we had a look at the materials you will need. Now, let's have a total look at the colors you will need for this entire class. When you're doing a seascape painting, it is really important to use the right kind of colors to get the feel and mood of the painting right. One of the main color that I always include my seascape painting is cobalt green. I just love this color. I cannot think of a seascape without this color, especially if I want to paint a tropical beach or a clear blue sea, this is the color I always reach out to. It's a beautiful color. I'll be using this color quite a lot in this class. Let's have a look at the pigment number. This one says PY53 and PG7. This color is a magical mix of a yellow pigment and a green pigment. The watercolor brand is called ShinHan, it's a Korean watercolor brand. Before I add this part, let me show you some of the paintings that I'll be using this color. Take a look at these two, that gorgeous green you see here is Cobalt green. It's a beautiful color to use in your seascapes. Now, let's swatch it out. You can use a similar color from any other brand. The name might be different. It might not be called Cobalt green. It might be teal or cobalt turquoise, or any other name. Just go with any kind of Basal blue or green rough coat. This color has a major role in making our paintings more beautiful. You can see how beautiful that color is. It is perfect to use for clear blue seas and tropical beaches. That's our first color. Now there's one more color I have, which is kind of similar to this one and that's called Horizon blue, again from the same brand, ShinHan. This one is a paste in blue, you can see the pigment number here. It only has a blue pigment and a white pigment. It doesn't have any yellow pigment or a green pigment. I will swatch out this color. It looks more like you have added some white watercolor into any of your blue paint. Here is the color. It's a Basal blue. So that's the second color. It's totally okay if you don't have this color, I'll be using this one only for one painting. This is the painting that I'm using, Horizon blue. Instead of Horizon blue, you can just use Cobalt green or any other similar color. That's our second color. Now coming to the third one, it is Turquoise blue. The one I'm using here is from White Nights, actually this is not turquoise blue, it is called azure blue. It is very much similar to Turquoise blue. I'm running out of Turquoise blue so I thought of using this one. Here's the color that I'm going to use. It's called Azure blue from White Nights, and if you look at the pigment number, it says P.B.15:3 and P.G.7. Whereas for Turquoise blue, it is P.B.15:1 and P.G.7, which means it is just a slight difference in the pigment ratio. The color is almost the same, so that's our third color. The next two colors I have here, is Phthalo blue red, and Cerulean blue, which are the colors I'll be using for the sky mostly. Cerulean blue is a cool blue, which is similar to Prussian blue and Phthalo blue red as a warm blue, which is similar to Ultramarine blue. If you don't have Cerulean blue and Phthalo blue red, that is totally fine. Just go with Prussian blue or Ultramarine blue, or any other blue that is similar. Now, let's swatch it out. Cerulean blue is one of my most vivid color to use for the skies. I just love this color. Whenever I'm painting on dry blue cloudy sky, this is the color I go with. You can see how gorgeous that color is. It's more like Prussian blue, or you can even use Cobalt blue if you don't have Cerulean blue, okay. That's our next color. It's a cool blue. Now coming to the next, we have Phthalo blue red. This color looks very much similar to my sweatshirt. It's again a beautiful color, but it's a warm blue and it looks similar to Ultramarine blue. You see that? It's a gorgeous blue, which you can use for sea and skies. For some of the paintings are using Cerulean blue for the sky, whereas for some others, I'll be using Phthalo blue. But if you don't have many varieties of blue, you can just stick to Prussian blue for all the skies. That is still Phthalo blue red from a watercolor brand called Rembrandt. Before I go the next color, I'll quickly show you a painting that I'm using Phthalo blue red. Have a look at this painting. For the sky as well as for the water, I'm using Phthalo blue red. You can see that gorgeous blue, that is Phthalo blue. Instead you can use Ultramarine blue or any other blue of your choice. Now coming to the next color which is Indigo. This one is again from ShinHan. Whenever I need to add some deeper values, I'll be using Indigo. This one is a slightly darker Indigo it doesn't have any blue undertone. I love indigo from Sierra Leone. This one is quite dark, as you could see here, but it is just for adding some deeper tones, so it just serves the purpose. We're not going to use the color as it is for the sky or for the water. That's our next blue and by this, we are actually concluding all the blue for this class. Now we're coming to the set of greens and browns. Just like blues, greens and browns are also important factor for seascape painting. For example, if you see these paintings here, you can see how the green color is complementing the blues. To add the background elements, you will need green color. I'll be using sap green as well as leaf green. Leaf green is the lighter green, which I'm swatching out right now. It's a beautiful color to show the fresh and painting greenery. Now if you don't have this color that is totally okay. It's a color that can be made quite easily by mixing some lemon yellow with sap green. If you don't have this color there's absolutely nothing to worry. This one is also from ShinHan. You can either go with any light green when you have caught or it can just mix and create your own by adding some sap green with lemon yellow. That was leaf green, now coming to the next green, which is the most common green and I'm very sure you all have this, it is sap green. We'll be using this color to add the background elements like mountain and some landscape. That summarize the greens, you will need a lighter green and a medium green. Now the next color you will need is Burnt sienna or brown. We'll be using this color to add the sand. We won't be using a darker tone. We'll only be using a really light tone to show the sand texture. That is Burnt sienna again from ShinHan. Here's one of the painting where I have used burnt sienna, and you can see the tonal value that is really really light. That's the kind of tonal value we'll be working with. Here's another painting where I'm going to use Burnt sienna for this rocky mountain. For this, we'll be using a little more deeper tone, and here's one more painting, where I have used a medium tone for the sand and also I have added some texture, so that's burnt sienna. Now coming to the last color you will need, which is Paynes gray. We'll be using this color mostly to add the deeper tones as well to add the details. If you don't have Paynes gray, just go with black. We won't be using this color as such we'll be just mixing that with some color to make it a deeper tone. That's the last color from the collection which is Paynes gray. This one is from the brand Rembrandt. This one doesn't have a lot of granulation. That's the reason why I love this Paynes gray. In a way that summarize the watercolors you will need for this class. Now, along with this you will also need some white gouache. For some of the paintings we'll need to add some white texture, I mean some waves and some texture. For that you will either need white gouache or white watercolor. If you have gouache, I would recommend going with gouache as it is more opaque than watercolor. Here's one of the painting where I'll be using white gouache to create the wave and some texture on the water. For that, you will need any kind of white opaque paint. Now there is one last color you will need, which is Pyrrole red. We'll be using red only for this painting. You can see that red boat far away, so just to create a striking contrast in this painting, we'll be using red color for the boat. See that. The colors starts been used in this painting is quite bold and vibrant, so to bring in a contrast and also to make that boat visible, we'll have to use a brighter color and that's why I have used red for this painting. It doesn't need to be red, you can use orange or yellow or green or any other color of your choice for the boat. That's our final color, that summarize all the colors you will need for this entire class. It is not at all necessary to have the exact same color and exact same brand that I'm using here. Try to go with the colors that is nearly similar. Now in the next section, I'm going to explain how you can create your own Cobalt green if you don't have one, so If you're someone who don't have Cobalt green, don't miss the next video. 5. Let's make Cobalt Green: We had a look at the colors you will need. Now in this video, we're going to try how we can create cobalt green if you don't have one with the colors that are available with you. The cobalt green I used here is from ShinHan. I have one more cobalt green, which is from Mijello Mission. These two colors, they look more or less the same. I will sketch out it for you so that you can see the colors. But this doesn't mean all the cobalt green looks like this. Cobalt green from Daniel Smith is very much like a green color, and cobalt green from Sennelier is a much more darker shade. So what I'm trying to say is just because the name says cobalt green it doesn't mean it has to be the same color. According to the pigment they are using, the color can be slightly different. So I have cobalt green from Sennelier as well. This one doesn't look like the other two. It's a much more darker shade. So what you have to look at is the pigment number. That is what gives you the right information, not the name of the color. I will just take out some paint. So instantly you can see the difference. See that, it's a bit more darker shade than the other two. The next pastel colors I have is from White Nights. I have two colors in the set. If I remember right, this one is called celestial blue. It's a beautiful color, but not similar to cobalt green. This one doesn't have that yellowish color. It is more like a pastel blue. Now there's one more here. This one is mint, again, a beautiful color, but not similar to cobalt green. So I will just show you splashes of all these colors I have with me so that you have a better comparison. If you are very new to to colors. [NOISE] I will start with the cobalt green. The first one I have here is from Mijello Mission. That's a color quite similar to the one we tried from ShinHan. Now I have ShinHan here so I will splash out that as well so that I can see them closely. See that it is very much similar. Which means they're using similar pigments to make these colors. Now let me show you the one from Sennelier, which as I said earlier, it's a much more darker. See that. You can clearly see the color, it is quite dark compared to the other two. So that is cobalt green from Sennelier. Now, I will try the other two colors I have taken from White Nights, which is not like cobalt green, but I still want to show you the so that when you are buying more colors in the future, you'll have a better idea what to buy. So this one is celestial blue, just like the name says, this one is more of a bluish color. It's a pastel blue. It doesn't have that green undertone, which is what makes cobalt green so much more special. So that is celestial blue. This one is actually similar to horizon blue, which is another piece blue. Now I will show you what mint looks like. It's a much more lighter tone. See that. It is so much lighter than all the other colors we have tried so far, but still a pretty blue. It looks like baby clothes. So that is mint. Now, let's try mixing our own cobalt green. So when you're trying to create a color by mixing other colors, the key information that you should have with you is the pigment number. So I have a tube of cobalt green here. This one is from ShinHan. Now, if you flip your tube on the other side, you will find the information about the pigments. See that, there are two pigments used in creating this particular color, which is PY53 and PG7, which means it's a yellow pigment and a green pigment. So PY says its a yellow pigment, and then you see PG, it says it's a green pigment. Now our task was to identify which is that green pigment and yellow pigment. So there is PG7 here. Let's see where's the pigment number of sap green. So that says PG8 so there is a slight difference in the pigment number. We need to identify what is PG7. We also need to identify the yellow pigment, so this one is PY53. The one I have here PY35, which is the one I have, that is cadmium yellow. I found out what is PG7. So PG7 a blue it turned out that I had this color with me, which I didn't realize. You can see the pigment number. It says PG7, which is the exact color that we're looking for. This one is from Rembrandt. Now, I will take out some sap green as well as some phthalo green. Then I will add some yellow pigment and to the color and we'll see how that's turning out. We will also need to add some white watercolor or white gouache to turn that into a pastel color so that is phthalo green. Now I'm adding some yellow a little there as well, which we can mix with sap green. Now I need some sap green as well. I'm quite sure if you mix sap green with yellow, it is going to turn out into a lighter green. We might not get that cobalt green that you're looking for. But anyway, let's try it. I have added some yellow onto these divisions. Now I'm going to pick a bit of sap green. See that it turned out into a lighter green. But it's obviously not the color that we're looking for. So even if you add more green or more yellow, the color is still going to be a greenish color. So that's a clear. Now let's try the same thing with phthalo green. See that the color is turning out to be really gorgeous. It's a beautiful color, but it doesn't have a pastel look to it. So to create that pastel color, we need to add some white watercolor into it. I have white watercolor here, again from ShinHan. I'm going to take out a bit of white watercolor onto my palette. Then I will mix that with the color I have created here. Let's see how the color is turning out to be. That's a beautiful color but I feel like I have added quite a bit of yellow. It looks a lot greenish. I don't want the color to be so greenish. Anyway, we'll add a and see how the color is looking like. Oh my God, that's a beautiful color. Honestly, I had no clue that I had this color with me until some time back, but I'm glad that I found it. Now let's try modifying the color a bit by adding some phthalo green and maybe a bit of yellow as well. Let's just see how this is turning out. So that's a color it is again similar to the one we created earlier. So we need to try different proportion. Let's add more phthalo green. Now, let's patch that. This color looks absolutely gorgeous and I think it is very much similar to cobalt green. So you can try different proportions of green and yellow and white in your mix and see how the color is turning out. This is another mix. I have added more phthalo green, and you can see the color here. It's a beautiful color. So if you have phthalo green, just add a bit of yellow. It can be any yellow, it can be cadmium yellow or lemon yellow, or any other yellow you have, then add a pinch of white and see how the color is turning out. Try modifying the ratio. Add more green, add more yellow, add more white and get a color that is similar to cobalt green. So this is one way of doing it. But if you don't have phthalo green there is one more method. For that you will need a turquoise blue color. So I have two turquoise blue here. The one from ShinHan has already some white pigment in it. It is more of a pastel turquoise. So I'm just going to keep that one aside, and this one is blue, which is very much close to a turquoise blue. I'm taking out a bit of that color onto my palette, and also some turquoise blue from ShinHan, and I will add some yellow into this color, and let's see how the color is turning out so that is some turquoise blue from ShinHan as well as from White Nights. Now, let's pick up some yellow. Now just the same way how we did earlier. I'm going to add some turquoise blue into both yellows. This one is from ShinHan. I think can already see the color is quite similar to cobalt green. So this one was pretty easy as turquoise blue from ShinHan already had some white pigment in it, we didn't have to add any white. The color is already quite similar to cobalt green. If you still want to add some white watercolor, you could do that. I have some right here. Let's add a bit and see the difference. White will turn the color into a little more pastel color. It would make it lighter. So that is the one with the yellow, cadmium yellow as well as turquoise blue from ShinHan. Now, let's try the same thing with turquoise blue from White Nights, which is not a pastel color. So I'm picking a bit of that color and I'm adding that with the yellow. Now into the same color we need to add some white watercolor, otherwise, it wouldn't look like cobalt green. Cobalt green is a pastel color. So to get the color right, we need to add some white watercolor. It doesn't need to be gouache. It can be just white watercolor. The color is still pretty dark, so I need to add a little more white watercolor. Let's see how that is looking like. Wow, beautiful color, so this one has a mix of turquoise blue, cadmium yellow, as well as white watercolor, and it is quite similar to cobalt green. I'm very much happy with the result. So there you have all the cobalt green that we have created by adding some yellow into turquoise blue as well as phthalo green. So you can go to option that is more convenient for you. If you don't have phthalo green, just go with turquoise blue. But keep in mind, you will need to add some white watercolor into it, to turn the color into a pastel color. So here's the mix. We tried, turquoise blue, plus some yellow, plus some white and that's the magic in the mix. You can try adding these colors in different proportions and see which works best for you. You can also try using different yellows and see which is the best mix. With this exercise, along with creating cobalt green, I also want to spread some insight about the color naming. You should not really trust the color naming that a brand puts on it. The only information that you should trust is the pigment number. Cobalt green from Sennelier was different, and cobalt green from Daniel Smith looks like this, which is totally a different color. That is why I said you should not trust the naming of the color. You should only be looking at the pigment number. If you're looking for an option from Daniel Smith, this is the color you can go with. It is cobalt teal blue. Similarly, but different brands you will find different names for the same color. It can be named as cobalt teal or cobalt turquoise or cobalt green. So identify the color that works best for you, and if you don't have any of those colors, just try mixing your own cobalt green, the mixing exercise we tried earlier. It's a mix of turquoise blue, yellow, and white. So for most of the painting, we will need this color. So does better if we can create a mix in advance. While you're painting, you have the color already your palate. So that's all about cobalt green. Keep it ready. Join me in the next video. Let's start with painting. 6. PROJECT 01 - A Day at the Beach: Now it's time to try our first project. It's a simple yet a beautiful day by the beach. First, I will take you through the colors you will need. It's a simple color palette. Honestly, the beauty of this entire painting is that pastel blue, so that's a major color you will need. Anyway, I will start with the color you will need for the sky. For the sky, I'm going to use phthalo blue red. This is the one. You can use any blue you have got. It can be Prussian blue or ultramarine blue or cobalt blue or any blue of your choice. We'll be just going for a gradient wash. That's the blue I'm using. It is very much similar to my sweater. It's a beautiful blue. I'll be starting off with a medium tone, then as I'm coming towards the horizon line, I will make it lighter. It's a very simple sky. That's the color I'll be using. That's all for this color. Now, just don't worry if you don't have to phthalo blue. Any blue will absolutely work. Along with the sky, I will also be using phthalo blue for the sea as well. You can see that darker values here along the horizon line and underneath the island. That is phthalo blue. I'll be using that to add some texture on the sea. That's the first color. Now, coming to the second one, that is horizon blue. It's a beautiful pastel blue. You can see the color on the palette itself. It's a gorgeous color. See that? That's a color I'll be using for the sea mostly. Then to add some textures, I will be using phthalo blue. This is the one. It is called Horizon Blue from the brand ShinHan. I have Horizon Blue from Mijello Mission as well, but I haven't seen that with any other brands. If you don't have it, you can use cobalt green or any other pastel blue you have got. You might have teal or cobalt turquoise or any other similar colors. Just go with any pastel blue that you have got if you don't have horizon blue. That's our second color. The next color I have here is burnt sienna. This one is also from ShinHan. We will only need a little of paint for the sand. We'll be using a really light tone of burnt sienna. You can see the color. It is very light. We won't be using this tonal value for the painting. Just take out only a tiny bit of burnt sienna or brown when you're painting. We don't need a lot. This is the one I'll be using. It is burnt sienna from ShinHan. Now coming to our last two colors, we have sap green and Payne's gray, which are the two colors I'll be using to paint that island. First I will show you sap green. This one is again from ShinHan. It's a beautiful green. I have tried sap green from various brands, but this is the one I love the most. It's a beautiful color. Burnt sienna and sap green is a common color, so you can use them from any brand you have got. This is the one I'll be using. That's our fourth color. Now coming to the last one, which is Payne's gray. Again, this color also we don't need a lot. We'll be using a little of Payne's gray to add some texture on the island. That's our final color. Honestly, other than horizon blue or any other pastel blue, the rest of the colors you will need only a little, so don't take a lot of paint onto the palette. That summarized all the colors you will need for first painting. You have phthalo blue, horizon blue, burnt sienna, sap green, and Payne's gray. But along with this, there is one more thing that you will need, which I missed earlier. Let's use some white gouache or white watercolor. We need to add these white textures here, and for that, I will be using some white gouache. If you have gouache, I would recommend going with gouache as it is more opaque and it will be more prominent. But if you don't have gouache, it's okay, you can go with white watercolor. That's all about the colors. Now we can start with our painting. I have my palette, my paper, two jars of water, brushes, colors; everything ready here. I'm starting off by adding a pencil sketch. It's not a complicated sketch. We just need to add the horizon line, then a tiny island far away. I'm adding my horizon line a little above the center of the paper. Now, let's add the island somewhere at the center. That's the height I'm going with. Just add a shape like that. Now, we need to add a wavy line. This isn't really necessary, but it will give you an idea when you're applying the paint, you know where to stop your blue and where to start your brown. That way this will act as a good reference line. You can always change the shape later when you're adding the paint. I have added a random shape here. It's a nice wavy line. We can always modify the shape. Also, don't make this line too dark. Go for a very light pencil sketch, just for you to see it. Our sketch is ready The reason why we added this line is that when we are painting, onto the upper part of the line we'll be adding blues, and the low part we'll be adding burnt sienna. This line will tell you where to add your brown and where to add your blue. That's the only thing. Now that we have everything ready, let's start painting. We can start with the sky. I'll be using phthalo blue as I discussed. You can go with any color. We'll be starting with a medium tone on the top. Then as we're coming down, we'll be making the color lighter. It's a simple gradient sky, so you can go with any color of your choice. I will need some more paint, so the color is ready. Now, I'm planning to go with a wet-on-wet wash. As the area is quite small, even a wet on dry also work, so just go with wet on wet or wet on dry. To apply a clean coat of water, I'm going to use my one-inch wash brush. Just use any of your clean wide brush to apply water onto the sky. I hadn't used this brush earlier. This is the first time, so obviously it is clean. But if you're using a brush that you normally use, just make sure that it's clean. Here's the brush that I'm going to use to apply the paint onto the sky. It's a half-inch flat brush. With a flat brush, you can get a beautiful gradient. But if you don't have a flat brush, just go with a round brush. Now, let's start applying water onto the sky. Just a clean, even wash. Don't add a lot of water. We just need a shiny coat of water, which is even, so just run your brush multiple times just to be sure there's no pools of water in between. My sky is evenly wet. Now, we can start applying the paint using a flat brush. Load your brush with a medium tone of blue. As I mentioned earlier, it can be any blue. Now we'll be applying this medium tone on the top, and as we're coming down below, making it lighter. Just run your brush back and forth in a horizontal movement so that you will get a clean blend. See that? I'm running my brush only in one direction. Now I'm cleaning my brush, and I'm making the color lighter towards the bottom. Again, I'm running my brush to make it an even blend. That's my sky. It is simple yet a beautiful sky. Now, let's leave the sky for drying and come back when it has dried completely. The sky has dried beautifully. Our next task is to paint the sea, so watch the major color I'm going to use this horizon blue. The beauty and the identity of this painting is this beautiful pixel color. If you don't have any pixel blue, you can check out the color palette section that I have explained how you can create one, which won't be exactly the same but will be nearly similar. The next color you will need is burnt sienna, I'm going to take out that as well onto my palette. We need to keep all the colors ready before we start, so you will need any blue then you will need a pixel blue and also some burnt sienna. I have the three colors ready on my palette. Now for the sea as well, I'm going to try a baton wet wash. The first step is obviously to apply a coat of water onto the entire background. To apply the paint I will be using a medium-size round brush. Keep your colors and your brush ready before you start applying water onto the background. Let's give it a try. I'm picking my one-inch wash brush and I'm applying coat of water onto the entire sea. Again, make sure your brush is clean because we are going to apply lighter tones. If your brush is not clean it will be visible on the background. It is really important to work with a clean brush. Again, we need an even