Simple Watercolour Workout: Painting Water and reflections

1. Introduction: Hi, I'm under Marathi and welcome to the class. Simple watercolor workout. Painting water and reflections are guaranteed way of improving your art is by doing deliberate practice. This progress becomes easier and more effective when you paint many variations of a particular subject multiple times. In this class, I show you how I paint a different landscapes, all containing water bodies with waves and reflections in them. As landscapes contain other things like skies, mountains, birds, boats, and trees will paint those two. This class is designed with beginners and intermediate level artists in mind. So even if you're a complete beginner or have been painting for a while, you will pick up a lot in this class. You will see my color palette and the final painting throughout the painting process. So that you know how each brushstroke that I mean, contributes to the end result and narrate my progress throughout the painting activity and explain the reason behind my every action. You will even see how I fix some mistakes that happened during the painting process. By the time you finish this class, you will learn all the methods and techniques of painting water and feel confident to tackle any related subject. Your project for this class will be to paint a landscape that has a water body. It could be your version of the paintings that I show you in this class, or a painting based on your own reference photo. I'm very happy to have you in this class. So let's get started with the first painting. 2. Island Reflections: Welcome to this video. In this video, we'll paint the painting which you see on the screen. For that, I have 300 GSM paper taped onto a board, and these are my colors. I'll be mainly using cerulean, blue, Venetian red, and crimson lake. Those are the only three colors which I'm going to use. So let's get started. I need to wet the paper. First. I'm taking a mop brush and I'm making the, let me mark the horizon line, at least. Before I start painting. Let me have the horizon line somewhere here so that I can paint enough of the horizon. Now, sorry the reflection. So let me draw it like this. And I'm just checking the horizontality of that's a word. It's almost most there. It needs to be, the horizon needs to be very much horizontal, otherwise, the painting looks odd. Just making sure the old paper is uniformly wet. Okay, and now I can start laying in the first layer of the sky color. So I'm going to start with this blue, cerulean blue. And let's start painting with that. And I'm going to make it slightly thinner as I come down. So I've added more water to this mix. As I come down, I will be adding some crimson to this. It's a bit too harsh. Let me make it thin. And as I come down towards the horizon, I'm going to make it slightly more thicker and have this color here. And let me repeat the same thing. Below the horizon, also. Here, below the horizon and towards the base of the painting, I'm going to make it slightly darker, more saturated. What I can do is I can start painting the clouds, the dark ones. So for that I need to mix two colors, which is julian blue and this venetian red. They make a nice blue gray. I'm going to apply this while this thing is still wet. Unmoored small cloud, you're towards the horizon. Towards the horizon, the clouds becomes smaller in size because of their distance. I don't quite like this hard edge. So let's see if I can add just that. Shouldn't be enough. The paper dried here a bit more than here. I will leave it at this point. I can make this slightly darker. So I'm mixing a thicker color so that it doesn't spread so much. And also apply this in some places. Now I think I'll stop. Now before I paint the island or land here, I'm going to make this slightly more darker and add some reflections in the water. I'm going to use the same color. Mix it some more quantity. And this has to be done very fast. So now it's time to do it. Now I need to make use of something to keep this thing straight. Horizon line, straight so that I don't mess up. I'm just holding this paper here so that none of my brushstrokes cover that exceeded that line. I think that should be enough. Now I'm going to use again the same color but none of thickness. I need more of this. Now I'm going to paint the landmass. So it's going to be so much Hi, there is some vegetation on this piece of land. That's why it has a rough edge homepage. I mean, here I need not be. So please say is because anyway, this is going to have instead of flexion. But anyway, it's a good thing to be cautious. Now let me paint the reflection. Let me drag this rigger brush so that I get some lighter lines on. So and if I don't it that I can do it nicely. Again, I'm making the brush dam and clean. This looks Looks good, I guess. And now I'm going to use the same color. And what I want to make it very thin and drag it over this horizon line. And just as a counterbalance, to add one dot here. Maybe that's our distant island. I can add a few more dark brush strokes towards the base of this mountain. And also instead of flexion, it's time to remove the tape. It's quite simple painting. No complexity, but very impactful. Because of the contrast in the painting. Me. Show it like this. That's it. I hope you liked it. And you will make an attempt to paint this, your version of this painting and see you in the next video. 3. Sunset Reeds: Welcome to this video. In this video, I will be painting this painting which you see on the screen right now. This is a photograph taken after I've painted, so I'm able to show it to you right now and the start and just explain what I have here. I have a 300 GSM paper taped to a bowl. And I have my colors here, and the colors that I'm going to use, our Prussian blue, then gamboge or chrome yellow and some vermilion. And if I need, I'll add some black later on to the color mix. If I need to increase the contrast, I'll tell you when I add that. So let's start by making the paper wet or that I'll use a large mop brush so that it's easy and quick. Making the paper wet. I'm looking at the paper from an angle so that I see that every corner of the brush off the paper is wet. But there is no extra wounding of water happening anyway. Now, I will, maybe I should have done this earlier, but I need to make some marks so that I can paint with that reference. So I'll have my horizon line somewhere here. And it's about the halfway mark vertically. If I divide this into two, it will be somewhere here. So I want to have the horizon line above the halfway mark. And I'll start with applying the sky color first. Start with gamboge or chrome, yellow. Whatever you have you can use. And I'll add some orange to get an orange color. And it's not a very thick mixture. Neither too runny, even though it's the first wash. So here we start. And I need to keep an area here unpainted. That's for the sun. You just mark it here so that I don't forget it. As I come down, I will also have to add some more red to the color, that's the word median. So as I come down, I will more vermilion will make it more reddish. And I'll also try to drop it in some places. I didn't add brushstroke of that color at the top also because I don't want the sky to be light here. Now, let me, since this color is wet or when the color is still wet, I need to add the trees. Need to paint the trees. I'm mixing a color width. I need a dark green color. I'm adding this plus I will add the red. It's not, it's not becoming a green. But if I need to make it a greenish, then I'll have to add some yellow to it. But let's see, Let's try this color first and then let's decide if I want to make the yellow from the earlier mix or the layer which I already have is making the color greenish. So I'm okay with that. I may not add anymore. Yellow, good. I want to have this line pretty straight. So just looking at it from a distance and so that I get a fairly straight line. Of course, this line will become soft and will not have a hard edge once I add the reflection. So I'm not worried too much. So right now, it's I'm okay with whatever I am caught. I can increase the darkness later on if needed. For now, this is fine. Now, let me come to this portion of the painting. Since this is already dry, let me make it slightly wet. I did not get a clean port for clean water. That's why I have this dirty water now, which is not so great. But right now I don't have time to run and get this. I'm just I just dab this width shoes so that the color gets lifted off. Anyway, I'm going to apply dark colors here so it doesn't matter much. So again, I'll start with, I need an underlying layer of the same sky color here. But I did not apply it earlier because I wanted time for making these trees, painting these trees. And I'll