Stop Overworking Your Watercolors — 20 Days of Minimalistic Landscapes

1. Hello, Welcome !: Do your watercolor paintings start off beautifully, but somehow end up feeling heavy or overworked? Or do you find yourself going back again and again trying to fix small things, but it just keeps getting worse? If this sounds familiar, you're not alone. Hi, everyone. Welcome to this new class. I'm Sukrutha watercolor artist and teacher, and I'm so glad you're here. Over the past few months, my life has changed quite a bit. I became a mom, and with a four month old, my days look very different now. I don't have long, uninterrupted hours to sit and paint like I used to. Most of the time, I only get small pockets of time, and for a while, I found that really challenging. I kept trying to paint the way I always had, but it just didn't fit into the time and energy I had. So I started simplifying. I began choosing limited color palettes, breaking landscape into fewer elements, and approaching each painting in a much more intentional way. And something interesting happened. Not only did it fit into my time better, but my paintings actually started to feel more fresh, more balanced, and more complete. And that's what led me to this class. One of the biggest challenges I see, especially in bigness is overworking. I will also be showing you some of my previous works where you can clearly see how I have overworked entire landscapes and completely ruined them. Overworking is essentially going back to the same area again and again. For example, if I'm painting the sky and it doesn't look the way I imagined or like in the reference picture, I go back in with the same color, say, blue, and keep layering it repeatedly. And that's exactly what starts to ruin a watercolor painting. In this class, instead of trying to fix overworking, we will approach it in a different way through simplification. I will teach you how to break down landscapes into minimal and essential elements, work with limited color palettes for better harmony and approach paintings with more clarity from the beginning. And this naturally avoids overworking because we are making fewer and more intentional decisions. Each pending is designed to be simple, calm, and approachable. So you can focus on understanding the process rather than getting overwhelmed by it. Before every main project, there will be a short practice session where we explore the elements of the landscape, test out compositions and try color choices. This helps you understand what to include and what to leave out even before you start the final painting, making the entire process much more clear and intentional. By the end of this class, you will not only have a collection of minimal landscapes, but also a clearer and more confident way of approaching watercolor painting. Especially if you often find yourself doing too much and not knowing when to stop. So if you're looking for a simpler and more intentional way of painting, this class is for you. Let's get started. 2. About Class & Class Projects: In this class, we will paint 20 minimalistic landscapes designed to be a calm and consistent daily practice. Each day focuses on one landscape project carefully chosen to help you explore different moods, compositions and atmospheric effects. All while keeping the process simple and approachable. What makes this class slightly different is how we approach each project. Before starting the final painting, we will begin with short practice session. In this step, we will break down the key elements of the landscape, such as shapes, compositions and color choices and explore them in a loose and low pressure way. Once we move into the main project, you will have more clarity and confidence in your approach. Each project is big enough friendly while still helping you build deeper understanding of watercolor as a medium. By following the structure, practice first, and then final painting, you will not only complete each project more confidently, but also develop a more thoughtful and intentional way of approaching any landscape in your future watercolor practices. You can follow along with one project each day or move at your own pace depending on your schedule. If this feels like something you'd enjoy, join me in the next video where we will go over all the art supplies that we'll be needing to get started. So I'm gonna see you there. 3. Art Supplies : Hey, everyone. In this video, we will go over all the art supplies. You will need to complete this 20 days of minimalistic landscapes class. Let's start with the colors. I have used watercolor paints from several brands, including Winsor and Newton professional artists grade, Senier, white Knights, and Aquaton. You absolutely don't need all of these. You can use any watercolor paints that you already have. We will be discussing the specific colors in more detail before each project, so you can follow along easily. What Next, let's talk about brushes. I have mainly used just few brushes throughout this class. The first is Princeton flat brush, which I use mostly for washes, and these are silver black velvet round brushes in sizes ten, six, and two. Size ten is great for painting backgrounds like skies and water. And the smaller brushes are useful for adding details. That's it. You don't need the exact same brushes. If you have two round brushes, one larger and one smaller, you can comfortably complete all the class projects. To the palette, I am using a ceramic palette. You can use any palette that you have plastic ceramic or even a simple plate. Now for the paper, this is very important. I'm using Fabriano 100% cotton, 300 GSM, cold-pressed paper. I bought these in rolls and cut them into smaller sizes. I would strongly recommend using 100% cotton paper because we will be working with wet on wet techniques, and this type of paper holds water much better and gives you softer results. You also need a pencil for sketching, two jars of clean water, and a paper towel for controlling excess water and paint. Finally, to stick my paper, I am using this board, which is a simple cutting board I got off off from Amazon. You can use any board you have an acrylic board, wooden board, anything sturdy to tape your paper onto. So these are all the supplies we'll be using throughout the class. Keep your materials ready. In the next video, we will begin with practice session for Devon. I hope you guys are ready for that. I know I am, so let's go. See you in the next video. 4. Class Project 1 - Practice Session: Hi, welcome to 20 days of minimalistic watercolor landscapes and welcome to Dave. In today's practice, let's go with a quiet winter scene. Nothing too planned. I'm just exploring what I have practiced a few months ago. So I will start with the colors first. I'm taking indigo from Winsoron Newton and Pines Gray from white Knights. I'm going to swatch this out first and also mix both of them together to get a third shed. Mm. So now, we'll have three tones to work with Indigo, Pines gray, and a mix of the two. Habit of writing the color names, even the mixes so that I will remember them well while painting with the main project. So I will take a pen or a pencil and I will name these colors. And later we will begin with our practice session. Before we begin the practice session, I just want you to take a moment to relax. There is no pressure here. This is not the final painting. We are simply exploding. It's completely okay to make mistakes, and it's also okay if everything goes smoothly. This space, this practice session is just for trying things out, understanding how colors behave and how our brush feels, and what we can create with the materials that we have. So let's just enjoy the process. As you can see, I have wet a small area with my flat brush. And now I have taken my round brush and a very light shade of Pines gray. And I'm just painting the background, simple colours watch. Think of it as a colours watch, not a background, so it'll be easy. So yeah, this is a gradient wash. And while the paper is still wet, I have quickly changed my brush. This is a small round brush. With a mix of indigo and pines gray, I am painting a few branches. Remember, these branches will be in the background, so they have to be a bit blurry. That's why we are painting them while the paper is still wet. We will let this dry completely. This is dried, so we are going back again with a slightly darker mix and add a few more branches. These can be a bit more defined just to create that depth that we are looking for. Let's not add too many. Just a few is enough. Mambo. Now, we will paint a bird on one of these branches. But before that, I will show you guys how to paint a bird with a few simple breast strokes. This is very simple bird shape, so we will explore this more in the final painting, of course. I'm going to show how to paint this bird one more time, but this time on a branch. It's a very simple exercise just to explore and get comfortable before the main painting. I hope you enjoyed this and got a better understanding of the process. Now let's move on to the main class project where we will bring everything together into a beautiful snow scene with a bird. So I hope you guys are ready. Let's move on. 5. Class Project 1 - A Quiet Winter Visitor: Is, welcome to Day one main project. Before we start, I'm adding a bit of white quash to my palette, since we'll be painting a winter scene, and we need it for the snow. You can also use white watercolor if that's what you have. And if you notice a little liquid coming out of this watercolor tube, this squash tube, that's usually gum Arabic and it's completely normal. Now, it's time to prepare our paper. First, decide the orientation of your painting. I'm going with vertical composition for this one. So I will tape down my paper using a masking tape onto a board. You can use any tape on any sturdy board that you have. No. Once that's done, let's wet the paper with clean water. I'm using a Princeton wash brush here, but you can use any brush. Even a round brush works perfectly fine. In fact, most of the times I wet the paper initially with round brushes only. But since I have a wash brush here, I'm using it. Make sure the paper is evenly wet. Let's prepare the color. I'm taking a mix of indigo on pines gray, a good amount of it. Using a round brush, this is size ten brush. Let's begin applying the wash. Keep the paint light and gently guide the pigment downwards across the paper. You don't need to pick up more and more paint, move the existing pigment along. Also notice how I'm removing excess water and paint from the edges. This helps prevent unwanted backgrounds or blooms. I love blooms, but just not for this landscape. The paper is still wet. Let's add the background branches. Using pines gray and a smaller round brush, add these branches very loosely. Since the paper is wet, they will naturally soften and blur, which is exactly what we want for the background. This days, you can also gently adjust the shapes. If a branch feels too thick or too dark, you can lightly lift some paint with clean and damp brush. Or if you want to extend a branch, you can softly pull the paint outward. Keep your strokes light and minimal here. We don't want sharp or very defined lines at the stats. Let the water do most of the work and allow the shapes to stay soft and organic. Now, I'm going to add a small extra detail. Using a size two brush and some white wash, I will gently splatter some paint. Creates a soft snowy effect, and you can also add a few small dots to suggest falling snow. Robbie Robbie Robbie. Right. Now, let's allow this layer to dry completely. Once it's fully dry, we will come back and add more defined branches wet on dry. So I'm going to see you guys in a bit. Now that the paper is completely dry, let's move on to the foreground. A darker mix of pines gray and a smaller round brush. Let's add a few more branches. These will be more defined compared to the background ones. So use slightly controlled strokes here. Contrast between soft background branches and sharp foreground branches will help create depth in the painting. Keep it minimal. Just a few well placed branches are enough. Let's add the bird. Place it gently on one of the branches, keeping the shape simple and minimal. Focus more on the silhouette rather than the details. That's enough to bring the whole scene together. Next. Let's add some snow using white quash and add small touches of snow resting on a few branches. This step, you have to keep it very subtle, just enough to suggest accumulation, and it's easy to go overboard with snow, but this is a minimal landscape, so let's keep it that way. And finally, I will add a bit of splatter to create that soft falling snow effect with white quash. That completes our final landscape. Remove the tape once the paper is dried. I hope this felt simple and easy to follow, especially since we already explored this in the practice session. This is the approach we will continue throughout the class, keeping things minimal, intentional, and calm while still creating something beautiful. Don't forget to share your project in the project section below. I would love to see your work. If you enjoyed this class, please consider leaving a review. I will see you tomorrow with Day two. Stay tuned and thank you so much for joining me today. 6. Class Project 2 - Practice Session: Today's class project, let's explore a soft beach sunset scene. Et's start with the colors. I'm taking carmine from aquaton. You can also use quinacrone rose if you have that. Next is dioxin purple from the brand senneliar and danrine blue, you can substitute this with ultramarine, cobalt blue, or even Prussian blue. And this blue that I have danrine blue is from the brand sennelar. And finally, indigo from Windsor and Newton. Along with this, let's also keep some white quash ready. We will need it for the waves and a bit of splatter later. But if you don't have white quash, you can use white watercolor as well. Let's quickly swatch the colors, starting with a very light wash of carmine, then dioxin purple, followed by indanthrin blue, and finally indigo. Now, let's try mixing a few of these together, carmine, purple and blue. To see how they blend into a soft sunset tone. This combination already looks very calm and glowy, and this is exactly what we want to create that soft glow for our main class project. I'm gonna name these colors, and if you don't understand my handwriting, I'm so sorry. My husband tells me all the time that my handwriting is very bad. And actually, his handwriting is very good. I should have asked him to write this down. Let's move on to a small practice piece. Let's wet the paper first using a wash brush, making sure the surface is evenly wet, even for a practice session. Now, let's begin with carmine at the top and followed it with dax in purple. You can see I'm using dich in purple on both sides of the pink. Yes, that's what we want. And then bring in with anrine blue. So yes, anrineblue as well on both sides of the purple colour. This way, you will protect that soft glow, which comes from carmine on the horizon. Well, let's blend all these colors together, keeping everything smooth. You can see how these colors naturally create a peaceful sunset effect, right? So yeah, these are perfect colors. If you ever want to go for a peachy glow in the sky that we very rarely see during sunset hours. That's actually my favorite. I always look for it. So I actually sat down and mixed all these colors together to get exactly that color. I won't say I got the same, but this is very close. Is done. Now, let's practice the beach. I will quickly sketch a simple shoreline and a few wave shapes. Nothing too detailed here, as you can see, just enough to guide us where the wave will be. And for the darker shore, I forgot to take. I'm very sorry Pines gray as well. We need one extra color guys, and it's Pines gray to paint the shore. I'm very sorry I should have included this earlier. But yeah, if you have Pines gray, you can use that, but if you don't have, you can use black as well. No. Et's paint the waves and the beach. Where the wave highlights are, let's leave space or use white quash. I'm going to use whitewash. You can leave that space as well, but that's going to complicate the process. And in what pin, let's add a bit of blue to define the form. So this is the pattern, white, blue and white again, which helps suggest the movement of the waves. Let's keep this very simple. A few I am aiming to paint this entire beat scene with only a few brushstrokes. And yeah, just follow what I'm showing here. This is very easy, but if you are painting which for the first time, this is going to look a bit difficult. But if you practice it, this is going to be very simple, trust me. Now, from the horizon, that is from the starting of the beach, I will start with blue and Indigo, sorry, indigo color. Now adding this white color and then blue color, the pattern that I was telling you about to the wave structure. And finally, as you can see, it's already giving us a nice idea of the beach scene with waves. Robbie. Rabbi. Rabbi. Robbie. Rabbi. In the blue and indigo, I'm going to paint a few horizontal lines here and there to indicate beach sorry, to indicate the waves on the beach. And finally, white quash to add that foamy water that you see, that'll be in white colour, right? So we are adding that. If you don't have whitewash, you can use white watercolor, but it is going to look a bit dull compared to guash. If that's okay with you, you can go ahead with watercolor. The shore will be in darker color. That's why I have Pines gray here, and I'm blending it slightly with a carmine. And yeah, this is perfect color to paint the beach. In sunset, the beach will be the shore will be a bit darker in color, so that's why this color. And finally, with white, I'm going to add a few highlight areas and a bit of splatter. In the final project, the splatter will be in the final project. This will look great in the main project. Let's just explore what we get with these colours and composition. Yeah. Now let's move on to the main project. I'm gonna see you there. 