wash on your brush multiple times just to be sure the coat of water is even. Don't add any water onto the sky. Don't disturb that layer. When you're applying water closer to the horizon line, just to be extra careful. The background is wet, now we can start applying the paint on the wet background. I'm using my size number 8 round brush here, and I'm picking a very bright tone of horizon blue. I will apply this onto the entire sea. See that? It's a beautiful color. Now the idea is to apply paint onto that baby line. Don't take it beyond that. This is our reference line. Also along the horizon try to go for a clean straight line. You can see the way how I'm trying to paint from the left towards the right. That baby line is our limit, so stop adding your paint a little before you reach that line. Again, see the way how I'm adding it. I'm not taking my brush beyond that point. Now what I'm going to do is I'm going to clean my brush. Using that clean brush, I'm going to make this paint a little lighter towards the wheel. It doesn't need to be perfect, just spread out the paint and make it slightly lighter. Now, let's paint the sand. Clean your brush again. Rub it on a paper towel and make sure it is clean and go the really light tone of burnt sienna or brown. It has to be really light. Be very mindful about the tonal value. See that color? If you use a darker tonal value, you won't get that feel of a white sand beach. Try to make it as lighter as possible especially towards the horizon line. Maybe towards the bottom you can make it slightly darker, but not darker than this. The major idea here is to make it lighter towards the horizon line. Don't add any darker values of brown towards the horizon line. You can add some towards the right end and also towards the bottom to create some texture. But the area closer to the horizon line should be really light. Next we'll have to start adding some texture. But before that, if you want to fix the shape of your sea, you could do that right now. You can add more paint to make it more bold and beautiful. That is done. I just wanted to add some paint towards the bottom to fix the shape. Now using the same brush, I'm going to pick some pale blue. I'm going to add some textures and some medium tones. I'm starting off with the horizon line. I think we can tap the brush on a paper towel and make it slightly lighter. Just spread it out into the background. Just add some lines to give it some texture. We'll also need to add some deeper tone underneath the island. That is what I'm doing next. Along with that I'm adding some random lines as well. I won't be adding a lot towards the bottom. I will just randomly add few thicker and thinner lines into the sea. At this point it might not look too perfect, you might see those lines quite rough and weird. But that's okay, there's a trick to fix it. Pick some horizon blue, add some more paint and smudge those lines. This will smoothen out all those lines leaving the textures really smooth and gorgeous. See that? Now you don't have any hard lines or any rough patterns. Now, in case if you want to add more textures into the sea, you could do that right now. But the key is to reaching most of the horizon blue or cobalt green or any other paste that you are using. That is the color which brings out that beach vibe in our painting. Be careful not to add a lot of deeper tones and textures onto the sea. Try to retain a good amount of thistle blue. This is how it has turned out. I'm pretty happy with the colors and the blend. This is the base layer. We need to add the textures and the wave to make it more beautiful. But before that we need to wait for this to dry. The background has dried completely. I cannot tell you how much I love that color. Everything is going so well together and I love the color of the sand as well. That lighter tone of burnt sienna is really complementing the color of the sea. Anyway, our next task was to paint the island. To paint the island I'll be using two colors. The first one is sap green. The base layer is going to be sap green. I'll go for a medium tone. I'll apply that onto the entire island. Then to create some textures, I will be using Payne's gray. If you don't have Payne's gray just go with black or even indigo. It's a super small island and is far away. We don't need a lot of paint. Don't take out a lot of paint onto your palette. I'm someone who love to work with freshly squeezed paint. That's the reason why I'm telling you. If you already have all the colors in your palette, then this is not applicable. Anyway, I'm starting off with sap green. Use a medium tone and fill up the entire island. I'm using a medium-size brush here. If you want to go for a smaller one you could do that. Be careful not to add any paint into the sea. The base layer is ready. Now onto this we're going to add some textures. For that I'm going to use the smallest size brush preferably one with the tiny tip or a pointed tip. I'm using size number 6 round brush. The reason why I told you to go for a pointed tip brush is that you're going simply add some tiny dots onto the entire shape. If it's a bigger brush you will end up creating bigger patterns. We are trying to show this island is really far, so the patterns has to be really small. Take out some Payne's gray or black on your brush and simply keep on adding some tiny dots and some random patterns onto that bed background. There is absolutely no particular shape or size for these patterns. Just take out some paint on your brush and keep adding some tiny dots. Keep pressing the tip of your brush on that bed background. You can add some deeper values along the bottom line as well, then some onto the surfers. You can see the way I'm adding it, it is simply some dots and some small patterns using Payne's gray. When you keep adding those darker patterns, you will understand the way it is turning out. You will get some textures which will look like trees far away. Now I'm adding some along the bottom line, then a few on the surfers as well. This is how it has turned out, and I'm very much happy with the color and the texture. It's a very simple technique, and you will be able to create realistic textures with this technique. You can see how beautiful our island is looking. Actually, when I look at the painting, I feel like I could have added two more deeper tones under the island. Let's add a bit more. I actually should have done this earlier when I painted the background. I felt like I have added enough, but then when the painting dried, I think it all faded. It's not really visible. I'm just adding a few lines using phthalo blue underneath the island to show the reflection. If you already have enough deeper tones over here, you don't need to do this. You can completely skip this step. I'm just picking some deeper tone of phthalo blue, and I'm adding few lines only over here. I'm not going to add anywhere else. Just a few lines underneath the island. I really wish I would have added some more deeper tones while I was painting the background, but no mind, I think this isn't that bad. I will add few more tiny lines, a few over here, and also underneath the island. That task is done. Now, the only thing remaining is to add the wave for which you will either need white gouache or white watercolor. If you have gouache, the best thing to use this gouache because it is more opaque than watercolor, so it will really stand out. This is the one I'm going to use, it's a gouache that comes in a little bottle. It is from Royal Talens. The brand doesn't matter, we just need some white gouache or white watercolor. Now, I'm going to take out some paint on my brush, and first, I will add the wave. We had added a sketch earlier at the beginning, what isn't really visible, but we have that blue color in the background. We can just follow that line and add a wavy line using white gouache or white watercolor. If you're using watercolor, don't add a lot of water. We want that day stand out, so it shouldn't be transparent, it should be 100% opaque. I've taken some paint on my brush, and I'm adding a wavy line. You don't need to exactly follow the shape of your blue paint. You can modify the shape however you want to. Just ignore that blow paint if that is worrying you. Also, to make it look natural, you can add your white line a little into the brown area. You can see the way how I'm adding it. I'm not really following the blue shape, and I'm adding a wave towards the sand area. I hope I'm making sense. First, simply add a beautiful wavy line, then to add more textures, we can add some white dry patterns. First, let's finish this. I have added a basic shape. You can see how I'm modifying the shape. Wherever you feel like you need to tweak the shape a little bit, you can totally do that. That's a basic shape. Now, I'm dabbing my brush on a paper towel, and I'm just spreading the paint towards the sea to create some dry patterns. I'm just matching the paint. I don't have much water content on my brush, and I'm just dragging my brush towards the inner side. You see that? We're just trying to create some watery texture here that form new waves. Just keep rubbing and pushing and pulling all the paint towards the sea to create some dry white patterns. You see that? It's a very simple step. You just need to have some dry paint on your brush. It shouldn't be too watery. That's the only thing you need to be careful about. Now, if you feel like your paint is watery, you can dab it on a paper towel, and repeat be same process. Right now, I'm picking the paint directly from the jar. I'm not adding any water, so the paint is really dry, and I'm adding some dry patterns right about the line I have added. I will add some more on this area because the other end is really far. This is the area which is closer to us. Let's focus on this area. This is how it has turned out. Now, I'm picking some water, and I'm adding that with the gouache to turn it into a slightly watery consistency. It's not too dry, it's a bit loose. Now you've seen that, I'm just adding a few lines right next to the wave. This is just to make it a bit more interesting. These lines are totally random. It doesn't have any particular shape or size. It is more like a scribble. When you observe the sea, you will notice these random lines which depicts the water movement. I'm just trying to bring in a little more interesting feature to the water by adding few more lines. That's it. I think it is looking pretty nice right now. I don't want to add a lot. The is how it is looking right now. I'm pretty impressed. But before we wrap it up, there is one last thing we need to do. For that, we need a burnt umber color. First, I will just close the jar. I always have the habit of keeping it open, and it dries up pretty quickly. Anyway, now you see my smallest size brush, I'm picking a little brown and adding a tiny bit of Payne's gray with it. You can see the color. It is a very light tone of burnt umber. You can either use burnt umber acid-test, or we can just add a little of Payne's gray or black with burns in our brown and create a similar color. You can clearly see the color here. It is more water and less pigment. Now, using this color, I'm going to add a very light shadow following the line of the wave. It doesn't need to be a continuous line, you can break that in-between. You see that? I'm not adding it continuously. Now a little here, and also where the wave is turning. You see that? It's a really thin line. You can see the way how I'm adding it, and it's really lighter tone as well. The shadow will give the wave a three-dimensional feel, and the shadow will also have the wave really stand out. Earlier, everything was looking quite dull and faded, but right now, you can see the way how the wave is looking. It really got a three-dimensional feel, and is really standing out. But there are two things you have to be careful when you're adding the shadow. One, is the tonal value. It has to be really light. That's something you have to be careful about, and also the thickness of the line. It shouldn't be very thick. You can go with the similar thickness, so that it is not too prominent, and also if you take a closer look, you can see I have broken that line, it's not a continuous line. Add the shadow only where the wave was turning. This will make it look more natural. That's our painting for the day. Now, let's peel off the masking tape. Here's our first painting of the series, and I'm pretty happy with it, especially the color of the sand and the sea. The colors are looking so soft, and it is really giving me that beach vibe. I hope you all had a great time painting the summer beach. Thank you so much for joining, and I'll see you in the next painting. 7. PROJECT 02 - Speed Boat: Our next project is aerial blue of a clear blue sea, and it is one of my personal favorite from the entire collection. I love how simple and gorgeous it has turned out. Anyway, let's take a look at the colors before we start. For this painting, we are going to paint the entire background layer in a single go. So the first color you will need is burn cena. We'll be using a really light to of burn scena to paint that sand. First I will swatch out that color. Looks like I had some blue on my brush. Anyway, I will just make use of that paint on my palette. I'm not going to squeze out any more paint. Okay. So the first color you will near is Barn Sina. As I said earlier, we'll be using a really light tone to make it look like a white sand. Okay. So that's our first color. The next color you will need is Cobal creen. You can see that here. I've used Cobal creen for a larger area. This is the one I'll be using, this Cobal green from Shinhan. So that is our next color, which is actually the major color of this painting to bring out that tropical clear blue sea. We will need any kind of pastel blue. It can be teal or cobal turquoise or any similar color. The next color we will need is turquoise blue or Azure blue. I'm running out of turquoise blue. So instead, I'm using Azure blue. It is very much similar to turquoise blue, so you can either use this color if you have it or you can use turquoise blue instead. All besing that color over here. Now, the next color you see that beautiful blue at that topmost corner as thalo blue. So for the background, I'll sing burn Cena, some Cobal green, then some turquoise blue, and also some lo blue. Now, on top of that, to create that aquatic plants. You can see that cream plants on either side on the top and the bottom. For that, I will be using Sap cream and also a bit of indico to add the deeper tones. That is Sap cream, and the final color is indico. The indico I'm using here is from Shinhan. It's a really dark indico. Anyways, those are the colors you will need for today's painting. Here's a closer look. As you can see from the painting itself, the major color you will need is Cobal grain or any other basal colour. The rest of the colors you will need in very little quantity. Only Cobal grain, you will need quite a bit. Now, along with this, you will also need some white gah or white watercolor. You can see that wave here and also that texture on the water. Next to the boat. For that, you will either need white gah or white atic. I'll using guache, the one I've been using for all these paintings. If you don't have guache, that is truly okay, even white aca will work. That summarize all the colors you will need for today's painting. Now it's time to give it a try. Okay, so how my paper ready here? I'm going to start by adding a sketch. First, I'm going to add a line towards the bottom right corner. So this is where the land is. The rest is going to be the sea. You don't really need to add that line. It is just for us to understand where to add the colors. Next, I'm going to add a boat almost at the center. It's again a very simple board. You can just follow the shape I'm adding here. For now, you just need to add a simple shape like this. We can add the details later when we are painting. Now, the board is going to be white in color. Either we have to retain the paper white, or we'll have to use a white paint, which could be white watercolor or white guage later when we have finished painting the background. Or the next thing we can do is we can mask it out either by applying some masking fluid. If you have masking fluid, just apply that onto the shape and mask the paper. So that you can preserve the white color of the paper. Now, there is one method for the people who don't have masking fluid, which is our masking tape. This is my favorite method. Just take a small piece of masking tape and apply that on top of the sheape. Now, trace the shape using a pencil. Then we just need to cut out the sheape from the masking tape and stick it back onto the paper. So this is the method that I normally go for unless and until the shape is easy to trace. If it's a very complicated shape and if it's very intricate. This method doesn't really work. But here, the shape is really small, and it isn't that complicated. So you can just trace out and you can use the scissors to cut out the shape and you can stick it back. Okay. I hope the idea is clear. So if you don't have masking floud, you know what to do. Okay. So here's the boat. I'm going to stick it back onto the paper. So that area is preserved. Apply some pressure just to be sure there is no caps in between. Otherwise, when you're painting, the paint can seep in through and you won't be able to get a clean white shape. Okay. So our background is ready. When we are painting, we'll be adding some texture on the water to show the water moment. For now, this is all you need. Add in a shape of a boat, then mask it out, either using masking fluid or masking tape. Now, before we start, we need to keep all the colors ready. As I mentioned earlier, we are going to paint the entire background in one single co, which means you need to keep all the colors ready that we discussed earlier. You will need some burn Cena for this part. Then you will need some cabal crane, which is the color we'll be using around the boat at the center. Then after that, to add some deeper tones, we'll be using some turquoise blue and also some yal blue towards this corner. Keep all those colors ready. Not just that. We'll also be adding some aquatic plants on the top and the bottom. For that, you will need some sap green and a bit of indico to add the deeper tones. Before you start, keep all the colors ready on your palette. You will need some burn Cena, some sap green, some cobal crane, a bit of indico, then some turquoise blue and some to blue. Now, I'm going to start by applying code of water onto the end of your background. Just make sure your brush is clean and apply an even code. This is the brush I'll be using to apply the paint. You can use any of your bigger size brush so that you can apply paint onto a larger area quite quickly. Now let's make the background entirely wet. We need an even code, so keep running your brush multiple times. Just to be sure there is no pools of water in between. Now let's start with our first color. First, I'm going to apply some burn scena towards the bottom corner. But just be sure your brush is clean as we're going to use a really light tonal value of burn scena. Okay. See the color that I'm using. It is a really light tone. Just on to this corner, add in some burn Cena or brown, a, really light tone. Now let's clean the brush. I'm just making it smooth. That looks nice. Now I'm just making it lighter towards the top line, and I'm picking some cobal grain. First, I'm starting from the center. We can see the tona valley, I'm using here. That is really bright. Now as I'm approaching the sand, I'm making it lighter. Over here, make it really light. Now toward the other side, we can start applying more paint. Over there, we need a really bright tonal value. Copal grain is one of my most favorite color. I just love the look and feel of this color. Only over this area, you have to be a bit careful about as we need to make the color lighter. Now we can start adding more coal green toward the top. Using the same brush and picking more paint. A really brighter version, and I'm applying that onto the background. Now, let's clean the brush and go with turquoise blue. The color I'm missing here is azure blue as I'm running out of turquoise blue. These two colors are nearly similar, so you can either use one of them. I will clearly need some more paint. Well let me take out some. Now let's start applying that onto the top corner. We started off with a lighter tone of burn na. Then we applied Cobal cream. Now we are applying to a Cis blue. I'm cleaning my brush and I'm going with my last color, which is al blue? Okay, apply that onto the topmost area. So we started off with a really light tone of burn Cena, and now we're stopping with a really darker tone of cal blue. So that's a base layer. Now I'm cleaning my brush, and I'm going to pick a bit more cabal cream. And I thought I will make the background a bit more smoother. Right over here where it is mating turcos blue. So I'm just running my brush and I'm making it a smooer plant. Maybe we can add a bit more to make the color more brighter. So when you're doing this, there are chances you might pull off some turquoise blue into the cabal green background. That's totally okay. We'll be creating some natural textures by that. All right. So that's done. Now, the same brish, I'm going to pick a little of tercise blue. I'm going to add that over here and also on the other side to create the shadow of the boat. Go with the paint which is not too watery. And if you feel like your paint is really watery, dab it on a paper towel. Otherwise, it will spread too much. Now we can see the paint is just staying there. That is because the paint is not too watery. Okay, that's a shadow. Now, before the background dries, there is one more thing we need to do with this adding the aquatic plants. Let's quickly start with that. I'm going to add that over here and also at the bottom. And for that, I'm picking some sap cream. Now, this can be a slightly watery consistency. So I have taken the paint, and I'm just dropping that onto the background. See that. I'm actually smudging the paint so that it will look more natural. I don't want a very sharp and a solid sheat. See that. So keep smudging that paint into the background. All you have to do is pick the paint, which is slightly watery. Then press your brush against the paper and then keep smudging it. See that. Right now, I'm pressing my brush against the paper, and you can see the effect I have created there. This way, we are actually lifting off a bit of a paint, and it will create a beautiful effect. You can see that here. Right now we have different tonal values as we are lifting up the paint as well. So in a similar way, let's add some paint onto the blue area as well. As we have a darker tone in the background, as I'm dropping in green, I'm automatically picking some blue on my brush as well. So that's the color you're seeing right now. I haven't picked any blue paint. Okay. So I have added some plants on the topmost corner as well. Now let's pick some intco, and let's keep adding some deeper tones as well before the background dries. This is just to create some extra texture and some extra effect. Just drop that wherever you want to. But try to retain most of the green. We don't need a lot of deeper tones. The major color we need is green. Okay. I'll just add in a few here ash and also at the bottom. My background is about to dry, so I need to be real quick. I would suggest not to add a lot of patterns and make it too busy. Right now we can see here. I'm just muching the patterns. To make it a bit softer. I don't want them to be too prominent. So I will just quickly add few more patterns. Then I will smutch it to make it more softer. I'm using some turquise blue, and I'm going to add few patterns. So I'm just pressing my brush on that wet background. So this will automatically spread a little creating a beautiful pattern. They won't be too prominent. If you're already happy with the result, you don't need to add more patterns. And also if you feel like your background is starting to dry, don't add more patterns. They won't spread into the background, so they will appear really prominent. Okay, so I have applied some patterns. Now I'm cleaning my brush, dabbing that on a paper towel. And with that almost dry brush, I'm smudging the patterns. To give it a little softer look. Our background is nearly done. Now, before I leave it for drying, what I'm going to do is I'm picking a bit of turquoise blue, a slightly darker tone, and I'm just making that shadow more prominent. Along the same places that we added earlier, added a bit more darker line. Then smart jet to make it a bit softer. That's our background. I'm really happy with the way it has turned out. I really love the colors and the entire feel of it. Now we can leave this for trying, and after that, we can start painting the boat. Then maybe we can add a wave as well to complement that aerial view. I feel the beauty of this painting is obviously the colors that we have used here. I really love the way how we started with a lighter tone on the bottomost corner, and on the top corner, we used a darker tone. So it just went from a lighter to a darker tone and everything is complementing each other. Now when we add the final details, it will be even more beautiful. So let's take a short break and leave it for trying. The background has tried completely and the colors are still looking quite good. Now it's time to peel out this masking tape. Slowly peel it off. Only if the background has completely dried. We can see how I preserve that paper white. It worked like magic. Masking da really worked. There is not even a single drop of paint inside the boat. Our next step is to paint the boat. Obviously, it's going to be a white boat. We'd only be adding some shadows and some details. The rest is going to be paper white. Now let's start painting the boat. For that, I'm using my size number six ton brush. You can use any of your smaller size brush. Clean it tropi and go to really light tone of intco. For this step, it is really important to use any of your smaller size brash. We don't want thick bolt lines. We need somethin and delicate lines as it is quite far from us. Go with any of your smaller size brush or a brush with the pointed tip and pick up a really light one of tic or pshing blue or even paints gray, any color that you ever caught. Now, just in case if you couldn't really preserve the paper white if there is some paint inside your pot. There is absolutely nothing to worry. You can just take out some white gash or white vertcor. And apply a code of paint on it to cover up those mistakes. Sometimes you might have to apply two code to completely cover that up. Just pick some white quash or white watc and fill it up if in case there is any mistake. The shape is ready, now we can start painting. I already have some intc color on my brush. I'm just making it lighter. Now I'm adding a thin line around the shape of the boat. We can see the color. It is very, very light. Go the similar tonal value. I'm using indico here. If you don't have indico, you can use prussian blue or any other blue. As we're using a lighter tone, it doesn't really matter which blue you are using. First add ethan line around the shape of the board, using a lighter tone of blue. The tonal value of the color and the thickness, it is really important. Those are the two things you have to keep in mind. Now I'm picking a little more darker tone, and I'm going to add a square shape here. I will just fill that in with a metium tone. Just fill it up. It's more like a rectangular sheet, and you can fill that up. I have some gap around it. Now