also have to keep some white in this. But here are some more million. I didn't have to apply this to the whole area. You can see that the paper has started buckling. I'm working around that. And while this is still wet and come in again with this dark color. But I want to have this now more bluish. And let's see how this turns out. This is becoming still green. That's because of the yellow which is underlying paint. This these are the reflections of the trees. Some weird 1 million to make it dark. And now I need to actually show the names. I'm mixing this dark color and as I needed. And that leads to some variation in the color, which is, I find it interesting because in nature you won't find any one color that is there on a large area. That are always variations happening there. So this kind of mimics that. And which is, which helps the painting. Now I need the color dummy, much darker. That's because just as the sky is darker towards the top and lighter towards the horizon, It's deflection, which is the, the scene here, will be darker towards the base of the painting. And that's why I need the color to be dark. And I will bring this dark color up in the in this area. Also. We applying fewer strokes of that. The first layer acts as the base and what we're painting now will act as the waves, small waves. On this water body. I want the people to look at this. I'm going to reduce the orange area. Under news. The orange area on this side. Again, Prussian blue and a million bands in the reflection. I want to reduce the brightness on this side. So all these layers have made a very complex look. Can you get here, they've created here. So what is necessary in painting any reflections on water? Now I'm dragging the dry brush. Doesn't have a lot of color on it. So it's keeping that underlying layer also intact. And adding some dark and some places reduce it. On this side. And I need to darken these shapes also to some extent and apply one more layer of this color. Let's see how this looks. And wanted to be. We want it to be spreading to some extent. But it may not because it's already dry. So I'll have to manage without the watercolor spreading on its own. Just use a damp brush to run it or the edges so that there are no hard edges. The dark on this side also, again on damp brush. And here I need more reddish orange color. On this side. Because of the flare of the sun. This is what is happening. And I also need to soften the edge with a damp brush and then use a smaller brush. And some pure red color. Apply it in some places. Keynote of breaststroke. I think I need to darken the water body here. I'll do that with more of this dark color. Because the watercolor and becomes lighter as it dries. We need to look at things and adjust them. Again. Darker band here. These things have become. Lighter. So I will add more intense color layer so that they become darker. I know this looks completely opaque, but it is not. It will become lighter and transparent once it dries. And I love to paint these reflections also. And then spray some water on top of it so that the edges becomes slightly soft. Now, this looks much better. And now I can leave it for drying for a few more minutes. Now I need to paint the reads, the color. The painting is not completely dry. It there are some wet areas here and there, but most of this portion has dried. So I can think I can safely start painting the reeds. The reeds could be more who have more contrast. What I will do is I'll make this same color again, but also add some black to it to make it even more dark. I have some black here adding that. And this is all. The reads are going to look very dark because they're against the light. I have this very thick color. And to paint the reads properly, I'm going to turn the painting like this. And so that I can have clean brush strokes like this here. Let's start with one few more. And the idea is not to paint them all in one angle. These are the leaves. So what I'm doing is I'm dragging the brush up and down so that it kind of creates these leaf-like structures as if the leaves are falling. And this read is going outside the painting frame, which is completely natural. And then there are some reeds which have these on or whatever against the light. They look very dark. Paint a few here. One thing we have to remember is to paint them in a random manner or randomly distributed all over the space. They should not look as if they are painted in a very organized manner. Because in nature that they are not like that. Let me create the color again. Mix the color rather. You read on this side also. And being their leaves later on, once I make the painting straight. Can see that. If you can see by how it looks, I need more reads here. And I'll also paint the leaves. It's necessary to maintain the thickness of this color. Otherwise create, necessarily impact. This becomes dull or loses its contrast. Anyway, this is going to be slightly lighter when it dries, but that's why I'm trying to compensate for that. In contrast, I need more of this color. We create even more reads. And it's necessarily that we paint them in a random manner. So you can see this has lost its contrast here. Adding this contrast kind of pulls together that painting. Especially in watercolor. In the stages in-between, the painting looks very bad. So it's necessary to stick, to keep on painting it. Because final strokes, when you add them, that gives the contrast can pulls together the painting. But if you leave it halfway, then you don't achieve anything. It's called messy middle. So you should have your patients heavier failed at that time and then painting it and finish the painting, not leave it off. And now only thing what remains to be done is I want to add very, very thin layer of a red color to the sun so that it doesn't look very white. And a few hints of red in the water. Now it's time to remove the tape. Will be leading the painting. Let me also place it on a clean background. Now you can see that the painting is complete. I hope you have enjoyed watching this and it's now time for you to paint it and create your own version of this painting. So, thank you, happy painting and see you in the next video. 4. Blue Sky Evening: Welcome to this video. In this video we're going to paint a scene with some ultramarine colored clouds and reflection in a water body, river or lake. It's evening time. And so the landmass and the trees are seen as silhouettes. And that's what we're going to paint. So I'm going to, I've made this paper slightly wet beforehand. It's a 300 GSM paper as usual. And I'm going to draw some things here so that I get some reference point to paint. This is going to be the horizon line. And there is going to be a landmass which comes out this way. There is a large tree here, and there are smaller bushes on this side. And also there are bushes and smaller trees all along this line. There is a slightly larger tree here. There will be lot of clouds in the sky and a reflection in the water here. So the way I'm going to proceed is I need a pink sky here. So I'll painted that first. And I'll divide these two halves and paint this first and then this because I want some wet in wet techniques to be used. And if I tried to paint both the things at the same time, I may not get the required time. The paper might derive before that. So that's why I'm going to split it into two halves. First, paint the upper portion and then paint the lower half. I have some water here and these are some of the brushes which I'm going to be used. These are more brushes. If you don't have them, you can use large flat brushes like this. And they will do almost the same job. The first thing I'll do is I will apply a thin layer of crimson lake. So this is the crimson color which I'm mixing here. And I want to apply it very thin. That's why I've added a lot of water in it. And let me apply this on the horizon. And I'm, I'll be painting over the trees also so that I don't get any gaps in that. And I don't want any color to be pooling anywhere. So that's why I'm pulling it in this direction. I don't want the color to collect in any one place. Now, I will merge this or I will add the blue layers on top of this. So for the blue, I've chosen, ultramarine blue. This is the blue which I'm using. And I'll start with a thin wash here and let's see how it goes. Because as I go up, the sky is going to be much more darker than how it is here. So I want to have a very soft edge clouds here. And then I leave some gap in-between some clouds which I can modify later on. And as I go up now, I will increase the intensity of the color. I'm adding more and more color to my mix. And I know that because this is watercolor, it's going to dry much lighter. So even though it looks very intense right now, it will not be. So when