7. Class Project 2 - Soft Sunset By The Sea: Everyone, let's begin with our Day to project. So we have already done the practice session. I think we have warmed up enough, so we are already, I guess. So let's begin. First, let's prepare our paper for this painting. I'm going with a horizontal orientation as it works well for a landscape like a beat scene. Now I'm taping down the paper onto the board using masking tape. Okay. Separate the landscape into two parts, the sky area and the beach area, and I'm drawing a line in the middle. Here, I'm going to add a strip of tape across in the middle on this line. This will separate the sky and the beach area. This way, we can paint the sky freely without worrying about the colors flowing into the lower section. Now, let's begin with the sky. First, I will wet the sky area evenly with clean water. Make sure the surface is nicely wet but not overly dripping with the water. Just enough to let the colors blend easily. We will begin adding the colors. Start with carmine in the middle. So we have already done this in our practice session. So I hope this main project is easier. So I will begin with carmine mixed with a little bit of dax in purple and then dax in purple on both sides of that carmine color pink color, followed by blue on both sides. Remember, we have done this in practice session, right? So this should be easier. I'm gonna darken it by adding indigo to the inantrin blue, and I'm gonna add this color on both sides of the paper. I mean, the sky area. See that peachy glow right in the middle, just a very tiny bit of it, and that's exactly what I was going for when I started this soft sunset scene. So this is perfect. I'm going to remove all the extra paint and water from around the edges using a paper towel. This prevents the backflow of the water. Yeah. And I'm going to let it dry completely, and then we will begin with the bit scene. If the sky area is completely dry, let's carefully remove the tape from the middle and we can start working on the beach. First, I will wet the beach area of the paper, and I'm using my wash brush to apply a very nice even layer of water. Make sure the surface is evenly wet so the colors blend smoothly. Bam Bam. Let's start laying in the base colors using a very light mix of colors, begin applying the color across the beach area. At this stage, we are not focusing on details. We are simply placing colors where they belong. We are starting with blue at the top. As we come down, we will leave white spaces. We can come back in and add white color later. And let's also add the shoreline while we are at it. Use a very slight darker tone. I'm using Pines gray, place it along the edge to define the separation between the land and water. We are keeping it very soft for now. We will refine it later. Base layer is in place, Let's start building the waves. I will begin adding some white into those areas we left earlier just to establish the wave shapes. Now going back in with a slightly darker blue, I will add a few horizontal strokes starting from the horizon line. Strokes. These horizontal strokes help suggest the movement of water, so keep them very light and minimal. We don't need too many of these lines. As we practiced in practice session, let's follow that simple structure, white, blue and white again to the wave form. So I'm adding a slightly darker tone of blue in between white areas to give that sense of moving wave. This step really helps bring the waves to life. I'm going to take a moment to adjust. If something feels too light, I will go back in and deepen it slightly, if it feels too strong, I will soften it. This part is more intuitive, just observing and redefining as we go. It is still looking a bit flat, so I will go back in with slightly darker blue again and add a few more horizontal strokes. This adds a bit more depth and variation. Now, using white cash, I will define the waves a little more. I will add highlights along the edges. This slightly strengthens the white areas, and this also helps create that foamy texture we see on the beach scenes. Abbiamo Robby. Well, let's add some splatter using white cash. Add small dots across the beach area, that wave area. Sorry. To suggest that splashing of water, you can add as much as you like. It actually enhances the effect and makes the scene look more dynamic. So you can literally let go here and paint as many splatters as you wish. Mm. Mmm. Finally, let's refine the shoreline slightly using white just to bring in everything together. And once you're happy with how everything looks, you can remove the tape if your paper is dried. Wow. I will give you one more suggestion before removing the tape. If you want to enhance a depth of the wave a little more, you can add some soft shadows to the waves near the shoreline using a very slightly darker pines gray color. Add subtle lines just beneath the white areas. This helps create that three D effect that we often see in real beach scenes. Keep it very minimal, though, because too much darker colors just under the white will look very unnatural. Robbie Robbie. Robbie. Robby Robbie. Ronnie. I'm really happy to see so many of you already joining me from Day one. Tomorrow, we will be working on another beautiful project, so stay tuned and thank you so much for joining me today. I'm going to see you tomorrow with a brand new project. Ln a Mama 8. Class Project 3 - Practice Session: For today's practice, let's explore a soft winter scene just to understand the colors and how the elements come together. I will start with the colors. As usual, I'm taking the turquoise green from Windsor and Newton, permanent orange from the brand aquaton, dioxine purple from the brand sennelier, and indigo from the brand, Windsor and Newton. So along with this, let's also keep some white quash ready for the snow details later. Let's quickly swatch these colors, and I'm also looking for a brown tone for the tree. So instead of picking a separate color, let's mix orange and indio that we already have together. And let's see what we get. Yes, this is a perfect color that I was looking for. Now, the third color is dioxin purple, and the fourth is indigo color, of course. You can see the brown, so I will just mix orange and indigo once again to show you the exact shade. And, yeah, that is the brown that I was talking about. It's perfect. Now that we have our palette ready, let's move on to the small practice session. Yeah, I forgot. I'm going to name these colors first. This is very important for me personally because I have to see the colors so that I can mix them well. Even these little colours watches, I always keep them with me, right on my table so that whenever I have something similar in my mind, any landscape, I'm just going to take out these colors, and I'm going to quickly see if those are the colors that I want, and I'll just I can easily pick out the tubes. So this is very helpful for me. O. Put the paper first, just a nice even layer of water. And for the sky, I'm going to keep it very minimal. I'm mixing a bit of turquoise green with a touch of indigo to get a soft muted blue tone. If you have a pastel blue in your palette, you can use that as well. You can use sky blue color if you have, or if you have cobalt blue, you can mix it with a bit of white color. You'll get the similar color. Let's apply this color very lightly and leave some white spaces in between. These white areas will act as soft clouds, so we don't need to paint everything. This is the perfect sky for the winter, very soft and very simple. Now let's move on to the background. I'm imagining soft, colorful trees in the distance, not very defined, just a blurry suggestion. Let's wet the area slightly again for the background, of course. Now, starting with the brown mix and then adding touches of indigo, purple and turquoise. Let's keep everything soft and blended. Purple and turquoise, especially add a very nice variation and interest in the background. And also, we are not painting individual trees here, just suggesting them with colour and soft shapes because these trees will be in the background. This is exactly what I have in mind for the background, those dark tones with that pop up color of indigo, sorry, turquoise and purple. So that's it. Now, for the foreground, I'm going to be adding a single tree. You can use the brown mix or even just indigo, if you prefer. Keep the shape simple and natural. Finally, I'm gonna be adding a bit of white gosh to suggest no resting on the branch. This is our quick practice, just exploring the colours, background, and composition. I hope this gives you a clear idea. Now let's move on to the main project. So I'm gonna see you in the next video. Wow. 9. Class Project 3 - Soft Colors in a Silent Winter: Hi, everyone. I hope you guys are ready for day three main project. First, I have decided to go with the vertical composition for this painting, so I will start by taping down my paper onto my board using a masking tape. Now, I will make a very simple sketch, a line to separate the foreground and the background. This is nothing This is not too detailed, right? Just a guiding line so we understand the placement. There will be few changes from the practice session. This is one of them. Now, let's begin with the sky. I will wet the sky area evenly using clean water. As we practiced, I'm going to take a mix of turquoise with a bit of indigo. Let's apply this very lightly and leave some white spaces in between. These white areas will naturally act as clouds and we don't have to paint everything, right? That's what we practiced, and that's what we're going to follow. Wow. Well, there'll be a few changes from the practice session to the main project. This is another one. So we have painted the sky and background separately, right. But for the main project, we'll paint them together. So while the paper is still wet, I will start painting the background trees. So let's begin with the brown mix, and then gradually add indigo, purple and turquoise. Try to keep everything soft and blended, but at the same time, simply build the intensity that we needed. If any areas are feeling too dull, you can gently go back and deepen the color. For example, that's what I'm going to do here at the brown spots. I'm going to add a bit of orange to it to make them pop. Now, instead of leaving it just a soft wash, you can slightly suggest the shape of the trees. I'm going with pine trees, of course. You can gently use upward strokes to indicate pine like forms. Keep them loose. We don't want very sharp or detailed trees here. Just enough to break that flat background and give it a more structure. Wow. This already looks much closer to what I want. Now, I will allow this layer to dry completely. Once it's dried, we'll come back and refine the background slightly to make the trees a bit more defined. So I'm gonna see you guys in a minute. Now that the paper is completely dry, we will go back and refine the background a little. I'm taking indigo and using a smaller brush, I will start adding a few pine trees. Just use light upward strokes and slightly pointed tips at the top. This suggests the shape of the pine tree. Keep it very minimal. We don't want to over define everything because this is still background, right? Just a few trees here and there to bring some structure to the background. If the background looks perfect, let's move on to the foreground. First, let's wet the lower area of the paper using very light shade of indigo. You can even use the same tone as the sky. We will add a very soft wash. Keep the top portion lighter, almost white, and gradually bring in a bit more color toward the bottom. This creates a simple effect of snow where the blue acts as soft shadow of that snow. That's all we need here, keeping it very minimal. Now, let's allow this layer to dry completely. Once it's dried, we will come back and paint that lone tree in the foreground. So see you in a bit. Now that the foreground is completely dry, let's add the main element, the tree. I'm going to use indigo. I will also use brown, which is a mix of orange and indigo to get a slightly warmer brown tone to the three instead of just a dark indigo color. Let's start with the trunk and add a few loose branches. Since this is a winter scene, the tree is bare, so we don't need to add any leaves. Just a few simple branches are enough to suggest the form. Keep it light and natural. Don't overwork this part. That is very important. G. G. Using white wash, I'm going to add some snow on the tree in a few areas, not covering everything. This helps suggest no accumulation and adds a nice contrast to the dark tree. Let's blend the base of the tree slightly into the foreground. This is a small but important detail. This really helps ground the tree into the scene. Robbie. Robbie Robbie. Finally, let's add a bit of white splatter to suggest the falling snow. You can add as much or as little as you like. It really enhances the winter feel nonetheless. And that completes our day three painting. Once everything is dry, you can gently remove the tape. One. One. One. And I hope you guys enjoyed this project. If you are enjoying the class so far, please consider leaving a review. It really helps me and don't forget to share your work in the project section below. I will see you tomorrow at Day four. Thank you so much for joining me today. 