I'm picking a little darker tone, and I'm adding that onto the side to show the shadows. That's a second step. Now I'm picking some indigo again, a medium tone. And I'm going to add a window here. As this is a top view, the windows won't be completely visible. I'm just adding three different pieces. Let me zoom in so that we can clearly see the details. I think this view is better. It's the same shape of the boat. I mean the outer profile, and I'm adding that as three different pieces. There is a time gap in between. If you can do that, leave a gap, otherwise, you can just use some white and add that line back in. See that. Overall, it has an arc shape, and we have added three divisions, leaving a tiny cap in between. Now, right next to that, I'm adding two small squires, using the same color. Honestly, all the boats I saw on Internet, they are much more complicated. I just compiled a few details from different images and made a simpler version. Even though there are some details missing, I think it is looking pretty decent. I thought I will just keep it this way. Anyway, now I have taken a dark couton of Intego on my brush, and I'm adding another rectangular piece at the end of the boat. See that. It's a really really dark tone, and I'm adding a small piece at the end of the boat. Now, once this dries, we need to add outline using white as. Well let's lay this for trying and we can add that after this has dried. That is right. Now I'm going to pick some white case. This is the one I'm going to use. First, we need to add an outline for that small piece we have added right now. Then along with that, we will also need to add some texture on the water. That's our next task and the final task. Go with any of your smaller size brush or a brush with a pointed tip and take out that thick paint, which is opaque. Don't add a lot of water. This brush, even though it is size number six, it has got a really nice pond. It works just like a detailing brush. Now using that brush, I'm adding a tiny outline for this rectangular piece I have added. Make it as thin as possible. Don't make it too prominent. That's a outline and that's a boat. Next, I'm going to add some texture right next to the boat to make it look like a speed board. There will be some moment in the water. To show that moment in our painting, I'm going to add some dry white patterns on the water. Use any of your smaller size brush, pick some white guac watercolor, D bsh on a paper to, and turn your paint into a slightly dry paint, and just add two or three lines. From the rear side of the boat into the water. Just drag your brush. It doesn't need to look. It's a natural texture. It's the movement of the water. Simply add a line a line using white paint. It doesn't need to look like a perfect line. Just take out some paint on your brush and add a line. It can be a broken line. We just need some texture here. Okay. So go ahead and add that in. This is how it has turned out. You can see that's flashy water. It's a very simple and easy detail, but it made a lot of difference in our painting, we all liked it. Now, there is one last thing that we need to do, which is adding a wave at the bottom. Initially, I wasn't planning to add this. I just thought of leaving it as as it's an areal view and we already have made the color lighter. But then I thought it will be a little more interesting if we add a wave, so we can bring in some more texture and it will look more beautiful. Let's add the wave. You can either use bite ash or white particular for this step. But don't add a lot of water, go with a thick and opaque paint so that the wave will be really prominent. You see my size number express here. First, I'm going to add a basic shape. A very natural wave line. You can add that a little below the blue. Right where the blue and brown is meting. You can add in a wave line. Go an interesting shape. The color might not be completely visible as we have used a really light tone over here. Even though it is not completely prominent, it will still introduce a beautiful texture here, and that's all we need. It's an aerial view and this subject is quite far from us. That way, the subtle texture makes a lot of sense. First add in a wave, then add some dry patterns onto the blue side. There's some dry textures. For this step, try to use a dry paint. If you feel like you paint is to water, and tap it on a paper towel before you add these textures. So I'm just scratching and scrubbing and creating some dry patterns over there. It's not a complicated step. It's very simple. It is just that you should just have some dry paint on your brush. Okay, so keep adding those textures until you're happy with the result. And that's it. I that, we are done with our third project. As it's an area of view, we don't need to add a shadow for the w. We can just leave it as it. Okay? I'm pretty happy with the colors and the simplicity of the space. I really hope you all liked it too. Now it's time to peel off the masking tape. And here's a closer look of our painting. I cannot tell you how much I love this, especially the color combination and R can feel of it. It is really simple, yet so beautiful. I hope you all liked it. Thank you so much for joining, and I'll see you in the next painting. I. 8. PROJECT 03 - Seashells: Hello my lovely friends. I hope you all enjoyed the first project. Now it's time to try the second one. Our next project is a really gorgeous, yet a simple project. Honestly, this was an experimental project for me. I didn't realize it was not so good. Anyway, let's start by looking at the colors. Then we can get into the process. For this painting, we'll be starting off with the shell, not the sea and not the sky. For the shell, I'll be using a really light tone of Payne's gray to add those lines. That's our first color, you can barely see the color it is that light. If you don't have Payne's gray, just go with black. We'll be using really light tones, even black would work. We'll be just using a lighter tone to add those lines. Now come to the second shell, along with Payne's gray we'll also be adding a little of brown. The color I'm using here is Burnt sienna. You can either use brown or burnt sienna. Those are the two colors you will need for the shell as well as for the sun. For both shells, the major color is the paper white, for the bigger one, it is totally the paper white and just some lines using Payne's gray. Then for the second one we'll be just adding some brown color as well as some lines. The next two colors you will need is turquoise blue, as well as cobalt green. I'll be using a lighter tone of turquoise blue for the sky. Then for the CS4, I'll be starting off with turquoise blue and towards the bottom, I'll be introducing some cobalt green. Those are the next two colors you will need [NOISE]. That's turquoise blue, then you will also need some cobalt green or teal blue cobalt turquoise or any other color that you're using. Now if you don't have this color, there is nothing to worry. You can go and check the cobalt green section that I'm teaching you, how you can make your own cobalt green with the colors you might have with you. Anyways, those are the colors you will need for our second project. Payne's gray, Burnt Sienna or brown, then turquoise blue, and some cobalt green. It's a very simple color palette. Now, we can start with the process. Before we start there is one thing that I want to say. Initially, I try the same project a little differently. Here, as you can see, I only have one shell. There's one more difference for the horizon line if you look at it here. You can see this one has a very sharp line. Whereas for the project that I'm going to teach, the line is a bit blurry. Actually, I like both, but painting the sky and the sea together might be a bit tricky for the beginners. In that case, you can go to straight line like the second one. You just need to paint the sky first, then after that dries you can paint the sea. Whereas for this one, I'll be painting the sky then together our looping sea as well. Decide which way you want to covert. It is totally about your convenience and what you're more comfortable with. Both of them has its own beauty, and also one to shell if you want to go with just one shell, that is also totally okay. Feel free to go with whichever style you're more comfortable with. Now it's time to start with the process. First, I will add the pencil sketch. As you all have seen the project already, the major element for this painting is the shell, which I'm going to place right at the center. It's going to be a big shell and a small shell. That's our major focus element. Now, this is the shell am trying to draw. This one is a beauty. As I mentioned earlier, first we need to add the sketch. Then onto that we'll be adding these lines. You can see those perfectly shaped and perfectly spaced lines. This one is God's creation and is perfect. I will try my best to make it look like a shell. That's all I can say. Anyway, let's give it a try. Imagine you're taking a portrait photo of the shell right from the front. That's what I'm trying to draw. We need to add a basic shape of the shell. Then we'll also need to add those lines. I'm starting with the outer shape. It's not complicated I'm very sure you all can get it right. Start with the smaller inclined line. Initially when you're done with the sketch, it might not look that impressive but there is nothing to worry. Once you add those lines and once you paint the crown as well as the sea going to look a lot better. Just don't worry if you feel like it is not going right. I have been there, that's why I'm telling you. That's the outer shape. Now we need to add these lines, which is really important. At the bottom they are a bit wider and towards the top they're getting closer. See that? Try to add some little lines, but go with very light pencil sketch as we're going to use a really light tone of Payne's gray. This is just going to be a reference line, so don't make it super hard. Go with really light pencil sketch, which only you need to see. At the bottom try to go with an equally spaced line and towards the top make it closer. That's a pattern you need to follow. I love collecting shells, but I think I have never watched a shell this closely before. I was really shocked and surprised to see that magical creation. It is just perfect. Anyways, that is a full shell. Now, I'm going to add one more. Maybe before that, I will add the crown. This is where we have the sand go with an irregular line. Will be adding some shadows and some texture on the sand later when we are painting. Right now you just need to go with the irregular line like this. Next, I'm going to add one more shell. If you're happy with one that is totally okay. There is no need to add the second one. But if you want to challenge yourself, a bit more, why not, we'll try the second one. For this one, it is going to be a pure white shell. For the second one, I'm trying to introduce a bit of brown color on the top, like this one. We are going for a bigger white shell as well as a smaller brown, not completely brown, just a little brown tones on the top. I'm going to do the second one. The outer shape and the details are going to be exactly the same. It is just that the style you're going for a smaller size. Add a second shell, either on the right side or on the left side, or up and down, wherever you prefer. I have added the shell. I've another shell with me, which looks a bit more complex to try with watercolor. Maybe if I am trying the same painting with gouache, I can attempt this. For the white shell will only be adding some lines using Payne's gray. For the second one we'll be adding a little of brown color on the top. Then again, we'll be adding some Payne's gray lines onto it. That's what we're going to do. Keep some Payne's gray and burnt sienna already on your palette. I'm starting out with a smaller shell. First, we need to apply cold water onto the smaller shell. Use any of your smaller size, brush and apply a clean cold water. Don't add a lot, which isn't a shiny code. Now pick a lighter tone of burnt sienna or brown. We just need a little of paint. Don't add a lot of paint on your brush and make sure that it's not too watery. If it's watery, dab it on a paper towel and just add some brown shade onto the top. Can be new regular sheet and a little onto the bottom as well. Again, we don't need to add a lot of brown. Try to leave some white gaps in between. See that? I have left some gap on the top, then I have added an irregular brown line. Then again, less a gap and another brown line, then a little at the bottom. It doesn't need to have any particular shape or size. We're just trying to add some brown color onto the background. That's our first one. Now, meanwhile, that dries, we can go with a bigger shell for which we don't need to apply any water. We're going to directly paint. For the bigger white shell, we will only need to add some lines. For that you will need any of your smaller size brush. I'm using a Size 2 round brush. I'm picking a little of Payne's gray, a really light tone of Payne's gray. Add some water, and turn your Payne's gray or black into a lighter tone. It is good to use any of your smaller size brush or a brush with a pointed tip so that you can add these lines quite nicely. You can see the color I'm using. It is really light. Now, just about those pencil lines I have added, I'm going to add similar lines using Payne's gray. At the bottom the lines has to be a bit thicker, and towards the top we need to make it thinner. See that? That's the first line. Now, in a similar pattern, we need to add all the other lines. First I will add a thin line here just to define the shape. Now, let's call the rest. At the bottom, it has to be a bit thicker. Now I'm making it thinner. See that? You can clearly see the thickness of the line. That's why I recommend you to go the smaller size brush or a brush with a pointed tip, so that it can make it really thin and delicate over the top. See that? Just follow those reference lines you have added, and add all the lines. When you keep adding those lines, you might feel like the pencil line needs to be modified. The spacing might not be correct when you keep adding the thickness. In that case, just erase off your pencil line and add another one. Over here I felt like the pencil line needs to be modified. That's why I erased it. Now I'm adding the remaining lines. I have space for one more. That's it. Those are the lines. If you want to modify the shape of the line, so if you want to clean it up, you can do that right now. We can see clearly it is just a really light tone of Payne's gray. It's not a darker tone. This is the color you should be going with. Also you should be following a similar pattern when you're adding the lines. Now in a similar way, I'm going to add lines onto the second shell, the smaller one, using Payne's gray. But for that, we have a color in the background. That's only difference. It is the same technique. Just ignore the fact that you have some brown color at the background, and add in your lines. We have painted both the shell. This is actually the major task of this painting. The rest is going to be quite easy. If you have reached this point , well done my dear friends. The tricky part of the project is done. The next is just filling up the background as well as painting the sand. Now we'll have to wait for this to dry. Let's now take a chance. It might have dried already, but let's leave it for some time so that it has completely dried. That has dried completely. Now our next step is to paint the sand, for which I'm going to use a medium-size strong crush. This one is size Number 8. First I'm going to apply a clean coat of burnt sienna. Go with a lighter tone and apply that onto the entire area. If you feel like the color is really light, we can make it a bit more brighter later. But for the safer side, start with a really light tone so that it will look like a white sand. This is the color I'm using. Its burnt sienna from ShinHan. Now I'm going to apply that color onto the entire area first. You can use a medium-size brush or a bigger size brush. But be careful not to add any paint into the shelves. I have applied a lighter tone of burnt sienna onto the entire area. I feel like maybe I can drop in a bit more paint towards the bottom to make it slightly brighter, just at the bottom. I'm picking some more burnt sienna and I'm adding that at the bottom and I'm evenly spreading that into the background. That part is nearly done. Now before the background dries, we will also need to drop in some deeper tones right underneath the shell to show the shadows and some texture. That's our next task, for which I'm picking some burnt sienna I can, and I'm adding a tiny bit of Payne's gray to make it a burnt amber color. Now underneath the shell, I'm adding those deeper value. I'm not going to add a lot. I'm just focusing on the area right underneath the shell. Right over here, I'm dropping in a darker tone to show the shadows. This doesn't need to be in a particular shape or any particular way. Just add some thicker lines using burnt umber, or you can just mix that to create a darker tone of brown by adding a little of Payne's gray or black and brown or burnt sienna. The only thing you need to be careful about is to apply those deeper value before the background dries. Actually, it looks like this area is starting to dry. I'm just picking some water and maybe a bit of brown and I'm smudging that into the background. See that? Now before we leave this for drying, there is one last thing that we need to do or we're just adding some more deeper value underneath the shell to define the shape of it. Pick up the same color that you used earlier, burnt umber or a darker tone of brown. Now using that color, we're going to add a small arc shape on all of these sections. See that? It doesn't need to be perfectly shaped, just quickly add that small arc shape underneath all of those sections. See that? You can see the actual shell there, which has a similar detail along the outer shape. Roughly add that shape and finish off the shell. This is a big one. We need to do the same thing for the smaller one as well. I have few more sections left here. That's it. That one is done. Now let's do the same thing on the other one. You don't need to focus a lot on the shape. Just quickly add that in. That part is also done. Now we can leave this for drying. We're done with the shells. Now it's time to paint the sky as well as the sea. As I mentioned at the beginning, you can either go to the blurry line or a solid line for your horizon. Decide on what you want to go with, and also keep your colors ready. For the sky, I'm going to use turquoise blue and for the sea, I'll be using turquoise blue as well as cobalt green. Initially, I try the same thing on a wet-on-wet background. I made the background wet. Then I apply the colors on top of it. But then the blurry line, it started spreading too much and I wasn't really happy with the results. Then I try the same thing on wet-on-dry technique. Add and apply a coat water, I directly apply the paint on a dry background. The horizon line was looking much better when I tried wet-on-dry technique. You can go with any technique that you prefer. It can be the wet-on-wet, wet-on-dry. Maybe you can try that on a scrap piece of paper and just see what is working for you. Now, I'm going to start applying the paint. As I mentioned earlier, for the sky, I'm going to use turquoise blue, and to apply the paint, I'm using a flat brush. I already have all the colors ready on my palette. On the top, I will be using a medium tone then towards horizon line I will be making the color lighter. Now, here's the brush that I'm going to use to paint. It's a half-inch flat brush. I'm just making sure it is clean. Now, picking a medium tone off turquoise blue, adding in water, and turning that into a watery consistency. The color is ready. Now I'm going to apply this on the top of my sky. You can see the color, it's medium tone. Now I'm picking some water and as I'm coming down, I'm going to make the color lighter. See that? That is the sky. We won't be coming back so if you want to make it more brighter, you could do that right now. Maybe just on the top, I will add some more paint to make it slightly brighter. That's the sky. Now I'm picking a bit more brighter tone off turquoise blue and I'm adding that along the horizon line. Make sure your paint is not too watery. Add a straight line over there. This is where we get a blurry line at the horizon. Fix it with your brush. You can either use a flat brush or a round brush but don't put a lot of pressure. Gently, apply the paint. You can see that soft line at the horizon. That is exactly what we need. You can tag a brush on a paper towel and run your brush again so that you can prevent the paint from spreading more. That is turquoise blue. Now I'm picking cobalt green and I'm filling up the remaining area quickly. There is some amount of paint spreading on the right side. I'm just picking that using a paper towel. That seems fine. Now I will quickly fix it with a clean brush. This one doesn't have any paint. Now let's apply paint onto the remaining area. You have to be really careful, while you're applying the paint. Don't add any paint into the sand or into the shell. Maybe it is better to switch to a round brush while you're applying paint around the shell so that you won't accidentally add any paint into the shell. Carefully apply paint onto the remaining area and finish off your background. This is how the background has turned out. I wanted to add some more deeper tones along the horizon line. But in the background is starting to dry so I'm not going to take any risk. I will just leave it for drying. The background has dried completely and I'm pretty happy with the result. In the other version I tried, I use a solid and a sharp line for the horizon. I think I like the blurry line better because right now the whole focus is on the shell. Anyways, now it's time to go to the last step, which is adding some texture on the ground. To create that sandy texture, we need to add some rough patterns on the ground. First I'm going with burnt sienna. Once you have taken the paint on your brush, dab it on a paper towel multiple times, just to be sure the paint is really dry. Now, keep adding some small dry patterns on the ground. You have to make sure you're using dry paint and just keep on adding those patterns on the ground. This is just to give that sandy texture. You can add it to wherever you want to, you can add them around the shell as well as towards the bottom. There is no particular rule or method that you need to follow. The only thing is, you should be using dry paint so that you will get that grainy texture. Right now I'm using burnt sienna as it is. Once I have added some textures using burnt sienna, I will use a little more darker value. Keep on adding some textures onto the ground until you're happy with the result. I have added a few patterns using burnt sienna. Now I have added paint green to it to turn that into a slightly darker tone. Using that darker tone, I'm repeating the same step. Simply keep on adding some dry patterns onto the ground. You can dab your brush on a paper towel multiple times just to be sure your paint is dry. It shouldn't be watery. If it's watery, you won't get these grainy patterns. I have got enough textures. Now, before I wrap it off, there is one last thing I'm going to do. I have put up some darker value of brown on my brush. Now using the tip of my brush, I'm simply adding some tiny dots onto the background. This is just to introduce some more textures. See that? Keep adding some tiny dots onto the background. You can add them wherever you want to. I'm focusing more on the area closer to the shell. It is just a teeny tiny dots. You can see how I'm adding it. I have taken some darker tone of brown on my brush and I'm simply adding some teeny tiny dots to create some texture. See that? Keep repeating the same step until you're happy with the results and that will be done with our third project. Here is a closer look at the results. You can see how beautiful those textures and the shells have turned out and even that blurry background. Everything's looking so beautiful. I'm really happy with the results and I hope you guys are happy with your painting too. Now it's time to peel off the masking tape. Here's our third project. To be honest, this was an experimental project, but I absolutely love the way it has turned out. I hope you all loved it too. Thank you so much for joining and I will see you in the next project. 