Spring Landscapes In Watercolor - A 15 day challenge

1. Introduction: Bright skies, fresh greens, blooms and blossoms all around. It's a perfect season to paint spring. If you have been wanting to try watercolor landscapes or practice painting spring scenes, this class is just for you. Hi, I'm Rania, a aticlar artist based in the UE, and I'm so happy to have you here. In this class, we'll paint 15 beautiful spring landscapes over the next 15 days. Each class project is designed to be completed in just 15 to 20 minutes you can either watch the full video and then paint or paint along with me. You will also be able to download the pencil sketch and the finished painting of each class project from the resource section. We'll begin with simple, easy to follow paintings and gradually move towards slightly more detailed paintings. This is a relaxed challenge. It's not about perfection but about enjoying the process and making time for creativity in your busy day. We'll be painting in a loose and impressionistic watercolor style focusing on bright, airy, fresh spring landscapes. Along the way, I'll also show you how to fix mistakes, work more confidently and use a few fun techniques and materials to create interesting watercolor techniques. By end of this class, you will have a collection of 15 spring landscape paintings, along with practical tips and techniques that you can use in your future work. This class is intermediate level, but also suitable for those at beginner level. Even if you are just starting out, you can follow along easily as the projects are structured to gradually build your confidence. If you have any questions, feel free to ask in the discussion section. I'll be happy to help. I hope you enjoy this class and I'll see you in the next lesson. M 2. Materials: Hey, thank you so much for joining. And in this video, let's see all the materials. So I'll start with the paper. I'm using fabriano artistico watercolor paper. This is 100% cotton and 300 JSM. These are very large sheets, which I cut down into small pieces, measuring 16 into 14 centimeters, almost A five size for the painting. You can use any brand of watercolor paper, which is 100% cotton and 300 JSM and cold press. Now let's see the brushes and some other materials. So for wetting the paper, I'll use these two brushes. One is a hake brush size 30 MM, and one is a Princeton wash brush. And for the painting, for the main painting, I'll use these round brushes, size 16, ten, and two. And also these two flat brushes for some details and painting techniques and a detailer and a very small size flat brush for lifting. And we'll also need some other materials. I'll use a spray bottle. This is by Derwent. It gives very fine spray, pencil and eraser for sketching and pepper knife for some scratching techniques. We'll also explore different watercolor textures using different materials. So we'll use table salt and some soft tissue papers for some lifting techniques. I'll show you that in the projects and also a masking tape. And we'll need some sponge. We'll use the sponge for some easy but realistic foliage texture. So this is the one I'm using this artist sponge, and it is kind of different texture. So you can use the normal sponge. But if you have this, you can use this too, which will give some different texture. And for the colors, I'll show you the color palette of each painting before we start the glass project, so you can easily refer. And if you are looking to invest in a good brand of watercolor, I highly suggest this brand. These are Michael Harding watercolor paints, a premium honey based range known for their rich pigmentation and excellent light fastedness and most of the colors are single pigment, which helps you achieve clean and vibrant mixes without muddiness. If you're planning to invest in a high qualty watercolor brand, this is definitely worth trying. They're available on Jackson's and their official website. And you'll need two j of water, one for rinsing your brushes, and one for wetting and rewetting the paper with clean water. I'll also use my hair dryer to speed up the process. And for stretching the paper, I'll use my acrylic glass board with masking tape, which is a common method for stretching watercolor paper. I also want to show you how I set up my table with all the materials. So if you're right handed, you have to keep the paper on left side and all other materials on the right side. Your palette just near the paper and the water cups and a big cotton cloth or something to wipe off the brushes. And you can keep the extra materials like your head dryer or something like that, just near to that. And if you're left handed, it's just opposite. I also keep an extra tissue paper in my left hand to keep my brush damp. This will always help us to control the amount of water and the pigment we are using and to keep the brush always damp. Most of you might already be using a similar technique, but I just want to show you my setup. It really helps to create a smoother and more efficient workflow. And that's pretty much all about the materials we need for the class, and I hope you're ready for the challenge. I'll see you with the first class brijet in the next video. 3. Day 1 - Spring Meadow: Hey, everyone. Thank you so much again for joining, and welcome to Day One. And today, we're going to paint a simple meadow scene. So let's see the colors. I'm going to use Cobalt blue and opera pink for the sky. So if you have a muted violet shade, you can use that too. And for the meadow, I'll use green gold and perlin green and indigo for some background details. Here, I have already prepared my paper by fixing it with masking tape on the acrylic lash booard I have my palette ready. So let's start with sketching. I'm fixing the horizon line very high and just adding a line about that for the background mountain and some very loose outlines for symmetries around the horizon line. You can also download the pencil sketch from the resource section. Yeah. Now I'm just wetting the hall paper. Yeah, you have to move your brush back and forth multiple times to get an even layer of water. Yeah. Now, let's start painting the sky. For that, I'm using a mix of ultramarine blue and opera pink. I forgot to add that I used ultramarine blue for the sky. I plan to use cobalt blue, actually, but now only I'm noticing that. So you can use either ultramarine or cobalt blue, and you can also mix it with some opera pink. So you'll get a nice violet shade. So with that, I'm just fixing the sky. For the upper part, I'm just making it darker and as it coming downward towards the horizon line, keeping it lighter. Yeah. Now, let's start painting the meadow, which is the main part of this project. So for that, I'm using my size 16 round bridge, and I'm going to start with first layer with green gold. Yeah, I'm just loosely adding that color, starting from the foreground and then slowly going upward. You can see how I'm moving my bridge like in his exact lose style, I'm just filling that color. And as it going upward, I'm trying to keep it lighter in color. You can see that. So we need more darkness in the foreground and more lighter as it going away. So you have to use a very warm green shade or you can use lemon yellow also. So that is a first layer. Before the first layer dries, we need to add the second layer. I'm taking the darker green, which is perylin green, and you can also notice that the paint consistency is slightly thicker compared to what we used earlier for the first layer. So I'll start from the foreground and instead of moving my brush horizontally in a flat way, I'm using vertical strokes. This helps create a sense of texture along with light and shadow effect in that foreground area. So you can see I'm adding a few thicker vertical lines in the foreground, and this is what gives a natural meadow like texture. Remember, when you're working with greens, try not to just fill the area in a flat wash. Use varied vertical brush moments to build that texture. Once it dries, it will give a much more interesting and lively effect. And as it going away, I'm also making it smaller and smaller and lighter in color. I also have an extra tissue paper in my left hand to wipe my brush, to control the moist in between painting. I'm doing it frequently. You can see that here. Also, you have to use a smaller brush, so we'll take more time to fill it there, and it gives a nice texture. And you can see that as it's going away, I'm trying to make it very narrow and small lines there. While adding the darker green strokes, make sure to leave some gaps here and there so that the lighter first layer can show through. This contrast will create a beautiful natural effect and add depth to your meadow. As we move towards the horizon line, I want the strokes to become lighter, softer and more subtle. While in the foreground, they should appear