10. Class project 4 - Practice Session: For today's practice, let's explore a moody and peaceful field scene, keeping everything simple and working with a limited palette. Let's start with the colors. I'm using Iantrine blue, indigo, pines gray, permanent orange and sap green. These colours work really well together to create that slightly dark and atmospheric feel. Let's quickly take these colors onto the palette and swatch them out, starting with the lighter tones. One. Mm. I will start with sap green, followed by permanent orange, Ianrine blue, indigo, and finally, pine green. I'll just name them quickly, and then we can begin the practice. C. Wow. Let's start by wetting the paper. I'm using a flat brush to apply an even layer of water. The main focus of this scene is the sky, so let's take our time with this part. I'm going for a moody sky, which means more clouds and slightly darker tones. Let's begin with a very light mix of blue. Now, instead of painting the entire sky, let's leave a few white spaces in between. These white areas will act as the sky in the background, and the blue strokes that we add will become the clouds. These blue strokes that we're going to be adding one more time so that the sky will become more moody. We're building this gradually. I'm going to add darker tones in between with the blue. That is, I'm going to mix it with a bit of indigo, and I'm going to keep the strokes soft and flowing. I have placed the darker tone colors. I will just use a damp brush and give the shapes for these clouds. I think I'm okay with how the sky has turned out here. I will begin with the field scene at the bottom of the paper. Field will be a mix of sap green and orange, but more green and less orange. So you get that muddy brown color when you mix these two colors together. And this field will be at the bottom of the paper because the main focus is the sky. Robbie. Rob So what you are seeing here is a mix of light and dark areas. This contrast is what creates that moody effect. Now let's move on to paint those small pine trees at the horizon line. I'm using a smaller brush and a darker tone that is indigo. I'm going to place a very few strokes of the pines, vertical strokes. You don't have to, you know, paint very detailed trees here, keep them very small and subtle. They are far away. This already gives us a nice composition, right? We will add more details like birds and refine everything in the main project. Oh, this is just to understand the colours, the sky, and overall feel of the scene. Now that we are done with the practice session, we will move on to the final painting. So I'm gonna see you guys in the next video. 11. Class Project 4 - Under The Moody Sky: Hi, everyone. Let's begin with our day four main class project. For this painting, I'm going with a horizontal composition. So as it works well for a wide field scene, I will start by taping down my paper onto the board. Now that is done, let's wet the paper with clean water. I'm using my flat brush for this, making sure the surface is evenly wet. Mama Mam Also, gently remove any excess water from the edges. This helps prevent back runs or blooms, which we don't want for this sky. Let's begin with the sky. I'm starting with a very light wash of inanthrine blue. I'm going to keep it very soft as the base. Now, I'm switching to the smaller round brush to get more control while painting the clouds. So let's begin with the clouds. We will add gentle strokes, very light strokes while leaving white spaces in between. Just like we have practiced, these white areas will act as the sky behind, and the painted areas will form the clouds. Let's build the intensity of the clouds, I'm gradually deepening the tones to create more moody effect. Since we are going for a dramatic sky, don't hesitate to add more layers while the paper is still wet. Let the clouds feel full and slightly heavy. And by the way, I am using indigo and very little mix of danthrine blue to paint these clouds. Looks good, but I want the sky to be more dramatic. So I'm bringing in indigo again and gently layer this darker color in between the existing cloud shapes. On the areas where you want more depth and contrast, this contrast between the lighter spaces and darker clouds is what creates the strong and moody atmosphere. Keep building it slowly and stop when it feels balanced and not overworked. Mm. Mm. Mam. This looks good for me, so I will stop and continue with the field. Now, while the paper is still wet, let's move on to the field. Using sap green and orange, let's add the base for the land. You can choose whichever the color to highlight. I'm keeping green as the dominant tone, but you can use that orange and sap green mix to create muddy brown. You can use that as well to be the highlight color. C. Along the horizon line, let's add a few distant trees. Since the paper is still damp, they will appear soft and slightly blurred, which gives a nice sense of distance. And I'm using indigo color for this and a very small detailing brush. I, D click on down trees are looking great except these two here in the middle. I have to refine them once the paper is dry because they are looking too blurry and you can already see how the scene is coming together. I'm going to allow this to dry and we will come back once it's dried. See you guys in a minute. That the paper is completely dry, let's go back and refine the trees a little. Using darker tone indigo, I will adjust the shapes of these pine trees, these two, just making the tip slightly sharper and adding a bit more definition. Keep this subtle, we still want them to feel distant. It's time to add the birds. I'm going with a small flock here, just simple minimal stroke to suggest moment. If you want a more moody feel, you can even add just one or two birds. That creates a stronger sense of stillness in the painting. Everything is dry. I will remove the tape, and that completes our Day four project. I hope you enjoyed painting this moody feel scene. I have really loved seeing your project so far. And if you haven't shared yours yet to post in the project section below, I would be happy to give you feedback. I will see you tomorrow at day five. Thank you so much for painting along with me. M 12. Class project 5 - Practice Session: Today's class project, we are exploring a glowy galaxy scene, and we are practicing for that now. Let's start with the colors. I'm using sap green, Indigo and Pines Grey. So the sap green is from Senier. Indigo is from Windsor Newton, and Pines Grey is from White Knights. We will also use white coach later for the stars, but for now, let's focus on these three. Wow. Green on its own, is quite bright and also is not the right color for our galaxy. So I'm going to mix it with indigo to get deeper, darker green. This gives a nice rich green tone, almost like emerald green. So yeah, that color, again, indigo, and then pines gray. You want to paint any galaxy scene or any rich sky with lots of stars, you can use this color combination. This is perfect and classic. So now I will name these colours. I'm going to use a simple pen. Now, let's begin with the practice session. Let's wet the paper first. I'm using my flat brush to get even layer of water. Let's start placing the colors, beginning with that dark green. I'm applying softly on the paper, but let's leave a space in the middle that will be our glowing galaxy band. Around this green, we will start deepening the tones, adding indigo, and then pines gray. Let's build the contrast gradually. Now with a damp brush, let's try to blend these colors gently while still preserving that lighter area in the center. It doesn't have to stay perfectly white, just enough to suggest the glow. See how the colors are coming together to create that soft galaxy effect. Now for the foreground, let's quickly explore how to paint pine trees. I'm going to use a smaller round brush for this, and I would suggest you guys do the same. Start with thin line for the trunk and then use small zigzag strokes to build the shape of the tree. Think of it as a loose triangular form, keep it simple and keep it natural. It is a single pine tree. And now I will show you how I paint a group of pine trees, say two or three. So same method, paint a thin trunk and then move your brush in a at manner to get that pine tree. And then just beside that, you know, you can combine those two trees together. That's how you'll get a group of trees and then follow the steps that I've just mentioned. Yeah, I think this gives us a good idea of the composition, the glowing sky, and the trees in the foreground. We will explore this further in the main project and add details like stars to complete the scene. Now let's move on to the final painting. I'm gonna see you guys in the next video. 13. Class Project 5 - Soft Glow Under The Stars: Everyone, let's begin with our Day Pi class project. For this painting, I have decided to go with a vertical orientation as it works beautifully for a galaxy scene. I will start by taping down my paper using masking tape onto my board. Once that's done, we will begin with the painting. Let's take a wash brush and begin wetting the paper evenly. Make sure the surface is nicely wet but not overly saturated. Try saying wash brush, wash brush, wash brush, Bush. I had so many bloopers with these two words. Just try it out and let me know if you can say it as well. Once the paper is ready, let's mix sap green with indigo, and we get this deep emerald rich green color right. That's my favorite green. Now let's start placing this color onto the paper. I'm leaving a space in the middle that'll be our glowing galaxy band. We will blend this area softly in a bit. Once the paper is wet, we need to work a little quickly here. Let's now add indigo around the green and then deepen it further using pine gray. You will notice how the colors start blending naturally because the paper is wet. Oh, I will be keeping the foreground lighter for now since we'll be painting the pine trees later. Now using a damp brush, I will gently blend the green and blue areas. Try to soften the transitions while still preserving that lighter band in the center. Wow. Paper is still wet. Let's add a bit of white cash. Just small touches here and there. These are not the final stars. Once this dries, these areas will create a soft glow effect, and later we'll add stars on top of this. Its any backflow of water or unwanted blooms. This is the time to correct them. So I will quickly soften it by adding a slightly darker tone while the paper is still wet. Remember, once it dries, we can't change how the paint has dried. So now is the time. Let's allow this to dry completely. Once it's dry, we will come back and add the pine trees in the foreground. So I'm gonna see you guys in a minute. Now that the paper is completely dry, let's move on to the foreground. I'm taking my smaller round brush size six and using pines gray, I will start painting the pine trees. In with the main tree, I'm placing it slightly off center towards my right side, and this will be the tallest tree in the composition. Start with a thin vertical line for the trunk and then begin adding small strokes on either side. Use a gentle zigzag motion moving your brush from side to side as you come down. Keep the top very sharp, pointed, and gradually make the branches wider as you move down. Take your time with this tree since it becomes the focal point of the foreground. Try to keep the strokes loose and natural. It doesn't have to be perfect, by the way. Now let's add a few more trees around this. These will be smaller and slightly varied in height. Wow. I changed to number two round brush, even smaller than number six. Also notice that I'm not placing them in a straight line. Instead, I'm slightly shifting their positions, some leaning a little and some overlapping. This helps create that feeling of a dense group of forest rather than isolated trees. In my mind, I'm imagining a cluster of pine trees, so allowing them to feel a bit of a bit uneven and organic makes the scene more natural. The trees are placed. Let's start filling the foreground using pines gray and a bit larger brush. I will cover the lower portion of the paper. We don't need to paint every single branch of every tree. In fact, leaving parts of the tree incomplete and blending them into the dark foreground actually looks more natural. You can think of it as painting only the upper portions of the tree and letting the rest merge into the shadow. C. C. The foreground is done. Let's move on to the final details. I will start with some splatter using white cash. This helps create that soft scattered glow in the sky. Then using a smaller brush, let's add tiny dots to indicate starts. You can add as many as you like. This really enhances the galaxy effect. And that's it. Once everything is dry, you can gently remove the tip. And Day five project is now complete. I'm so happy to see so many of you joining this class. We are already close to 50 students, which is amazing. I will see you tomorrow at Day six. Another beautiful project. Thank you so much for painting along with me. Robbie. Rami 14. Class project 6 - Practice Session: All right, let's begin with day six of our minimalistic landscape journey. Today we are painting a serene lake scene with soft calming reflections. Let's start with the colors first. Is carmine, a beautiful pink tone. If you don't have this, you can use quin rose as well. Next is daxine purple from the sanelar and the carmine was from aquaton. The third color is danthrine blue from the brand senear and finally, pins gray from the white knights. Colors always pair perfectly well together. Pink, purples and blues very reminiscent of a sunset palette No. I have to mix carmine and purple and anrine blue together to get a deep wine like shade. And this is the color that we're going to be using instead of carmine. So dax in purple will be using as it is, and Ianrine and Pine Scray will be using. But for the carmine, we have to mix these three colors together to get the dark purplish tone. Et's name these colors now. Later, we will begin with our practice. Mm hmm. Now let's practice. Start by wetting the paper, begin with that pink mix that we have mixed before. The carmine sorry, dag in purple and anrineblue mix. And I'm going to be adding purple now on both sides of this pink tone. So yeah, the purple color and followed by anrineblue again, on both sides of the paper. Sorry, both sides of the pink color. With a damp brush, I'm gonna blend all these colors together now. Mm. This is a perfect sky and the lake scene. We are not painting, separately, just a few ripples here and there to suggest that there is a water over there. Now, while the paper is still wet, we will add the reflections. That's right. We are not going to paint the subject first. We'll paint the reflections. So the reflections has to be blurry. That's why it has to be painted on wet paper. Now, while the paper is still wet, I will paint a few horizontal lines to suggest that there are ripples over there. So this is it for the sky, the background, and the reflections. We will paint subjects wet on dry. With a very few simple bunch of pine trees for the subject. I'm not going to overcomplicate it with painting different trees. Pine trees are perfect, so I will paint those wet on dry. Now, I'm thinking to paint mountain. But even without the mountain, this makes for a calm and minimal scene, so I don't know. We'll just go to practice the mountain scene, but we will see if we paint in the main class project or not. And this is the practice. In the next session, we will move on to paint the final class project. So I'm going to see you guys. 15. Class project 6 - Quiet Reflections by the Lake: All right. Let's begin with the main class project. I'm going with a horizontal orientation for this painting. It really helps to capture that wide calm feeling of a lake. I'll quickly tape down my paper on all four sides to keep it secure and to get clean edges once we are done. Take your time with this step. A well taped surface makes the whole process much smoother. You're ready, we will begin by wetting the paper evenly and move on to laying our first layer of colors. We practiced earlier, we will begin by mixing carmine with anthrine blue and diaxin purple to get that deep rich purple tone, purple, pinkish tone. We will start with this color in the center of the paper. Then on either side of it, we will add diaxen purple gently blending into the middle. And finally, towards the outer