9. PROJECT 04 - Deep Blue Sea: Our next project is a beautiful deep blue sea. For a change, we are not using cobalt green today. Anyway, let me quickly take you through the colors you will need. As you can see here, it is mostly blues. For the sky, the color I'm using is cerulean blue. You can use any other color of your choice. It can be turquoise blue or any other blue. We just need a bright blue for the sky. Then for the sea, I'll be using center turquoise blue. It is okay if you want to use turquoise blue for the sky as well. On the top, we'll be using a medium tone, and towards the bottom we'll be using a darker tone. Then to add some shadows on the clouds, we'll also be using some indigo. I will start with cerulean blue. This is the one I'm going to use. It's in a terrible condition. It's high time I need to get a new tube. Anyway, that's the color I'm going to use for the sky. You can use any other blue. It could be turquoise blue, cobalt blue, ultramarine blue, Prussian blue, or any other blue of your choice. Leaving out the shape of the cloud we'll be applying cerulean blue or any other blue onto the entire sky. That's our first color. Now the second color is turquoise blue. I already said this earlier, we'll be using turquoise blue for the sea. We'll be starting with a medium tone then we will make it darker towards the bottom so that's going to be the background layer. Then onto that, we'll be adding some deeper tones using indigo. I mentioned about this color in the color palette section. This one is actually azure blue, it is not turquoise blue but it is very much similar to turquoise blue. The pigment number is almost the same. It is just a slight difference in the ratio. For turquoise blue, it is PB 15:1 whereas for this one it is PB 15:3. That's only difference. I'll show you a lighter tone of the same color for you to understand that better. You see that? It is quite similar to turquoise blue. I was running out of turquoise blue. That's why I'm using this color. Coming to the last color that is indigo, we'll be using indigo to add some deeper tones onto the sea as well as the shadow of the clouds. You can either use Payne's gray or indigo. Both of them will work. The one I'm using here is from Shanghan. You can use indigo from any brand. This one is a little darker, so using indigo from Sennelier or any other brand it will be a little more bluish. Those are the colors you will need. You will only need three colors. If you are choosing to use turquoise blue for the sky as well, it will be only two colors. You will need a blue for the sky, then turquoise blue for the sea. Then to add the deeper tones you will need indigo or Payne's gray. Those are the colors you will need. Now, let's quickly give it a try. For this painting, we will need to add a sketch which is actually the shape of the cloud. I'm starting by adding a horizon line which is right at the center of my paper. Add a line maybe slightly below the center. That's a horizon line. Now we need to add the shape of the cloud, which is towards the bottom. You can go the similar shape or a different shape of your choice. We just want a big cloud, a long cloud at the bottom. Feel free to modify the shape if you want to take it a little more into the sky or if you want to expand it, that's totally your choice. I'm starting by leaving a little gap on the left side and then it is lower at the center. Then I'm making it higher towards the right side. Make it as interesting as possible, so try to add different kind of shapes and sizes. That's how we sketch, now we can start painting. I have the colors ready on my palette. I have cerulean blue which is the color I'm going to use for the sky then I have some indigo [inaudible] to add the shadow for the clouds. Keep those colors ready. Let me show you the indigo I'm using. Again, it's also in a terrible condition. I will need to get cerulean blue as the last indigo. I'm merely running out of those three colors. Anyways, let's start with the whole painting. For the sky first, I'm going to apply a coat of water. For that, I'm using my size number 12 round brush. This time I'm not using a flat brush. Make sure your brush is clean and apply that around the shape of your cloud. Don't add any water into the cloud. That's why I'm using a round brush so that I can carefully follow the shape and now I'm just filling up the top. For the major part of the sky, we are going to use a solid color. My background is evenly wet, now we can start applying the paint. Decide on which blue you want to go with, and then apply that onto that entire area. To apply the paint I'm using my size number 8 round brush, so I'm just keeping this one aside. Let me pick my other brush. Every time you pick your brush, make sure it is clean. I'm adding some drops of water and I'm turning cerulean blue into a medium tone. Start applying that right from the cloud. You can follow the outline we have added already and apply paint over there then gently take it into the sky and towards the top. See that? We can fill it up. Only towards the left corner where I have left some space. I'm planning to make the color a bit lighter. On the top, I'm following the same tonal value. Without adding any paint into the cloud, gently fill it up. Only onto this corner, I'm making the color a bit lighter. I'll clean my brush. With the clean brush, I'm making the sea lighter. This is just to give a little difference in the sky so on the top we have used a similar tonal value. Only on to this corner, we made it a bit lighter. That's the sky. In case you want to make the color more brighter, if you want to modify the shape of the cloud, you could do that right now. I'm not really happy with the shape at this part, so I'm just matching the paint using a clean dry brush. I feel like the shape is really sharp over there. Just to fix that, I'm missing a paper towel and I'm gently picking up the paint. That looks fine. That is just the first part of the sky. We need to paint the clouds, but before that we'll have to wait for this to dry. Then we'll add a coat of water onto the cloud and we'll be adding some shadows onto that. Let's take a small break and come back when the background has dried completely. The sky has dried completely. Other than this little part here, I'm pretty happy with the color and the way it has turned out. Anyway, let's go the next step which is painting the clouds. We need to apply a clean coat of water onto the anterior cloud. For this step, use any of your medium-sized brush or a [inaudible]. Well, before you apply a coat of water, make sure your brush is clean. When you're making your background wet try to leave a tiny gap on the outer shape, otherwise we might actually add some water onto the blue part and we might end up ruining it. Be very careful when you're adding water. Just a tiny gap, then you can fill up the rest. You see that? I'm not adding water onto that outer shape. I'm leaving a teeny-tiny gap and I'm filling up the rest. That part is evenly wet right now. To add the shadows you will either need indigo or Payne's gray, so just pick up a tiny amount of paint. Don't add a lot of water. Go with the paint which is not too watery. If it's too watery, it will end up spreading a lot. See that? Go with the paint which is not too watery and keep adding that onto the white part. There is no particular method or rule that you need to follow here. Simply keep on dropping that medium or lighter tone of indigo or Payne's gray onto the white part. See that? You can already see that gorgeous cloud there. Just watch out the tonal value, don't make it too dark. Go with the similar tonal value and just add in that where you're randomly onto the cloud. To make it a bit more dramatic and interesting, maybe you can use a bit of darker tone in between but not on the entire cloud. Right now I have this lighter tone throughout the cloud. Maybe if you want to, you can pick up a slightly darker tone and just drop in that as well. See that? This is just to make our cloud more interesting, but if you're already happy with the result you can just leave it as it is. That's our cloud. I'm pretty happy with the way it has turned out. To get that cloudy feel you need to leave most of the paper white, so don't overdo. The moment you feel like you're happy with the result, that's it. Just call it done and leave it for drying. That has dried completely. I'm quite happy with the cloud and the sky. When you paint the sea, you will get a real feel of it. Obviously, our next task is to paint the sea. For this painting, we're not going to add any details along the horizon line. We are going to have a clean straight line over there. To paint the background, I'm using my flat brush, and the color I'm going to use is azure blue. I'm using azure blue because I'm running out of turquoise blue. For this exercise you can use turquoise blue and if you have azure blue and if you want to try that, that's totally okay too. I'm going to take out some paint onto my palette, and then over the top I will use a medium tone. Then towards the bottom, I'm going to make the color darker. You don't need to apply a coat of water, you can directly apply paint onto the dry background. I'm using a flat brush here. If you have a flat brush, go with that, or use a round brush. I'm adding two drops of water and I'm turning that into a medium tone. Let's apply that along the horizon line, so try to go for a straight line here. Gently fill that up. You can see the color, it's a beautiful blue. I think you can already see the contrast here, that white big cloud and the beautiful deep blue sea. This is what I mentioned earlier. When you start filling up the sea, you will get to enter your feel and mode of this painting. See that? It is starting to look so gorgeous. I'm going to quickly fill up the bottom. Right now, I have used a medium tone. Towards the bottom I'm using a darker tone of azure blue and I'm going to fill it up. That's the base layer. I think it is already looking quite pretty. The colors are looking so good. Maybe I will make this area a bit more darker. Just adding some paint only at the bottom, then I'm spreading that into the background. Now, before the background dries, we need to add in some more texture to create that movement of the water. Right now, this is just a flat layer. For that, I'm using a round brush. You can use any of your smaller brush or medium-sized brush. This one is size number 6. Now, I'm going to pick some turquoise blue again. This time, I'm not adding a lot of water, it's a darker tone. Now, I'm simply adding some lines at the bottom using that darker tone. It can be any kind of lines, some of them can be thick, some of them can be thin, and it can be of any length. See that. So simply keep on adding some lines using a darker tone at the bottom. This is just to create some texture. Don't worry a lot about making them look perfect, simply keep on adding those lines before the background dries. The reason why I'm saying not to worry is that this is just one set of lines. Once the background dries, we'll be coming back with another set, which will make it look more beautiful. Right now, our task is to add in as many texture as possible to the water to bring in that feel of movement, otherwise, it will look quite flat and lifeless. It wouldn't look like water if we don't add these lines. Adding these lines are really necessary. Now, in a similar way, I'm going to add them onto the top part. But over here, I'm not using a darker tone, it's a bit lighter than the color I used earlier. Simply keep on adding as many lines as you can onto the wet background and fill it up. It can be some thin lines or some thick lines, it can be long or short, but just add them however you can and fill it up. This is how it has turned out. We have added a slight texture to the water. It isn't a lot, but we still need to add more texture while the background has dried completely, so let's take a short break and come back when this has dried. Now, we are about to go to the last step. Now, this step is also about adding enough of lines onto the background to create more and more texture. Right now, the ones we added earlier is not that prominent because we added them on a wet background. I'm starting off with a darker tone of turquoise blue first, and I'm adding some lines at the bottom. For this step, the only thing to keep in mind is darker and thicker lines at the bottom and thinner and lighter lines towards the horizon line. That's our thumb rule. Right now, I'm seeing a darker tone. They are short and they are thick as well, see that. In a similar pattern, you can add in as many lines as you want at the bottom. When you add the first few lines, you might not be really happy with it, but trust the process and keep going. But when you add quite a few of them, you will start to see a beautiful deep blue sea appearing right in front of you. Just trust the process and keep going. Just keep in mind the thumb rule, darker and thicker lines at the bottom, thinner and lighter lines towards the top. Well, let's quickly fill this up. You can see here, I have filled up the bottom part. You can also notice that I have left a tiny gap between these lines, that is what makes our sea look more beautiful and realistic, so don't add them too close to each other, try to leave a tiny gap like this. Let's keep going and keep adding more and more lines, and let's fill up the sea. For now, I'm going to leave the bottom part as it is, and I'm going to start with the top. If you remember the thumb rule, we have to use a lighter tone towards the top, and as we're coming down, we can make it more darker. This way, you'll be able to see the gradient as you paint. Pick up a medium tone of turquoise blue and keep adding some shorter lines and fill up the entire sea. Remember to leave a tiny gap in between, don't add them too close to each other. We need to see that background color in between, and that's what will bring some realistic factor to our painting. Keep going and keep filling it up. Let me tell you, this is just to add some texture, so just don't worry about getting it perfect. It doesn't need to be of the same size and the same shape. Even if you use different tonal values while you are adding these lines, that's totally okay. Because unknowingly, those things are going to add a lot of realistic character to your painting, so there's absolutely nothing to worry here. Let's keep adding these lines and let's quickly finish up the painting. Right now, I have reached almost 3/4 of the sea, which means I need to make the color more darker. I'm picking a much more darker version of turquoise blue, and I'm keeping on adding more lines as I'm approaching the bottom. See that. You can clearly see the difference in color. On the top, we have used a medium tone. Right now, it's a bit more darker. But the technique is the same, we are just adding similar lines, it is just that the tonal value is different. Over here is our deep blue sea. Now, there is one more task left, which is, again, adding some lines, but this time, we're using indigo. We want a really darker tone to create some prominent lines. It is, again, the same technique. We are adding similar lines, but this time, the color is much, much, much more darker. Now, we're not going to touch the top part, we are going to leave it as it is; we have got a nice texture there. We are adding these lines only at the bottom, which is closer to the masking tape. Keep adding up your lines until you feel like you have got that moment in the water. At any point, when you feel like you have got enough texture there, you can stop your painting. Before I add the rest of it, let me quickly show you how to add these lines. See that. It's a very simple line, there's nothing particular about it. You can start with the tip of your brush, then towards the center, apply some pressure and make it thicker. See that. Using the tip, add a thin line, then make it thicker at the center, and then just leave it. Let's go ahead with the last tone of adding these lines. You can clearly see here none of the lines look perfect, they all are super random. But all together, they are bringing a nice texture to the sea, and that is exactly what we need. I'm quite happy with the result, so at this point, I'm going to call it done. If you want to bring in more texture, you could do that. That's my deep blue sea. It's a very simple painting with a minimum color palette, as well as a minimum detail. There isn't a lot of colors or details involved in this painting, but still, it has a beauty. The major attraction of this painting is obviously the cloud. I hope you all liked it too. The texture of the sea has come out pretty nice. Maybe to make it more dramatic and interesting, you can add in more deeper tones at the bottom and maybe add some more prominent waves as well. Just give it a try if you are yet to try it. Now, it's time to peel off the masking tape and have a look at the finished painting. Here is our deep blue sea. I hope you all loved your painting, and I hope you all enjoyed the process as well. Thank you so much for joining, and I will see you in the next painting. 10. PROJECT 05 - Sea Breeze: Our next project is simply a beautiful day by the beach. Here is the painting. The major element is the grass that you see on the left side. Other than that, there is no much details. Let's start by looking at the colors you will need. As you can see here, I have gone with a simple gradient for the sky and the color I'm going to use is a cerulean blue. You can go with any blue type of color. It doesn't need to be cerulean blue, it can be Prussian blue or cobalt blue or any other blue. You can even use turquoise blue if you prefer that. That's our first color. We will be starting with a medium tone on the top. Then as we're coming down, we will turn that into a lighter tone. That's how the sky is going to be. Now coming to the second color, it is turquoise blue. For the sea, I'll be using two colors, one is turquoise blue, as well as some cobalt green towards the bottom. That one is turquoise blue. Now we need cobalt green or any other pastry blue or green. That's the third color. To paint the sand, I'll be using burnt sienna, a really light tone. Then onto that, I'll be adding some deeper tones here and there to create some texture. You can either use burnt sienna or brown or even yellow ocher will work. That's our fourth color. Now the next one is the green, you can see I have a small mountain far away, as well as some grassy lines on the left side. For that, you will need a lighter green as well as a darker green. The lighter green is leaf green. That's a color I have as of right now. This is the one. You can easily create a similar color by adding a little of lemon yellow to sap green. Obviously, the next color is sap green. That is the color I'll be majorly using for the grass. Along with that to add the deeper tones, you will also need some pastry or indigo. See that? You can see some darker tones in-between. For that, I have used indigo. That summarized all the colors you will need, but you will also need some white gouache or white water color to add the texture on the sea. While there are seven colors for this painting, I think we haven't used these many colors for any of the other painting. If you want to reduce one color, maybe you can just use turquoise blue for the sky so that will leave you six colors. Those are the colors you will need to Project 5. Now, let's give it a try. I have my paper already here. First, I'm going to start with the sketch. The sketch is quite simple. You just need to add the horizon line, then a shoreline as well. The horizon line can be a little below the center of your paper, a little more than half is going to be the sky, and the rest is the sea and the shore. Let's add the shore line next. It's just an irregular line, you can go with any shape. That's the sketch. I think I will just make this line a little more lower and I will erase the other one. The sketch is ready. While you're painting, we'll be adding so many crazy lines on the left side, which you don't need to add right now, we can do that when we're painting. This is all the sketch you need. Now we can start painting. We already spoke about the colors, so pick any blue tat you prefer for the sky. Now we'll be clear with the wet on wet technique, which means you will have to apply a coat of water onto the entire sky before starting and I have the color already here. Using my one-inch brush, I'm applying a coat of water onto the entire sky. I just want an even coat. I don't want a lot of water. We just need a shiny coat the water on the entire sky. Just run your brush multiple times to be sure there's no pulse of water. To apply the paint, I'm using my half-inch flat brush. With a flat brush, I'll be able to get a better gradient. But if you don't have flat brush, it's totally okay, go with a round brush. I'm taking a medium tone of blue on my brush and I'm applying that on the top. As I'm coming down, I will make the color lighter. You can see the blue, it is pretty bright. I'm adding that almost towards the center of the sky and have a center. Now I'm cleaning my brush and I'm dabbing that on a paper towel. Otherwise, it'll be too watery. We already have some water on the background. Now keep running the brush in a back-and-forth manner, make it a clean blend so you can see the color towards the horizon line. It is quite light, and on the top we have a medium tone. Now keep running your brush in a horizontal way until you have got a clean blend. That's how this sky has turned out. As a single gradient sky, as we're going to add some details on the foreground, I thought of keeping this sky quite simple. Now we can leave it for drying. The sky has dried completely. Next, we're going to paint the sea for which you will need to turquoise blue and cobalt green. Along the horizon line,we'll be using some turquoise blue. We would only need a little. Right after that, we'll be using some cobalt green. Then towards the bottom that we had this sand, we will be using a lighter tone of burnt sienna. Keep the colors ready. We will need turquoise blue, cobalt green, and burnt sienna or brown. Now, let's start painting it. I'm starting over with turquoise blue. I already have a little paint on my palette, that's enough, and to paint I'm using my round brush, the Escoda size number eight round brush. I'm picking some turquoise blue and I'm adding that along the horizon line. I want a straight line here, so I'm being very careful while I'm adding the paint. That's turquoise blue. We just need a little along the horizon line. Now, I'm going to wash out the paint from my brush and I'm switching to cobalt green right away. Apply cobalt green and blend that with turquoise blue. Again, just add a little. Let's wash the paint again. Now we're going to make it lighter. I just have some water on my brush. Now I'm making this area lighter. See that? Now, I'm leaving that as it is and I'm going to switch to brown. You will have to go with a lighter tone. It can be the brown or burnt sienna. Just pick a little of paint and add a lot of water and turn that into a lighter tone. The color that you're using is really important. Don't make it too dark. Go with the similar tonal value or it can be even more lighter. As I'm about to make cobalt green, I'm making the color lighter. See that? It doesn't need to look perfect. It doesn't need to be a smooth, even gradient. As we're going to add some white texture there, we'll be adding a wave later. Those things doesn't really matter. Right now, our task is to only apply the colors onto the background. That's our base layer and there's one more thing that I want to do. First, I'll fix these corners. That seems fine. Now before this dries, I'm going to drop in some deeper tones onto the bottom just to create some texture. With the same brush and picking some more burnt sienna, a slightly darker tone, and I'm simply adding some random patterns, just some little dots and some small lines. I'm adding them onto the bed background. There is a strong line there so I'm just cleaning my brush and I'm just matching that paint to make it a little softer. Let's add some at the bottom. These patterns doesn't need to have any particular shape or size. They are super random. It can be some tiny dots and some tiny lines. We are only trying to create some texture here, but don't go overboard and add a lot. You can see the way how I'm adding it. I'm just adding them in a very random manner. That's how it has turned out. I'm pretty happy with it. Now, there's one more thing we need to do before we leave it for drying. We need to add some texture for the water as well. For that, I'm picking some more turquoise blue, a little darker tone, and I'm adding a few random lines. Again, this one also doesn't need to be perfect. We are only trying to create some texture here. Later we'll be adding some dry patterns using white. Right now we are trying to create some texture in the background, which doesn't need to be perfect. As we're applying them on the wet background, they'll be slightly blurry when the background tries and that is exactly what we need. That seems okay for now. I'll just make this horizon line straight and that's it. Now we can leave it for drying. We can add the remaining details while the background has dried completely. That is dried completely. Now the next task we are going to worth as adding wave. For that You will either need white gouache or white watercolor. I'm going to add a wave right over here where these two colors are meeting. It's going to be a simple task. You can go with any opaque white paint. It can be the watercolor or gouache. We'll start by adding a wavy line and irregular line, then we can add some trip patterns as well. I'm taking out some paint onto my palette. Now, I'm going to add a line. If you want to can start with a pencil sketch, if you feel that is more comfortable for you, there is nothing much complicated here, it is just a simple irregular line. Somebody had that, way before so you can add a quick line, then you can make it thicker using more paint. Right now I have added a simple line. Now I'm making it more thicker and more prominent by adding more white gouache onto it. Quickly add that line and make it a little thicker. I have added the line. Now, I'm going to add some type patterns. They got a paper towel, dab the brush on it, and then keep adding some trip patterns on the upper side of the line. The low part has to have a nice clean line, and the upper part onto the scene you can keep adding some dry patterns like this. The source of super random you can keep adding some dry patterns. It doesn't need to be in a particular way. Once you start adding those textures, it will slowly start to look like a wave. We'll see that farming and writes transduction. Keep adding those textures, and along with that, we can also add some lines. I'll just show you how to do that. What about virtual white, you can simply keep on adding some lines as well, along with the dry textures. This will make our sea look more beautiful and realistic. Just keep adding some random thin lines. You can see them here. Look at that. Keep adding them. For this, you can add your drops of water and your white gouache. If it's too dry, you won't be able to add these lines. Just one or two drops of water that until white gouache and keep adding some lines. You can keep going with this step until you're happy with the result. It has turned out, I'm already very happy with their side. It looks so beautiful even at this point. Now we're going to add the grassy lines on the left side. We'll be adding them somewhere over here. I'm just going to concentrate more on the right side. Adding another wave far away, so go with the dry paint and add not so prominent wave. This doesn't need to be too thick and bold. Go the dry paint and add a wave far-away. See that, it is not too prominent wave. You should be adding your wave in a similar way. For some reason, I find it more comfortable when I'm adding the curvy lines from the left towards the right. That's why I'm adding those classic pattern on the left side. If you prefer the opposite wave, we can add the classic pattern on the right and add the wave on the left side. If you're left handed, you will be more comfortable adding them on the right and curving them towards the left. I hope that makes sense. Anyway, that is our next task. But before I go with that, I'm going to add a light shadow underneath the wave. Will be adding along the bottom part of the wave. For that I'm picking some bunsina I can. I like it though. You have to be really careful not to go to a darker tone, go to medium tone, or a lighter tone. Now add a thin line, and then either way, that's a bit dark. I'm adding some more water to make it lighter. Go with a lighter tone and add a line. It doesn't need to be a continuous line. Break that in between. This would make it more realistic. I will add towards the left side as well. Be really careful about the terminal value. If you're using a darker tone, it will look unrealistic. Go with the similar tonal value and add an unbroken line. It's just a simple step, but it will add a lot of impact on to your wave. It will be more three-dimensional. That's done. Now, we are going with the last step, which is adding the grassy lines, and for that you will need a little cream and sap green. I have leaf green and sap green here. You're going to find something curvy lines on the left side. Take out all your cream,.and along with that, we will also need a brush with a pointed tip to get the best lines. Have taken out some sap green, now I will take out and liquid asphalt. Have all the colors ready. Now to add the grassy lines, I'm going to use a brush with a pointed tip. The one I'm using here, a size number six round brush. It has got to really nice point. This one just works perfect. If you want to go for detailing brush or a smallest size brush, just go with that. We want to brush that helps you get some thin pointy lines that's all matters. This one is size number six from civil brush. Now I'm going to add some long curvy pointy lines. Right now it has sap green on my brush, but you can keep switching from leaf green to sap green. You can keep adding those lines. When you have wading tonal values, these crafty lines will look more natural and more realistic.It is good to use varying tonal values of green. At some places you can use a lighter green, then in-between you can use sap green acidus. Right now I have leaf green on my brush and I'm adding some lines at the bottom. Also covered different heights that we hide is another factor which makes it look more natural. Now wherever we have those waves in the background, so these areas. It might be a little difficult for light-speed possible especially if