darker, bolder and slightly thicker. And remember, we are working entirely wet on wet here. We have already pre wet the paper before starting, and now we're adding these darker greens on top of that initial wet layer of green gold. This layering on a wet surface is what helps us achieve that soft blended meadow effect. It may take a little practice to get this right, especially understanding the timing, water control, and brush moment. But if you closely follow the steps and observe the demo, you'll be able to achieve it. Just give yourself some time to practice and it will come naturally. Now you can see that the paint has just started to dry, so I'm going back into add a few darker touches here and there. Using the tip of my brush, I gently adding some small round darker green dots to create a bit more contrast and interest. For this, I'm also switching to a size two round brush to get better control over these finer details. I'm almost done with the meadow area to enhance the texture further. I'll sprinkle a bit of salt before paper dries. The salt will absorb some of the pigment in places, and creating a beautiful organic texture. Let's see how it turns out. You step back now a little or view the painting from a distance, you will notice how the darker tons in the foreground gradually shift to lighter ones. This creates a beautiful sense of depth, making it feel like a meadow is receding into the distance. That's exactly the effect we are aiming to achieve here. While salt is absorbing the paint, I'm also adding some tiny darker dots here and there again on the lighter green areas of the meadow to build more interest. I don't want to look it flat, so I'm gently going back in and reworking in layers. And paper is not completely dry, so we can work on more softer kind of details. That's it for the meadow. Now let's move on to adding some details around the horizon line. I'll start with the mountain. For this, I'm using a mix of cobalt blue, along with the green mix we used for the meadow. Also, as we have added the meadow, the horizontal line naturally becomes more defined. So I'm keeping that in mind. I'm also gently blending that line using a flat brush to soften the edge of the meadow. Now let's add some trees. For this, I'm using a thicker mix of Perlin green with size two round brush, and the mountain layer is still slightly wet, so I'm adding these trees wet on wet. But Don worry, if your layer has already dried, you can also do it wet on dry as well. Just take a slightly thicker paint consistency and add some small dots and tiny marks to suggest distant trees. You can see here, I'm using the side of my brush to paint the trees, and to paint some fine details around the trees, I'll use the tip of the brush. Now, to make some trees a little more bigger and taller, I'm using mix of ultramarine and green gold to make it a little lighter and adding some more details. Again, you can see that I'm using the side of my brush to create that thicker, still loose, soft kind of strokes for the trees. And then around that to add more small and tiny strokes to shape the tree, I'm using the tip of the brush. Now, I want to add some more shadows to the trees because it looks flat. So I'm going to add some little thicker dark green mix to one side of the trees. So as you can see here, the meadow is looking lighter on the right side and the left side is more with shadows. So same like that on the left side of the trees, I'm adding some darker greens with little thicker mix of paint. So, yeah, that's it. We are done with the painting. Let's see the final look. I'm also drying this completely before peeling the tape. So, yeah, that's our first class project, and we have finished it in around ten to 15 minutes. And you can see that beautiful texture in the foreground that was our focus for this project, and I hope you enjoyed this one, and I'll see you in the next project. Bye. 4. Day 2 - Meadow Path: Hello, hello. Welcome back to today's Clash project. And again, today we'll paint something similar. We'll paint a meadow with a walkway and some trees in the background. So let's see the colors. I'll use Kobalt blue for the sky and green gold and perlin green for the meadow and titanium white for some details in the foreground and indigo for the distant trees and yellow for the pathway. That's it. And here my paper ready. So let's start with sketching. Again, I'm fixing the horizontal line very high and more like a loose wavy line rather than a straight horizonal line. Now let's add the pathway. I'm keeping the pathway quite narrow, not too wide, a small walkway through the meadow. And also, it starts straight from the foreground and moving vertically. And then around the middle, I gently curve it towards the right. Yeah. This way, we get a nice sense of depth and perspective in the painting. You can also download the pencil sketch from the resource section and you can trace it if you want. Yeah. And as you can see here, I'm keeping it very narrow and pointy as it going away towards the horizon line. So that's it for sketching. Now, let's start the painting. So before that, I'm just wetting the paper completely. Just a gentle reminder again, use only a very thin light layer of water on the paper. Not too much. Right now, we're going to paint the sky. Just before that, I'm gently wiping off excess water from the edge of the meadow just below the horizon line because I don't want the colors to flow downward. Now I'm adding some bald blue for the sky using a round brush around size ten, and I'm applying the color loosely, keeping it slightly darker in the upper corners and gradually lighter as it comes down towards the horizon line. Yeah, then I'm gently moving my brush back and forth to create a smooth, soft gradient. That's just a simple wash for the sky. Now, let's start painting the meadow. Same like our previous clash project. I'm starting with green gold, and from the foreground, I'm going upward. And again, you can see how I'm moving my brush just loosely, adding colors there in a zigzag style. And also I'm leaving the pathway, you can see that. And if you want, you can also wipe the water from there, so colors will not spread towards the pathway. And slowly, I'm making the very foreground little darker using perylene green. So it's like we're painting the first layer with green gold, and then second layer with peline green. And also, you can see that. I'm just painting till that curve of the pathway. Um. From there, we have to make it very lighter. So now I'm working on that three dimensional look for the meadow. So with Perlin green and using my round bridge, and also I'm wiping it around the outline of the pathway. Yeah. This loose style of painting will turn out a little differently for everyone. So keep in mind that we're simply enjoying the process, and you can see those beautiful soft blends in watercolor, and it's very therapeutic. The final results may vary, and that's exactly what makes each painting unique. Now I'm slowly spreading that colors towards the horizon line. I want to keep it lighter. And also, I'm using some lemon yellow to keep it very warm and light as it's going away and just feeling that color there till the horizon line. I'm always controlling the moist of my brush bristles by wiping it on the tissue paper. Yeah. Now, again, going back to the foreground and trying to make it a little more darker and more contrast there. As it begins to dry, we can gradually add more colors and layers, which will create softer yet more interesting contrast. That's what I'm trying here to get that soft and bright colorful meadow effect. Yeah. Now, I'm mixing the green mix that is green, gold, and perlon green with some white, opaque white. And I'm just adding some very tiny, tiny dots and lines there as it going away. So we have to keep it thicker and bigger and darker details in the foreground. And as it going away, we have to keep it very thin and lighter in color. Yeah, I'm just reworking here and there and slowly building that beautiful meadow effect. Gently adding some little darker effects as it's going away, since I don't want to keep it very flat. Yeah. That's it. Now we have to work on the pathway. So I'm using my size two round brush, and again, with pel in green. I'm just adding a thin line there to get that vanishing effect. As it coming towards the foreground, I'm going to add the darker effect on one side of the pathway that is the left side. So I'm just adding some shadows or some edges. The paper is still slightly wet, so we can continue working wet on wet. It has started to dry, but I can feel some moisture in the tooth of the paper. By adding these slightly darker lines and details, the pathway becomes more visible and defined. M Keep it a bit darker and make sure it stays very narrow as it recedes into the distance to create a sense of depth in the