edges, we will bring in our anrine blue. These transition should be soft and shameless as the colours flow into each other. We have laid down all the colors, take a damp brush, remove the excess water, and gently start blending from top to bottom. This will create a soft, even graded wash, exactly what we are aiming for. The paper is still damp in the bottom half. Start adding a few horizontal strokes with blue. These simple lines will suggest ripples in the water, and that's really all you need to create the feel of the lake. While the paper is still wet, let's add the reflections, just like we practiced earlier. Use a darker mix of blue and pine gray and gently paint them in. Keep them soft and blurry and try to maintain a loose triangular shape. That is done. Add a few more horizontal strokes over them to blend them into the water and enhance that lake effect. And once this is done, let's keep the paper for drying. And once the paper is completely dried, we will paint the rest of the painting, the subject and a few birds here and there. So yeah, and we'll see you guys in a few minutes. Am Wham Mam If the paper is completely dry, let's move on to the subject above the reflections. We will be painting a simple group of pine trees. As we discussed earlier, take a small round brush, tat with a thin trunk, and then move your brush in a zigzag motion to build the foliage. Mm. Mm. Yeah, I have left a small gap between the subject and the reflection, and it is very important to keep that distinction between them. We will blend both together later. We are painting two clusters of pine trees here, aligning them with the reflections that we have already added. It's very simple, right, and it doesn't have to be perfect. You can just let it go and enjoy the process, but be in the moment as you paint these pine trees. Since we have already practiced this, it should feel easy and not overwhelming. Once the trees are done, leave a small gap between subject and the reflections, we will take a damp brush and gently swipe one across that gap. This softens the transition and creates a natural separation between the trees and the reflections. Finally, we will add a few birds to complete the scene. Wow. Nally, I would love to add a few splatters of white paint, but this is totally up to you. This is my habit of adding splatter with whatever paint that I want while creating a painting. And finally, once the paper is completely dry, we will remove the tape. That's it for today's class project. Simple, easy, and so calming to paint. I will see you tomorrow with a brand new project already one week in, I can't believe it. Tomorrow is Day seven. And yeah, thank you so much for joining me today. 16. Class project 7 - Practice Session: This class project, we are painting a beautiful Aurora scene with soft and glowing bands in the sky. For that, we will begin with the colors. Sorry, we will begin with the practice session. And for practice, let's start with the colours. I am taking cobalt charcos green from Windsor and Newton, pines gray from white knight, primary yellow from senelia and indigo from a Windsor and Newton. So here, the primary yellow color is very important because we need that color to mix with turquoise color to get that glowing aurora bands. So if you don't have primary yellow, you can use naples yellow as well or yellow ochre. And later, we will also use white quash or white watercolor for the stars. Like I said, I'm mixing the most important part of the color, turquoise green and yellow. This is what gives us that luminous aurora effect, as you will see while we are practicing. So this is indigo color, and if you don't have indigo, you can use Ianthrine blue mixed with Pines gray as well. And finally, Pines gray. So these are the colors watches, and I will quickly name the colors so then we can begin with the practice session. Let's wet the paper evenly using a wash brush. Wow. Let's start with aurora bands. Using a mix of toquais green and primary yellow, let's play soft strokes across the paper. Keep them flowing and slightly curved so they feel natural and fluid. Let's bring in indigo, adding it around the bands on the sides and also in between. This helps create contrast and makes the aurora stand out more. Now, using a damp brush, let's gently blend these colors together. Soften the edges and then let the colors merge into each other. Even if the blending is perfect here, that's okay. This is just a practice. The idea is to understand the flow and placement of the colors. This paper is not 100% cotton. This is just a practice paper. So the colors may look, you know, may not look as blended as it would if we painted on the 100% cotton paper. For the foreground, let's add a few pine trees, just simple shapes using a smaller brush, keeping them minimal and soft. That's our practice piece. We will add stars later in the main project to complete the scene. Now let's move on to the next video where we will paint the main class projects. So I'm going to see you guys there. 17. Class project 7 - Silent Skies, Moving Lights: Evan, let's begin with our day seven main project. For this painting, I'm going with a horizontal orientation. Since it works really well for a wide sky and gives us more space to paint the flowing Aurora bands. Start by taping down my paper onto the board using masking tape. Once that is done, we will begin with the painting. We begin painting, let's add a very simple sketch. When I say sketch, it's just a small line to separate the foreground from the sky. Nothing detailed, just a light guided line. And once that's done, we will start with painting the auroras. Let's begin by wetting the paper. I'm using my wash brush to apply clean water, but only in the sky area above the line we just drew. Try not to wet the lower section, that will be our foreground, and we will paint that later. Let's begin with auroras. I'm using a large round brush size ten, so I can cover more areas smoothly. Now, I'm mixing Taquais green with a bit of primary yellow. This gives us a very luminous, almost neon like green, perfect for painting the northern lights. Let's start placing the aurora bands using flowing and curved strokes. Think of it like a soft shapes or reverse shapes. Let the moment feel natural and fluid. Don't try to make them too perfect. Each band can vary slightly in width and the direction. Now, while the paper is still wet, we need to work a bit quickly. Let's take indigo and start adding it around the aurora bands. Add it at the top, bottom, and even in between some of the bands. This contrast is what makes the aurora stand out, so don't hesitate to go a little darker here. Using a damp brush, let's gently start blending these colors. Soften the edges of the aurora bands and let the colors merge into each other. As you blend, you might lose a bit of brightness or sharpness of the aurora shapes, and that's completely okay. In fact, the softness is what makes it look more natural. You can always go back in slightly and reintroduce a bit of green if needed, but try to not overwork at this date. Just keep it soft, blended and flowing, and let the water do most of the work. Already starts to look like a glowing sky. Now we will let it settle a bit and we will move on to painting the pine trees. Pine trees, I'm going to be painting while the paper the sky area is still wet. So let's begin that. Let's move on to the foreground. Along the horizon line that we sketched earlier, we will start adding the pine trees. I'm using a smaller roundbrush for this and taking a dark tone. That is indigo here. Sorry, pines gray. You have to take pines gray. You can even mix a little bit of indigo with it. Let's begin placing the trees one by one. Start with a thin vertical line for the trunk, and then build the shape using small control strokes. Use a gentle zigzag motion moving from side to side as you come down. The top of the tree shape, sharp and pointed, and gradually widen the shape as you move downward. Basically, think of it as a triangle shape. You don't need to rush this part. Take your time with each tree and try to keep the strokes loose and natural. Oh. As we continue adding more trees, it's important to vary their sizes. Some trees can be taller, some shorter and some slightly in between. Try not to keep them all at the same height. Robby. So avoid placing them in a perfectly straight line. You can slightly shift their positions, bring some forward, keep some a bit behind visually. This creates a more natural and organic look. In nature, trees are never uniform. They grow randomly, overlapping, leaning slightly and forming these clusters. So we need to keep that in the painting as well. That's what makes our painting look more realistic. Clan Let's move on to the foreground. This is a very simple step. I will begin by gently wetting the foreground area, being careful not to touch the horizon line, so that we don't disturb the trees. Using a very little of indigonPine gray, let's add a soft wash. Keep the top area lighter and gradually bring in more color toward the bottom. This helps suggest that the ground is covered with snow and the darker tones act as soft shadows on the snow. Now, we will move on to the final details. I've just taken some white cash onto my palette and using it, let's add a bit of splatter. This will create the effect of stars in the sky. If you don't have white cash, you can use white watercolor as well. Once everything is completely dry, you can gently remove the tape. And that completes our day seven painting. I hope you enjoyed this beautiful Aurora scene. I will see you tomorrow with Day eight. Another exciting project. Thank you so much for joining me. I will see you guys tomorrow. Wo. 18. Class project 8 - Practice Session: Today's class project, we will be painting a galaxy scene, but this time we are combining it with a winter landscape. I'm really excited about this one because it brings together two of my favorite subjects. Let's start with the colors. I'm taking carmine from aquaton, Turquoise green from Windsor and Newton. This is cobalt Turquoise green color, dioxin purple from sennelar, indigo from Windsor and Newton, and Pines gray from white knights. So later, we will also use white cash to add stars and final details. Lease watch these colors, starting with carmine, and then TroquiGreen, dags in purple, indigo, finally, pine Grey. I'll also name these colors quickly, and then we can begin with the practice. A Now, let's wet the paper evenly using the wash brush. For this scene, I have a simple idea in mind. We will place all these colors onto the paper and let them blend slowly into each other to create that rich galaxy effect. So I will start with carmine, and I will place each of these colors next to each other and slightly overlapping. And also do not worry too much about perfection here. Just focus on the flow. Once the colors are all placed, use a damp brush, and gently blend these colors together. Let them mix naturally, creating soft transitions and also notice how the colors come together to form a vibrant glowing sky. Now for the foreground, we will later add pine trees. Since this is a winter scene, we will also leave some space to suggest the snow. We will explore this more in the main project. Fornw. This gives us a good understanding of the colours and how they behave together. All right. That's our practice, and let's move on to the main project now. So I will see you guys in the next video. One, 19. Class Project 8 - Winter Under A Powerful Sky: Hi, everyone. Let's begin with our day eight main project. For this painting, I'm going with a vertical orientation since the sky is the highlight here and we need more space to build that galaxy effect. It also just feels right for this composition. I will start by taping down my paper onto the board using a masking tape. Before we begin painting, let's add a very simple sketch. Just draw a light line to separate the foreground and the sky. Nothing detailed, just a guide for placement. Let's begin by wetting the paper. Using a wash brush, apply clean water evenly, but only above the line that we drew earlier. The lower section will be our foreground, so let's leave that area completely untouched for now. The paper is nicely wet. We can start placing the colors. Let's begin with carmine, apply gently onto the paper, allowing it to spread naturally. Spring in the turquoise green now, place it next to the carmine. Letting the colors softly merge. You can already see how vibrant and beautiful this combination is starting to look. Next comes the dig in purple. Allow these colors to overlap slightly so we get those natural transition. At this stage, don't worry too much about perfection. Focus on placing the colors. How to create depth, let's bring in the indigo. I'm adding indigo mostly around the edges of the paper on the sides and towards the corners. This helps frame the painting and draws attention towards the center. So the idea here is simple. Keep the middle area lighter and more colorful and gradually darken the edges. This contrast is what gives us that galaxy effect. Using a damp brush, let's gently blend everything together. Soften the transitions, let the colors flow into each other. Take your time with this step. You can go back and forth, adjusting the colours as needed. If you feel an area is too light, you can deepen it slightly. If it feels too strong, you can soften it with a clean damp brush. Also notice how I have kept the area closer to the foreground slightly lighter. This adds this actually helps to create a subtle glow and adds depth to the painting. And yeah, keep blending until you feel it start to resemble the galaxy Skye. There is no fixed rule here, observe and adjust. I Well, the paper is still wet. Let's add the first layer of stars. I'm using white cash for this, but you can also use white watercolor. Just play small dots here and there. They are not the final stars, but they will spread slightly on the wet surface, creating a soft glow around them. This step is also a bit important, because it gives that luminous effect once the painting dries. Take your time here. This is actually very calming and therapeutic process. Just enjoy placing the dots and watching them blend slowly into the background. Let's move on to the foreground. At this stage, the paper is still slightly damp. It's not completely wet but not fully dry either. This is actually a good stage to begin placing the trays. I have taken a small round brush, and using a darker tone, pines gray, I will start painting the pine trees. As you can see, when I place the strokes, they are holding their shape, but the edges are slightly soft and blurry. That's also what we want or it is safe to paint the pine trees now, but we will come back in and add a few details later. This tells us the paper is at the rice strays, damp enough to give softness, but dry enough to hold the form. I have started placing these trees along the horizon line. I'm starting with one slightly taller tree, then adding a few smaller ones around it and following that pattern. Let's move on to the foreground. This part is very simple. Using indigo, let's add a few soft strokes at the bottom of the paper. Keep the top portion of the foreground lighter, almost white, and gradually bring in the color as we move down. Creates a very simple snow effect where the white represents the snow and the blue tones act as soft shadows. Let's go back and adjust the tree slightly. You can add a few more strokes to define their shapes just enough to bring them out a bit more. By now, the paper is almost completely dry, so let's move on to the final step. A. Final step is using white gauche. Let's splatter some paint to create the stars. You can also add a few tiny dots by hand to make some stars more prominent. This really brings the whole galaxy together. So And that's it. Our Galaxy winter landscape is now complete. This is honestly one of my favorite project in this class. I love how simple it is and yet how beautiful the