you're using a lighter tone like this. But don't worry, we'll be adding some deeper lines as well so that can be easily covered. I don't don't focus on those little details. Will be fixing that later. For now, you can keep adding as many lines as you want. As I mentioned earlier, I'm going to focus on the left side. But you can compose your painting however you want to. I'm going to add some more lines using leaf green, and then other switched your sap green, then I will add more grassy lines on the side. You can see the leading height to highest steal. Some of them are gone up into the sky. See that? It is this little element that adds a lot of value to a painting. It will make it look more natural and realistic. Playing with different heights is really important for our painting to have a natural feel to it. That's something to keep in your mind while you're adding these grassy lines. Now, I'm going to switch to a darker tone and I'm going to add them over here. This is just to hide the white color in the background. Right now I'm using sap green. Maybe I will add few longer lines first and then I will come back with a darker tone to hide the white color. See that? In between, go with a darker tone. Earlier we had used lighter green here. Now I'm adding some nice curvy lines to make it look more natural. See that? These freehand lines can be really easy for some people, as well as very tricky for some people. In that case, for the longer one, you can use a reference line. I mean you can add a pencil line. Then you can follow that using your brush. Or you can try adding similar lines on a scrap piece of paper and just get that muscle movement. When you keep adding a lot, you will automatically get that right. You'll be more confident in your brush movement. Try it on a scrap piece of paper if you're not really confident with these lines, then add it on your paper. Because these are the major elements, we don't have any other foreground element in our painting, so these lines are quite important for our painting and they have to be a little neat. Just try it on a scrap piece of paper, and if you're not getting it right, just skip it. No problem. At the end of the painting, we'll be adding a mountain far away, so you can add a similar one on the left side as well if the lines are not working for you. That way you can fill up the left side as well. Anyways, this is how it has turned out. Next, I'm switching to a darker tone. We need to cover the white areas. For that, I'm using a darker tone and I'm going to repeat the same step. I'm picking some sap green and mixing that with a bit of indigo to create a darker tone. Using the same brush, I'm going to add more lines, especially on the area where I have those white patches in the background. See that? This way we can easily cover up that. Earlier, the light green wasn't really able to cover that completely and that's why we're using a darker green here. Also, it will add another tonal value and it will make it look more natural, so it's a win-win situation. Let's go with a darker tone of green. Let's quickly add some more lines. This is to bring in another tonal value, as well as to hide these white marks in the background. Along with that, you can add some nice curvy lines. See that? That's going to make it more interesting. Let's quickly do this. You can see the right cluster we tried to cover this part. Similarly, we need to add some darker tone on the left side as well. Just like we did earlier, you can add some longer lines in between to make it look more natural and realistic. Let's do this, and let's finish it off. I actually feel like it is better to fill up these gaps. I really love the way it is looking on the left side. I'm thinking to fill up those gaps. If you're happy with your painting, there is absolutely no need to do this. I just felt like it would be nice to fill up these gaps. I'm using some light green and I'm adding few more lines only at the bottom. I'm not making them longer. I will just add them only at the bottom just to fill up that bottom line. Now looking at your painting, if you feel like it is nice to have some gap in between, that is looking better, just leave it as it is. You don't need to fill up those gaps. Because you are an artist, you will have a better opinion about your painting. That's totally okay. You can have a different opinion and it can just go with that. Anyways, I'll quickly add few more longer lines. Some nice curvy lines up into the sky. Maybe one more at the bottom. That's it. I think it looks pretty nice. Now there's one last detail that we need to add. We're just adding a small mountain far away. I'm going to add that somewhere onto the right, somewhere over here. It's going to be super tiny. Now, if you haven't added the grassy line, you can add a similar one on the left as well. First I'm picking a lighter green and I'm adding a mountain. That's the size I'm going with. Start with a lighter green. It can be a lighter tone of sap green or you can use leaf green. Now onto this, I'm just going to drop in some darker value. This one has indigo. I'm just adding some dots and some random pattern, leaving some lighter green in the background. I'm not completely covering that up. That's it. We have a small mountain far away. Now, depending on how much space you have left on your horizon line, we can add another mountain, maybe towards the left or at the center. Those things are two clear choice. As I have added plenty of lines, I don't have any empty space, so I'm just going to go with one. Anyway, that's our painting. I'm really happy with the grassy pattern here, and also that small mountain that pop-up green is adding a lot of beauty to the painting. Now it's time to peel out the masking tape. Here is our painting. I absolutely loved it. It's a very simple yet a gorgeous painting. I hope you all enjoyed it too. Give it a try for you to try it. I'm very sure you will love it. Thank you so much for joining. I will see you soon with the next project. 11. PROJECT 06 - Emerald Sea: Our next painting is my absolute favorite from the antique collection. This place might be familiar to you or some of you might have traveled there. It is Phi Phi Islands from Thailand. It's a beautiful place and a beautiful painting to explore to. Anyway, let's start by looking at the colors. There is nothing new. It's all the same colors that we've been using for the other projects. I will start with the color that I'm going to use for the sky. The color I have used here is turquoise blue, but you can use any other blue of your choice. You can even use any other pastel blue. I want a different sky, that's why I went in with turquoise blue. This one is from ShinHan. This one is more like a pastel color. Your turquoise blue might look a bit different from this, but that's okay. If you want to pastel color, you can add a little of white or just go with a lighter tone by adding some water. That's the color I'm going to use for the sky. Now coming to the next color, and that is cobalt green, which is the major color you will need for this painting. You can see almost half of the painting is cobalt green. That's the color we're going to use for the sea to create that tropical vibe. You can use teal or cobalt turquoise or any other similar color that you've got. Or you can mix and create a similar color. I have included a video called cobalt green. There you'll find all the information about how you can create cobalt green if you don't have one. This is the one I'm going to use. It is from the brand ShinHan. It's a beautiful pastel bluish-green. I love to use this color for tropical beaches and clear blue water. Now, coming to the third color, that is Taylor blue. I won't be using blue as it is for the painting. I'll be mixing that with some sap green to create a bluish-green. I will show you how you can create that. First, let me swatch out the color. Again, it doesn't need to be Taylor blue. You can use any other blue you've got. It could be Prussian blue, cobalt blue, ultramarine blue, or any other blue. We'll be just mixing that with sap green. Let me swatch out sap green as well. Then I will show you the mix. I have some green here. This one is also from ShinHan. I love this green. That is Taylor blue and sap green. Now, let me show you the color that you will get when you mix these two colors. It's more like a peacock green color. You might have that color already with you. In that case, you can use it directly. You don't need to mix and create a similar color. Right now, I'm mixing some peal blue with sap green, and here is the color. For the sea, first, we'll be applying cobalt green onto the entire area. Then just to add some deeper tones and some shadows, we'll be using this color. That's our next color. We spoke about the sky and the sea. Now we need to have a look at the colors you will need for the rocky mountains. I'll be using three colors for the rocky mountains. One is Payne's gray, which is the color you see at the bottom. For the base layer, I'll be using a lighter tone. Then, to create some rocky textures I'll be using a darker tone. That's what you see at the bottom. First, I will swatch out Payne's gray. But along with that, you will also need some green, some sap green as well as the lighter green. Anyway, I will start with Payne's gray. The one I'm using here is from the brand Rembrandt. If you don't have Payne's gray, just go with black. When I started my watercolor journey, I never knew about a color called Payne's gray. I always wondered why you need such a color. You can always use black instead. But right now, this is one of my most favorite color. I use it quite a lot, especially for monochrome paintings. Anyway, along with Payne's gray, you will also need some green to add the greenery on the mountain. I have already swatched out sap green. Now, there is one more green you will need, which is a lighter green to add the tinted greenery on the top. For that, if you have leaf green or any other lighter green, you can use that directly, or you can mix and create your own lighter green. This one is in a very terrible condition, so I thought of mixing and creating a lighter green without using this one. For that, you will need a little bit of lemon yellow. It doesn't need to be lemon yellow. Any yellow work. Just mix that with some sap green and you have your green. Depending on the amount of yellow you're adding, your color will be slightly different, but that's totally okay. We just need some lighter green. Anyway, those are the colors you will need. You will need a pastel blue or turquoise blue for the sky. Then you will need cobalt green or any other similar color for the sea. Then to add the texture and the deeper tones, you will need a bluish-green, which we are going to mix and create by adding some blue with sap green. Then along with that, you will also need some Payne's gray. Those are the colors. Now, we can give it a try. I have my paper ready here. Now, the first step is to add the pencil sketch. For this, we need to add those mountains, adding horizon line first which is almost at the center of my paper. Now, I'm going to add three mountains. The interesting feature about this painting is the shape of the mountain. Try to go with a long pointy shape. That's the first one. Now, I'm going to add another one to the right as well as onto the left. You need to have a flat line at the bottom. Then you need to add a long irregular shape. You can add a mountain however you want to. But just keep in mind to go the long shape. If needed, we can always modify the shape later. If you're not really happy with the shape, there is nothing to worry for now. We can change it as we paint. Now, I'm adding another one on the left. I have modified the shape a little for the one on the right side. I have two huge mountains on either side, then a shorter one at the center. Now, if you want to go for a different composition, you can do that. You can totally skip the one on the left side and just go with two on the right or I can just leave the one at the center and go with one on the right side and the left side. Just go with what you feel is best. Now we can start painting. First, let me take out all the colors. For a change, I have clean palette today, so I need to squeeze out all the colors. I will start with turquoise blue. I would only need a tiny bit of this color, which I'm planning to use for the sky. You can use any of the turquoise blue. This one is slightly like a pastel color. I think we can go the sky, then pick out the remaining colors. For the sky, I'm going to go with a wet-on-wet technique. You see my one-inch wash brush. I'm applying coat of water onto the sky. But even shiny coat, we don't need a lot of water. This sky is evenly light. Now, to apply the paint, I'm using my round brush. I'm just keeping this one aside and I'm switching to my round brush. I'm using my size number eight round brush and making sure it's clean before I pick the paint. Create a medium tone by adding drops of water. Now, we're going to apply that on the top corner of the sky. Toward the bottom, I'm going to make it lighter. I'm starting from this point. I'm not going to fill up the sky. I'm just adding that in irregular shape. By leaving some gap in between, those gaps are going to turn into the clouds, so don't fill up your sky. See that. I have added that in irregular shape. Now I will add some paint towards this right side, just a little to so I have a cloud here. I'm returning that white space. Now, I will add a little of paint at the bottom. My brush is clean. I'm just matching the paint at the bottom. That's our sky. If you want to, you can add some more paint towards these corners to make it a bit more brighter. If you're already happy with the sky, there is absolutely no need to do this. The thing is when you make the color more brighter, it will have a beautiful contrast, and that contrast will make the clouds look more prominent. Anyway, that's the sky. I just feel like cutting a bit more paint onto the bottom part of the cloud over here. I feel like the cloud is really long. Anyways, that's our sky. It's a simple sky. We have just left some gap in between, and that turned out to be the clouds. Now, in case you have accidentally added any paint onto the mountain, that's totally okay. When we paint a mountain, none of that is going to be visible, so just don't worry about it. Let's leave it for drying. This guy has dried completely. Now let's go to the next step, which is painting the water. First we'll be applying cobalt green onto the anterior area. Let's take out some cobalt green first. This is the one I'm going to use. It is from ShinHan. You can go with any similar color. It can be cobalt turquoise, cobalt teal or any similar color. Well, let me squeeze out some paint onto my palette. I will add that here only next to turquoise blue. I only have a very little amount of turquoise blue left on my palette, so I'm guessing it won't make a lot of difference. Now, you will need some philo blue or any other blue. Along with that, you will also need some sap green. I'm hoping you all have sap green. The blue can be any blue. It can be cobalt blue, ultramarine blue, Prussian blue, or any blue. We will be just mixing these two colors together to create a gorgeous, bluish green. That's the color we're going to add the deeper tones. Keep the colors ready before you start. We'll be applying those deeper tones while the background is still wet, so it is good to have the colors ready. Let's begin. To apply the paint, I'm using my flat brush. You can use a flat brush or a round brush. For the background, we are just going with a solid wash. Any brush will really work. I'm using a half inch flat brush. First, I'm making sure the brush is clean. Now, I'm going to pick some cobalt green, a really brighter tone. I want that sea to be a really bright and gorgeous. That's the color I'm going to go with. You can see it's a gorgeous color. Honestly, the character of our painting really depends on this color that we're using. It can be cobalt green, cobalt turquoise, steel or any similar color. But this color is really important to get that feel of Phi Phi Island. Go to any similar color and fill up the entire scene. The base layer is ready. Now while it is still wet, we need to add now our deeper tones for which you can either use the same brush, or a round brush. The color we're using is a mix of tailor blue and sap green. I said this earlier, but I'm saying that again, it can be any blue, so just don't worry if you don't have tailor blue blue? See that color? It's a beautiful color. It's more like a peacock green. I will scratch it out on a scrap piece of paper so that you will have a better idea. Here's the color that I'm going to use. It is just a mix of blue and sap green. Now, I'm going to add that underneath the mountain first. Then along with that, I will also be adding a few towards the bottom. We have a straight line at the bottom. Underneath that add some deeper tone. See that? We need to add these lines while the background is still wet. That is something you have to be careful about. Otherwise they will look really sharp and strong. I will add a few more lines then I will smudge that into the background to make it look softer. I have added enough. Now I'm going to pick another clean round brush. This one is size number six and it doesn't have any paint on it. Now what I'm going to do is I'm just pushing and pulling that paint into each other to make it look softer. We already have some paint in the background. When you push and pull the line you added earlier, it will make the lines really soft. That's the idea, that's what we're going to do. You can use a flat brush or a round brush according to your convenience. I wanted to try adding some blue lines. I just want to see how that's going to look like. No, I'm not that impressed. Let's switch back to the color we created earlier. I'm using my flat brush. I'm creating the same color by adding some philo blue and sap green. I'm adding some more lines onto the wet background again. It is exactly the same way how I did earlier, but this time I'm going to add few towards the bottom as well. Earlier I only added them underneath the mountain, but right now I'm adding a few lines towards the bottom. You can see that. They are not really perfect. I'm simply adding some lines in a very random way. That's it. Now what I'm going to do is I'm just going to keep this one aside. Maybe a few more. That's it. Let's keep this brush aside. I'm switching to a round brush. Now in case if you were using a round brush earlier, just clean it, and go with some cobalt green, quickly pick some paint before the background dries. Now the task is really simple. We just need to run our brush back and forth until we feel like those lines have become really soft. See that? Pick up some paint on your brush, cobalt green or any other color that you were using and run that on top of the line to add it earlier. It's a beautiful technique. You'll see it will end up looking really soft and subtle. You can already see that here. I will switch to my flat brush and I'll just fill up that bottom part. But some more cobalt green. I'm just cleaning it, picking some more paint, adding that to the bottom so that it will look seamless. That's the background. I'm really happy with the way it has turned out. By looking at your painting, if you feel like there are more harder lines, you can just pick some more cobalt green and run your brush again to make it look softer. See that? It's a pretty simple technique. Once you have applied your deeper tones, pick up some cobalt green again and run your brush on top of the lines we have added earlier to give it a more soft and subtle look. That is done. Now what I'm going to do is, I'm picking a little more deeper tone and I'm adding that underneath the mountain. On these areas we'll have much more darker shadows. I'm just adding few more lines. Not a lot, just a few only underneath the mountain. The major color of your sea has to be cobalt green, or any other pastry color that we're using. When you're adding the deeper tones, don't go overboard. Don't add a lot towards the bottom. That's something you have to be really careful about. Anyway, that's done. Honestly, this gorgeous green waters is the major element of this painting. I must say thanks to this gorgeous color cobalt green. This color has a major role in making this painting look beautiful. Thanks to you. Anyway, now it's time for a short break. Get up from your seat, take a few steps, walk around, maybe have a cup of water and come back when background has dried completely. The background has dried and you can see the colors are looking as bright and beautiful as before. This is something common with basal colors, unlike the other watercolor. Basal colors have some white pigment in it, and that is what makes them look really bright and dominant. Even after drying, the other colors tends to freed so that's another reason to love cobalt green. Anyway, let's go to our next step, which is painting the mountain. I will just clean this section with the wet wipe. Ever since I have started using ceramic palette, I have never bought a single plastic palette. See how easily I cleaned it and there is no stain. Back to business. First, let's take out all the colors that's needed for the mountain. You will need some sap green, which I already have on my palette. Then the next color you will need is Payne's gray, which is what we're going to add at the bottom. This is the one I'm going to use. It's from Rembrandt. Go with any Payne's gray hack-out. If you don't have it, just go with black. That's main screen. I have some sap green. For now these are the two colors you will need. We have three mountains here. We're going to paint all of them in the same way. You can use any of your medium-size round brush, just make sure that it's clean. Now add a few drops of water into Payne's gray, tone that into a lighter tone. Now, I'm going to apply that onto the entire mountain first. I'm starting with the one on the left. You can see the tonal value I'm using here, it's pretty light. Go with similar tonal value and apply that onto the entire mountain. Also as you paint, you can modify the shape. See that. Go with any shape that you prefer, then fill it up. The painting right now is the base layer. Now onto those will be dropping in more deeper tones of Payne's gray as well as some green onto the top. The very basic step is to add Payne's gray onto the mountain. I'm planning to modify the shape a little more. I made the bottom part a bit more broader. Now let's quickly start adding green and Payne's gray onto the same background. First I will pick sap green. Now, simply drop that onto the wet background. It doesn't need to have any particular shape or any pattern. Just drop that in. At some places you can use a deeper tone, at some places you can use a medium tone. This will create a natural texture. See that? I'm adding that especially on the top, towards the bottom, I want more of Payne's gray. See that? On the top we have green, towards the bottom, we have more of Payne's gray. Now I'm cleaning my brush and I'm picking some Payne's gray, a much more deeper tone. Now, just the same way how we did earlier. Keep adding that deeper tone onto the wet background. This will create a nice rocky texture. You can see I'm just adding some random lines. Some [inaudible] some of the mountain. There is no particular shape or rule that I'm following here. My only concern here is adding them while the background's too wet. If you feel the patterns are too much, you can smudge it using a clean brush. Now, I will add a few on the top as well. You can already see how natural and realistic those textures are looking. It is just a matter of adding those deeper values while the background is still wet, however you do it, it is going to look beautiful so just don't worry about it. Go ahead and paint it if you haven't done it yet. In-between, if you feel like those patterns are a bit too much, you can use a clean brush and you can just smudge it and that will also leave a beautiful texture. That's our first mountain. I'm really happy with it. Now we have two more to go and starting with this one, the shorter one at the center. Because for the other one, I'm planning to add multiple values on the side. There will be some shadow cast by the smaller mountain on the side so that it has to be really dark. Let's start by picking some Payne's gray and let's apply that onto the entire mountain. It is just the same way how we did earlier. First fill up the entire mountain in a medium or lighter tone of Payne's gray, then we can start adding the deeper tones. The base layer is ready. Now let's pick some Payne's gray. You can either go with Payne's gray or sap green first. That is totally your choice. In any case, we need to add both the colors and I already have some Payne's gray, so I thought of going with Payne's gray first. Keep adding some deeper tone on the wet background, especially at the bottom. Payne's gray is a beautiful color to create the rocky texture. Looks like this side has dried already. I will need to pick some water. I will just smudge this. Anyway, I'm creating some rough texture here so it doesn't really matter. Now, I will pick some sap green before the background dries. I will add that onto the wet background. Looks like I have used a much more deeper value, but never mind. I'll just add that onto the background in a very trough and textually way, it doesn't need to be perfect. You can see the way how I'm adding it. To make it look more natural at some places, use lighter tone, and at some places you can use some much more darker tone. Go to varying tonal values to make it look more natural. I think I have added enough of green. Now I need to add some deeper tones of Payne's gray over here and a little towards the top as well to create that rocky texture. That's my next task. Once we're done with that, we can move to the third one. Now I'm cleaning my brush and I'm switching back to Payne's gray and I'm adding some deeper tone roughly on to that background. We are just trying to create some texture here so it doesn't need to be perfect. Over here, the paint has dried already. It ended up looking like a dry pattern, which is also okay. Because our next task is that. I'm going to quickly add few more patterns onto the surface of the rocky mountain and then I will go with the next one. A little on the top and that's it. For now I think this is looking good enough. Now we have another one on the right. For this, I'm using a much more deeper value. I will start with a deeper value of Payne's gray and I'm going to add that onto this left side. Over here, we'll have more of shadows. That's why I'm using a darker tone here. While adding the paint, go with an irregular shape. You can see the way, how that line is. This way while we're adding the paint, we're also defining the shape of the other mountain so don't add the paint in a straight line and go for an irregular line to make it look more natural. Well, that's a deeper value of Payne's gray. Now I'm going to dip my brush in some water and I'm making the rest lighter. Just on the left side we have some darker tone. Towards the right, I have made it lighter. Towards the bottom as well, I'm introducing some deeper value. See that? Simply add a deeper value at the bottom and add some lines towards the top. However you're adding the paint, don't try to make it look perfect. We need some dry texture here. Otherwise, it won't look like a rocky mountain. Just add that onto the wet background in a very rough and textury way. That is Payne's gray. For some reason, I'm not feeling happy with the shape so I'm modifying that a bit by