meadow. Also, I'm defining some edges on the right side with the same color, you know, and slowly creating that shape for the pathway. Also, I'm carefully working around that curve of the pathway. I don't want to ruin that beautiful perspective of, like the pathways receding into the distance. That's it. Now, let's add some trees around the horizon line. Before that, I'm gently wetting that sky part using my flat brush. Yeah, I'm not pressing it hardly, very gently, adding some water there. That's it. Now, let's add some trees wet on wet. So for that, I'm starting with perylene green again. And also, I'm mixing some ultramarine blue, like a very dark green mix. And with that, I'm just adding some trees around that line, and you can again see that I'm using the side of my brush bristles for the thicker strokes. And then I'll come back there to add some details. Yeah, starting very loosely. And also towards the pathway line, I want to make it very shorter. I don't want taller trees there. So from both sides, I'm adding toller trees. And as it coming towards the pathway line, I'm keeping it shorter. So we'll get that depth. We're not blocking the view with trees, right? Yeah. Okay, now, before it dries, let's add some lighter effect. So for that, I'm going to use the same green gold and just gently adding that color there. Since it's wet on wet, both colors will blend nicely the darker and lighter colors. Yeah. I'm also being careful about how I place the trees on the meadow, how they sit along the surface. I want to keep them a bit sharper rather than too soft, so we get a nice defined effect. In a way, these trees are also helping to define the edge of the meadow. Now going back to all the trees again and adding some tiny tiny dots with a tip of my brush and slowly shaping it again. That's what we're done with the meadow and the trees. Now let's add some very light colors to the pathway. So for that, I'm using yellow ochre. I don't want to leave the pathway white. So let's add some yellow ochre there. And also, I'm just mixing it with some perilin green. Yeah. And you can see that by adding colors to the pathway, I'm also defining the edge of the meadow on both sides because it's completely dry now, so we can easily create that nice edges for the meadow. Again, adding some dots and lines here and there around the pathway to create that like, we can see the pathway through the meadow, leaves or the bushes. By mixing some more pelin green to a locre with a little more darker brown and stadding some dots here and there, again, wet on wet. The previous layer is not dry and to create that little interesting contrasting effect. Adding some dots here and there, again around the edge of the meadow. M We're almost done with the painting. Now, let's go for the final step that is like we're going to paint some flowers or blooms on the meadow. So for that, I'm mixing lemon yellow and opaque white. My opaque white is titanium white from Daniel Smith. So you can use any opaque white and mix it with some yellow or sorry, lemon yellow. And gently adding some yellow dots here and there, especially on that light green spots on the meadow. Mostly keeping it on the light green spots, but also I'm just painting some dots on the darker green. Some very small dots and some little bigger dots and some are in little different shape. Make it little irregular, lose and just enjoy doing it. To add a bit more contrast between those flowers, I'm just gently adding some green here and there, just in between those white yellow dots we added for the flowers. Yeah, so we'll get some nice depth and contrast. Also, for these flowers, I'm using my size to round brush. Finally with black color, I'm just adding some boards. Yeah. Oh That's it. We're almost done with the painting. Now, let's try this completely before removing the tape. I don't know. I'm not that satisfied with that curve of the pathway. So I'm trying to just fix it by lifting some colors from there. Yeah. That's it now. Let's remove the teap and let's see the final result. So yeah, I hope you can see that beautiful texture, soft meadow effect, which will give a nice peaceful feeling to use. So yeah, I'll see you with new painting tomorrow. 5. Day 3 - Spring Bloom Field: Hello, and welcome today three. Today, we'll be painting a very loose, simple and cute flower meadow landscape. So let's see the colours. We'll use just a few colours cobalt blue and indigo for the sky and clouds, Elizardin crimson for the meadow and Perlin green and green gold for the meadow and the background trees. Yeah, that's it. So you can use any red shade you have and cobalt blue and a warm green and dark green. That's it. Now let's start the painting, and I'm only adding the horizon line a little lower. We won't be adding any other details for this sketch. If you need a detailed one, it's available in the resource section. Yeah. Now, as always, let's completely wet the paper, and then we'll start painting the sky. I'll take cobalt blue for the sky using my size ten round bridge, and I'm going to start from the right side upper corner. Yeah, loosely adding colors there. We're not painting the sky entirely with cobalt blue. Slowly, I'm leaving a bit of white space on the left side for the clouds. Yeah. Just a soft and loose sky wash. Now I'll start adding shadows to the clouds. You can already see that reserved white space, and I'm gently adding shadows with indigo and some walt blow. So just loosely adding some shadows there, and it's also wet on wet. So we'll get some nice shadow effect. I'm also wiping my brush on a tissue paper in between painting to control the moist. Yeah, we need to use a very damp brush for painting the clouds, so we will get nice control over the pigment in water, which is a basic role in watercolor painting. To enhance the highlights and make them look brighter, I'm softly lifting some pigment with tissue paper. Just gently press it on to the white space between the sky and cloud shadows we added. It's important to do this while the paint is still wet so you can get that soft beautiful effect. We're keeping the sky simple for now. We will practice this sky technique in upcoming projects also. Now let's go for a very simple sky. That's it for the sky and clouds. Now let's move on to the meadow. I'm just wetting the area again before we start. In between, I felt like sharpening some cloud shadow edges, so I'm refining them again. The it's totally okay to go back and refine a few details, right. So I'm just adding some tiny, tiny strokes. I mean, dots with indigo to get a little crispier kind of effect for the clouds. Now, let's start painting the meadow. So I'm starting with lazarin crimson. And with lots of water, we are starting with a very light wash, and then we'll add darker layers. So just below the horizon line, I'm adding lazarin crimson, and towards the foreground, I'm going for greens, which is green, gold, and perylene green. Now we'll just fill in colors with very light wash and we'll come back later to add details. Maybe we'll build it up in two or three layers to get that loose meadow effect. I'm going for a little more darker green effect in the very foreground. So using perylene green directly from my palette and adding that in the foreground, Okay, now comes the fun part. Adding the flowers with a darker red. I'm using a slightly thicker mix of Alizarin crimson, and with my size two round brush, I'm adding some small round circular strokes here and there over the pinkish red wash. We added earlier. The paper is still wet, so we'll get a nice soft effect. You have to use little thicker consistency of paint to add this soft floury effect. Okay, let it dry. We'll come back later to add more details to the meadow using wet on dry. So we'll get some nice, sharper effects. In the meantime, let's add some background trees along the horizon line. For that, I'm using a mix of perylene green and indigo for a slightly darker green. The sky part is almost dry now, so we can paint the trees a bit sharper using wet on dry. As always, for painting the trees, I'm just using the side of my brush bristles for the thicker strokes and then adding some tiny, tiny details around that with the tip of my brush. If you want detailed class on painting, just trees. You can check out one of my previous class all about painting trees using different brush techniques, so you can check it out. Now I'm adding trees in different sizes. So very short, tiny, tiny dots and marks, some little taller and thicker trees also. With some cobalt blue, I'm also adding some lighter effects here and there on the trees. It's very important to not overdo it. Just add some little bigger trees on both sides and coming to the center, make it very shorter and tiny, tiny strokes. That's it. I'm again working on the trees to make it a little more natural and detailed. For some dry texture here