I when this thing dries more intense color, I'm increasing the amount of pigment or the color without increasing the amount of water in it. And I'll try to create cloud-like brush strokes so that I don't have to manipulate them later on. Much. Because with watercolor, it's always. Lesser you make it behave in a certain way. Better. It is. Watercolor itself does the job, or it will just remove these white patches. And what I'll do is because they were leading to kind of hard edge, which I didn't want. So what I'll do now is take a tissue and dab some color out from some places. But that way I don't get any hard edges. But at the same time I get some light areas. And I'm making sure that they're not appearing to be of the same size or shape. You just dabbing in and around. And I think I will leave this. There is a small batch here. We don't want it to paint. I wanted to increase the amount of all. Let me try that. Even now, people is still slightly wet. So what I'll do is I will add a bit of the crimson to it, make the color thick. Let's see how this goes. At least at the top. If I can get the clouds to be more intense. I think I will leave it the way it now and let it take its own course. Yeah. So now till this dries, what I will do is I will work on this area. These trees are going to have a hard edge because they are not anyway going to mix with the background color. So I will have to paint them only when this portion is dry. Now lagging. Let me come back again to the pink. And I will lay one layer of this on this portion. And while this is wet, I will take a smaller brush. Let me see which brush will do the job. And I need to add ripples on the water with this dark blue color. Let's see how it works with this brush. Should be okay, I guess. So let me do this quickly. As this portion of the water body is away from us. The ripples scene will be smaller. I will not talk right now because I have to finish this while this is wet. When dries, then you won't get that effect. Let me spray some water on this slide. I get some more time for that. What I'll do is I'll hold the paper like this so that the sky doesn't get the sprinkle of water. And now I'll switch over to a slightly larger brush. And let's see how this goes. As we come towards the bottom of the painting. This ripples have to be larger in size and less frequent, more color. And I'll wait for this to dry. Before I tried to adjust anything in that. I feel I will need to add some darker marks on it. Let's try to do that right away. This time I will add some more crimson. And let's see how this goes. I'm just continuing with applying these marks. Wherever I see an needs and just when I'm making these darker marks, I will wait for this to dry and let's see what it just means. It needs. Later on, I might have to make it slightly darker because this color is looking too bright, vibrant. But let's wait for that because watercolor does change its characteristic when it is dry, it might actually adjust itself. So now coming to this landmass and these large trees which are silhouetted. So there is a landmass which is on this side. So what I'll do is, but everything is almost inner shadow. So. I will use some brown burnt sienna and take some of this blue and paint this landmass. The trees need to be much darker. So what I'll do is I'll take the same blue, crimson and I'll add some black to it. Make it dark. Now, let's try and apply this. Yes, seems to have a good value. This trees which we wanted to paint against the sky. I'm purposely leaving some sky holds here. Now I need a slightly more, slightly thinner or the trees on the other side. So maybe I'll start from here. Make it slightly thicker so that it doesn't become very bland sprint later on. It's obviously we'll have some reflection here. So dragging my brush so that the color spreads to some extent. And this will also have a reflection here. This big tree. So I will use the brush like this to paint the deflection of this string. And these trees also. Let me allow this to dry and then let's decide what the painting needs more. So till then, this also will dry and it'll tell us if it needs more. Color, needs to be made darker. Before that, let me add a few details so that it doesn't look very unnatural. A few twigs and leaves poking out and allow this to dry, and then we'll return to it when it's ready to take the next layer. This part of the painting is almost dry. It's not completely dry. But I'm going to try one glazing technique on that. I want to reduce the saturation of this color. So what I'll do is I will take this color which I mixed for the trees, which has black and blue in it. I'm going to make a thin layer of thin mixture out of it. And then laid on this painting on this portion of the water body. As a glaze. Glaze means applying the color very, very thinly. Applied over this portion. I will not rub it intentionally. This is supposed to make the color change a bit without us having to paint it over all again. Let's see how this works. I still feel the color is very intense. So what I'll do is I will try to pick up some of that this tissue while it is wet, which will reduce the intensity. So as you see, not every painting results in a nice-looking painting. In the first attempt. I'm still hopeful that this painting will turn on good. But before that I'm to do this and of course correction. And let's see how it goes. I'm trying to lift the color, so I'm making it wet wherever there is, lot of color. And then dabbing my tissue or that they can pick up the pigment. And while this is still wet, what I will do is I'll try to just doesn't look so patchy with the same color. And let's hope it turns out good. Now, let me try to pick up some color in-between. With our dry brush. Use a large flat brush for that, which is better than picking up the color. And let's allow this to dry. And then let's see what can do to bring this back. Okay, I need to work on this a bit more. So what I want to do is reduce the saturation. So I'm taking the blue again, and I will add some Venetian red and a tinge of yellow to make this color into a gray. Because orange is the compliment of blue. I've added red and yellow to make it into an orange. And that's how I'm reduced the chroma of this color. And let's see how this looks. Let's start with EDF here and then go on adding these ripples. You can see that there is lot of granulation which has happened here. That's because ultramarine is a color which which tends to have that property. Some people like it. Some people don't like it so much. But it's a unique property of this color. There are even some colors which are specifically designed to granulate. Depends on if you don't like granulation, then instead of ultimate in, you can pick up some other color, some of that blue and try to work with that. Paint the scene with that. Like cobalt, which doesn't granulate independence completely on your list. And I need to darken these trees. So for that, again, same blue, the red. I'm using venetian red now instead of ultimately, oh, sorry, crimson and some yellow which will make it gray and dark. And let's apply this. This portion of the water is deflecting. There are no ripples here and that's why it's reflecting the pink sky directly. It was becoming too obvious or too bright. I would just remove it or made it slightly dull. And I think that's it. This is the extent to which I can correct this. But if I were to paint this, again, I will paint at least this part with a much duller color to start with, and then see how it goes. So you can see that not every landscape painting or not every painting turns out the way we want it to turn out. But there is a lot of learning which happens with every painting. So don't leave it halfway through, just completed. Do whatever you can do to make it better. And if you still don't, are not satisfied with the result, just paint the thing again. So now let me remove the tape and see how the painting loops. And it's also necessary that we give some time for each painting to completely dry and be on its own for some time. And then we look at it again, maybe the next day. And we might actually like the painting much better than earlier. So that's what I'm going to do. I'm going to keep this painting as is tomorrow, and then decide what corrections I need to make in the next version of this painting. So I hope you enjoyed painting this and we'll learn from your mistakes as well as my mistakes. And paint a better painting every time you paint. So that's it. Happy painting and see you in the next video. 