extending that outside. I made it a bit more broader. Anyway, now I'm switching to a darker tone and I'm adding those deeper value before it dries. Again in a very random way. See that? Simply add some lines using a darker tone. There is no need to make it look perfect. It can be some lines, some dots or any shapes. That's the bottom part. I think it has come out pretty nice. Now I'm cleaning my brush and I'm adding some sap green. I will quickly add some onto the top that area still wet. You can see the color I'm using, it's a deeper value and I'm roughly dropping that onto the wet background. See that? Now we're painting our third mountain and I'm guessing by now you all know how to approach this. We started out with a wet background. We applied some Payne's gray. Then onto that background, we added some deeper value of Payne's gray to create the rocky texture. As well as we introduce some green to show the landscape on the mountain. It's a very easy and a rough step. There is no need to put a lot of effort into it. However you add the paint it is going to turn out good at the end. This is where we have reached. Our painting is looking pretty decent already. But in the next steps we are going to add some more texture to give it a more fine tuning. But before that, we'll have to wait for this to dry. Everything has dried completely. Now we're on to adding more textures. First, I will start with Payne's gray. You will need a paper towel. We're going to add some dry patterns at the bottom. The additional textures that we're going to add, we'll give a little more finished finito painting. Just give it a watch. If you're already happy with your painting and if you don't want to add additional texture, that is totally okay. I have taken some Payne's gray on my brush. It's really taco-tone. First, I will add a thick line underneath all the mountains. Intergalactic line. Over here, I need a really darker tone. I will be smarting this paint. It is not going to stay as a line. First, I'm just adding a thicker line using Payne's gray. You can see it's pretty dark already much close to black. That's the first one. Similarly, we need to add some type patterns for the second and the third one. Then again, an optical line at the bottom. At this point, it might look a bit weird. It will look like a line underneath the mountain. That's totally part of the plan. Don't worry about it. I will add a similar line for the other one as well. Then we can start adding the dry patterns, so use a darker value of Payne's gray or black if you don't have Payne's gray and add a thicker line. Now, you need to dab your brush on a paper towel multiple times and modal water content from your brush and keep dragging your brush towards the top. Smudging that paint. You need to keep smudging the paint until you feel that line is not visible. While you're adding those, you can also add some onto the surface, or the mountain, not just the bottom. See that? For this exercise, your brush should have minimum amount of water or no amount of water. It should just have some dry paints. You just need to keep adding some dry patterns to create that rocky texture. I'm literally just matching the paint on the paper. There is nothing much you need to be careful about here. It is a simple task. It is just that you should not be adding any paint into the scene. That's the only thing you have to be careful about or else can be quite careless and it's an easy task. Just go ahead and add enough of dry patterns until you feel that line is gone. When you keep dragging your brush from bottom towards the top, you will slowly start to see that line almost vanishing. Let's quickly finish this task. Look at those gorgeous textures.That line is totally gone and you can see the brilliant rocky textures at the bottom. Now, there's one more thing we need to do, which is completely optional for that avenue, some lemon yellow. I'm going to add some more green textures onto the rock. As I said earlier, this is completely optional. If you're already happy with your result, you can call it down and just watch what I'm doing here. I just wanted to give you all the options. Maybe in some other painting, it will be useful. Anyways, I'm starting by picking some sap green. It's a slightly darker value and I'm going to add that onto the mountain. You can go with the semi-dry paint or you can create some dry patterns here. Either of them will work, but try to read in that rocky texture at the bottom. We'll just keep on adding some more brighter tone of green onto the mountain, especially onto the top. That's the one at the center. Now, I'm going to add a few patterns onto this one. Towards the middle, I already have some green texture. I'm just adding few at the top. Now, I have one on the left side. You can already see the difference between the left and the right. The right is looking more fine-tuned, whereas the left is looking a little incomplete. That's why we're adding these patterns. You can choose to do it or not to do it. That's totally your choice. But as I mentioned earlier, I want to give you all the options. You can try this on a different painting. I will add some more green here. Then with that, we'll be done with this step. Then we can go with light green and add some more patterns. Let me quickly finish this. When you introduce different tonal values of green, it will automatically look a lot more natural. This one is a very small painting, so it might not make a lot of difference. But when you're doing the same thing on a larger scale, the details really matter. Next time when you want to paint Phi Phi Island or any other island with similar landscape. These techniques that we are trying out right now, is going to be really helpful. The base is ready. Now, we can start adding the lighter green. Now, in case if you're feeling those patterns are very busy and loud what you can do is dip your brush into some water. It shouldn't be too watery. If it's too watery, dab it on a paper towel, and then with that slightly wet brush and smudge the paint. The step will give it a more final look. It will look more natural and soft. That's where we have reached. Now we are going with the last step, which is adding the lighter buttons. Again, I'm saying this, it is completely optional. It is not a compulsory step. I think the painting is looking pretty decent already. If you want to go for an additional step, you can join me along. Otherwise, you can stop your painting right here and just watch what I'm doing. I have created a lighter tone by mixing some lemon yellow with sap green. Now using that, I'm going to add some smaller patterns onto the mountain. This is again, to create some texture. It will look a lot more fine-tuned. The details will be a lot more beautiful. If you want to try, just give it a try. I need some more yellow. The color is not visible. I need to make a little more lighter. I'm taking out two more lemon yellow and I'm mixing that with sap green. Now using the tip of my brush, I'm adding some teeny tiny patterns onto the mountain. See that? In a similar way, you can add patterns where you want to. You can add them on the darker area as well as on the lighter area. This will create a varying texture and varying tonal value on your mountain. That will automatically make it look more realistic. Go with any light green or you can mix and create your own just the way how I did it here. Keep adding some teeny-tiny patterns onto the mountain, wherever you want to. Going a random way, you can add somewhere to the left, somewhere to the right, somewhere to the top. You don't need to fill up the mountain with these patterns. You can leave some area as it is. Right now, I'm adding patterns onto the one on the right. I will add a few towards the bottom also on the rocky part. You can see the beautiful contrast between the green and the black. Similarly, you can add some patterns onto the other two asphalt towards the bottom where I have a rocky texture. This one is done too. I'm really loving that texture here. Maybe a little on the top. Now, let's go the other one. I think this one already has enough texture here, so I'm not going to add a lot. That's it. Now let me show you the difference between the first version and the second version. Both versions have its own beauty, but the one on the left is more defined and it is more fine-tuned. It looks a lot more complete than the other one. That's all painting. That's our FLC. I'm really happy with the texture and emptier look and feel of the painting. Now, it's time to peel up the masking tape. Here's our painting. You can have a closer look of all the details, and you can see how beautiful those textures have turned out. See that? It looks a lot more defined and a lot more realistic than earlier. I hope you all enjoyed it. Thank you so much for joining, and I will see you soon with the next painting. 12. PROJECT 07 - Tropical Island: Our next project is a faraway island and a clear blue sea. Compared to the other projects, this one is quite quick and easy. Anyway, let's start by looking at the colors you will need. You can already guess the colors by looking at the painting. Anyway, I will quickly take you through them. First I will start with the color you will need for the sky. It can be any blue. The one I'm going to use is taylor blue. We will be just going for a gradient wash on the top have a medium tone. Then towards the horizon line will be making it lighter. It can be any blue. It can be prussian blue, cobalt blue, ultramarine blue, or any blue. This is the one am going to use. Let me switch out that. That's a color I'm going to use. Ultramarine blue as merely similar to taylor blue. If you want a similar color, you can use ultramarine blue. Now, coming to the second color, [NOISE] and that is burnt sienna, will only need a little off paint and reducing rarely lighter value. Don't take a lot of paint. It can be the brown or burnt sienna. Using a much more lighter value of this over here. That's our second color. Now coming to the next color that is cobalt green. For the major part of the sea, will be using this color. You can use any similar color code. It could be TLR, cobalt, turquoise, or any similar color. That's our third color. Next one is turquoise blue will be using this color towards the bottom part of the sea to create some texture and also degree that moment in the water. That is our fourth color. Now next one, sap green. We'll be using this one for the island. Also for the coconut palms. We have three tiny coconut palms for her away. Now, along with tab cream, we will also need some Payne's gray to add the deeper tones. I only have a little space left. Let me hand this one as well. Those are the colors you will need for this painting. We have a blue for the sky. Then we will need some burnt sienna for the sand. Then we need two colors for the sea, which is cobalt green and turquoise blue. Then we need sap green and Payne's gray for the island. Keep your colors ready and now it's time to give it a try. I already have my paper and everything ready here. I'm going to start by adding the sketch. The sketch is pretty simple. First, you need to add the horizon line, which is a little above the center of the paper. I had a straight line. Now right at the center, we're going to add an island. Again, add another line below the horizon line. Now on the top add an irregular shape, like a piece of land far away. You have some space on either side and at the center, we have our island. For now simply add a rough shape like this. We can modify that later when we paint. Now on top of it, we'll be adding two or three coconut palms. One over here, and another one there. Maybe one towards the left. You can add more. I think I will go what, three. If you want to add these lines, you can add them or you can add them in your painting. Those are my three coconut palms and the island. Now we need to add a small piece of land right over here. Go for an irregular shape and add a piece of land there. We might not be able to read in the same shape and we are adding the paint. But just for the reference, add a simple line or irregular line. That's our sketch. Now we can start painting for the sky, the color that I'm going to use, this taylor blue. You can either use turquoise blue or any other color that you prefer. It's a wet on wet sky. I'm starting by wetting my paper. You don't need to leave the island. You can add water on top of it. We'll be using a lighter value towards the bottom, so it doesn't really matter. My paper is evenly wet. Now to add the paint, I'm using my front brush. I'm just making sure that it's clean. This one is size Number 8, you can go with any of your medium-size brush. Pick a medium tone of blue on your brush. Now let's start applying that on the top part of the sky. I'm not going for even smooth gradient. First I will apply some paint on the top, a medium tone. Now using the same brush, I'm just going to add some lines on the wet background. If your paint is too watery, you can dab it on a paper towel. Then with that brush you can simply add some lines towards the bottom using a lighter blue. See that. I want sky to be simple and yet a bit interesting. That's why I thought of breaking that normal ingredients sky and adding some lines. Now towards the bottom, I'm adding a medium tone again. On the top and the bottom we have meeting tone At the center, I have simply added some lines. That's my sky. If you want to go for a simple gradient wash, that's totally your choice. You can start with a medium tone. As you come towards the bottom, you can make it lighter and go for a simple gradient wash. My background is too red, I'm just adding some lines over here. I have added the lines. Now I'm tapping my brush on a paper towel. The slightly damp brush, I'm making it softer. That's my sky. I think it came out pretty nice. If you want to add some more lines, you could do that. I'm pretty happy with it. I'm going to call it done and I'm leaving it for drying. The sky has dried completely. Our next task is to paint the sea. Keep all the colors ready. We will need a tiny bit of burnt sienna or brown. Then you will need some cobalt green as well as some turquoise blue. Keep them ready before you start. We're going to paint the sand and sea together. Over here we will have a lighter value burnt sienna. Then we'll be using some cobalt green and some turquoise blue towards the bottom. I guess I'll keep the colors ready before you start. It is really important so that we can keep applying the paint before the background dries. Now, I'm starting by applying coat of water onto the background. Before that helped keep the colors ready. I only have a little of cobalt green. I might need some more burnt sienna. I think that is enough to have quite a bit of turquoise blue as well. That's all set. Now, I can start applying, coat of water onto the background for that and picking my one-inch wash brush. I'm applying and even coat of water onto the anterior bottom part. We only need a nice shiny coat. Don't add a lot of water. I have made the background wet now I'm going to start applying the color. I will start by burnt sienna. Now to apply the paint, I'm using my size Number 8 round brush. You can use any of your medium-sized round brush. Now I'm starting off by picking a medium tone off burnt sienna, or maybe even more lighter tone. We'll just add a few drops of water. Turn burnt sienna into a lighter value. If your paint is too watery, dab it on a paper towel because we already have enough water on the background. That is really light. I can make it a bit more brighter. Now I'm adding that we're here. We have added an irregular shape here. That's where I'm adding burnt sienna. Now before we go with cobalt green using a clean brush, I'm just making the cilia lighter. Just a little lighter. The color is already quite lighter. Anyway, let's go with cobalt green next. I'm not putting a lot of paint. I'm starting with a lighter value. I'm adding that are right next to the sound. See that it's a pretty lighter value. Now as I'm coming down, I will make the color more brighter and bolder. The color has to be lighter, only closer to the land. The rest can be pretty bold and vibrant. That's all the lighter value you need. Now pick up a brighter value of cobalt green in its original and strength and fill up the rest. That's how it has turned out. You can see that lighter value closer to the sand. Now towards the bottom, I'm going to introduce some turquoise blue to add in some texture. Using the same brush and picking some turquoise blue. I'm adding that at the bottom most area to introduce some texture. Add some paint at the bottom. Along with that, you can also add some lines like this, just some random lines to introduce some texture and movement of the water. See that. You're going to try to log towards island only at the bottom. We need to add this while the background is still wet. We don't want them to be too prominent. We need some sub two lines. Just introduce a few lines onto the background while the background is still wet so that they will look really soft and subtle in the background has dried the line to look too prominent and the trough. Try to be a bit quick here and add in the lines only at the bottom. See that. You'll need to add a lot towards the island or whatever we need that clear water feel, we'll only towards the bottom we are introducing some texture. Add a few random lines and that's it. That's our background. Now, before you leave it for drying, there's one more thing to do. [NOISE] For that, I'm switching back to cobalt green. Use a bolder tone again, something that we used towards the bottom. Take some paint and add that along the horizon line and became more paint. Now add that over here on either side. Just behind that island. Your background might be still a little wet. That's okay if it's too wet, wait for some more time so that it won't spread a lot. You can see the way how my paint is spreading isn't too wet. Now, I'm cleaning my brush, dabbing my brush on a paper towel and I'm just taking off some paint from this line so that it won't spread a lot. It is just a dry brush. Similarly, I'm picking some paint from the other side as well and that's it. Now I'm adding a little of turquoise blue on the top. Just a little, don't add a lot, try to read most of that cobalt green. At this point, it might not look perfect and complete but don't worry towards the sea area I'll be adding some white texture later while the background has dried. For now this is all we need. Now we can leave it for drying. That is dried completely, now, our next task is to paint the island. For which I'm going to use Payne's gray as well as sap green. First I'm going to use some Payne's gray and I will add that towards the bottom line over here, then towards the top I'll be using some sap green. For this step, you can either use a medium-size brush or a smaller size brush. The one I'm using here is size Number eight and I'm picking up really darker value of Payne's gray and I'm adding that towards the bottom part. You can add your paint as a straight line or a slightly irregular line, you can see the way how I'm adding the paint. You can add some paint with a top as well, it doesn't need to be a perfect line. Now, I will add that towards the right side. That's it. Now, I'm cleaning my brush and I'm switching to sap green and I will fill up the rest in sap green. Right next to the Payne's gray, adding some sap green and fill that in. See that? Towards the bottom we have a darker value and towards the top we have a medium too. The color I use right now, it's quite dark and bright. You can see here, I haven't filled up the entire shape. Towards the outer shape, I want the color to be a bit more lighter. I'm going to clean my brush and with some water I'm making the rest lighter. It is not too light, just a bit lighter than the color I used earlier. Now fill up the remaining shape. See that? You have to use a really nice and fresh green to get the feel of an island and towards either side you can make it lower and at the center you can have a higher shape. You can modify the shape how you want to and on the top, add in some teeny tiny shapes to make it look like some plants and some trees. See that? Using the tip of your brush keep adding some teeny tiny patterns and that's the basic shape. Now to bring in more texture, we're going to introduce some multiple value. For that I'm picking some Payne's gray again. First I will add some more deeper value at the bottom line, the color is much more deeper right now. See that? Simply drop in some paint onto that background while they're still wet to introduce some texture. This one is quite far so we don't need to be so much into the detail, we can simply add some teeny tiny patterns and introduce some texture and that's it. That's all we need to do. All I'm going to do is I will pick some Payne's gray and randomly drop that onto the wet background using the tip of my brush to create some texture. See that? You can add some at the top, some at the bottom. However you want to, we just need some texture. When you're adding these darker patterns, try not to add a lot of them together. See that? Now, I'm adding them over here a little away from the previous one and again, a little more away from the earlier one. I do patterns in a similar way. In this way we can retain some of the lighter green and the darker green and those reading tonal values of green will add a lot of beauty to our painting. If you're happy with your result, you can call it done, otherwise you can add a few more patterns. I think that looks pretty nice, so I'm going to call it done. Now, we need to add the palm trees. For that I will need a much more smaller brush because they are too tiny. But with the bigger brush you wouldn't be able to get the details right, we need some thin and delicate lines. This one is size Number 2 round brush and I'm picking some burnt sienna first. Use a detailing brush or any brush with a pointed tip. Now, let's add the tree trunk using burnt sienna. This one is a really nice brush, it has got a fine pointed tip. See that? The lines are very thin and delicate. Now, in a similar way, I'm going to add the other two. These coconut palms are really far so you don't need to put lot of effort in adding the details, but the line has to be thin and delicate, that is what matters here. First add the tree trunk using burnt sienna. I used a medium tone here. Now let's add some deeper value. I took some Payne's gray with the same brush and I'm adding that towards the bottom, as well as a bit towards the top. That's our tree trunk. Now, let's clean our brush. Now we need to add the palm leaves so using the same brush, I'm picking some sap green and first I will start with this one here, we need to add the lines. Now, we need to add the individual leaves onto it. Again, I'm using sap green and I'm filling up all those lines. As I said earlier, these ones are quite far from us so you don't need to add a lot of details, simply fill up those lines. The size has to be small, go the similar size don't make it too big otherwise you won't get that sense of distance in your painting. That's the first palm tree. Now similarly, I'm filling up the other two. First, you need to add these lines, then go one by one and add the individual leaves onto each of it. We have added the palm leaves. Now before we call it done, we need to add some deeper tones onto it just the same way how we added some deeper tone on the tree trunk. Not a lot, just a little. For that, I'm using a deeper value of green. I created that by adding a bit of Payne's gray into sap green. Now, using a deeper value, I'm randomly adding some more lines onto the same palm leaves, especially towards the bottom. See that? That's all you need to add. I haven't added that onto the entire leaves, I have just added few lines towards the bottom part. See that? Add a deeper value in a similar way, we have one more left here. Onto that as well, I'm introducing some deeper value. That is also done. We add a texture onto the island but we haven't added any texture onto the sand so that's our next task and for that I'm picking some burnt sienna again. This time I'm using a little more darker value. My plan is to add some dry textures on the ground. For that, I'm dabbing my brush on a paper towel and I'm making the paint dry and using that dry paint, I'm going to add some random textures on the sand. Just add that here and there, you don't need to follow any particular pattern. We just need to introduce some pattern here, that's all. We'll just add that in however you want to. Keep in mind, this area is quite far so we don't need to add a lot of deeper value, just add some tiny patterns here and there and that is the island. Now there is one last task left for which you will need either white gouache or white watercolor. We need to introduce some white texture far away. That is our next task. For this as well go with the smaller size brush, pick some paint on your brush, an opaque paint, don't add a lot of water. Now, add a wave over here. Right behind the island, we had added some bolder value of cobalt green. Now we need to add a wave underneath that on either side. Just to add a line and some dry patterns as well. This doesn't need to be too prominent, go with a thin line. It is a wave far away, so go with a similar thickness. First add in a thin irregular line, then towards the top side, add some dry patterns as well. That part is done. Now similarly, we need to introduce some dry patterns over here as well. That line we added earlier is not really visible. It's okay not to follow any particular shape, simply add some dry patterns here or right next to the land. These patterns will make it look like the waves are hitting the shore. We just need some subtle patterns, it doesn't need to be too prominent. Just pick up some white paint, don't add a lot of water. If your paint is too watery, dab it on a paper towel and keep adding some dry patterns right next to the area where you have that lighter brown. You can add in those patterns until you're happy with the result and with that we'll be done with our painting. That's it my dear friends, we are done with our painting. I really enjoyed painting this, it is quite simple yet so beautiful and I'm happy with that island far away. Anyway, now it's time to peel off the masking tape, and you also have a simple beach landscape for the day. I hope you all loved it, if you were to try, do give it a try. I'm very sure you're going to love it. Thank you so much for joining and I will see you soon in the next painting. 