and there, I'm using the cobalt blue and indigo mix. Yeah. Almost I'm scratching or pressing hardly my brush bristles there to get that dry texture you can see on the trees. And for the down part of the trees, I want to make it a little darker, so adding more dark colors. Bye. Okay, that's enough for the trees. Now, let's go back to the flowers. Okay, it's almost dry now. I'm going to make some of the red dots a bit more sharper. I'm adding another layer over the Alizarin crimson dots to get more sharper edges here and there. We're basically building it up in layers to get that soft, slightly crisp meadow effect. So again, you can use little thicker consistency of paint and then add some tiny, tiny dots here and there, and you can make it a little bigger and thicker dots as it coming to the foreground. It's like a very loose and abstract meadow effect we're painting. Keep it very tiny and small, sharp dots as it's going away towards the horizon line. And also, I'm using my size two round bridge for these sharp details. Now you can see that effect that flowers are slowly coming to the shape. Same, like, let's refine the greens. Okay? So I'm going to darken the foreground part. Again, with perylin green, I'm adding some leaves or grass to the meadow, like some very straight vertical lines. Just loosely adding some lines vertically. I'm also wiping it with tissue paper here and there to keep it still soft. A That's enough for the foreground darker effects. Now I'm going to add some darker dots with the same green in between those red dots to get a kind of continuation. Again, I don't want to overwork adding some tiny, tiny green dots here and there. Yeah, that's it. We are almost done with the painting. Okay, now I'm going for the final step, adding some birds. Using the indigo mix, I'm just gently adding some boards. That's it now. Let's remove the tape, and let's see the final painting. Yeah, that was a very cute and loose meadow painting. I hope you understood how to create an easy meadow effect using layering in watercolor, combining both wet wet and wet tone dry techniques. I'm really happy with how it turned out. It looks simple and very springy. So yeah, I'll see you tomorrow with a new project by. 6. Day 4 - Under the open Sky: I'm a little extra excited about this painting because it's like a little experimental today. I hope you enjoy it. So let's get started and take a look at the colors. We'll use John Brilliant number two or any little opaque yellow shade for that sunlight effect. And for the sky, we'll use cobalt blue and intigo for that shadows on the clouds. And for the trees, we'll use green gold and peron green. So it's like a very limited color palette. For this painting, we won't be doing any initial sketching. We'll paint directly. However, if you prefer starting with a pencil sketch, you can download it from the resource section. Here I'm wetting the paper completely with clean water. We'll start by painting the sky sunlight and the clouds first, and then move on to the trace. For the sunlight, I'm using John Brilliant number two, which is lovely opaque, peachy, yellow shade that gives a soft glowing effect around the sun. I'm just preparing the colors now. Since the paper is fully wet, I'm gently lifting some water in a circular shape, create space for the sun. Around that, I'll apply this yellow shade so the colors don't flow into the sun, keeping that small white circle intact. Alternatively, you can also use a circular piece of masking tape and stick it onto the paper before wetting it to preserve that clean sun shape. I'm using my size ten round brush and with gentle circular motions and blending and spreading the color outward. The paper is perfectly wet and which helps the colors flow smoothly. And also, I'm using tissue paper to fix it here and there. Next time, quickly adding the sky using cobalt blue. And also I'm aware of where I want the clouds to be. Just like in the previous painting, I'm not covering the entire area. I'm intentionally leaving some white space here and there. We will later turn those areas into clouds. So I'm keeping that in mind while applying the cobalt blue, and also to control the moist, you can see that I'm using a tissue paper. Yeah. I'm going around that sunlight very carefully and with some water, I'm just blending it here and there. So you can loosely add some colors for the sky, and then we will paint the clouds. And you can also notice the consistency of my paint on my palette. It's like a milky consistency, not very watery or not too thick. Alright, that's enough for the sky. Now I want to define some cloud edges. For that, I'm using a tissue paper and gently lifting a bit of color from the blue ideas. This helps create soft cloud shaves yeah. I'm just lightly dabbing and lifting the paint. And as we remove the color, you can see those beautiful cloud forms starting to appear. You can use a tissue paper or even a soft cloth and just gently press and lift on the paper to achieve these natural looking shapes for the clouds. And also, do it very gently and carefully, so we will not ruin the colors we added for the sky. Now, you can see that it's slowly forming that cloud effect. Now I'm quickly adding some shadow tons to those clouds or white spaces. The paper is still wet. But since we lifted some color, the surface feels slightly dry while there is still moisture underneath. For this step, we'll use indigo in a very light ton. Make sure to dilute it well with plenty of water and start with that soft lighter shade for the clouds. And also, I'm mixing the indigo with Um, the yellow mix we used for sunlight, which is John Brilliant number two to make it a little more grayish. And later we'll also build it up by adding slightly darker indigo in a few areas. So first, begin with a very light wash. And you can also see that I'm not covering it entirely. I'm leaving some spaces towards the sunlight and then adding some tiny dots here and there by leaving again some white spaces, tiny, tiny white spaces. To make it more lighter towards the sunlight, I'm adding more bald blue on those corners. Yeah. So I'm repeating the same technique for all these three clouds. And also, I'm using my size ten round bridge. And also, while the paper is still wet, you can even lift colors again and again to get that perfect shape for the clouds. While adding these shadows and being very mindful of the edges and how they help define the cloud shapes. As you apply the indigo, make sure not to cover everything. Leave some white spaces, especially on the sides of the clouds facing the sunlight. This will create a beautiful highlight effect, and then you can go back and add some tiny, tiny dots on those white edges. So we'll get some nice depth. Again, I'm adding some kobalt blue to the very corner, so we'll get that lighter effect, that transition from darker to light. I'm also going back to the sky in between painting the clouds to make a few adjustments and refine it. Again, I'm working on the cloud edges by using a tissue paper to gently lift some color. This process is all about layering. We can keep refining and adjusting as we go. You can always come back and fix or improve any part of the painting. All right, that's enough for the sky. Now let's move on to the fun part, which is painting the trees. For that, I'm using green gold for the lighter tons, and then we will add depth and shadows using perylene green. And remember to prepare your color in a milk consistency. You can clearly see that on my palette. And also, I'm preparing the perylene green with some water in the same consistency. That said, both colors are ready. And remember to prepare your colors before we start painting the trees. And for this, I'm using a sponge. I hope you have checked the material section to see the type of sponge I'm using. But you can also use any regular sponge. Now I'm taking green gold with the sponge, and I'm just folding it into a shape that feels comfortable to work with. And using the tip of the sponge, I pick up the color and gently press it onto the paper. We're painting the trees from a looking up perspective. So we're focusing only on the upper parts of the trees. These are evergreen pine trees I'm painting, so keep that in mind while creating the shaves, and you can also experiment with other tree forms. Just loosely build up that foliage to give it a natural look. And You can also use a size two or a detailer brush if you are not getting enough control with a sponge and especially for creating that sharper effects at the top of the trees. And also keep in mind that the paper is still wet, so we are mostly working on wet. And however, in some areas especially around the clouds, the paper started to dry and you can see that texture as well. Yeah. I'm painting some little more taller trees from the foreground, and from both sides, I'm adding some