result turns out. I hope you enjoyed painting this as much as I did. I will see you tomorrow with a brand new day nine class project. Thank you so much for joining me. 20. Class project 9 - Practice Session: For today's class project, we are exploring a lake scene with reflections, using a limited palette and soft blending techniques. Let's start with the colors. I am taking dioxin purple from the brand Sennelier, Turquoise green light from Windsor and Newton, Indigo from the brand, again, Windsor and Newton, and Pines Gray from the brand, white knights. As always, we will begin by swatching these colors. For watching, I will begin with a turquoise green, dixinPurple, followed by Indigo, and finally Pines gray. I will quickly name them, and then we can begin the practice. Tout. Let's wet the paper evenly using a wash brush. Let's begin with the lightest color turquoise green. Place it gently in the center area. On both sides of the turquoise screen, let's add diaxin purple, allow the colors to softly mate and blend. Next, let's bring in indigo on the outer sides. This helps deepen the values and adds contrast to the sin. Now using a damp brush, let's gently blend everything together. Keep the transition soft and let the colours flow naturally. Now, while the paper is still wet, let's add the reflections. This is important because adding them now will keep them soft and slightly blurred in the water. Using horizontal strokes, let's add a few ripples. This helps create that water effect and breaks the reflection just enough. Now, let's allow this dry completely. And then once the paper is dried, we will move on to painting the main subject. If the paper is dried, we will add a bunch of pine trees along that reflection line. Keep them simple and slightly varied in height, and just below them, we will reinforce the reflection to match the trees above. And that's our practice. We have explored the sky, the lake, the reflections, and the subject. Now let's move on to the main project where we will paint this even more beautifully, because we will be using the 100% cotton paper, which is a game changer. A 21. Class Project 9 - A Silent Lake of Colors: Everyone, let's begin with our day nine main class project. For this painting, I'm going with the horizontal orientation as it works beautifully for a calm lake scene with reflections. I will start by taping down my paper onto the board using masking tape. Well, let's wet the paper evenly using a wash brush. Make sure the surface is nicely wet so the colors can blend smoothly. A Now, let's start with turquoise green color in the center, keeping it soft and light. Both sides of it, let's add diaxin purple, and then towards the outer edge, let's bring in the indigo color. Him Using a damp brush, let's gently blend all these colors together. Take your time with this step. We want a smooth and graded wash where the colors transition naturally into each other. You can go back and go back and forth a bit softening the edges and adjusting the tones until it feels balanced to you. While the paper is still wet, let's move on to the reflections. I am taking a darker tone that is pine gray and placing the vertical strokes along the horizon line. Also lift off a bit of paint using a clean damp brush to suggest subtle ripples. Keep everything soft and horizontal to maintain that water effect. Now, let's allow this layer to dry completely, and then we will come back and paint the subject. That is above the reflections. Is dried, we can begin painting the trees now. I will start placing a group of pine trees along the horizon line. Take your time here and vary the sizes slightly to keep it natural. Now, an important detail to remember, the height of the pine trees above should match the length of the reflections below. This helps keep the composition balanced and realistic. Also, I am leaving a very thin gap between trees and their reflection that small white line helps separate the two and adds clarity to the scene. Robbie. Robbie. Robbie. Robbie using white paint, I will add a few soft ripples on the water. Just a few horizontal strokes are enough to bring the scene to life. And finally, let's add a bit of splatter for subtle texture and detail. And this is optional. If you don't want to add it, you can skip this step. And that's it. Once everything is completely dry, you can gently remove the tape. And your day nine project is now complete. This one has been such a calm and almost magical feel to it. I hope you enjoyed painting it with me, and I will see you guys tomorrow with Day ten. Another beautiful project. Thank you so much for joining me today. The 22. Class project 10 - Practice Session: Welcome to Day ten, and today we are going to paint a serene sunset scene. And is intentionally beginner friendly. I know some of the previous projects felt a bit intermediate, so I wanted to include something simple yet beautiful so everyone can enjoy the process. Let's begin with the colors. Even though this is a project, we are using a slightly wider palette because learning to blend multiple colors is key when painting sunsets. Is primary yellow from Snelar a bright, clean yellow. Next is permanent orange from the brand aquatone. Then we have carmine from the brand aquatone. And for contrast, we will be using anthrine blue from the brand sanelar and then finally to paint the foreground, we will be using Pines gray. And this pines gray is from the brand white Knights. We'll quickly swatch these colors so you can see how they look and how they work together. That this watching is done, I will quickly name these colors, and then we can move on to the practice. By wetting your paper evenly with clean water, a small tip when painting sunsets, always begin with the lightest colours and gradually build the intensity. Now we will start with the yellow in the center, followed by orange on either side. We'll add carmine towards the top and gently blend it downwards. We will use danthrine blue lightly to suggest soft clouds in the sky. And finally, using a damp brush, we will blend everything together to create a smooth transition. Or ground, we will keep it simple with pine trees. An easy yet effective way to complete the scene. Once that is done, we are done with the practice. So in the next video, we will start with the main projects, so I will see you guys there. Mm hmm. 23. Class Project 10 - Sunset Glow Landscape: I let's begin with our day ten class project. We will start by taping down the paper securely onto the board. I'm going with a vertical orientation for this painting because the main focus here is going to be the sky. The foreground will only take up about ten to 20 minutes of the space. So choosing a vertical layout really helps emphasize that beautiful sunset sky. Once the paper is taped, I will begin by wetting it evenly using a wash brush. Make sure the water is spread uniformly across the surface, not too much and not too little either. So quickly cleaning the edges of the paper to avoid any unwanted backflow, which can sometimes happen if excess water collects along the borders. Now that the paper is nicely prepped, let's begin painting. We discussed earlier when painting sunsets, it's always best to start from light to dark. So I will begin with primary yellow. This will act as the glowing base for our sunset. Next, I will add orange, allowing it to softly blend into the yellow. You can see how the warm tones starts to transition beautifully. Then I'll bring in carmine towards the top section. Let it blend slightly downward into the orange. We don't want harsh lines here, just smooth natural transition. And for that, your paper has to be wet. The darker transition, so the darker contrast, I will take inanrine blue and add it mostly towards the top. But instead of flat strokes, I'm creating a slightly cloudy structure. This helps suggest darker clouds hovering over the sunset sky, adding depth and drama. All the colors are placed. I will take a damp brush, removing excess water and gently blend everything together. This step is key to achieving that soft and shameless sky. I like the blue could use a bit more present, so I will go ahead and add another layer to enhance those clouds. One. I no, no, C I'm happy with this guy. Let's move on to the foreground. My paper has already started to dry, which is a perfect perfect time to paint this step. I will use Pines gray and cover the bottom portion of the paper. Of painting individual trees one by one, I'm going to use a quick vertical stroke to suggest a group of pine trees. This is a very simple and effective way to create a dense foreground without too much detail. The smaller round brush, I will quickly add those vertical lines to suggest that there are pine trees over there instead of just a flat pines gray wash. Once that base is done, I will switch to a smaller round brush, add a couple of larger trees on the left side. They aren't necessarily pine trees, just simple tree forms to add a bit more interest and variation to the composition. Two individual trees on my left helps break the uniformity and adds a focal point to the foreground. And with that, the painting is complete. No G Wo Everything is fully dry. We can gently remove the tape and reveal those clean edges. Always such a satisfying moment this is. For day tens class project, simple, beginner friendly, and very beautiful. I will see you tomorrow with a brand new one. Thank you so much for joining me today. 24. Class project 11 - Practice Session: Today's class project, let's start a little differently. I had a few of you ask if I could show the final painting first so you know exactly what you'll be creating. I think that's a great area, so here it is. Today we are painting a misty mountain landscape. It's a very beginner friendly and we'll be focusing on building soft layers to create the depth and misty effect in today's class project. And let's start with the practice. Before we attempt the practice, of course, we will be starting with the colors. I'm using only two colours sap green from senneliar and pines gray from white knights. And we will also mix these two together to get a deeper rich green somewhere between the two. Let's quickly swatch this out, and then we'll move on to the practice. I do. And now, let's begin with the practice. I have started by wetting the paper evenly using clean water and a wash brush. Let's begin with the sky. Using a very light mix of green and pines gray, I will softly add the color to the top area. Keep this very subtle, just a gentle base. Now let's move on to the mountains. We will be painting them in layers, which is a key to creating that misty effect. Let's start with the first layer using a very light tone of green and pin gray. Paint your first mountain shape. Keep the edges soft and simple. Now, we will let this dry completely. This step is very important. Once the first layer is dry, let's move on to the second layer. This time, use a slightly darker mix. You can add more pines gray and a little less green. Place this mountain right in front of the first one. Again, let this layer dry completely before moving to the next one. W Now for the third layer, this will be the darkest. So use more pines gray and very, very little of the sap green. Let's paint another mountain in the foreground. You can see how each layer adds depth to the painting. These lighter ones move back and the darker ones come forward. You can also add a few pine trees in the front mountain to enhance the composition. This is basically the essence of layering in watercolor. Paint one layer, let it dry and then build the next. And also, how many layers you want to add is completely up to you. You can keep it minimal with two or three or build more depth with multiple layers of mountains. It is our practice. Now let's move on to the class project, so I will see you guys in the next video. A 25. Class Project 11 - Layers of Mist - A Quiet Mountain Scene: Hi, everyone. L et's begin with our Dale Levin main class project. For this painting, I'm going with a vertical orientation as it works beautifully for layered mountains and gives us more space to build depth. I will start by placing my paper on the board and taping it down using masking tape. Well, let's prepare the paper. Using a wash brush, I'm applying a clean even layer of water. Take your time here, make sure the surface is evenly wet. Also, don't forget to remove any excess water from the edges using a paper towel. This helps preventing back runs or blooms. Oh, before we begin painting, I will quickly clean my round brush. If there is any leftover pigment, it can affect the light tones we are about to use. Now, let's start with the sky. I'm taking a very light mix of pines gray and sap green. Let's apply this color softly, keeping it subtle and minimal. Mam. Mama While the paper is still wet, let's begin with the first mountain layer using the same light mix, paint a soft mountain shape. You can gently drag the color downward to avoid leaving any harsh white caps. Keep this layer very light and that will sit well in the background. Now let's allow this to dry completely. Once the paper is dry, we will move on to the second layer. This time, let's make the color slightly darker by adding more pine. Place this mountain in front of the first one. You can already see how the depth starts building. Again, let this layer dry fully. For the third layer, we will go even darker here using a strong mix of pines gray and sap green, but let there be the highlight here. Paint another mountain in the foreground. This layer will stand out more clearly than the previous one. One point, you can decide how many layers you want. I initially planned for three, but I can still see some empty space in the foreground, so I'm going to add one more layer. I'm gonna have to let this one dry completely, and then we can add one more layer of the mountain, which will be the final one. Re dried, let's start adding the final layer of the mountain. This time, using mostly pines gray to get a much darker tone. This helps anchor the entire composition. While this layer is slightly damp, we can start adding a few pine trees. They don't have to be too detailed, just a simple shapes to add interest and variation. This step adds a bit more life to the scene. Now, after painting the pine trees, we will allow this to dry completely. Robbie. Robbie. Robbie. Robbie. Robbie. The paper is dried. We can add the final details. I'm adding a few birds in the sky. You can keep it minimal or add a small flock like I'm doing here. This helps bring moment and makes the scene feel more alive. Matt Matt. That's it. Once everything is fully dry, you can gently remove the tip. And your day 11 painting is now complete. I hope you enjoyed painting this soft, misty and bigner friendly landscape with me. I will see you guys tomorrow a day 12. Thank you so much for joining. O. 26. Class project 12 - Practice Session: This class project, we are painting a beautiful lake scene with soft sunrise glow. This one is all about colour blending and creating that gentle light in the sky. Let's start with the colors. I'm using a naples yellow from senelar, permanent orange from the brand aquaton, French ermulion from the brand Seneliar, dags in purple from the band Senelar and antrine blue again, from the brand Senelar. M Let's quickly swatch these colors, starting with yellow and then orange, red, purple, and finally blue. Mama Let's start with the practice now. I will start by wetting the paper evenly, and I'm using my wash brush. Start painting naples yellow in the circle, and that middle part should be white. That is our sun, so it has to be the lightest shade possible. Then gradually add orange around the naples yellow, and followed by red colour. And then add purple color and finally, blue towards the edges. Now using a damp brush, let's gently blend all these colors together. Try to keep a soft glowing area in the center alone without adding any color. That will be our sun, like I've said before. This is how we create that sunrise or sunset globe by building colours around the light. Now let's move on to the second part, the lake and the reflections. Wet the paper again using the wash brush. When painting reflections, always remember the subject and its reflection should be roughly the same in size and also leave a thin white gap in between. This helps separate the two and makes it look more natural. If you want, you can absorb any pick in the nature, any picture, any photograph from the nature, you will always see that white gap between the top subject part and the bottom reflection part. One For the final practice, let's paint a tree and its reflection. Use a darker tone for the tree. Here I'm using anthrine blue and a lighter and softer version of the same color for the reflection. You can add more water to the anthrine blue to make it lighter than the darker tone for the tree that we have used. No. That's our practice. We have covered the sky, the reflections and the subject, the tree, and its reflection, as well. Now, in the next video, that is the main class project. We will combine all these and paint understand I am so I will see you guys in that video. Let's video. 