13. PROJECT 08 - Ultramarine Sea: Our next project is a gorgeous blue sea. It's a very simple painting, the only detail we have here is those tiny board as well as the landscape. Anyway, I will start by introducing you to the colors. The first color you will need is Phthalo blue which is the color I'll be using for the sky as well as for the sea, so I will start with that. We have used this color in the previous [inaudible] it's a very bright and bold blue. This bold blue here that is Phthalo blue. Over here, I'll be using a bit of turquoise blue and towards the bottom I will use cobalt green. Phthalo blue for the sky, then some Phthalo blue, turquoise blue as well as some cobalt green for the sea. That's the first set of colors. I think I have mentioned this earlier as well. Ultramarine blue is quite similar to Phthalo blue. If you don't have this color you can use that, or you can just use Prussian blue. That's the first color. Now comes turquoise blue. We will only need a little. Only towards the horizon line I'll be adding this color. The rest is going to be most of Phthalo blue as well as cobalt green well which means that when a color is cobalt green. If you want to go for a different color palette, that's totally your choice. Maybe you can skip using Phthalo blue and just go with turquoise blue and cobalt green. The next color you will need is green which is for the landscape far away. For that, I will be using some sap green. Along with sap green we will also need some light green to bring in some texture and some Payne's gray as well. Towards the bottom you can see that darker, that is Payne's gray. For the landscape, you will need sap green. Payne's gray. If you don't have Payne's gray go with black or neutral tint. The next color you will need is leaf green which I said earlier, you will need to lighter green to add those textures. If you look at this island here, you can see those lighter value in-between. That is leaf green. If you don't have leaf green, just mix a little of lemon yellow with sap green and create a similar color. Those are the major colors you will need for this painting, but along with that you will also need one more color which is red. You can see this tiny board here. I have here some red. This is the one I'm going to use, it is pyrrole red. You will only need a little. It can be red or vermilion or crimson or orange, or even yellow. For the other board I have used Payne's gray. I just wanted to bring in a contrast here. If I use just white, it won't be very prominent because we have already added some texture. Along with that you will also need some white gouache or white watercolor to add the texture on the water. If you don't have gouache, there is nothing to worry. Just go with watercolor. That's some of the watercolors you will need for project 8. It's time to give it a try. My papers are all ready. I have two jars of clean water. I have my palette. I'm going to start by adding a sketch which is very simple. First, you need to add that island. A little above the center of the paper I'm adding a line, then on top of it I'm adding a little color shape which is the shape of the island. Right about this, I'm adding another line which is the horizon line far away. That's all the sketch you need to add. Nothing complicated. As we paint, we can add the boats later. For now, this is all you need. We will be adding them somewhere over here. It will be a very simple shape so you don't need to add it. That's our sketch, now we can start painting. For the sky, I'm going to go with a wet-on-wet technique which means I'd have to apply a coat of water. As I mentioned earlier, I'll be using Phthalo blue for the sky. It's going to be a gradient wash. On the top, I'll be using a medium tone. Then towards the horizon line, I will make it lighter. I'm starting by picking some water, applying that onto the sky, a nice shiny coat. I don't need a lot of water. Go with any blue that you prefer. It doesn't need to be Phthalo blue. It could be Prussian blue, cobalt blue, ultramarine blue, or any other blue of your choice. It could be even turquoise blue. Just go with any blue of your choice and using a flat brush, pick a medium value and apply that on the top. I'm going with a brighter value, it's not that light. You can see the tonal value here. I'll apply that on the top. As I come down I'll wash all the paint, and I will make it lighter. I don't want a gradient wash to be like a straight line. If you have noticed, I'm going in an angular way. You can add your paint however you want to. I just thought of creating an interest here because it's a very simple sky and you don't have a lot of details, so I wanted to introduce some kind of difference here. I'm just running my brush in an angular way so the lines will be angular. Maybe we can add some more paint especially onto the right side to make that angle a bit more prominent. I'm retaining a lighter value towards the horizon line. I'm not touching that area. I want lighter values to be there. But on the right, I'm adding some more paint and I'm running my brush in a slightly angular way. See that? I will run my brush one more time in an angular way. With that, I will color turn because my background is starting to dry. I don't want to keep pushing and pulling the paint, it might ruin my background. It's simple gradient wash, but the only difference here is I'm running my brush in an angular way. That's my sky. I'm pretty happy with that line I got in-between. Let's leave it for drying. This guy has dried completely and I'm really happy with the colors that are looking so bright and pretty. Let's start painting the sea for which you will need Phthalo blue or any other blue, and then you will need some turquoise blue as well as some cobalt green. I'm going to start by applying a bit of water onto the bottom part. Here I have some turquoise blue, Phthalo blue, and cobalt green. Keep the colors ready before you start applying water onto background. Try not to add water onto the island and also we'll be careful when you're applying paint along the horizon line. Don't add a lot of water, we just need a shiny coat. [inaudible] To apply the paint I'm going to use a round brush. This one is size number 8, you can go with any of your bigger or medium-size brush. Start with Phthalo blue or any other blue. Go with a darker value and add that right underneath the island. You can clearly see the tonal value. It is a bit brighter than the sky. I want a bright blue over here. Next I'm going to introduce some turquoise blue. I'm just cleaning my brush and I'm picking some turquoise blue, a medium tone and I will add that along the horizon line and I will blend that with Phthalo blue. Far away, I wanted turquoise color. That's why I'm introducing some paint there. We can add a bit more. Then for the rest of the area I'm going to switch to cobalt green, so I'm cleaning my brush again. Let's pick that beautiful color and fill up the rest. See that. Such a beautiful color and it goes very well with turquoise blue and Phthalo blue. It just gives you that perfect summer vibe. We need to add some lines onto the background just to introduce some texture and add water moment, otherwise it will look quite flat. I'm not planning to introduce a lot of textures. I want the background to be a bit clean, so I will just add a few lines towards the bottom. See that? So far I haven't picked any new paint, I'm just pushing and pulling the same paint from the background and have added some lines. Try not to introduce a lot of darker values towards the bottom, we want to retain that cobalt green color. If you're adding some lines, be really careful. Don't add a lot. I will add a few more lines. Maybe we can introduce a darker value. Underneath the island that area has to be a bit more darker because obviously there will be some shadows and some deeper value there, so just add some more deeper value along the bottom line of the island. If you want you can add few more towards the bottom, but be very careful. Don't add a lot. We don't want to make it to the sea. If you feel like you want to add two more lines or some more textures, you could do that. Or if you're happy with your results already, you can just call a tone and wait for your background to dry. I'm just adding some more lines at the bottom; Not large, just a few simple lines. See that? But I don't want them to be too prominent. What I'm going to do is I'll pick some cobalt green and I'm just going to smudge them so that they will have a little more softer look. That's my background, I'm pretty happy with that. I'm going to leave this for drying. The background has dried beautifully. I'm really loving the colors here. It's time to paint the island. Just be sure the background has dried completely before you go with this step. I'm starting off with sap green, a medium tone, and I will fill up the entire island in this color first. Try to go with a medium tone, otherwise it will look really dull. We want the island to be really bright and prominent. See that. This is the tonal value you should be using. On the top again we got an irregular shape, just use the tip of your brush and add some teeny-tiny pattern to make it look like there are some trees and plants over there. See that. I got an irregular shape on the top and just fill up the rest. The base layers are ready. Now, I'm going to keep this brush aside and I'm switching to a smaller brush. This one is size number 6. Now, I'm picking some Payne's gray, a darker value. That won't be enough. I will need some more paint. So I'm going to take out some Payne's gray. If you don't have Payne's gray, just go with black or neutral tint. Now, let's pick a darker value. Using the tip of my brush, I'm going to add some random patterns onto the wet background just to create some texture. This one is really far from us, so there is no need to put a lot of effort here. The only thing is you need to add in those patterns while the background is still wet. That's the only thing you have to be careful about. See that? I'm simply adding some teeny tiny patterns using the tip of my brush. They don't have any particular shape or any particular pattern. It looks like my background is not really bad. So what I'm going to do is, I'm switching to my other brush, the one I used earlier. I'm dropping in some more green and I'm just matching those colors I added. Just to give it a more softer look. I don't want them to be too prominent as it is far away. So that's another trick you can do if you're not really happy with the result. Now, it is wet again. So I'm going to drop in more Payne's gray now. Earlier it was dry. Now, it will spread into the background. Earlier it wasn't spreading. See that? Honestly, there is no particular rule or any particular method that you need to follow here. The only key is adding those patterns while the background is still wet so they will look a little blurry. And that's the kind of effect we need to create here as it is far away. So just keep adding your patterns onto the background in a very random way. You can add some on the top, some at the bottom, wherever you want to. So go ahead and add in your patterns. If you feel like they are too prominent, you can pick up some sap green again, and just match them. All right, so that is done. Now, what I'm going to do is I'm going to switch to a lime green. This one is leaf green from [inaudible]. If you have a similar color, you can use that or you can use any other light green, or can simply make some lemon yellow with sap green to create a similar color. Now, I'm again adding some teeny tiny patterns onto the same area to create more texture. When you look at the landscape around you, you can obviously see different tonal values of green. It is not just one single color. And that is exactly what I'm trying to create here by introducing different tonal values. Only we started out with sap green, then we added some taco value with some Payne's gray. Now we are introducing a lighter value. So all these different tonal values will introduce more texture and more realistic value to our painting. And that is why we are going with different layers of greens. So that's how it has turned out. Now maybe we can add a little onto this corner because we have a lot of darker value here and that landscape is not visible. So onto this area, I'm adding some lighter green so that the shape is prominent. That's it, we are done with the island. Initially when I plan this painting, I only wanted one island. I want the horizon line to be clean. But now I'm thinking we can add a mountain far away. I don't want the green to be too dark. So into that light green, I have added some sap green. Now, using that color, it's a lighter green. Now using that color, I'm adding a small mountain here. Just a simple shape. It's not too big, go with a similar size or you can completely avoid this. That's also totally okay. All right, now onto this, I'm going to add some taco value. For that, we need some Payne's gray. Now simply add some teeny tiny dots and some shapes onto that mountain. See that? Just add a few here and there in a very random way. We don't need a lot of patterns. All right, so that's how it has turned out. I'm really happy with the way it is progressing. I love the color contrast we have here, the blue and the green. Now, we are going ahead with adding the white patterns over here. We need to add some waves crashing onto these islands. So that's our next step. But before we go ahead with that, we'll have to wait for this to dry completely. So that has dried completely. Our next task was to add those crashing water onto the island. For that you will either need white gouache or white watercolor. If you have gouache, go with that. Otherwise even your watercolor will work. We need to take paint, which is not too watery, and to add that texture, I'm using my smallest size brush. Now let's pick up some paint, a dry paint. I'm not adding any water. Now, I'm just adding few lines underneath the island. I'm only adding that right underneath the island. I won't be adding that to the bottom. It is just a dry line. That is how we get that texture. So this area is really far from us, so don't add a lot of patterns here. Add them only underneath the island using a smaller brush. If you use a bigger brush, the lines will end up looking bigger and bigger and your painting will lose its proportion. You won't get that filled up distance in your painting. So try to go with the smaller brush and simply add some lines underneath the island using a dry paint. See that. So keep adding it until you're happy with the result. In case if you feel like your paint is watery tap it on a paper towel before you add the lines. You can clearly see, I haven't add a lot of white patterns here. This side is pretty done. Now I'm adding a few lines far away as well. But over here you should not be using a lot of paint. Honestly, you don't need to pick any new paint. You can just use the leftover paint on your brush when you're adding patterns over here. See that? That's our island and the crashing water. You can see the texture we have got here. It's just a matter of adding some rough dry lines, and messy lines to create the impression of the water. Now, our next task is to add that two tiny boats. For this as well, I'm using white gouache and I'm adding the basic shape first. The size has to be really small because that is far away. Try to go with the smallest express out of brush with a pointed tip and add a tiny long boat. See that? That's a ship. Now in a similar way, we need to add one more. You can go with two or three. I'm going with two boats right next to this one. I'm adding another one. The boats are in. Now if you want to add some texture on the water underneath the boat, you could do that. Just a few more lines using a dry paint. If you have enough texture already, you can just leave it as it is. There is no need to add more lines. That is it. Now I'm washing up the paint from my brush. I'm going with some Payne's gray. This is basically to clean the shape at the bottom part right over here. I have added some paint onto the island, white paint. I'm just fixing that bottom line using some Payne's gray. You can also fix the shape of the boat if that is not proper. That is done too. We are actually waiting for the boat to dry so that we can add our final details right on that gouache. It's still a bit wet. Meanwhile, that drives, we can add some more details onto the island, adding some more texture, which is not really necessary, but it will be really nice if we can add some more texture onto it, especially using a lighter cream. Earlier we added the texture while the background was wet so they have faded a bit. I'm using leaf green and I'm picking some paint directly from the tube because there is no much paint on the tube to squeeze. I'm just adding some random pattern onto the island. See that? Simply keep adding some pattern. This is not the final look. We are going to smudge it a bit using a wet brush. The first step is to simply add some random patterns using any of the live when you have caught. Then you can just scratch or scrub or what are you going to do to smudge that painter a bit? See that? We have got a beautiful texture there. This paint tube is in a terrible condition. It's been a while since this one is out of stock in my local store. I might need to find other options. Anyway, I'm going to add some little pattern on the other side as well. Once you have added the pattern, you can dip your brush in a little water. It does need to be completely wet, just slightly wet, then smudge the paint. This is the result you will get. You can see how beautiful those textures are looking. I think I will add some more patterns. I'm picking that paint directly from the tube and I'm adding that randomly onto the island. Now, I will dip my brush in a little water then I'll smudge those patterns. See that? It's a very easy technique and you will get a beautiful texture. Your mountain or your island will look a lot more realistic when you add in these different patterns and this different tonal values. It's something similar to what we tried in the Phi Phi Island. I hope you all are happy with the way your painting is progressing. Anyway, that is it. That part is also done. Now the final step is to add the remaining details onto the boat. I said at the beginning, for the first one, I'll be using some red. You can use red or [inaudible] or orange or yellow. Any brighter color, which will stand out. This is the one I'm using. Now use any of your smallest size brush or a brush with a pointed tip and pick some bright red paint or any color you prefer. Don't add a lot of water, we need an opaque paint. See that? That's a bold and bright color. Now using this color, I'm going to add a bunt at the bottom for this boat here. I'm leaving some white space on the top and I'm adding a line or a bunt at the bottom. It's like a head in white boat. My intention is to add a contrast here otherwise, the boat won't be visible. To add the texture of the water that's why we have used white. When you look at the painting as whole, the boat won't be visible. I hope the idea is clear. Anyway, I'm cleaning my brush and I'm switching back to white. We need to add the final details. Again for this as well, you will need a tiny brush or a white gel pen that will also work. This time adding a bit of water. It's not a dry paint. This is the brush I'm using. It has a really nice pointed tip. I'm starting off by adding a line right at the center. A long thin line. See that? You can either use a brush or a white gel pen or whichever you're more comfortable with. We need these lines to be really thin and delicate. We have added a straight line and also an inclined line. Anyway, now I'm going to add another line over here, a horizontal line. That's all first boat. Similarly, we need to add lines for the second one as well. We can make it a bit more thicker so that it's more prominent. Not too thick, go with the similar thickness. Maybe we could add another inclined line on the other side as well. Those are the details I've added for the boat. It looks really beautiful. Even though it is tiny, it has identity. Now in a similar way, I'm going to add details for the other one as well. For this one, as I mentioned earlier, I'll be using Payne's gray for the base then we need to add those lines on the top. Let's quickly do that. With that, we'll be done with our painting. With that, our last task was done. I don't want both the boats to be similar that's why I went in with Payne's gray but you can use orange or yellow or a blue or a green or any color of your choice. That's our two tiny boats. I'm really happy with the way it is looking. They're super tiny, but we have managed to add the necessary details. Anyway, now it's time to peel off the masking tape and have a look at our gorgeous painting. Here's our gorgeous blue scene. I'm very happy with the way it has turned out. It looks absolutely gorgeous. Those tiny boats, they have come out really great. I really hope you all liked it too. Thank you so much for joining and I'll see you soon with the next project. 14. PROJECT 09 - Aerial View: Our next project is a beautiful aerial view of under clay blue sea. This one is one of my most favorite from the antique collection. This one is actually a very quick painting. There isn't a lot of details. First, we will paint the background, then we will add the landscape, and that's all. Anyway, I will start by introducing you to the colors. The first color you will need is cobalt green, which is actually the major color I'll be using to paint the sea. Then we'll also be using few other shades of blue. Here you can see those different shades of blue. Then on the right, we have the landscape. That's how the painting is composed. Now, this color you see here is cobalt green. You can use any other basal blue or green have caught. It can be teal or teal turquoise or any other similar color. That's our first color. Now coming to the second color, it is turquoise blue. Towards the left side, you can see I have used different tonal values of blue over here. Right after cobalt green, I'll be adding some turquoise blue. The major part of the sea is going to be cobalt green. Then towards the left side, we'll be introducing some textures and some tonal values. Now, along with this, you will also need some Taylor blue. I'll be using that to its outermost areas. If you don't have the Taylor blue just go with Prussian blue or any other blue you have caught. We're just trying to introduce some tonal values onto the background. It doesn't really matter which color you're going with. That's our third color. Now, coming to the next, you will need some Payne's gray as well as some cranes. It can be Payne's gray or even indigo. I have some Payne's gray here so I'm just going to use that. We'll be using this color mostly to add the deeper value onto the water as well as onto the landscape. That's our next color. Now, along with this, you will also need some greens to paint the island. The two greens, I'm going to use is sap green as well as leaf green. I already have both the colors here. This one is the same leaf green I used for the previous painting. It's a lighter green. If you don't have this color, that's totally okay. You can just make some lemon yellow. Let's sap green and create similar color. The last color you will need is sap green. Those are the colors you will need for this painting. You will need some cobalt green, some turquoise blue, some Taylor blue, or any other blue for the same. Then you will need some greens and Payne's gray for the island. It's the similar colors that we use for our previous paintings as well. I'm guessing you all have them. Anyway, I have my paper ready here. Now, it's time to give it a try. First, I'm starting by adding a sketch or just an irregular line to show the island. We can change the shape later if there is a need. For now, simply add an irregular shape. You can see it's a very messy shape, something like a cauliflower. Anyway, that's the shape I'm going with. This part is going to be the island. The rest is going to be the sea. First, we'll be painting the entire background in one go. You will need cobalt green, some turquoise blue, as well as some Taylor blue and we'll be painting the background first. Then after that dries we'll be painting the island. There's only two stages. We don't have any intermediate stages. Anyway, I'm starting by applying cold water onto the entire background. For that, I'm using my one-inch flat brush. It's a clean brush. Just be sure there is no paint on it and keep running your brush multiple times just to be sure the cold water is even. My background is evenly wet. Now to apply the paint, I'm going to use my bigger-sized round brush. This one is size number 12 and I'm starting off with cobalt green. First I'm using a lighter value and I'm adding that around the island. Here we have a lighter value. Now for the rest, I'm using a much more brighter tone. I'm picking more paint and I'm adding that onto the background. See that, the color is more vibrant right now. Earlier, I used a lighter value. You don't need to put a lot of effort in getting a clean blend. For now, simply apply the paint. Now for the remaining area, I'm going to add some turquoise blue. You can see I have used more of cobalt green at the center. Now onto the outer area, I'm adding some turquoise blue. Again, it's not a clean blend. Simply add in your colors. For now, we just need to add in those colors onto the background. Now I'm picking some Taylor blue and adding that onto the corners. Just keep adding that paint onto the wet background. In between, you can add some teeny tiny patterns as well. Don't worry about that messy background. That's totally okay. This is part of the process so there is nothing to worry. Now, I'm going to introduce a bit more turquoise blue in between. I want the outer corner to be really dark and I want some texture also here to make it look like all these things are underwater. Now, maybe a bit of green, or maybe not. I don't think we need to add green. If you haven't don't add any green. I think that's not a great idea. Anyway, I'm going to clean up my brush. You can see my background is in a very horrible condition. To fix it up, what I'm going to do is I'm going to pick some more cobalt green and with that paint, I'm going to smash the background. I'm just running my brush and I'm making those patterns a bit smoother. See that? This is how you fix your background, no matter how horrible it is looking, just by running your brush with some cobalt green on it, you can easily fix it. Earlier those patterns we're looking a little rough and messy. Right now when we run our brush on top of it, it is looking much more softer and smoother. See that. No matter how your background is looking, you can easily fix it. Now if you want to add more paint, or if you want to add more deeper value, you could do that right now. I'm running my brush again to make it a bit more smoother. Go back on my background and everyone's background would be different. It will all depend on the way, how we are smudging the colors, and also depends on the amount of colors you have in your background. Keep doing this until you're happy with the result. Now before the background dries, we need to add some shadow where we have the island. For that, I'm picking some more turquoise blue on the same brush, I haven't cleaned it. You can just use the same brush. I'm adding a little water because the paint is a bit of dry. Now I'm adding that along the outline. This is the shadow. You can drop in a bit of darker value. You can either use indigo or just add a bit of Payne's gray into turquoise blue to create a similar color. I'm using Payne's gray. I already have some turquoise blue on my brush so I just mix that with some Payne's gray and to look more like indigo. Now let's go to fixing business. I'm picking some cobalt green and I'm fixing this area and I'm running my brush along that outer shape and I'm simply smudging it just the same way how I did earlier. See that. It doesn't need to be a clean, perfect blend, just leave it the way it is, when it dries, it will look much more softer. Now, take a look at your painting. In case if you feel like you need to make the background a bit more softer, you can pick up some more cobalt green and run your brush again to make it softer. I'm happy with the color, sandals, textures. I will just run my brush again along the outer shape of the island. Just a quick run. All this while we were introducing more and more paint onto the background, and this had made the background stay wet for a longer time. The background hasn't dried completely. It is still slightly wet and this is the right time to introduce some more texture. For that, I'm going to pick a bit of turquoise blue and I'm