little shorter trees. And also, it's very important to not overwork. We are not covering the sky and clouds entirely. Yeah. It's very much fun to do this, but it's important to leave some gaps here and there so we can get that beautiful see through sky effect. Alright, that's enough for the lighter green. Now I'm adding shadows using a darker green with the same sponge and the same technique. I'm not covering everything. We still want a lighter green to show through beneath the darker layer. So I'm being very careful about where I place the perlon green. And also remember to keep the shadows consistent, placing them on the same side for all the tres. You can see how I'm holding the sponge to get that control. So you can also use the detailer brush, and you can create some crisp and sharp, tiny dots and lines here and there. Now, with my size two round bridge with little thicker perylin green, I'm adding some dots and lines here and there to refine the trees. Also, towards the foreground, I want to make it a little more darker. So I'm adding more green that is perlin green there. Reworking again and again for the top part of the trace to make it more sharper and more refined. Yeah. This is really a fun technique, but it does require a bit of patience and practice. If you're feeling unsure or a little intimidated, try practicing first on a separate sheet of paper. Use the sponge and experiment with pressing it on to create that foliage effect. Once you feel more confident, you can move on to your main painting. I always recommend keeping an extra sheet handy to practice the techniques before applying it to the final painting. Here you can see that I'm keeping it more warmer and brighter for the right side trees and a little darker and more deep for the left side trees. Yeah. So always we need some lights and shadow effect for the trees to feel that liveliness. That's it, we are done with the trees and we will add the trunks and branches next. But before that, let's include some birds sing black. I'm adding a few simple birds near the sunlight. Now for the final step, I'm adding some white lines to suggest the tree trunks. For this, I'm using a paper knife and gently scratching the surface of the paper to create sharp and light lines and focusing more on the darker areas of the trees, so the lines stand out clearly. And for this scratching technique, timing is really important. The paint should be in that in between stage, not too wet and not completely dry, just beginning to try. That's when you can easily scratch the surface and reveal those clean white lines. We're done with the painting, and I'm just fixing some final details. And let's peel off the tape and see the final result. That's it. I hope you found this painting simple and enjoyable. Remember, you don't have to aim for the exact same result or watercolor effect that I demonstrated here. Feel free to bring in your own style, maybe change the shape of the trees or edges the cloud or even skip adding birds. Always use your creativity while following the techniques shared here. I hope you had fun creating this bright and beautiful piece with these playful techniques, and that's all for today. I'll see you tomorrow with a new painting. Bye. But 7. Day 5 - Golden fields: Hello, welcome to Day five. Today we'll paint a beautiful golden glow, a calm, peaceful morning full of life. So let's see the colors. I'll use lemon yellow and opera pink for that background, glow effect. And for the greens, I'll use cadmium green, perylin green, and indigo and opaq white. Here, I'm going to paint directly without sketching. But if you prefer having a guide, especially for the delicate leaves or grass, you can download the Louis pencil sketch from the resource section. I'll start by wetting the dire paper, then we'll begin building the first layers to create that soft sunlight glow. As always, I'm using my wash brush and gently wetting the deer paper, moving it back and forth to make sure it's evenly covered with no dry spots left. All right now, let's start painting the sunlight. For this, I'm mixing lemon yellow and opera pink. I'll begin right at the center of the paper and creating a soft, circular shape and then gently spreading the color around it. Since the paper is wet, the colors will blend and flow smoothly, making it easier to spread. And also, I'm using my size ten round brush. And I'll slowly build up layers, adding slightly darker towns around the sunlight by mixing in deeper colors. But for starting, I'm keeping it very light with the first layer. I'm also using a tissue paper to lift off any excess water or color whenever needed. You can also notice how I'm moving my brush in a zigzag motion. This helps create a bit of depth and subtle darkness, especially in the foreground, and we'll continue to build on this later by adding more layers and deeper tones in that area to create that contrast. And also, you can notice the consistency of my paint. It's not too watery and also not too thick. As it moves towards to the sunlight, I'm adding tiny dots and strokes in the foreground. I'm keeping the stalks slightly taller and darker to create that depth. I'm also being very careful to preserve the white space for that sunlight. I don't want to lose that glow, so I'm painting gently around it. Right now, I'm going in with slightly darker tones for the foreground. For that, I'm mixing a bit more opera pink and lemon yellow, along with some John Brilliant number two. I actually forgot to mention this color at the beginning of the video. So just adding that in here. Slowly building up those dark tons, layering in the forkgowdeffect. Now I'm going to add a soft, blurry green effect, suggesting some bushes in the background around that sunlight. So for this, I'm mixing cadmium green with the existing yellows in my palette. I have already prepared like opera pink and lemon yellow. Gently painting around sunlight very loosely while the paper is still slightly damp. My brush is also lightly damp, not too wet. You can see I have tissue paper in my right hand, and I keep wiping the brush in between to control the moisture, and the paint mix is also not too watery either. It's at just the right consistency for this effect. Also, I'm being very careful to preserve that bright sunlight a, so I'm avoiding painting over it. I'm not painting it in one go. I'm using small strokes to slowly create that soft blurry bush effect. Okay, now I want to create a very soft and blurry glow around the sunlight. For that, I'm again mixing the same colours opera pink, lemon and this time adding a touch of gamboch. Using my size two round bridge, I'm creating some very tiny, tiny strokes and dots around the sunlight to get that soft and blurry effect. I'm slowly building the layers, but I felt the paper started to dry. But since we are working on the background with wet on wet layers, I lightly missed it with a spray bottle. I'm spraying from a bit of distance not too close to keep the moisture even without disturbing the paint. We already applied and slowly adding a little more darker greens here and there, building that kind of soft and blurry effect around the sunlight. H Now, I want to soften the area around the sunlight a bit more. For that, I'm using a flat brush kept lightly damp and to gently lift off some color, creating the effect of soft sun rays, spreading out and touching the meadow or nearby bushes. With some more strokes, I'm slowly building that little darkness around the sunlight. But remember, this is all just the background. We'll add more layers on top of this, so you don't have to be that precise or too focused on these layers. You can even skip this part if you want. I'm also adding some more that glowy yellow effect around the sunlight again. That's it. Now, let's move to paint the foreground. We want to make it a little darker than the bushes around the sunlight. So I'm starting with cadmium green. We already have that yellowish orange glow underneath, and layering cadmium green on top will give a nice glowing effect. Then we'll keep adding more layers to deepen the darker color. I'm using cadmium green with less water this time, so it's a bit thicker and just painting over it. Also, I'm not going all the way up around the sunlight and bushes. We still want a soft but visible horizontal line between the land and that background bushes. Keeping it a little more detailed as it going towards the sunlight and more loose and plain in the very foreground. Now I'm going for a little more darker effect, so I'm using perylene green and just adding that darkness in the very foreground, you can see that. Yeah, I'm not covering it entirely. As we go, I'm also softening some edges and blending here and there. You can see that while the paper is still wet, we can work on the edges, right. So I'm doing that as well. If you feel like softening some edges