5. The Swan: Welcome to this video. In this video, we're going to paint the painting which you see on the screen right now. It's this one floating in water and there is some reflection of some green trees and thus one itself in the water. So that's what we're going to paint. So I'm going to start with making the drawing on this paper. This is, as usual, a 300 GSM paper. And I've taped it to the board. And I'm making the drawing first so that I get the proportion and position correct. I'm making it not very dark so that it doesn't show through when I paint over it. And I will also have to draw the shadow, sorry, the reflection, so that I can paint it properly and they can keep the area unpainted for this white of this one. That's the beak. And this area is going to be black. I think that's that's good. Drawing of this one. There are not many details which needs to be, which needs to be drawn. So now I'm going to draw the reflection. And this is what I'm going to keep unpainted when I paint the water so that I can show the deflection in the world. Obviously this need not be accurate because the water is anyway moving. So the deflection also would be quite unpredictable. And that's it. So I think that much of drawing is enough. Now, I'd need not because this is a very precise object or thing which I'm going to paint. That's why I'm not going to wet the whole paper. Instead of that. I'm going to paint around this one because anyway, I want this one area to be perfectly white without any color. So let me explain what colors I'm going to use. I'm going to use cobalt blue. Then to make a green, I will use this chrome yellow or gamboge. And to make an orange, I will use venetian red. And if required, I might take some wash which I don't go as white, which is an opaque white, which I don't have it here right now. But if required, I'll use that. So let me start mixing. And before I forget, I have to draw the ripples also around the swans so that I can paint them nicely. If I get those wrong, then things will not look correct. So I'm going to make these marks, which I can follow later on for painting the reflections. And obviously you can see that this has to be an ellipse. Now, let me mix the blue color, the water. And just following the principle of perspective, I'm going to make the blue lighter here and darker here, or more saturated here. So let me start with or should I, I'm wondering if I need to wet this area around the, around the bird, but I think that we better because then the color will spread nicely. So I'm applying water around the bird. Now, taking care not to wet the word itself. I'm looking at the reflection of the water so that I can see which area I have applied water and which are dry. I should not have applied water here because I want the reflection to be crisp. Let's see how it goes. Now let's start applying this color. I will need more quantity of this. Let me make some more. And let's start applying. Think I need to make it slightly more saturated. Because if I don't make it dark enough, then I won't get the reward contrast. So let me, let me turn this around so that I can bend easily. When I was young. Somehow I got I don't know who told me, but somehow I had an impression that it's not allowed to rotate the paper. That's something which you should avoid. But later I realized that that was incorrect. You are allowed to do it or rather whatever makes your painting look nice, you are allowed to do. So. Feel free to rotate your paper if you need to. That's going to give you better results, cleaner brush marks. Then do it by all means. Now, I have to be careful when I bend around the reflection. Okay. This is the place where I'm leaving those white areas. And have to be careful not to have any straight edge anywhere. Because they don't exist in this kind of MOSFET or rather you won't see any straight edge in the water. And I want to make this slightly darker. So I'm adding more pigment. And just lost one or two lights here. Deflection areas. Of course you can use gouache sometimes if needed. But if you can do without that, there'll be much better. Okay. And now while this dries, I'm going to make a gray color, very thin, to indicate few shadows on the, on the feathers and the body of the swan. So omega gray, I'm going to take some of this blue here. And let me add me zoom in a bit. And I will add a bit of Venetian red and some more blue. One small thing that should be good shade of gray. Let's see. I don't want a lot of color too. Come on to the papers. I'm going to wipe my brush like this, remove the extra gray color. And I'm going to use this sparingly in few places just to indicate some shadow. I think this is a good color, tint enough. If we remove some of it. And this area is going to have a lot of shadow because the direct light is not reaching their clean. My brush doesn't have any color now. I'm dragging it so that I get a gradation. And I'm going to do the same thing. On the reflection also. I'm making sure that there are no hard edges here. Now I'm going to use the same color because the light is coming from this side. This area of the neck is going to have some shadow on it. Let's do much of color. And if you notice, the bird has yellowish looking feathers, very light touch, but there is a definite yellow color, yellow ocher color. I'm going to use that here. It's just a touch, It's not very obvious. But if you compare these two, then you will notice that the neck is having lot of yellow is dinged feathers. And now the shadow. That's too much of color. I think I will wait for this to dry and come in later with one more layer. But before that now, again, while this is still completely drying, I can paint the beak. For the b in this area, I'm going to use black. Because this is, that area is black in color. And I'm going to mix it with this gray so that it's not pitch black. There is a bit of blue in it. So it's not it's not completely black. That is a tinge of Another color in it. So now let's see if this is dry. This isn't right. So instead of risking my fingers touching that this area, I'm going to turn this upside down and I think I will wait for this to dry so that I can paint it nicely. So see you in a minute. Now this layer of blue color has dried and I can start painting the black. Now. I'm taking this black color and I'm adding a bit of blue in it so that it's not completely blank. That is a tinge of blue in it. And I'm going to apply this, this eye of the bird here. And then this area is what is black. And even though, because this black color on the underside, there is a blank portion on the tip also. And nostril which is there on the beak, is also black income. Now I will paint the eye. And let's zoom in so that you can see detail what I'm doing. I'm going to keep slight AD or a small area of white unpainted. So that becomes the reflection of the eye or reflection of the light source in the bird's eye. And now I'll wait for this to dry. And then I will apply a very thin layer of the same color, same black, blue color, which is, I'm diluting it very, very lot of water. And I'm going to use that to show that reflect the shadow on the underside of the head. That's too much water on my brush. Pick it up and use it to show the shadow area on the neck. I'm going to use the same thing on this ADLs, same color on this area to make it slightly darker. Never dropped this dark color in the center of that. So then spreads on both the sides. Yeah. Maybe that's a bit too much. It may become some of that color. That's bad. Take a piece of paper in the scanner. If your paper is not a good quality, then you may not be able to pick up color like this. So this is also an advantage of good quality paper. You can wet the area and lift the extra color to fix your mistakes. I think that's enough. Now, let's see what needs to be painted. Next. I can paint the beak and I want to paint the big before the reflection. Because then that will tell me how dark I need to paint the reflection. Because I want this ADR to pop out. So for the big, I need to have an orange color. So that's yellow and that's red. This should be good. This color is not very ten minutes. And now I will have to mix a color for the deflection, which is a green. So let me do it here itself because I have the blue there. And it takes some more blue. And I don't want this color to be very runny. I want it to be like the ticker. So let me take some yellow and I want to make it slightly darker. So I'm adding a bit of a million or venetian red, whichever you have. So that makes the color slightly less saturated or darker, less saturated, slightly darker. And, and let's paint the reflections. So I had marked these ripple lines which are now gone. So let me see if I can mark them again so that I don't make a mistake when I apply the paint, applied paintbrush. So the ellipse is kind of like this. As long as I follow this Khan centricity, I think it should be okay. Be deflection here somewhere. Now let me paint the reflection of the trees here. I need to make the color slightly