adding few patterns in a very random way. See that. Just in a random way, adding few patterns here and there, only onto the outer side. Onto the area closer to the island, retain that cobalt green. Don't add any patterns over there. Onto the outer side, simply add some tiny dots and some small patterns. Once you're done with that, go back to our fixing exercise because some cobalt green and smudge it. Don't smudge a lot like how we did previously. Gently smudge it. We still have to retain those patterns. See that. That's the result we are looking for. These might be some reefs or some plants or something that is underwater and you're looking at it from a very higher place. It could be a helicopter or something. These patterns has to be really soft. It shouldn't be too prominent. That's why we're smudging it. Now keep adding them until you're happy with the result but try to retain most of the cobalt green, don't add a lot, towards the center and toward the island, concentrate onto the outermost areas. That's our sea. You can see those gorgeous patterns we have created here. I'm really happy with the way this turned out. We added all the colors onto the background, then using some cobalt green, we smudged those pattern and make it really soft and beautiful. Now let's leave it for drying. That has dried completely and you can see how soft and beautiful those patterns are looking. Now we're about to paint the island. First, I'm going to apply some green onto the entire sheet. Before you go ahead make sure your background has dried completely. Now, I'm going to start off with some sap green. I'm using my medium size brush here. This one is size Number 8. I'm going to apply that onto the entire sheet. First I will go with lighter value. I'll need some more paint. That won't be enough. For the island, we'll be using some sap green, some Payne's gray, as well as some lighter green. We need to introduce different tonal values of green to make it look more beautiful. Start with the lighter value and apply that onto the entire shape. You can see the way how I'm adding the shape. I'm adding that right along the shadow. This is what I said earlier. You don't need to worry about how good it's looking. When we add the landscape, we are going to cover up all those mess and see that. Simply apply your paint. Just onto the outer shade, we can introduce some tiny grooves and little shapes to make it look like there are some trees and some plants. Simply fill it up. That is all for this task. Once we have added paint onto the entire background, we can slowly start introducing multiple value. I only have a little area left. I have applied paint onto the remaining area. I'm picking some more gray, and I'm just filling it up. You can see I've simply applied a medium value of green. Next, I need to start introducing more deeper value. I'm picking more green. This time it is not that lighter. You can see it's a much more darker value. I'm simply adding that onto the wet background in a very random way. My idea is to create some rough textures, so it doesn't really matter how you're adding your paint, but try to retain some of the lighter value in the background. Keep adding some darker value in between while retaining some of the lighter value. See that? Just add the variable you want to, it doesn't have any particular pattern or any particular rule. Now, in a similar way, let's keep adding some Payne's gray as well, or indigo, either one of the color that you prefer. Just keep on adding some deeper value in between. You can clearly see how I'm adding it. It is just a matter of introducing different tonal values of green onto the background. You can add them however you want to. At some places we have some lighter green and at some places we have a darker green. Then we have a much more deeper value as well. All these different tonal values will make it look more realistic and more beautiful. These textures and these patterns we are adding right now, will make it look like you're witnessing the silence from a really high place. Now, there's one thing I want to say, there's nothing to be really scared about here. You keep adding your deeper value however you want to. At the end, it is going to turn out really beautiful. First we started off with a lighter value, then onto that we introduced some medium value of green in between. Right now we're doing the same step, but the color is different. We have gone with a much more deeper value, that is Payne's gray. You can add some tiny patterns along the outer shape, and also some in the middle. I'm literally scrapping and scribbling the paint. There is no pattern or rule that I'm following. Just go ahead and keep on adding a deeper value however you want to. But don't go overboard and fill up the entire place, we need those lighter green and the medium green as well. That's something you have to to careful about while you're your adding deeper value, we need a combination of all these different greens. I'm really loving the way the painting is progressing. I love the contrast we have here. You can see we have a soft and a blurry sea. Then we have a very well detailed island, and that is the beauty of this painting, that striking contrast we have here. It will really give you a sense of depth in your painting. I'm really happy with the bottom part, but I think I can introduce some more green onto the top. I mean darker value onto the sea area. I'm just dropping in that. First I need to add it along the outer shape then a little towards the inner side. That's how it has turned out. If you want to add in more deeper value, do that right now. After this, we'll have to wait for this to dry. Then we'll be adding some more patterns using a lighter value to add in some more details and a little more depth. That's it. I think we can leave it for trying. It's a very good shape. I'm really happy with it. Now the painting looks complete, but we can make it even more beautiful by adding another tonal value of green. Let's take a quick break and come back when this has dried completely. That has nearly dried. Now, it's time to go with the final details. For verge, I'm going to use leaf green. This one is a lighter green from the branch in hand. You can go with any lighter green card. We're going to add some teeny tiny details onto the same background. Just go with any lighter green or we can just mix and create similar green by adding a bit of lemon yellow into some green. We just need like two green. That's all. It can be any green, it can be from any plant. Now, to add these patterns, I'm going to use the smaller size brush. This one is size number six. You can go with interfere medium sized crash. Now, at two drops of water into the paint that you're going to use. It shouldn't be too loose and it shouldn't be too thick as well. That's the consistency you should be working with. Now, you see seen paint, I'm going to add some teeny tiny patterns onto this entire island in a random way again. I don't want the lighter green everywhere. I still want to retain some of the deeper value. Just keep on adding some teeny tiny dots and some random patterns. You can see the size. Go to similar size. Keep adding some patterns onto the island. It's not an opaque paint, It doesn't need to be too thick. You can just go to paint that as kind of loose. But it shouldn't be too watery. If it's too watery, that won't really show up. Go to the medium consistency, I hope I'm making sense. Now, keep adding these teeny tiny patterns. It doesn't need to have any particular shape. Just keep on adding it. You can see all those different tonal values of green, and the light green is really popping up. Be sure not to go overboard and add too many patterns. Our idea is to read all the different tonal values of green we have here. It is not to cover them up. Just keep adding some patterns. You can see how carelessly I'm adding them. It is literally a very simple step. You don't need to put your into your mind and brain into this. You can simply keep on adding these patterns. The step is very much similar to how we painted the mountain in the previous painting. It is just that the shape is different. For the previous painting, it was a mountain. Right now, it is a much more bigger shape and it's an island, an aerial view of an island. That's the only difference. The technique is the same. Keep adding your lighter green wherever you want to, until you're happy with the result. Now, I'm going to add few at the top. Then I will come to at the bottom as well. Let's do this. Let's quickly finish up our painting. That's it. With that, we are done with our whole. I'm really happy with the island, and the sea. That contrast is really beautiful. We have a very detailed foreground and a blurry background and that really captures the depth here. I'm really happy with the result. Initially, I never thought it was going to turn out this beautiful. It was more of an experimental project. I just wanted to give it a try. I just wanted to see how it is going to turn out. But to my surprise, it came out really good. Maybe you can add some teeny tiny [inaudible] as well, something similar to the one we tried in our previous aerial painting. That could be some additional detail onto this. Anyways, now, I'm going to peel off the masking tape. I cannot lead to show you a closer look of this painting. The colors, the view, everything is looking really beautiful. I know I'm seeing this multiple times, because I'm that happy with the painting. Here that's it. Here is a closer look. See that? So beautiful. I think it looks slightly like a photograph. Anyway, I hope you all enjoyed it, and I hope you all loved your painting. Because at the end, that is what matters to me. Thank you so much for joining, and I will see you all soon with the last project 15. PROJECT 10 - Rocky Mountains: Hello dear friends. Now it's time to go to the last painting of the collection. It's a very interesting painting with a clear blue sea and a rocky structure. You can see those textures and the color palette. It's a very interesting painting. Anyway, let me take you through the color palette. For the sky, [FOREIGN], I will be using cobalt green. You can use turquoise blue or teal blue or cyan blue or any other blue of your choice for the sky. You can see here for the sky as well as for the sea. I will be using some cobalt green. Tad, so first color. You can use cobalt, turquoise or teal or any other color you have got if you don't have cobalt green. Now coming to the second color, that is turquoise blue. I'll be using this color to add a depot values and also some texture onto the sea against it with the bottom, as well as onto the rocky structure. There's a darker blue that is turquoise blue. Now coming to the next, for the rocky structure, you will need burnt sienna, as well as some Payne's gray. For the base layer, I'll be using a lighter value of burnt sienna. Then onto that, to add some deeper value. I'll be using a taco value of brown, as well as some Payne's gray, which means the final color you will need is Payne's gray. If you don't have Payne's gray just go with black or neutral tint. Those are the colors you will need for the 10th project, cobalt green, turquoise blue, burnt sienna, and Payne's gray. Now let's give it a try. I already have my paper ready here. Now, I'm starting out with a pencil sketch. I will need to add that rocky structure towards the left side. It's a very simple sketch. Also if you want to change that or modify that, that's totally okay. I'm starting off by adding an irregular line from the top towards the bottom. Now adding a vertical line, that's a basic shape. You can modify it as you like, it doesn't need to be exactly the same. Now I'm adding a horizontal over a little turn in between. I'm planning this side of the mountain to be a little bit towards a friend until this part. That's going to be one set and the other set is behind it. Just roughly divide your mountain into two separate sections, one in the front and one at the back. Here we'll have some deeper value just to show that shadows and all that. Now I'm adding an arched opening here. These little things will make our painting look really interesting. Now, I'm going to add the horizontal line. You can add your horizontal line somewhere here, right to that arched opening. That's a sketch. Now we can start painting. For the sky, as I mentioned earlier, I'll be using a lighter value of cobalt green. On the top, I will use a medium tone. Then towards the bottom, I'll make it lighter. It's going to be very simple. gradient wash. You can go with any other color of your choice, it doesn't need to be cobalt green. Let's begin. I'm not going to add any water. I'm directly going with my bigger size strong brush. First I'm making sure that it's clean. I'm picking some paint. This one is cobalt green and I'm adding that on the top of my sky. I want a basic sky, that's why I'm going with this color. Now carefully run your brush along the outline of your mountain. Then as you come down, make it lighter by picking some water on your brush. That's the top part of the sky. Now I'm picking some water and I'm making the rest lighter. See that? If you can, try not to add any paint onto the mountain. But if you add a little, that's totally fine. But try your maximum not to add any paint. Now I'm trying to blend it. Be careful. That's the sky. Now we have a little part in between that rock right next to the arched opening. There as well, I'm going to add some paint. That's the sky. Now we can leave this for drying. The sky is done. Now it's time to be in the sea for which, again, I'm using cobalt green, but this time the color is a bit more brighter. First I will start by applying cold water using my round brush. I haven't added any water onto the mountain, that is something you have to be careful about. Anyway, let's start painting. First, I'm picking some cobalt green and I'm adding that onto the wet background. Apply that onto the wet background, carefully following the outline of your rocky mountain. Don't add any paint into the mountain. For the base layer of the mountain, we'll be using a lighter value of burnt sienna. If you actually add any paint, it might be a bit difficult to cover up. Anyway, that is cobalt green. I should have used a much more deeper value. This one is quite light. Anyway, that's not a problem. The background is still wet, so I can add that in. This looks nice. That's a tonal value you should be using. Go with the very bright and vibrant tonal value of cobalt green, or any other color that you're using. Now, towards that bottom-most area, I'm going to introduce some turquoise blue. See that? Just add that in and blend that with cobalt green. It doesn't need to be a perfect blend. Anyway we're going to add some lines and some texture onto the background. There is no need to put a lot of effort in making it a clean plant. That's a base layer. Now I'm going to keep this brush aside and actually take out a smaller brush. I was actually about to add some deeper value, but first I thought I will make the color a bit more brighter. The color is looking really dull. I'm picking more cobalt green and I'm just adding that onto the entire top part. The color I used earlier is looking quite dull. That's why I'm making it brighter. If you had used a brighter tone earlier itself, you don't need to do this. That's the background. I made cobalt green a bit more vibrant. Now I'm switching back to my medium-sized brush and I'm picking some turquoise blue. See that? Now, I'm going to add some random lines and some random shapes onto the water to create some texture. Our background is really bad, so the paint that you're using doesn't need to be too wet. If it's too wet, dab it on a paper towel before you add these kind of patterns. Otherwise, they will spread into the background in a very vigorous way. It will be really difficult to control the rate of spreading. Just keep on adding some random patterns, especially at the bottom and also underneath the rock. Underneath the rocky structure there will be a lot of shadows. This area is really important. Keep adding some deeper value using turquoise blue. Following the outline of that rocky structural. See that? We don't need to add a lot of details onto the water. We just need some texture on the top as well as at the bottom. By top, I meant this area which is right underneath the rock. Over here, [inaudible] out of shadows and deeper value. That's what I'm trying to add right now. I have no plans to make it too detailed. I'm just adding some random lines while the background is still wet. Maybe we can make the color a bit more darker. I'm picking more turquoise blue and I'm adding that underneath the outline. You can see here, I haven't actually disturbed the background layer a lot. I have retained most of the cobalt green. I'm adding this deeper value only on the top as well as at the bottom. The major portion is still cobalt green. Now to make those lines a bit softer, I'm picking some cobalt green and I'm just running my brush back and forth to make it a bit softer and smarter. I don't want these textures to be too loud and prominent. That looks nice. But I think we can introduce some more patterns using turquoise blue again. I'm just adding some random lines towards the bottom just to show that water movement and some texture. Otherwise, it may look really flat. Maybe we can add a little towards the top part, but just be sure not to add a lot. As I said earlier, the major part has to be cobalt green, don't try to cover up that. Just add some random lines onto the wet background. If you feel like they are really prominent, you can pick up some cobalt green. Just match it to make it look softer. That's how the background has turned out. If you want to add more lines or if you want to add more texture, you could do that right now while the background is still wet. We won't be doing this exercise later, so this is your time if you want to add more pattern or more texture, just add that in and leave it for drying. That's the sky and the sea. Both have dried completely. Next task is to paint the rocky structure. Wash your brush thoroughly, make sure there's no blue color on it. Because we're going to go with a different color, which is burnt sienna. Also we're going to use a lighter value. The brush has to be really clean. You will need some Payne's gray as well as brown or burnt sienna for the step. First, add few drops of water into burnt sienna or brown and apply a lighter value or a medium value onto the empty structure. This is the tonal value I'm going with. It can be slightly lighter or slightly darker, but don't make it too dark. This is just a base layer. We'll be adding more texture and more patterns onto this. For now, simply go with a lighter value or a medium value of brown or burnt sienna and fill up the entire structure. The base layer is ready. Now, we need to add some deeper value for that, I'm picking some Payne's gray, a medium tone. I'm just adding some lines onto that wet background. This step needs to be done while your background is still wet, so be really quick and go with Payne's gray or burnt umber and just keep on adding some lines. It doesn't need to look clean. We're just creating some texture. This is the base layer. We'll be adding more deeper value later. For now, there is nothing much to worry. Even if it's not looking perfect, that is totally part of the process. I have just added some paint here because it was starting to dry. Now, I'm going to add more Payne's gray onto this bigger side. You can simply keep adding some lines from the bottom towards the top, as well as from the top towards the bottom. You see that? It is going to turn out really beautiful when the background dries. This part of the process can be a bit messy and you might not really like it. But let me tell you, it is totally part of the process. Now I'm adding some deeper value around the arch. Just add it how you want. You can use some burnt sienna, or some burnt umber or some Payne's gray. Those things are totally your choice. For now, we're just trying to introduce different tonal values onto the background to make it look more like a rocky structure. Now, I'm going to pick some more burnt sienna, a slightly brighter tone. I will add some random dots and some lines onto the background. While it is still wet. If you feel like they're prominent, you can use a clean damp brush and smudge it to make it a bit smoother. Now I'm going to add some more brown patterns on the bigger side. Maybe I will introduce some Payne's gray as well. I feel the side is quite plain. It doesn't have a lot of texture compared to the other side. Let's keep on introducing more texture onto the background. It's totally your call at any point, you feel like I've got enough texture, you can stop it. I'm actually happy with the base layer, but there's one more thing that I need to do before I leave this for drying. If you remember, we decided to make the mountain as two sections, so I need to add some darker value right over here. You see that? It's a mix of Payne's gray and burnt sienna. I'm adding some deeper value to show the shadows of the bigger side onto the shorter side. Just to add some deeper value onto this area where we have a tone and just match it with a slightly dry brush. I want to remind you all again, it might look a bit messy at this point, but it is totally part of the process. Just ignore. When the background dries, it is going to look really beautiful with those different tonal values and texture. Now I will quickly add some more medium tones onto the background as it is still wet. I'm using some Payne's gray here and I'm adding that towards the bottom and also around the arch. Just take a look at your painting and wherever you feel you need to add more deeper value, you could do that. It doesn't need to be in the same order or the same way, how I'm adding it here. You can totally decide those things for your painting. I feel this line is a bit prominent. Using a wet brush, I'm just merging that a little. That looks fine. I think it's looking much better now. That's a big layer of our rocky mountain. You can see how beautiful it is. We have different tonal values of gray and brown here. It is really gorgeous. Now, let's wait for this to dry so that we can add the final details. This is how it has turned out. The colors are really beautiful. I'm really happy with the outcome. I hope you guys are happy with your background too. Now next, we're going to add some dry patterns onto this. For which I'm using a smaller brush. This one is size number 6. I'm trying to mix some Payne's gray with burnt sienna to create a darker brown. Or you can just use burnt umber as it is. Now using that, I'm going to add some dry patterns. First, I will start with the area around the arch. I don't have a lot of water on my brush, it is just dry. If you feel your paint is really watery, dab it on a paper towel multiple times so that you will keep dry patterns. Now, our only task is to add as much as dry patterns as possible. Pick up the paint, dab it on a paper towel, and keep adding some dry patterns on the surface of the rocky structure. You see that? I'm adding the patterns in a linear way. I'm adding some from the top, towards the bottom, as well as from the bottom towards the top, you can add them in any pattern, it doesn't need to be exactly this way. Let's pick up more paint and keep adding more patterns or to the surface of the rocky mountain. Just be sure to dab it on a paper towel. Otherwise the paint won't be dry. You see that? Just drag your brush from the bottom towards the top. Keep adding some dry patterns. Towards the bottom line, we can introduce more deeper value. Let's pick some more Payne's gray. Then dab the brush on a paper towel. Over here, I want the color to be much more darker and also along the arch. I'm just adding some deeper value to show the shadows. Along the bottom line and also along the arch, I have added some deeper value. Now I'm dabbing my brush on a paper towel and I'm just marching that. You can see how beautiful this side has turned out. You can really feel that rocky texture here. That's why I said earlier, just trust the process. You can really see the difference between the right and the left. That bigger side is looking quite plain and empty. Whereas the right side where we have that arched opening, it is looking really gorgeous with those different tonal values and textures. Now we need to add similar textures on the left side as well. That's my next task. I have mixed Payne's gray and brown and I've created a darker brown. Now, I'm going to add some patterns here. Every time you feel your paint is a bit watery, don't forget to dab it on a paper towel. Adding these dry patterns is really easy. It's just a matter of going for dry brush and just keep on adding some irregular or random dry patterns. I have added few patterns onto the surface. Now, I need to add that tuple value along the bottom line. Just the same way how we did earlier. I need to add some deeper value along the bottom line using Payne's gray, then I will need to smudge it towards the top. Let's do that. Let's pick up some Payne's gray, dab it on a paper towel and add them at the bottom. Then smudge it towards the top. The textures are in and I'm really loving the result. Now before we leave this to drying, there is one thing that we can to over just adding some more shadows underneath the rocky structure. I'm picking some more turquoise blue and I'm adding a darker line. I have just started a darker line. Now I have taken some water and I'm smudging it. Right underneath the rocky structure. I want some deeper value. Earlier, the shadow wasn't really visible. Only over here, I'm adding some deeper value. Then you can just smudge it. Maybe we can pick up some cobalt green so that it is more easier just smudge the paint. There's just some lines right underneath the rocky mountain. That is done too. Before we call it done, there is one last thing that we need to do. For that, I'm switching back to Payne's gray. We need to add some final details onto the rocky structure. I'm using my size 6 round brush here. I'm using a darker value of Payne's gray. I'm just adding some teeny tiny patterns using the taco value on the surface of the rocky mountain. It can be some small lines and some smart shapes. Just add them onto the surface. We don't need a lot, just add a few here and there. Now let's add a few onto the other side. You can add some lines as well. We're just trying to introduce some final touches using darker value so that it will look complete. You can see the shapes. They are very random. At some places, I used a line and at some places it's a very irregular shape. That's it. That's our final painting of the collection. Now, it's time to peel off the masking tape. Here's the final scene of the collection. I cannot tell you how much I love those textures and color of the scene. I think it's a beautiful painting. I hope you've all enjoyed it too. If you are yet to try, do give it a try and let me know if you liked it. 16. Thank you for joining :): Thank you so much for joining. I hope you all had a lovely time painting with me. In this class, we tried 10 different beginner-friendly seascapes, the other based on a very limited color palette, and yet we managed to create a beautiful collection. I really hope you all enjoyed it, and you all loud your class projects. If you have tried them, do upload them to the project gallery. I would absolutely love to see the paintings that have created watching this class. Also, I would appreciate if you can leave a review for my class if you liked it. It will help my class reach to a wider audience. Thank you so much for joining, and happy painting.