or blending or lifting a bit of color, you can do that now. I'm again splattering and spraying some water in between the painting to keep that looseness of the painting and also to keep the moisture. And you can also skip this part if your paper is staying wet. Now it's time to paint the grasses. For this, I'll add some grasses, leaves, and a few flowers for the meadow using both wet on wet and wet on dry techniques. We're starting with wet on wet, so the paper is still wet. I just played some water, as you already sow. I'm starting with the leaves using my size to round brush, just loosely moving it upward and using just the tip of the brush and very little pressure. I'm not pressing it hardly. We want very thin lines. So with a light hand and the tip of the brush, you can also use a liner or detailer brush and gently paint some leaves and meadow grass here and there around the sunlight. As it gets closer to the sunlight, keep the strokes lighter and more delicate. You don't have to be that much focused, painting these leaves or details. We're just creating a kind of loose and soft effect that will turn into a nice background. Once this layer dries, we will build it up again with wet on dry leaves to create more depth in the meadow. So you can also practice this on another sheet of paper before working on your beautiful soft background. And don't forget you can download the pencil sketch from the resource section for the grass outline. Now, the paper has started drying a bit, so it's the perfect time to sprinkle some salt. I'm doing this in the foreground to create some texture. The salt will absorb the paint and give a nice effect. And always remember to sprinkle the salt when the paint has started drying, not completely dry, but also not too wet. In between, I'm also lifting some paint here and there to create a soft glow like that sunlight reflection in the foreground we already painted. I'm just using a flat brush and lifting the color in a downward motion, as you can see here, and I'm also wiping it on the tissue paper. You can lift colors and also paint again the leaves, however you like. So thicker, some thinner, and some a bit taller and some very short, keep some darker and some more delicate and lighter, especially as they go towards the sunlight. So make it irregular with different sizes and in different directions and just enjoy the process. Again, I'm going for another layer to make it even more darker in the foreground using perylin green. Also, you can use a mix of indigo and sap green. I'm sprinkling some more salt in the foreground since we disturbed the earlier salt effect we got. I'm also adding some thin dark lines in the foreground by lightly scratching the paper with a paper knife. So you can also skip this part if you want. That it now, we have a nice glowy meadow effect. We will add some more delicate and sharper details next. But before that, let's dry this layer. I'm using my head dryer. Okay, now it's time to paint the more precise delicate details, again, using wet on dry. So we have to paint this part a bit more carefully. I'm using my size two round brush, and the paper is almost dry now. I'm just repeating the same pattern. We painted wet on wet for painting the meadow grass, starting from the bottom and gently moving upward and bending the line slightly towards the sunlight. From those lines, I'm also adding some tiny, tiny strokes for some flowers or little details. And you can see that we are starting with a lighter green first, and then later, we can go with a little darker green. Yeah. Right now, I'm using green gold, mixed with a little amount of perlin green. You can also observe how I'm moving my brush painting these leaves and practice it on a separate sheet of paper, if you want. Keep everything very delicy, thin and ftless and always feel free to practice on another paper. And also, it's very important not to overwork this once we get into it. We feel like adding more and more, but it really matters how much you add and how many details we include. And remember to keep them in different sizes and different directions. You can see that I'm slowly going for little darker grass effects. Yeah, just around the sunlight, especially to get that I'm also adding some leaves or this grass in the foreground. I'm also adding some continuation to the stems of the meadow flowers around the sunlight, pulling a few thin lines downward to connect them. And you don't have to paint every single grass fully in one complete shape. You can break it here and there, paint only on one side, or just add a few lines or even some dots, tiny, tiny dots here and there. Make it a mix of everything. But overall, it should still come together nicely and look cohesive. That's it. We're almost done with the painting now with these wet on dry flowers. You can see the difference, right. So, yeah, we are done with the painting. I hope this was a nice technique that you can try with different colours. Maybe you can paint a lavender field, a sunflower field, or even a wheat field, whatever you like, and you'll get a beautiful meadow effect. Now, let's peel off the tape and take a look at the final result. Only thing you need to remember is that we're building the painting in layers using both wet on wet and wet on dry techniques again and again. That's what gives us that nice depth and glow. It's also a great way to practice these techniques and create something really beautiful. I hope it was simple. I'll see you tomorrow. Bye. 8. Day 6 - Blue Meadow: Hello. Welcome back, and it's day six. Today, let's paint soft clouds over a blooming meadow. And let's see the colors. I'll use Kobalt blue for the sky and for the clouds, especially for shadows. I'll use opera pink and indigo. And for the trees and meadow, I'll use Perlin green and green gold. And for the wildflowers, you can see in the foreground, I'll use titanium white mixing with cobalt blue. My paper is ready here, stretched with masking tape and fix it onto my acrylic glass board. First, we'll start with a pencil sketch. I'm adding a line for the foreground meadow, starting slightly below the halfway point of the paper and curving it gently towards the right side. Just above that, I'm placing the horizontal line mainly on the left side. And that's it for the sketching. Now let's start the painting. And remember, you can also download the detailed pencil outline from the resource section and trace it if you prefer. Now, let's start. I'm wetting the paper only for the sky area, not on the meadow part, applying water till the foreground meadow line we added carefully wetting it using my flat brush. First, we will paint the sky, then we'll add some clouds by lifting. I'm starting by adding the sky colors for that. I'm using kebalt blue and with Si 16 round brush. I'm gently applying the color on top part of the paper and slowly bringing it down. And I don't want it to be too dark as it comes downward. Gently and loosely moving my brush across the paper. Alright, we need to keep that white space where we're going to paint the clouds. I'm also just slightly lifting my boat to get a nice flow of colors. Now, while the paper is still very damp, we have to lift some colors for the clouds. For that, I'm using a soft tissue paper, folding it to get a nice tip and gently lifting some color from the white space we left for the clouds. This helps us get a nice edge and shape for the clouds and later we can add shadows here. Also important to not overwork while lifting. You need to have a clear idea in min about the size and shape of the clouds. Based on that, you can lift the colors accordingly. Make sure to do this while the paper is still wet. That way you will get a soft white space for the clouds, and then you can refine the shape nicely. Okay, now let's add some shadows for the clouds. For that, I'm mixing a bit of intigo with opera pink to get a cool grayish shade. You can use intigo or any blue along with opera pink or any red shade you have and mix it with plenty of water. I'm adding shadows from the left side since the light is coming from the right side. So we have to keep in mind that throughout the painting, even for trees or some background details, the light will be from the right and shadows on the left side. Now I'm gently adding the shadows on the left side of the clouds and also trying to create some nice, slightly sharp edges. We can build this in layers as well, making it a bit darker in some areas to get a nice dimensional effect. For that depth along the edges of the clouds. I'm adding some tiny dots. It's a mix of big loose strokes and very small strokes. Right at the edges, I'm using some tiny dots or short brush strokes to create that nice depth for the clouds. I forgot to mention that I'm using a flat brush for this. You can also use a round brush. Now I'm adding some more darkness here and there by