27. Class project 12 - A Quiet Morning Reflection: Hi, everyone. Let's begin with our t 12 main project. For this painting, I'm going with a vertical orientation as it gives us enough space to include the sky, the lake, the reflections, and the tree. I will start by taping down my paper onto the board using masking tape. Now, let's begin by wetting the paper, using a wash brush. Apply a clean, even layer of water. Take your time here, make sure the surface is evenly wet, so the colors will blend smoothly. I let's begin with the sky. We are going to create that soft sunrise glow here. I will start by leaving a white space in the center. This will be our sun. Around this, let's begin adding colors one by one, starting with naples yellow, then moving on to orange, followed by red. Now, gradually bring in the **** in purple and finally, a touch of blue towards the edges. Now, using a damp brush, let's gently blend all of these colors together. Soften the transitions and let the colors flow into each other. Try to preserve that light glow in the center as much as possible. Mmm. Take your time here. This is the most important part of the painting. The smoother the blend, the more beautiful the glow will look. Well, the paper is still wet, let's move on to painting a few trees along the horizon line and their reflections. I'm using a very light blue tone for this. Since the paper is still wet, the shapes will naturally soften and blur. So there is no need to go into too much detail here. In fact, we want this effect, soft, blurry background with trees and their reflections merging into water. Place a few tree el shapes to suggest that there are trees over there and gently pull that color downward to create the reflections. And also, do you remember leaving that white space between subject and the reflections? We're going to go with that here as well. Keep everything loose and minimal. This step is more about suggesting the forms rather than defining them. While the paper is still wet, I'll take the same blue we used for the trees and reflections and add it towards the bottom of the paper. This helps suggest the water in the lake. Since this is a lake scene, we need to clearly establish that base. Keep the stroke soft and horizontal, so it naturally looks like water. Let it blend gently with the rest of the painting. And I'm going to keep this for drying. Once this dries, we can paint further. So I will see you guys in a bit. Mm. If the paper is completely dry, let's move on to the final step. We will start by painting the tree and its reflection. I'm taking a blue tone, and using a smaller round brush, I'll place the tree somewhere around the middle of the lower section of the paper. This will be a simple tree, just a few dried branches, so we don't need to add any leaves here. Add a thin line for the trunk and then add a few branches extending outward. Keep the strokes light and natural. You don't have to overthink the shape here. Just let your hand move freely. This looks great. I'm going to paint one more of the tree here. This one This tree will be smaller. Tree will be even more smaller than the one we have painted just now. Very, Let's move on to the reflection. Take a lighter version of the same blue and paint the reflection just below the tree. Keep in mind the same principle we practiced. The reflection should roughly match the size of the tree. And don't forget to leave a small gap in between the thin white line helps separate the subject and its reflection. It makes it look more natural. Moment to observe your painting. If you feel like adding a few more branches or adjusting reflection slightly, you can do that. I think my reflection looks a bit darker than I wanted to, so I'm going to just remove some paint using a paper towel. Paint a few ripples using the same blue colour, and we will let this dry completely now. We're almost done. I I I The paper is fully dry, you can gently remove the masking tape, and that completes our day 12 painting, a soft glowing sky with a calm lake and simple foreground. I hope you enjoyed painting this with me. I will see you tomorrow with day 13. Another beautiful project. Thank you so much for joining me today. Mo. 28. Class project 13 - Practice Session: This class project, we are painting a winter lake scene with soft blurry trees, keeping everything minimal and simple. Let's start with the colors. I'm using sap green from sanela and indigo from Windsor and Newton. And we will also mix these two colors to get a deeper, darker green. So basically, we are having three colors here on our palette. And of course, at the end, I will be using white gouache, as well. Let's quickly swatch these colors out, starting with sap green, followed by Indigo. And a mix of both. I will name them quickly, and then we can begin with our practice. Mm. We will begin the practice with a small sketch, just a line. We will be starting with the background trees here on that horizon line. It's supposed to be horizon line. And also, I will quickly sketch the lake as well. Mount. Mm Mount. Wet the paper just above that line that we had just drawn with clean water. This is quite similar to what we have done before painting trees in a soft blurry way. We have done that in class project two or three, I'm not sure, but we have practiced this but with different colors. Using a mix of green tones, sap green, Daka mix, and indigo, let's place these colors on the wet paper and let them blend naturally. We are not painting individual trees here, just suggesting them with soft shapes. I will quickly paint the lake as well. So here, there is the lake is supposed to be in blue color because this is winter scene. And using indigo, we will paint the lake area and gently add reflections just below the horizon line of those trees that we have painted above. Keep the strokes soft and horizontal so it feels like water. Since everything is wet, the reflections will stay soft and slightly blurred, which is exactly what we want anyway. One Final step in the main class project, I'll be adding a bit of white splatter using white quash to suggest no. But for now, this is it. This is our practice. We have explored the background, the lake, the reflections. Now we are ready to move on to the main class project. So I will see you guys in the next video. 29. Class project 13 - A Silent Lake, A Gentle Winter: Everyone, let's begin with our day 13 class project. I will start by taping down my paper onto the board using masking tape. Let's move on to the sketch. We will begin with the horizon line. I'm placing it slightly above the center a little towards the top of the paper. From here, let's sketch the lake as well. It's very simple shape, almost like a soft escave just a few flowing lines to indicate the direction and movement of water. Take your time with this step. Getting the perspective right here really helps the entire painting come together. Now let's begin painting. I will start by wetting only the area above the horizon line. We will focus on the sky first. Using a light blue tone, let's add a few soft strokes, leaving some white spaces in between. This will act as light in the sky. Now let's deepen the top area slightly by adding a few darker strokes to create clouds. Keep the lower part lighter so we maintain that soft glow. While the paper is still wet, let's move on to the trees along the horizon. Using a mix of greens and indigo, let's add soft blurry tree shapes. You can vary the tones, some lighter, some darker to create the interest. The paper is wet, the shapes will naturally blur, which is exactly what we want for the background. H Now, let's move on to the lake. First, I will wet the lake area using clean water, make sure the surface is evenly wet so the colors flow smoothly. Using indigo, let's begin painting with water. Start from the horizon line and gently bring the colors downward. Keep your strokes horizontal. This is very important to create the water effect. Yes. I'm going to add those horizontal strokes again, but with a dark color now. Let's start adding the reflections. Using same indigo, place a few vertical and horizontal boat strokes just below the trees. Then gently pull them downward, using a damp brush. This creates a soft reflection effect. Keep it slightly broken and uneven, making it look more natural. Now, let's add a few ripples using a lighter tone or a damp brush, add thin horizontal lines. These lines help suggest moment in the water. You can also lift a bit of paint to create subtle highlights, but I'm not doing that now because, you know, adding these ripples in the water is quite enough. Take your time here, this part is very calming. Just observe and add strokes slowly. I I Along the edges of the lake, I'm adding a few soft touches of light blue. This helps suggest the snow and its shadow. Even though the area is white, these soft shadows bring depth to the scene. Now, I will allow everything to dry completely. Once paper is dried, we can move on to paint the final details. The paper is dry now. Using white cash, let's add some splatter to suggest falling snow. Let's refine the area between the trees and the reflections. That thin white line is very important. It represents the separation between the land and the water. I will gently enhance it using whitewash to make it more visible. This small detail makes a big difference in the final look. Now, once everything is fully dry, you can gently remove the masking tape, and that completes our day 13 class project, a soft winter lake scene with calm reflections and subtle details. I hope you enjoyed painting this with me. I will see you tomorrow a day 14. Another beautiful project. Thank you so much for joining me. 30. Class project 14 - Practice Session: For today's practice, we are painting a serene scene with soft reflection. We are keeping everything minimal, but this project has some special quality. This is going to be atmospheric or moody, you can say, which is my favorite genre. So let's begin. So we will start with the colors. I'm using this unique color called shadow green, and this is from the brand aquaton. If you don't have this color, you can easily mix it. Just combine sap green with a bit of pins gray or even a touch of indigo. You will get a similar tone. It's quite close to an olive green shade, and then pines gray from the brand white knights. At least watch these colors, starting with Shadow Green, followed by Pines Gray. Now, I'm mixing another shade, which is a mix of both shadow green and Pines gray colors to get a deeper and darker green. This will be very useful for us, you know, to create that atmospheric effect. I usually use dark greens to create moody landscapes. I will quickly name these colors, and then we can begin with the practice. Start by wetting the paper evenly. Now, using the dark green mix, I will begin placing the color from the top, and then I will stop around the middle. Next, I will repeat the same from the bottom, bringing the color upward. If blend these, you will notice something important. The top and bottom remain darker while the middle stays lighter. This lighter area in the center creates a beautiful atmospheric effect and helps draw focus. While the paper is still wet, let's quickly suggest the scene. I will add a simple mountain shape and then gently pull the color downward to create that reflection. I'm satisfied with how this turned out. I'm gonna let the paper dry completely. Of the paper is dry, we will add a few pine trees and their reflection. You can add the reflections of these pine trees wet on wet as well. But I think that I should have done that. That's what we'll be doing in class project. See, this is why it is important to sketch a thumbnail or a practice session, so you will know what to do, and you will also know what not to do. So you can, you know, you don't have you don't repeat your mistakes in the class project. It's our practice that gives us a clear idea on how to paint a final painting. Now let's move on to the main class project. 31. Class project 14 - Shades of Stillness: Hi, everyone, let's begin with our day 14 main project. I think I have said day 13 in practice session. I'm so sorry about that. This is day 14. I will start by taping down my paper on all four sides using masking tape. This step is important to keep the paper flat and to get clean edges at the end. Also, for this painting, I'm going with a horizontal orientation as it works beautifully for a wide lake scene and helps us highlight the reflections. Let's begin preparing the paper. Using a wash brush, I will apply a clean, even layer of water. Take your time here, make sure the surface is evenly wet. Mm. Mm. So I will remove any excess water from around the edges using a paper towel. This helps prevent backruns or blooms. Now let's move on to mixing the colors. I'm using a mix of shadow green and pines gray. The idea here is to keep the composition simple. We'll have darker tones at the bottom and top and bottom and a lighter area in the middle. I will start by placing the darker color at the top and then repeat the same at the bottom. Leave the middle section lighter. This is what creates that soft atmospheric glow. Now, using a damp brush, I will gently blend the transitions. Again, I will remove any excess paint or water from the edges. This is especially helpful in this kind of painting where we want smooth plants. Let's move on to the main elements. While the paper is still wet, I will start painting a simple fountain shape, keep it minimal and soft. Using the same color, I will create its reflection just below. Remember the subject and its reflection should roughly match in size. Clearly, there should be suppression between reflection and the subject above. So I will also gently lift a little bit of paint in between using a clean brush. That thin line that thin light line is very important. It adds realism and clarity. Now, here is a small change from the practice. While the paper is still wet, I'm going to add the reflections of the pine trees right away. This helps create a soft and more natural look. Since the surface is wet, the reflections will blur slightly, which adds to that moody effect. I'm just placing a few vertical strokes and gently pulling them downward. Now, while we are at it, let's also add a few ripples using a lighter tone or a damp brush, add soft horizontal lines. These small details help bring the water to life. Take your time here. This part is very calming. And now let's allow the paper to dry completely. Once it's dried, we will come back and add pine trees to complete the scene. Now that the paper is completely dry, let's move on to the final step. We will start by adding the pine trees over the reflections we painted earlier. Using pine gray and a smaller round brush for this, as you paint the trees, make sure to match them with the reflections below. The size, the placement, and general shape should align with what we have already painted. Painting pine trees, I have a tip, start with a thin trunk and then build the tree using smaller strokes. Keep the top pointed and let the branches widen slightly as you move down. Take your time with this step, even though the trees are simple. This is where the scene starts to come together. So make sure to preserve that thin white space between the trees and the reflections. We have created that earlier, and it's an important detail that adds realism to the painting. Now, let's add a few final touches. We're almost done with painting the pine trees. I will paint a few small birds in the sky to bring a bit of life and movement. And then using Pines gray, I will splatter some paint. This adds subtle texture and enhances the mood of the scene. Once everything is fully dry, you can gently remove the masking tape, and that completes our day 13, sorry, day 14 class project, a calm, serene lake scene with soft reflections and a moody atmosphere. I hope you enjoyed painting this with me. I will see you guys tomorrow with another beautiful project. Thank you so much for joining me today. 