darker. And I need more color. So more blue or yellow and a bit of red. I mean, you have to very carefully, being the reflection here. I wanted to show the deflection just below the head. So then the head gets enough contrast. And I want to also continue it on this science. I've done the painting upside down. This looks kind of are deficient, so I'm just going to make it look natural. Maybe again. Shoulder flexion, although this place so that the head gets enough of one trust. Adding one more layer makes the ADR, they're slightly darker. And the deflections would be darker blue in this area. So I have a dilute, diluted version of the same blue. So that will help me create this illusion. Maybe this shouldn't have been there. But let's see. Let me see if I can pick this up. Again. Yeah. Now, I think I need to make some more areas slightly darker on the board so that there is enough. Before that, let me add a bit of variation in the deflection. So I'm taking some yellow, mixing it in this green and then applying it in some places. And also I will need some darker green. So I'm adding red and blue. Some more red. And this should be darker. I think this is fine. Somehow this idea of water is distracting me. So I will need, I mean, need to paint that also in this green color. So let me take this color. Because that's kind of making it too contrasty. Yeah, that's better. And I think I will add some opaque white in the beak. So that will create the required pop. Need some more gray areas here. Let's see. Does this look? I think that's good. I think that's good. Looking good. Now, only thing which I need to add just is the blue color here near the neck. This green kind of goes inside the beak, inside the neck, which I don't like. That. That's a mistake which I did while painting. Let me see if I can pick up that green. So that looks correct. So I'm wetting this area from the place where they need to, they move the color. I'm going to use a tissue, small piece of tissue build up that color off. And I think that's good enough. Yeah. Okay. Now it's time to remove the tape and see the final painting. When I had a closer look at the painting, I realized that there were problems in the shape of the ellipse. And that's why I've adjusted the shape by adding a few brush strokes here. Also, this blue color had a sharp edge here. I'm brought down the reflection till that so that it doesn't show up so much. And I think now I'm satisfied with the way the painting looks. So never knowingly leave a mistake on the painting. I've tried to correct it. And that's the final painting. I hope you have enjoyed this video and you will paint it yourself. And I also GO do post a photo of that in the project section. And happy painting and see you in the next video. 6. Tree Reflections: Welcome to this video. In this video we're going to paint this painting. And for that I have this 300 GSM paper taped to a board. And now it'll be lightly drawing the main shapes. This is the horizon line. You may not see it in the video right now because I'm drawing very, very light so that it doesn't show up in the final painting. There are these large trees. A bunch of them in here. Makes sure that they're not all the same height. And maybe a small tree here, maybe another bunch trees here. Again, these are to be kept very small because this is the focal area. And then there are few bushes which are part of towards the mountain and close to the mountain. Basically. They are light in color, they are bluish in shade. Then there is this landmass and which turns like this, that is grass on this. And then there is reflection of these trees in here, at least the main ones. The blue ones won't reflect here because they are far off into the distance. And then there are, there is a reflection of the sky in this water. The colors which I'm going to use, our civilian blue, alizarin crimson, and maybe yellow card sometimes, and burnt sienna. So mainly these four colors are used. If I use any other color, I will, of course, mentioned it when I use it. So let me get started with painting the sky first. And I need to paint it. Very, very light. Just a hint of blue is inner. I'll have to first wet the whole painting or whole paper. So I'm using this large flat brush. Or I can use this small brush here, which is, which holds more water. And I'm ensuring that the whole surface is uniformly wet. There is no pooling of water happening anywhere. And now I can come in with the blue color. And I want to keep a slight area of white here. So let me start by laying in this blue color. I think this should be enough. Maybe a tinge more here at the top. And then stop. Then I need to paint the mountain for that. This water on this paper needs to dry a bit more. And I want to prepare the color until this thing dries. I'm adding some crimson to this, so Julian make it into a blue violet color. If I apply it right now, it's going to spread a lot. Show you how, what I mean by you can see that it's spreading too much. I don't want that to happen. So I will have to wait for a few minutes. And also the consistency of this color makes a difference. If I paint too thin, then the color is going to mix a lot. I think let's give it a try. So this color is much thicker or highly pigmented than the first wash which I applied. I think this should be good enough. And I want this edge of the mountain and the sky to be soft because that's the way distance is suggested. So that's, that's the mountain. And I'm going to paint a few even darker. Trees indicate at least not paint very detailed. And I think it's too much wet. The color also needs to be slightly thicker. I think this should be good. I'm indicating view. Trees or bushes towards the base of the mountain. And I'm doing this while this is wet, so that it creates that soft edge. That should be enough. Now until this dries, what I need to do, I cannot touch this area. So what I'll do is I'll come ahead, go ahead and paint this area. And for this, again, I need a Boolean. But again, it will be very light here. And as I go down, it will be, it will become darker and darker. So I have this light blue and then start painting here. And as I come down, I will add a bit of this color so that it becomes slightly darker. I want to make it even darker. Towards the base of the painting. Want to make it even dark. And instead of painting horizontally, I'm painting slightly tilted so that there is some indication or of movement in the water. You will come to know what I mean when I apply the next layer on top of this towards the end of the painting process. Now, this is dry, but it's still wet here. So I'll wait for some time or I can at least I think, again, apply the yellow color of the grass. Right now. Taking yellow ocher and a bit of burnt sienna. And now I will allow this painting to completely dry before I start adding the larger trees. Now this painting has completely dry. It's not bone dry, but I can work with it. So now it's time to paint the trees. And for that I'll choose a smaller brush so that I have more control over the marks which I make. So let's start with burnt sienna. And I think I'll mix it with this yellow ocher which was already there. And let's apply this and see what kind of effect we get. I think this is good. And start painting. I'm leaving some areas in-between wherein I can see the sky through the through the foliage. You can see that I'm keeping some area in between. And that's because I want the tree to be like a tree and not like a cutout. Because there are things which can be seen through the foliage. You can see the sky through some of that. So that's what I'm trying to show. The baseline of this tree will be slightly below the baseline of the mountain because these trees are closer to us. Right now, I may not be following the drawing which I had made exactly because I don't even see the drawing. But the point is to make sure that the drawing was just to get the main shapes blend on the painting surface and not to paint inside those lines which I had drawn. So now that I have applied this model I need to do is. And darks. So for that, I will mix brown here are the burnt sienna in this blue, which was then some more blue, some more brown to make it into a dark color. And I'll drop that in few places, mostly near the base of the trees. Because that's the place which catches less sunlight. And also I'm assuming that the light is coming in from here from top-left. And that's why the trees will be lighter in top left. And I do the same thing, or a three or two here. Take this brown and some yellow ocher and paint smaller. Bunch of trees are a couple of trees here. And again, add darks to the base of the compositionally, I'm making sure that this object is larger than this one, so they're not competing. Also, the distance between this