mixing cobalt blue, indigo, and some opera pink, and I'm applying it while still the paint is wet. So by lifting the colors in those areas of the clouds, that part of the paper has become almost dry. That's why we are getting those nice edges for the shadows. And now I'm carefully adding a few shadows on the right side of the clouds as well. Mm. I'm going over it again and again, adding some more tiny shadow strokes or little dots over the highlights. At the same time, I'm also shaping the clouds. I'm refining the shape by adding a bit more kebalt blue to the sky area. It's almost like negative painting, and it's very important to do this while the paper is still wet. If your paper is dry, don't touch that sky part we already painted. Okay, that's perfect. Now let's move on to painting the meadow. For that, I'm mixing cobalt blue with green gold to get a slightly darker, not too warm kind of green for the meadow. And for more depth, I'll use perylene green. Now mixing it with some water to get a nice milk consistency. For the edge of the meadow, I'm just using the green gold that's already on my palette to get a nice warmth and light effect on the meadow. And then as I move toward the foreground, I'm adding the mix of cobalt blue and green gold. Here I'm also mixing some lemon yellow with green gold to get that light color. I'm going till that line we added for the meadow, and now I'm going for the darker color to paint the foreground. And also, remember, we didn't wet the paper before we start painting the meadow. So we're painting wet on dry. And for the foreground, to get that nice effect, like some texture, I'm just loosely moving my brush in his exact style. Slowly adding some perylin green to that mix and making it a little more darker and adding some loose strokes to get that dimensional effect for the mato. And as it's going away, I'm keeping that line very thin. Again, adding some more indigo and perylne green to make it even more darker, especially for the foreground. Yeah. So we're working on many layers to get that nice effect. So when you're painting with a darker green, remember to keep your stroks thick, loose and bigger in the foreground. And as it goes further away, reduce the size and thickness and make it more narrow and small to create that vanishing effect or that sense of distance. Now, while it's still damp, I'm just adding some salt to get some nice texture. Okay, let the salt absorb some paint, and it will create some nice white spots there. In that time, let's paint the distant details. So I'm going to add a very distant mountain or something like that by using indigo and some perlin green mix and loosely adding that color there. By mixing more indigo, I'm just making it a little more darker here and there. Alright. Now, let's add some trees on the edge of the meadow. For that, I'm mixing a bit of perylin green into the green I already have on my palette and using a size two round brush, I'm loosely painting trees in different sizes. So slightly bigger, some smaller, just simple irregular semicircle shapes. The important thing to remember is to build the light and shadow. First, I'm adding the darker color on the left side of the trees. Then I'll clean my brdh and bringing in a warmer green that is green gold on the right side. This creates a nice contrast and gives the trees a natural sense of light. I'm also adding a few soft shadows on the meadow, so it feels like the trees are sitting naturally on the ground. The shapes are quite similar to that big cloud in the background, smaller semi oval forms, keep the left side darker and the right side lighter. To make it feel more organic, I'm adding tiny, tiny dots and smaller shapes in between the larger trees. This helps break the uniformity and adds depth, especially when you vary the sizes. And if you would like to practice more, I also recommend checking out one of my previous classes focused on painting trees where we explore different styles and brush work. That's enough for the trees. I don't want to overwork this area with too many trees. I'm just adding a few bigger trees along with some very small tiny ones in between. That's it. Now, let's move to the foreground. You can see that salt texture forming, and the paint here is not completely dry yet, but it has started to dry. That's the perfect stage for scratching if you want to add some highlights. So I'm going to gently scratch into the paint to create highlights for the grass in the foreground. Notice those dark tons almost black in places, along with some lighter green areas. I'm adding these fine white lines over the darker spots. I'm using a paper knife for this, but you can also use anything slightly sharp. This technique works best when you are using thicker watercolor paper, as it allows to scratch more easily. That's enough. I hope you can see those white lines along with the tiny white dots created by the salt effect. That's just enough for a nice textured meadow like feel to the foreground. Now I'm going to add some flowers. You can use any color you like. I'm using a blue shade, mix it with a bit of opaque white to make it brighter. And you could also go with red or yellow or any color of your choice. Make sure your paper is completely dry before this step. Then make sure you paint in a slightly thicker consistency and start adding small dots here and there. These little pops of color really bring a beautiful flowery meadow look to the painting. This is the final step, and it's actually very therapeutic to do. Just remember to reduce the size of flowers or dots as they move further away. This helps create an eye sense of distance. For the blue dots on the lighter green areas of the meadow, they're not as visible like the blue dots on the darker areas. You can see that in the foreground. So to make it a little more pop and add some contrast, I'm adding some shadows just underneath those blue dots on the lighter green parts. I'm using a very light indigo mix and just adding it there and also adding some tiny, tiny dots, just some final steps. And That's enough. We're done with the painting. Now, let's remove the masking tape and see the final look. I hope you enjoyed this one. This is one of my favorites so far, and I really love the result. You can use these techniques in any painting of your choice or even try changing the composition a little. And yeah, thank you so much for watching, and I'll see you with a new painting tomorrow. Bye. 9. Day 7 - Meadow Stream - Part 1: Hi, everyone. Welcome to today's clash project. Today we'll be creating a peaceful, calming meadow stream with a few red flowers scattered here and there. Let's take a look at the colors we'll be using. I'll use kabalt blue and indigo for the sky and the water reflections. And for the meadow, I'll use green gold, perlon green, and lazarin crimson and yellowc and apa white for the flowers. So that's the basic color palette we need for today. Okay, I'm starting with a pencil sketch, placing the horizontal line a bit higher. And then I'm adding the outline for the stream. It should be wider in the foreground and become thinner and narrower as it goes away through the meadow, and I'm not drawing it as a straight line. I'm making it a little wavy to get that natural edge of the stream. You can also download the pencil sketch from the resources and trace it if you want. Or you can sketch it along with me. That will really help imbrove your loose sketching. By keeping the basic composition in mind, you can easily follow along. I'm not adding anything else, the horizon line and the stream outline. Also, when we sketch streams or pathways, it's almost the same idea, wider and more detailed in the foreground and narrower as it goes away. This effect comes from the shape of the line we draw, so we have to be very careful when we are sketching. Now I'm wetting the whole paper and starting with the first layer. For this, I'm using green gold, mix it with a little lemon yellow, beginning just below the horizon line. I don't want the colors to spread upward, so I'm wiping off the extra water there with tissue paper. And as I come towards the foreground, I'm making the green a bit darker by mixing some bald blue and indigo that I have already on my palette. In between that, I'm also wiping all the water from the stream. We have to paint later. So we have to keep the sky and the water reflections on the stream white, so we can paint it lighter compared to the meadow. I don't want a flat wash. I'm adding slightly darker tons here and there to get a nice dimensional effect in the meadow. And as it comes closer to the foreground, I'll keep adding more darker mixes, and then we will build more layers to add details, and we'll mostly be working wet on wet for this, similar to the technique we used in the previous paintings. As you can see here, I'm keeping it a little darker near the