32. Class Project 15 - Practice Session: For today's class project, we are going to paint a soft, moody landscape using just two colors, keeping everything simple and atmospheric. Let's start with the colors. I'm using indigo from Windsor and Newton and Pines Gray from white Knights. We will also be using whiteqh later. For a few final details, you can use white watercolor as well. Let's quickly swatch these colors, starting with indigo and then pines gray. Okay. Name them quickly. Then we can begin. We'll start with our practice by wetting the paper evenly using a wash brush. Wow. Oh, using indigo, I will begin applying the color from top and then repeat the same from the bottom. In the middle, I won't add any direct color. Instead, I will gently drag the paint towards the center. Helps create that soft light atmospheric effect in the middle. It's the same technique that we exploded yesterday. While the paper is still wet, let's add a few trees. Since this is wet on wet, the shapes will appear soft and blurry. For you. While the paper is still slightly wet, I will add one or more larger trees. It's very easy to overdo this step, so try to hold back. Let's detail works better here as the colors will naturally spread since the paper is wet. Allow the paper to dry completely. The paper is dried now, so we will add a few sharper trees using a darker tone. It could be indigo or pine gray. I will take my small round brush and I will add a couple of pine trees. I think I'm going to add one here in the middle and then a smaller tree on my left. And one more tree over here on the far left. Finally, we will add a bit of splatter to complete the scene. Also, since this is 25% cotton paper, you might notice some hard edges. But when we paint the final project on 100% cotton paper, everything will look much softer. And that's our practice. Now let's move on to the main class project. I'm going to see you guys in the next video. 33. Class Project 15 - Monochrome Mist: Hi, everyone. Let's begin with our Day 15 class project. For this painting, I'm going with a horizontal orientation as it works beautifully for a wide minimal landscape. I will start by taping down my paper onto the board using masking tape. This helps keep the paper flat and gives us clean edges at the end. Well, let's prepare the surface. Using a wash brush, I will apply a clean even layer of water. Take your time here, make sure the paper is evenly wet so the colors will blend smoothly. One. I'm removing the excess water at the edges to prevent any back flows or back runs. Well, let's begin with the painting. I'm using a mix of indigo and pine gray. I will start by applying the color at the top of the paper and then repeat the same at the bottom. In the middle, I won't apply any direct color. Instead, I will drag the paint from both top and bottom towards the center. This creates a soft lighter area in the middle, which gives us that beautiful atmospheric effect. Take a moment here to adjust the tones if needed. If the edges feel too tight, sorry, too light, you can deepen them slightly. If the center feels too dark, you can lift a bit of a paint. While the paper is still wet, let's begin adding the trees. Using a smaller brush, I will place a few vertical strokes to suggest pine trees. Since the paper is wet, the shapes will naturally soften and blur. Worry about the details here. In fact, we want that softness to create depth and mood. Keep the trees minimal, just a few strokes are enough to suggest a landscape. I'm going to do an optional step. I lightly splatter some clean water onto the surface. This creates subtle textures and add a bit of variation to the wash, but this step is completely optional. You can skip it if you prefer a cleaner look. Now, let's allow the paper to dry completely. Though the paper is completely dry, let's move on to refining the trees. I will start by suggesting a few branches on the larger shapes we painted wet on wet. Just a few light strokes, don't overwork this step. The idea is only to bring a little definition, not to completely redraw the tree. King darker tone to paint the main trees now. You can use indigo or Pines gray. Let's start with the first one on my left, I'll paint a slightly taller tree here, just a bit larger than the blurry one that we have painted on my right. This helps create depth and makes the tree stand out. Now for the second one, I'll be painting a smaller tree just beside the one that we have painted. Next will be around a bit taller than the one that we have painted wet on wet. I'll paste it close by so they feel connected as a group. I will paint two more trees both on each side of this wet on wet tree that we have just painted. Mm. How these trees frame the softer background shapes. This balance is what makes the painting feel complete. Take your time with these trees, start with a thin trunk and build the shape using small strokes. Keep the top part sharp and let the branches widen as you move down. Now let's step back and observe. You can adjust if you want the shapes and all, but try to keep it simple. Now for the final touch, I will be using white gash and splatter paint to create soft snowy effect. Now, let's allow everything to dry completely. The paper is fully dry, you can gently remove the masking tape, and that completes our painting a soft, moody monochrome landscape with a beautiful balance of blurred and defined trees. Hope you enjoyed painting this with me. I will see you tomorrow with day 16. Another beautiful project. Thank you so much. 34. Class Project 16 - Practice Session: For today's project, we are creating a moody landscape with a glowing sun using a very limited palette. Start with the colors. I'm using daxin purple from the brand sinela and Pines gray from the brand white knights. But instead of using them separately, we will mix them together to create a deeper, darker purple. Let's quickly swatch this mix. You can see how rich and intense this tone has become. I will name it quickly, and then we can begin. Now, let's move on to the practice. I will start by wetting the paper evenly using a wash brush. Now, using a dark purple mix, I will paint around a circular shape off center. Let's leave that circle untouched. This will be our sun. For this project, we will treat it as a glowing sun, but it can also feel like a moon. Now, let's deepen the surrounding area using the same color. While the paper is still wet, let's add a few mountain shapes, keep them soft and minimal. Since this is wet on wet, they will naturally blur. Now, let's add some branches. Using a smaller brush, I will paint a few loose strokes. Since the paper is still wet, these branches will stay soft and sit in the background. So we will add a few foreground branches as well once the paper is dried. But since this is a practice piece, I will not be painting I will not be waiting until this paper dries so that we can paint the foreground. I'll just show them how I paint here on the separate piece. The foreground branches are wet on dry or painted wet on dry. They will be sharper and more defined. This contrast between soft and sharp elements is what creates depth in this painting. And that's a concept for today's project. Now let's move on to the main class project. So I'm gonna see you guys in the next video. One. 35. Class Project 16 A Quiet Glow In Dark: Hi, everyone. Let's begin with our day 16 main project. For this painting, I'm going with a horizontal orientation as it gives us more space to spread the composition and highlight the glow in the sky. I will start by taping down my paper on all four sides using masking tape. This helps keep the paper flat and also gives us clean edges at the end. Let's prepare the paper using a wash brush, I will apply a clean, even layer of water. Take your time here, make sure the surface is evenly wet. Oh, I will remove any excess water from the edges using a paper towel. This step helps prevent unwanted backgrounds and blooms. Well, let's begin painting. I'm taking my larger round brush and mixing dixin purple with pines gray to create a deep rich tone of purple. Now I will start by defining the circular shape in the center. This will be our sun. W. I will paint around it carefully leaving that area untouched. Once the circle is established, I will begin covering the rest of the paper with this dark purple mix. Work around the circle gently to paintain that glowing effect. While the paper is still wet, let's move on to the mountains. Using the same color, I will suggest a few soft mountain shapes. This is wet on wet. The edges will blur naturally. That's exactly what we want. A soft atmospheric background. The circle loses its shape slightly because this is wet on wet and the water tend to move into that untouched area sometimes. But you can correct it just like I'm doing here. I'm using a paper towel wrapped around my finger to lift off a bit of paint and bring back the clean rounded edge. T's add the branches. I will switch to a smaller round brush and using the same color, begin placing a few loose branches. The strokes light and natural. Since the paper is still wet, these branches will soften and sit in the background. One. Also add a few small leaf like shapes to make the branches feel more organic. A I will lightly splatter some of the same dark color. This adds subtle texture and breaks the smoothness of the wash. Take a moment here to adjust the shapes if needed. If any branch feels too strong, you can soften it slightly. Now, let's allow the paper to dry completely. Once it's dried, we will come back and add the foreground branches using wet on dry technique. The paper is completely dry. Let's move on to the final step. We will start by adding a few foreground branches. Using the same dark purple mix and a smaller round brush. Since this is wet on dry, these branches will appear sharper and more defined. I'm going to keep it very minimal. Just one or two branches are enough. I'll place one branch here and another one over here. This helps balance the composition without overcrowding the scene. Start with a thin line for a main branch and then extend a few smaller branches if you want. But I'm going to just go with only one single line. Keep the strokes loose and natural. I'm going to add a few small leaves to these branches, just tiny touches. We don't need too much detail here. Final touch, I will lightly splatter some paint using the same color. This step is optional, but it adds a bit of texture and interest. And now let's allow everything to dry completely. Once the paper is dry, you can gently remove the masking tape. That completes our painting, a beautiful, moody landscape with a glowing sun and layered depth. I hope you enjoyed painting this with me. I will see you tomorrow with another class project. Thank you so much for joining me. 36. Class Project 17 - Practice Session: Today's class project, we are painting a moody lake scene with a slightly different color palette. Let's start with the colors. I am using orange from aquatone, primary yellow from sennelar, turquoise green from Windsor and Newton and indigo, again, from Windsor and Newton. Is it slightly different color palette because I have rarely used these color mixes, the yellows oranges, and turquoise greens. I have only used this once, if I remember correctly, for painting oceanscapes for one of the classes here on Skillshare. So that was what three years, four years ago, and I'm using this color palette again now. Now, I'm swatching these colors, orange yellow, but we are not going to be using orange and yellow separately. We're going to mix the color and mix these two colors and create a brighter orange color. So I think this color became a bit lighter. So to bring in the contrast, I will be adding one more color to our palette that is burnt sienna. Now, born Siena is from the brand aquaton. This will act as a darker contrast to that brighter orange color. And next, we are going to swatch Turquoise green and followed by Indigo. This combination of warm and cool tones is what creates that moody effect. I will quickly name these colors, and then we can begin with the practice. My Let's start by wetting the paper evenly using a wash brush. For this scene, you can begin with either the sky or the land. Both will work since the paper is wet. Start with the warm tones. Using the mix of orange and yellow, I will lay down the base. Now, to create contrast, I will add burned Sienna at the bottom of it. So this is basically the land, and then that burned sienna is the shadow part of that land. Above and below this area, I will introduce ul tones, turquoise green and indigo. We move downwards towards the paper, the lake area will be slightly darker, so I will add more indigo here to suggest depth and shadows in the water. Now, while the paper is still wet, I will also add the sky area using turquoise color. Add a few trees above the land. You can add this wet on wet or wet on dry. It's completely up to you. I'm using indigo, and I will paint soft, minimal pine tree shapes. And immediately after painting that, we're going to paint the reflections as well. But for reflections, you have to keep your paper wet. So I have to act quickly here because my paper is drying up, so I'll take a bit of indigo and just drag the color downwards to create the reflections. Keep the strokes loose and soft, we are just suggesting the forms here. Let's add a few ripples. Using horizontal strokes, we can bring a sense of moment in the water. And that's our practice. We have explored the colors, the blending, and the reflections. Now let's move on to the main class project. I will see you guys in the next video. 