and the edge is different than this end the edge here. And so what I'm doing basically is maintaining its symmetry and making sure that things don't get, start looking symmetric. Now, I have to merge this into the into the ground. And that's why I need to have a soft transition between between the three mass and the ground. Otherwise, the trees will look as if they are cut out. So I'm just run my damp brush over this. So then it looks like the grounded. Now I'll use the same color to paint the reflection of this tree in the water below. So again, the large tree will have a reflection till here, and the smaller ones only till here or here. So let's start. Smaller to be reflection is maybe till here. Right now I'm painting with the brighter color. Later I will come in with a darker shade. Now it's time to apply the darker shade when this brown and blue, this leg, the same color, what we applied towards the base of the trees. And I'm playing, I'm applying it when the underlying brown, reddish color is still wet because I want that to spread. Should not look like a batch. Now I'm going to do indicate a few ripples on the surface of the water. And to do that, I'm taking this rigger brush. It has long Brazil's I'm going to make it ****, it doesn't have any color on it. And I'm going to drag it over this so that it picks up some of this color, brown color and also deposits it on this surface of the water. That's enough. Now let me come back to painting the reflection of this tree. This tree is because the landmass is so much in our world. It's not going to cause this much amount of deflection here and because it's too far off from the edge, but it will have some smaller section being reflected in the water. That's again a touch of this darker color. There's dragging the brush on this. Now I'll let this dry completely. And I'll try to now add some more dark area to this blue, blue trees, which are very far off. Again, mixing this blue and some crimson. And let's see how this looks. This is a small brush. It's not a natural hair brush, so it doesn't hold a lot of water and color. That's precisely what I want. That should be enough. Maybe a bit of adjustment here. Now I need to work on the landmass part of it. Let me zoom out a bit that some part of the palate is seen. Now I need an edge for this landmass so that looks are in defines the boundary between the water and the ground. So again, mixing that dark color, burnt sienna and say Boolean. And I'm going to do create an edge like this, paint and edge like this. Whenever I paint the vertical thing, I need to paint its reflection so that it adds to the nature of the water or this area. Now I will add one more layer of this yellowish color and maybe a bit of blue to this area so that it doesn't look very lateral boring. This is just to add some variety to the shape. Nothing more than that. So very, very transparent color. And I will add a bright mix of this colorblind layer of this color here. Because this is the focal area. Now. I will add up to be careful, I need to make this area slightly darker. But before that, there are two things. Remaining. One is adding some. Let me see if I can make lighter marks. This I think it's too too late because this color is already dry. But I need to indicate the tree trunks. But before that, let me mix this blue color again with some more crimson in it. And I will apply a few strokes in this direction. So that creates some kind of movement, or at least indicates the movement. That's enough. I did it very fast so that it doesn't disturb the underlying layer. Now let's add the tree trunks. Again, that returns will have a dark color. I'm using the same color and a rigger brush. The tree trunk is seen only in a few places. I'm not painting it all over. And applying this dark in some places just to add more contrast. And similarly, on this side, this is a smaller or a bush not have already done trunk. That's enough. Again, the base of this blue trees or bushes in the distance is very crisp. I want to make it soft by dragging this color for the base of the strings so that it doesn't look as if it's placed there. They should look as if they're part of the landscape. I think that's it. Maybe a few marks of this foliage color photo on the leaves which are protruding out from the main mass of the tree. And that should be it, I guess. Now it's time to remove the tape and see the painting. With the edge of the painting always looks good with the white edge. I mean. So that's the final painting. I hope you liked it. And you will try to paint the same. And make sure you post a photograph of your version of this painting in the project section. So see you and until we meet next time, happy painting. See you in the next video. 7. Checking the nets: Welcome to this video. In this video we're going to paint the painting which you see on the screen right now. To start with, I will first make a rough drawing so that I know where the horizon line is and where all the shapes are. The horizon is quite low in this painting. Just to make sure that I have it perfectly horizontal, I'm going to take the measurement. And this seems fairly okay to me. And there's going to be a son here, which we are going to preserve as white. So I'm going to first draw it. And I'm going to paint this first so that the colors are very clean and clear. So you may not even see the drawing of the Sun here in the video because I've drawn it very lightly. And now let me explain the colors which I'm going to use. I'm going to use cobalt, blue, chrome yellow, or gamboge. Is it in crimson, Venetian red? And I'm going to start with the sun. I'm going to apply, I'm going to preserve almost half or 1 third of that without any color. So that there is no, Because why it is going to be the brightest color in the painting. Now and add some Venetian red to make an orange. And then I'm going to add red so that I get the brightness of the sun. Washing the brush and it'll be slightly spreading the color so that there is a transition. Some more yellow in here. I'm going to feather this edge. It's necessary to paint this before we paint the sky. Because only then will be able to gauge what's the dark, what is the value we should have for the sky? Okay, So let me start mixing the colors. We're going to have more of a reddish color towards the top of the painting. And as we come down, it'll become much more bluer or blue, violet, purple, kind of a color. So I will first mix the colors and then start painting so that I don't waste time while the paper is still wet and not in a hurry. I'm going to wet the paper now when I'm to be very careful not to apply any mortar on the area of the scan. Careful around the sun. Now let me mix the colors. We need a reddish color, so I'm going to reuse this color. This is some yellow was there in that. Then there's some Venetian red. And I'm also going to add some crimson to it so that it is a mixture of these two colors. As I know that watercolors become lighter when they dry, I'm going to mix this color slightly more intense than what I need in the final painting. And now I'm mixing the bloop, blue, violet or purple. I'm going to add some crimson in it. And I'm not adding any Venetian red in this because Venetian red makes it slightly opaque and slightly dull, which I don't want in this painting. So let, the paper has dried a lot. So I'm going to wet it again. And I feel the sun also need some correction. Trying to decide whether it needs to be done before painting the sky on. I can do it later. I think I can do it later. So now I'm going to start with the red color. I will need some yellow in it to make it slightly orange. This is better. And now I'm going to transition to this color. And I have to be very careful around the sun because the color of the sun has completely dried. I can paint this without any worry of getting mixed. If it was wet, it would have been a problem. I need this color to be slightly thicker. So and now I'm ready to bring this color towards their transition area. I need to make it slightly more dark, add in the ADLs near the sun. Then the sun becomes brighter or looks brighter because of the contrast. And I think I will have to allow this to completely dry because I have too much of this brush marks going on. This will become light when it dries, but let's wait. Then this dries and see if it needs anything else. This upper portion dries. I can continue working on the bottom half of the painting. So let me wet the area again. I can see that the horizon line has become crooked here. I need to make sure that it's corrected. When I paint the paint this half, I'm going to use the same color and modify it slightly. I want to make it slightly dull or more of a gray. And that's the reason I'm going to add a bit of Venetian red, which makes the