line. We added for the stream by mixing cobalt blue with green gold. And then I'm just loosely filling the spaces around it to get that grassy effect. I'm using vertical strokes, as you can see here. And just below the horizon line, I applied the paint in a horizontal way to get that flat effect. And for the grassy texture in the meadow, you can move the brush in a vertical or slightly zigzag motion like this. That's it for the first layer. Now, before it dries, I'm going to add a bit more darker tons, wet on wet. For that, I'm using perlin green, mix it with some indigo and loosely adding it around the line of the stream, and then I'm blending it softly with my damp brush to get a nice soft meadow effect. You can see on the right side, I'm adding the darker tons by breaking it here and there. This way, we'll get some nice highlights for the grass along with a bit of shadow effect. So don't cover everything with dark color, leave some gaps, then move your brush in a vertical motion to get this, so you'll get a nice grassy texture. And also, to get that soft effect, it's very important to work on these layers wet on wet. So if your paper is started drying, you can spray some water from a little distance, and you have to keep that moist on the surface of the paper. Yeah. I'm just lightly fixing the horizontal line to make it like a straight one. Okay, now comes a very important technique that we use only in watercolor, which is lifting. You can see those darker spots around the stream. From there, I'm going to create some lighter lines by lifting to get that grassy texture. And for this, I'm using my size two round brush, or you can use a liner or a small detailer brush, and I'm keeping it damp, not too wet, or too dry. That damp brush, I'm just loosely running it over that darker areas. The paper should be also in a damp stage, not too watery or not dry. So timing is very important here. You can move your brush in any direction you like to create different grass shapes, and in between, you can wipe your brush and then continue again. To break that view, I'm also adding some very taller lines. You can see that here on the left side of the paper. This is actually a beautiful technique we can use only in watercolor. The main thing to remember is the timing. You have to do this while the paper is still damp and your brush should also be damp. If there is too much water, it can ruin the effect. Okay, now in between to make those lighter lines more visible and popping, I'm adding some darker tons, again, in between those lines. For this, I'm using perylene green. And since the paper is still wet, I'm just adding some lines, dots, and small strokes here and there between those lighter lines, so we'll get a nice shape for the grass. And remember, by adding all these darker details around that line, we're also shaping the stream, right? So we have to be careful how we are shaping the stream also. Now I'm very carefully adding a bit of darker effects along the line where the stream fades into the distance using my size two round brush and placing some sharp, fine details to keep that sense of flow. So it still feels like the water is moving through the meadow. This helps create a soft, beautiful, vanishing effect. I feel like the midground looks a bit flat, so I'm not overing on it, but just adding a little more darkness here and there with some green gold. You can also skip this part if you don't want to touch it there. I'm gently adding some darkness there very loosely and also softening the sharp edges. I just want to gently remind you that you can definitely add your own ideas to the painting. You can choose to remove some elements that I'm painting and include something of your own to make it unique. I'll be more than happy to see such class projects. So always try to bring in a bit of your own creativity and personal ideas or try placing elements in a slightly different way. I'm really excited to see that kind of class projects. And also, remember that you can watch the entire video before you start painting. Each class project is just around 15 to 20, 25 minutes, so you can easily go through it once and then follow along. You can also reduce the playback speed just like on YouTube, so you can paint at your own pace. Since I paint daily, I might be a little faster, so slowing down can really help. You can also post the video anytime and complete that step and then continue. I just want to gently remind you of that. That's it now. Let's add colors to the water or the stream. I'm using Kobalt blue, mixing it with the paints already on my palette, which is green, gold, and indigo. I don't want a very bright cobalt blue, so this gives a slightly darker tone. I'm loosely filling this color in the foreground and starting from there and then pulling it towards the midground. As it goes away towards the horizon line, I'll keep it lighter and a bit darker in the foreground for the water reflections. And then we will build more layers to add some meadow reflections on the water. While filling that area with cobalt blue, I'm also very careful of the edges of the meadow carefully painting around them without touching. The paper is almost dry now, which makes it easier to work around those edges and achieve a slightly sharper and more defined look for the meadow. 10. Part 2: In between that, I felt like adding some crisp white lines with some opaque white. So I mixed opaque white with some amnlolo that I have already on my palette and just adding some tiny, tiny lines here and there. So meadow part is almost dry now, so we can easily work on dry and dry effect. That's it. Now I'm going to add the reflections. For this, I'm using a mix of perylene green and starting from the foreground. You can see I'm adding some tiny small horizontal lines, not covering everything, just kepping it loose. So I'm using a size two round brush and adding separate lines horizontally. In between, I'm also adding a bit of a pack white, mix it with green gold, placing some smaller lines here and there to get some nice highlight effects. You can also slightly shake your lines to get a nice soft flo effect in the water reflections. Okay, now I'm adding some very thin, small lines overlapping the stream. On top of that, I'm carefully placing some tiny lines and dots. I'm also adding a few slightly darker touches around the white lines we created by lifting to enhance that grassy effect. Again and again, I'm working on that meadow edge towards the stream, adding tiny very crisp dots and lines. This really helps to bring out that beautiful final result. Okay, now comes my favorite part. I'm going to add some red flowers, which will really break that monotonous feeling of the painting. I'm mixing Elserin crimson with opaque white in a very thick consistency without adding water. And before adding the flowers, make sure the painting is completely dry, so we'll get a nice pop effect. And remember to vary the size of flowers, some bigger flowers, especially in the foreground and some very tiny, tiny dots as it going towards the midground. You can definitely use any other color for the flowers. Maybe even yellow would look nice. Feel free to use your creativity here. You can add the flowers in different directions and shapes or follow your own idea while painting them. The only thing to keep in mind is not to overwork with too many flowers, and as you come towards the foreground, make them a bit bigger and thicker and more loose. That's it. Now, let's add a very loose and simple sky using cobalt blue. I'm starting from the top and then pulling the color downward with some water, and to make it a little lighter towards the horizon line, I'm using a tissue paper to gently lift some color. The And I'm also adding some small distant mountains or trees along the horizon line. For that, I'm using perlon green. The sky is not completely dry, so we're painting wet on wet. This helps to get a nice soft effect for the distant mountains or trees without any sharp edges. I'm keeping it smaller and tinier, especially on the right side. And as it coming towards the left side, I'm keeping it a little higher. I just want to wipe that line on the sky. So with my damp flat brush, I'm gently wiping colors from there so we can keep it softer without that sharp line. Finally, I'm going to splatter some yellow dots. So I'm mixing lemon yellow with a pack white and gently splattering some paint there. So we'll get some nice tiny, tiny dots. That's it. Now. Let's see the final result. I'm just peeling off the tape. I hope you enjoyed this painting and learned some techniques like using layering technique and lifting technique and to use ton wet and tone dry techniques in a smart way. I really love how today's painting turned out. It feels very soft and inviting to me, and thank you so much for watching, and I'll see you with a new painting tomorrow. Bye.