color, which reduces the saturation of this color. And I'm going to add some water. And I'm going to apply it over this. And I'm going to leave some area light in-between. And towards the bottom of the painting, I'm going to make it slightly more dark. This color is much thicker. And I'll wait for this to dry now. Or at least to become half dry. Let me see the height of the horizon here. This much can go slightly above this thing. This should be fine. And now I'm going to mix a very thick consistency of the same color and paint a few ripples. Because this color is now take color much, much thicker than the earlier a blade layer. It's not spreading too much. And that's what I want. Okay, Now I'll wait for this to dry a bit before I add further details. Now this painting has almost dried. Now I can come in and paint the distant islands. So the idea is to use the same color again. And because we are making one more painting, one more layer of that. It will become more opaque or it will create that value difference which we need. Let's paint the islands. That should be enough. Now we're going to paint the poles. One of the fishing nets which fishermen fix. I'm adding some black in the mix, mix the color with the cobalt blue and these two reds and added a bit of black to make it slightly more dark. And let's see how this goes. Let's first print a few things. This is called because they are made of wood. From trees. They should not be perfectly straight and they should not be exactly same height. So make sure that you maintain the asymmetry or inequality. They should all be unique. These are some which are far away. And now we want to paint some which are closer to us. So these are going to be slightly thicker. In some places they might coincide or overlap. The earlier poles, which is fine. Just an indication of their reflection. Maybe there is a small boat here. The fisherman on it, which is maybe he's checking the next. Just an indication we don't need to paint the shadow. We should men very detailed. And maybe another one which is here. Maybe I need to know that similar thing is here also. So, but because it's at a distance is going to be lighter. So I'm adding some water to the color and I'm going to read these marks. I think this is enough of an indication. And I'm going to use this same color, slightly thinner, and create some idea where that is. There are these areas in motor which have a different kind of reflection. So it's dark in this area. Because even in Stillwater, you will see some media which is darker than the other. Some area is reflecting sunlight, some area is reflecting more light and so on. So it's not motor does not look exactly the same or lower. So what I'm trying to create is feeling of some area being lighter, some media being darker, and so on. I'm going to paint a hint of this color of the sun being reflected in some areas. Again, I'm mixing yellow, chrome, yellow, gamboge, and some Venetian red. And I'm going to add a few strokes of this color here and there. I think that's enough of a solution. And I think this fisherman needs to be made slightly darker. The color has become light after it dried and doesn't have enough of a contrast. Them taking some black and the painting, his boat and the fisherman making these balls on so slightly darker. And I leave this as it is. And I think that's enough for this small painting. Now it's time to remove the tape and see the painting. Then we can decide if it needs anything else. So here is the final painting. I hope you have enjoyed watching this video. And also you will give this painting a try. You will paint it yourself. Happy painting and see you in the next video. 8. The day's catch: Welcome to this video. In this video we're going to paint the painting which you see on the screen right now. So again, to start, I have a paper taped to bold. And I'm going to make the drawing first because this painting involves human-made object and that requires much more precise drawing. So I will start drawing it. I want to place the horizon line somewhere here. And if I look at vertically, this is somewhere the halfway mark is off the vertical distance. So I want to keep the horizon slightly below that. And I want to keep this distance same. So I'm taking the measurements so that I can place the horizon exactly horizontally. It can be slightly. And then there'll be these mountains, distant ones, which are on the horizon. And so on. And here will be the trawler, fishing trawler. Me, something like this, sort of giving us on things like that. Then here is the thing which pulls the net, and so on. I won't make it very dark because I want to keep the freedom to change things a bit. Then there is, I can paint the other small board may be here somewhere, but I'll decide that once this is painted, I will look at the overall look of the painting and then decide. So the first thing what I'll do is I will apply the background color that I'll be mixing two colors. I need an orange-ish color. So I'm choosing to use yellow ocher and Venetian red. And I will be I need to first wet the paper so that I get a uniform wash. Let me do that with the small brush. And I'll be laying or applying this color on the whole painting. Because the reflection is also having the same kind of look because The sky is being reflected in the, in the water. So let's start applying this color. And I'm applying it even the boat on the trawler, because the trawler is going to be darker in value. So here I need to make the color slightly more reddish towards the horizon and also below the horizon. To some extent. Then I will again come back to the same color which is there on top. Almost the same. And before this thing dries, I need to make waves in this water that I will use. Cerulean blue. And I need to make this waves precisely at a time when things, the paper is not too wet, it's not too dry. And let's see how this looks. Let's give it a try. This is too dark. So maybe I need to make it slightly thinner. And this should be okay. The waves will become shorter or taller and thinner as we go towards the horizon. Because of the distance. They seem to be smaller and thinner because of the distance. And the water has some dark areas somewhere in-between. I'll do that once this thing is dry and I'll wait for this thing completely dry so that again, proceed. Now, this thing is completely dry. And now I can come in and paint the distant mountains and some lines kind of a thing which we see on the surface of the water. So far that I've chosen a smaller brush so that I get more control over it. And I need a slightly darker color. And that's why I'm going to use this color and add a tinge of what, a median. Then this becomes slightly thinner. It's not very different in terms of value, but it's likely thinner them are darker than earlier. So there are these undulations in the water, which kind of they seem to be like this. And this will dry, even lighter when it's completely dry. So this laying in these few marks showing some movement on the surface of the water. This shouldn't be enough. Now, I can come in and paint the mountains. So part of that, and again, I will use the same set of Boolean blue and add some more of Venetian lid. It's kind of a violet color. Not very dark. And paint the multiple mountains which I want to suggest. So once I will paint and show you how I do it, I will be overlapping one idea, one more time when the thing is dry so that it produces a different field. And it creates a feeling that there are two mountains. One is slightly darker because it's closer to us. So let's paint these. This is one. This one is. And I want to keep them not very prominent in the sense they are not the focal area or interest area of this painting. So I want to keep them just like some background and I don't want to make them obvious. Now, once this thing is dry, I will paint this area again with another mountain which will overlap it. Let's start doing that. Because I've painted it. Again. This has created a feeling as if this is another mountain which is closer to us than this one. So that's the way you create layers using watercolors. Straighten this edge. Now coming to the buccal area of the painting, which is the boat on the trawler. For that again, I will be using the same color, just different consistencies. I'll start with a darker version. For this area. I can barely see the drawing now. This is the part of the ship or the trawler which is in shadow. So it's much darker. And now we'll be painting the area which is in towards the light I make, I made the color thinner. Let me zoom in so that you can see it more clearly. Want to get the shape of the ship. Perfect. Now I'm going to apply a very thick color, this red color directly from the tube almost and use it here. Very thick. It's not supposed to spread too much. And I think this will become lighter when it dries, so I'm not worried about it too much. Right now. It looks a bit too dark. Now I'm going to use the same color with a rigger brush. And I'm going to paint the details on the ship. Now I'm using a very dark mix so that the required contrast. And these are some of the details on the ship. There is a line which goes like this. And because this is our trawler and has these tire kind of old tires which are used as a protection. And this is the area where as the anchor on ticker color now goo and details like the windows and things. Make this slightly darker. And I might pick up some color from this side because I feel that is coming through dark. And of course this has lead to some shadow on the surface of the water on this side as well as on this side. Let me let me paint a thin undulation or a kind of a mark on the water. Once again, because this is the band which I painted has become too light. I think I can paint it once more. I need to show the shadow on the water in front of the book, also. Kind of here. And wherever there is a fishing boat that are. So let's try to paint. Few birds lying around it led me, this has become too light. The mountains, let me make them lightly darker. Using the same color. Painting is more about understanding the values then understanding the color. If you get the values correct, then you need not worry too much about the right colors. Now, let's paint a few birds, and it's for the birds also. I'm going to use the same color and just want a dark color. Not necessarily any particular you. The bird is here will be very small. Let's do much of color on the brush. Let's competitively a large bird. And they are more in number near the boat. And lesser. As we go away from the boat. Maybe one. And that should be enough. And now it's time to add one more ball, a small one. And for that, I will also need the same color, again, very thick. And I haven't drawn it. But I will try to paint it directly. So, but I won't obviously paint any details in it. Of course, this is a smaller bowl as compared to this trawler thing. That should be enough. Just as a balance for This boats, I'm going to go just to create some variation in the color, blue lips, some color from the book? That should be no. And now it's time to remove the tape. I'm just wondering if I should make this area of the water slightly darker. I think I wouldn't do it. I need again the same color but slightly more reddish and more crimson. This time I'll put some crimson in it. Let me mix the color again, cerulean and crimson. And let's do it very fast. Yeah, I think that that's, you know, now it's time to remove the tape even before this thing is dry. I can do that and because it's not too much of color. So here goes the tape. Let me put it on a slightly darker background. And you can see how it looks. And I hope you liked this spending. You will give it a try, and I'll see you in the next video. Thank you. And happy painting. 9. Sea, Sky and Birds: Welcome to this class. In this class I'm going to paint a scene with a C or a water body here and some clouds and some birds flying in the sky. So first thing what I'll do is I will wet the paper on both the sides. This is the backside of the painting. What I'm making sure that it's wet also, so that there is less chance of the paper buckling when I paint washes on the painting. Now let me turn the paper and place it here. And now I want to tape the paper so that once the painting is dry, I can remove the tape and I get a really clean edge. Tape the paper first and then make it wet on this side also. Now I taped it. And now let me do the layer of water on this side also. Ok. Now, what I'll do is I have I'll draw it very, very likely just for me to see how things are. I will have the horizon line somewhere here. And I want, this is the line of the water. So I want it to be very, very straight. Might have some undulations, but it should not be treated overall. So I'm just checking the height of this waterline here. And then there are some clouds here which are in need not. Draw. If I have v like this. And I'll be using Prussian blue. Always use fresh color from the tube so that you get your colors vibrant. And I'm want to have some reflection here. So I'll be painting less here in this area and also dabbing out some color. Let's see how it goes. So this is the color, it's quite thick. And let me see how it looks on the paper. So I want to create waves. Not be painting a flat wash, but towards the horizon, I'll be painting smaller lines. Let's put much of color. And that'll be keeping some white area in-between. So let me get this area first on the horizon. And as I said, I want some reflection here. I'll be painting less. As I come towards the base of the painting, I will be painting larger brushstrokes. And I want the water to be like this. Have waves like in this direction, not very flat or horizontal. And while this is wet, I will come in with even thicker color. In some mediums. So then I get, you wouldn't have got waves. The waves towards the horizon should be smaller in dimension. What I do is I take a very thin wash of this color and few videos on this side, keeping the main thing wake. And I will also try to lift some color here and there. So then I get a different type of gradation. And now I let this dry. And I'll come to the sky part. For this guy also, I will use the same blue, but I'm using it quite thin. And then start from this side. I need to keep some white areas for the clouds. You need to do this quite fast before this colored drugs. So that I don't get any hard edges. Which has already happened here, to some extent. Just dabbing the color. And here on this side there are clouds. Before that, let me get this dark enough. The sky is always dark towards the top and light towards the horizon. As I come down towards the horizon, I will using just wonder about this. And in this clouds, I want to have a color which is gray. I'm adding some burnt sienna to this blue color so that I get a gray. Let's see how this goes. Slightly greenish gray. Make this, let's see how we can make this into a slightly neutral green. I added some. Venetian red to this blue. And I got this. What I'm doing is lifting the color near the edge so that I get a softer color. I don't get a hard edge. And maybe if I had made this part of the paper wet, again, this would have been easier. And you can see some cauliflower blooms here. Let's try to get rid of those by adding some intentionally more color. And while this is still wet, I add the dark with a slightly thicker consistency here. In some areas, which will lighten once it is dry. And now I'll wait for this painting to dry before I add the birds. And I also see if I need to make any changes to the C part of it. I didn't make this say no to slightly darker. So there's this glow. Stands out and wait for this whole thing to dry. Now that this whole painting has dried, I will come back and paint some birds in that. So for that also, I'm taking this same Prussian blue and I'll add some Venetian red board maker, dark, reddish brown, very dark color note, even though Brown. And I'll paint a few birds flying in the sky. So one thing we have to remember is that we should always paint the birds in a random manner with the children to look as if we have arranged them. So let me start with the first one. That's the first one. Zoom in so you can see the birds more clearly. Being one. And none also, they shouldn't be of the same size because the birds are flying in three-dimension and they should not, they should look smaller and larger. The way it looks unnatural. Let's see how this looks in the overall painting. I might add one more word here. And one last bird here. In terms of how many birds we need, we are okay, and now let's see if I need to do any changes to the water body or the what I'm going to do is run a very thin, almost no color and just run it over this. To reduce the brightness of that. The brush is just damp, it's not wet, doesn't have any color, any water. And what I'll do is to add some final touches are very thick color and some leaves here and there. So that I can emphasize where the viewer should look, which is this area. I will make the right-hand side of the painting darker. And what I might do is also darken the clouds in a few areas. So I want the highlight is coming from here. So I really dark on the Cloud, so on. In other areas. Getting rid of some hard edges. Now, this looks almost done. I think it's done. It's time to remove the tape and see how the building looks. Overall. This looks very good. Now, I'm happy with the way it has turned out. And I hope you liked it. And you will also try to paint the same. So happy painting and see you in the next video.