37. Class Project 17 - A Quiet Lake in Contrast: Hi, everyone. Let's begin with our taste 17 class project. For this painting, I'm going with a vertical orientation so we can clearly highlight the lake reflections and the land. Start by taping down my paper on all four sides using masking tape. This keeps the paper flat and gives us clean edges at the end. One et's prepare the paper. Using a wash brush, I will apply a clean even layer of water. Make sure the surface is evenly wet as the colors splend smoothly. I will also remove any excess water from the edges using a paper towel to avoid patterns or blooms. What? Now, let's begin painting. Since the paper is wet, you can start with either the sky or the land. I will begin with the sky and lake area. Using turquoise green, I will lay down the color softly. As we move downward, I will gradually deepen the tone using indigo. This helps create depth in the water. You will notice that I'm leaving a space in the middle without adding any paint. This area is reserved for the land. You see, there is a lot of water mixed with paint around the edges. I'll quickly remove it using paper towel again, to avoid back runs. In a mix of orange and yellow, I will start filling that middle section. To create contrast, I will add burned Siena towards the lower part of the land. I will deepen it slightly using a touch of indigo. You can already see how the warm and cool tones balance each other. The paper is still wet. Let's now add a few details. Using indigo, I will paint soft triples in the water, keep the strokes horizontal and minimal. I will also suggest reflections of trees just below the horizon. These are just soft vertical strokes that we will define later. You can also add a few ripples around these reflections to make them feel more natural. Allow everything to dry completely. Once the paper is dry, we will move on to the final details. X. Taking a smaller round brush, and my paper is dried. So using indigo, I will paint a few pine trees as subject. As you paint, make sure the trees align with their reflections below. The size, shape, and placement should match for a realistic effect. Add around four to five trees, keeping them varied in height to make the composition feel natural. Robby. Robby. Rabbi. Robby. Omni. Robbie. I, Now, let's add a few finishing touches. I will paint a couple of birds in the sky to add movement. I will lightly splatter some indigo paint for texture. Take a moment to absorb your painting. If needed, you can make small adjustment, but try to keep everything minimal. Once the paper is fully dry, you can gently remove the masking tape. And that completes our painting a simple moody lake scene with beautiful contrast and reflections. I hope you enjoyed painting this with me. I will see you tomorrow with another class project. Thank you so much for joining me today. Mm. 38. Class Project 18 Practice Session: This class project, we are painting a serene sunset sky with rich and glowing colors. Let's start with the colors. I am using primary yellow from the brand inelia, golden deep orange from white knights, and permanent orange from aquaton. We have two oranges here. One is lighter and softer and the other is deeper and more intense. This contrast will help us build a sunset glow. Next is next time using dax in purple from the brand sanelar and Ianrine blue, again, from the brand sennelar. Let's quickly swatch these colors. You can see the difference between two oranges when we swatch these. One is lighter. The other is a bit more darker. Color is dags in purple, and finally we are swatching in Danerinblue. I'm gonna quickly name these colors, and then we can begin with the practice. Let's move on to the practice. I will start by wetting the paper evenly using clean water. Now we will go from light to dark, starting with yellow in the center, then moving on to golden deep orange, followed by permanent orange. We'll bring in the purple and finally blue towards the edges. The idea here is to keep the center glowing and gradually darker around the sides. Since this is 25% cotton paper, the blending may not be smooth, but this gives us a clear idea of the color placement. Now for the foreground, I will be adding pine trees later. So this is essentially the base for our sunset scene. Oh, I feel like we need a slightly stronger dark tone, especially the blue. So I will bring in indigo from Windsor and Reuton to enhance the contrast. This will help us define the sky and also work well for the trees in the foreground. That's our practice. Now we have a clear understanding of how the colors will work together. Let's move on to the next main class project. So I'm gonna see you guys in the next video. 39. Class Project 18 A Quiet Glow Behind The Pines: Hi everyone. Let's begin with Day 18 class project. For this painting, I'm going with a horizontal orientation so we can beautifully highlight the sunset guy. I will start by taping down my paper on all four sides using masking tape, and then we can begin preparing the paper. Using a wash brush, I will apply a clean water. Take your time here, make sure the surface is evenly wet, as the colors will blend smoothly. Now let's begin with the sky. We will work from light to dark. At with yellow, mix slightly with golden deep orange and place it in the center to create that glowing area. Next, I will move to permanent orange, blending it softly into the yellow. The darker tones, I will mix darks in purple, anthrine blue and indigo to create a rich deep blue tone. I will begin adding this color towards the edges of the paper. Wow Using a damp brush, let's gently blend all of these colors together, soften the transitions while preserving that glow in the center. At this stage, I will also switch to a smaller round brush. Using that same darker mix, I will start adding a few thin cloud shapes around the glowing area, keep them soft and subtle. You can build the intensity slowly adding a bit more darker color near the edges to enhance the contrast. Feel the edges are too light. You can deepen them slightly. Take a moment here to adjust the blending. This is the most important part of the painting a smooth and glowing sky. Let's allow this layer to dry completely. Once it's dried, we will come back and add the foreground details. I'll see you guys in a minute. Wow. Paper has dried completely, let's move on to the foreground. For this part, we will be painting a cluster of pine trees. I'm using indigo and a smaller round brush for this. Start with a very thin vertical line to define the trunk and then build the tree using small quick strokes. Move your brush in a slightly zigzag motion to create that natural pine tree shape, keep the top sharp and narrow and gradually widen the strokes as you come down. A Instead of keeping all the trees the same, let's vary them. Some trees can be taller, some shorter, some can lean slightly to the left and others to the right. This variation is very important. In nature, trees are never perfectly uniform. They grow in different directions and at different heights. So we try to keep that strokes natural as well. You continue, you can overlap a few trees slightly. This creates depth and makes the forest feel denser. Also vary the spacing. Some areas can have trees closer together while others can be slightly open. A To add more character, I will paint a few bare branches. These are simple, just a few thin irregular lines. They break the uniformity of the pine trees and make the scene more interesting. One Take a moment to observe your painting. If you feel like adjusting any tree shapes or adding a few more strokes, you can do that now. Now, let's add a few birds in the sky, simple small strokes to bring the sense of movement. And now, once everything is fully dry, you can gently remove the masking tip, and that completes our day 18 painting a glowing sunset ky paved with a bold, natural foreground. I hope you enjoyed painting this with me. I will see you tomorrow with another beautiful class project. Thank you so much for joining me today. 40. Class Project 19 - Practice Session: Today's practice, we are painting a serene winter cabin scene. This is very charming and beautiful project. Let's start with the colors. I'm using permanent orange and burnt sienna from the brand aquaton and Pines gray from the brand white Knights. Let's quickly swatch these colors, starting with orange, followed by Burnt Sienna and pines gray. I will also name them quickly, and then we can begin with the practice. No no Now, let's move on to the practice. I will start by wetting the paper evenly. For the sky, I will use pines gray. I will place a darker tone at the top and gently pull the color downward. Instead of adding more paint, I'll just track the pigment down to create soft gradient. The paper is still wet. Let's add the background pine trees. They will be soft and blurry since they sit behind the cabin. Now, let's focus on the cabin. This is the key element of the painting. I will begin with a light sketch. Keep this very simple. At with a basic rectangle for the main body of the cabin and add a slanted roof on top. Make sure the roof extends slightly beyond the walls of the both sides. You can also add a small extension for the second section if you like, but keep everything minimal. Go into too much detail here, simple shapes are enough. Also, pay attention to the perspective. The lines don't have to be perfectly strip. They should feel balanced. Remember, this is a snowy scene, so the roof area will be left white to suggest snow. Now let's begin painting the cabin. Start with orange as the base color, then slowly build depth using burned Siena. Add darker tones on one side to suggest shadows. Keep the stroke soft and controlled. Now for the foreground, using a very light tone of Pine's Grave, we will add soft shadows on the snow, keep it minimal and subtle. And that's our practice. We have covered the sky background trees, and how to sketch and paint the cabin. Now we are ready to move on to the main project. So let's go. I'm going to see you guys in the next video. Yeah. 41. Class Project 19 - A Quiet Cabin In Winter: Hi, everyone. Let's begin with our Day 19 class project. For this painting, I'm going with a horizontal orientation as it gives us more space to place the cabin and build the landscape around it. I will start taping down my paper on all four sides using masking tape, and let's move on to the most important part, the sketch. Begin by placing the cabin slightly off center towards my right. This makes the composition more interesting instead of placing right in the middle. Start with the roof first, draw a simple slanted shape. This is the most important element because it'll be covered in snow and act as a highlight of the painting. Sure, the roof extends slightly outward beyond the walls. This adds a more natural look. Now, under the roof, draw a basic rectangle for the body of the cabin. Next, add the side wall and to give it a bit of depth. Just a simple angle line is enough. We don't need perfect perspective, but it should feel balanced. I'm here. If something feels off, don't hesitate to erase Andreta. It's completely normal to adjust the sketch multiple times until it feels right. Focus on the proportions, the roof should be slightly wider than the body. The cabin should not be too tall. Keep everything simple and readable. You can also lightly indicate a door or a window, but I'm not going to do that for today's class project. Once you are satisfied with the cabin, we will draw a light line to separate the foreground and background. This helps us understand where the snow ends and where the trees begin. Now, I will start by wetting only the background area, the sky, and the trees. We will leave the cabin and foreground dry. Using Pines gray, I will begin painting the sky darker at the top and gradually lighter as we come down. Mm. Well, the paper is still wet. Let's move on to painting the background trees. This step is very important because it sets the mood of the entire scene. I'm using Pines gray and a smaller round brush for this. The paper is still wet. The paint will spread slightly, and that's exactly what we want. We are not painting sharp wreaths here, but rather soft distant pine trees. I will start by placing a few vertical strokes along the horizon line. Just touch the tip of your brush and let the paint naturally spread. Don't try to control it too much. Ly, I will begin shaping these strokes into pine tree forms. Use light downward strokes on both sides of the central line to suggest the branches. But keep everything very loose. You don't need to define each tree perfectly. Trees can be taller, some shorter, let a few merge into each other. This creates that natural forest fill. Also, vary the spacing. Don't place them too even don't place them too evenly. Keep some areas dense and some slightly open. I will go back in and adjust a few pine tree shapes. You can also tilt a few trees slightly, or don't have to stand straight. That small variation adds a lot of character. Oh. Once we are happy with the background, let's move on to the foreground. Using a very light tone of pines gray, I will add soft shadows at the bottom. Keep it darker at the base and lighter as we move upward. One Let's allow everything to dry completely. Once it's dry, we will come back and paint the main subject, the cabin. Now that the paper is completely dry, let's move on to the main subject, the cabin. I will start by taking permanent orange and carefully filling in the body of the cabin. Make sure to avoid the roof area. We will keep that white to suggest sn. Apply the colour evenly keeping your strokes controlled and within the sketch. A dada dada. With depth, I will start adding burnt sienna. Focus on the side of the cabin that will act as the shadow side. I will also mix in a little bit of pine scray to deepen the tone further. This creates such a rich and more natural shadow and gives the cabin a sense of form. Bend these colors softly while they are still slightly damp to avoid harsh edges. Refine the roof using white wash, I will gently adjust the shape of the roof. This helps clean up any edges and enhances the snowy effect. Now I will also add a small chimney on the top of the roof. Keep it simple. Just a small rectangular shape is enough. I will also add a subtle shadow to give it a bit of dimension. O. Now, for the final touch, using white gauche, I will splatter some paint to create a soft snowfall effect. This brings the entire winter scene together and adds a beautiful finishing touch. Now let everything dry completely. Once the paper is dry, you can gently remove the masking tape. That completes our Day 19 painting, a calm, cozy winter cabin, set against a soft, snowy landscape. It's been so wonderful painting with you through these past days. I will see you tomorrow for the final project of this series. Thank you so much for joining me today. 42. Class Project 20 - Practice Session: Welcome to today's class project, the final one in our 20 days of minimalistic landscapes. I'm really excited to paint this with you. Let's begin with the colors. I'm using indigo from Windsor and Newton and sap green from Senier. With this, we will mix both colors together to create a deeper, darker green. So basically, we use this dark green color. I'm going to swatch these colors out now so you will know what colours I'll be working with. One. This is the dark green that I was talking about. If you have emerald green, you can use that instead of, you know, mixing these two sap green and indigo colors. You can directly use emerald green. To darken it, you can also use it with a bit of pin gray. So basically, our landscape will be painted mostly with this color, which is a mix of indigo and sap green. Now let's move on to the practice. The first thing is we will learn how to paint a gradient sky. I will start from the top with a darker tone and gently drag the paint downward without adding more pigment. This creates a smooth gradient wash, dark at the top, lighter towards the bottom, and that is our sky. Now let's move on to the mountains. We will be painting layered mountains. Start with the lightest layer first. Once it dries, add a second layer with a slightly darker tone. Then like this, continue building layers. Each layer should be darker than the previous one. This creates depth and gives the illusion that the closer mountains are darker. You can paint two, three, or even four layers. It's completely up to you. Personally, I am thinking to go for four mountain layers in my final class project. For this practice, I will be showing you with three layers. The final element, the birds. Using a smaller brush and a darker tone, I will add a simple bird shape. Keep these shapes minimal, small strokes to suggest movement, and that's our practice. We have covered the gradient sky layered mountains and simple details. Now we are ready to move on to the final class project. Let's begin. I will see you guys in the next video. A 43. Class Project 20 - Layers of Stillness: Everyone, let's begin with our final class project in this series. I will start by taping down my paper on all four sides using masking tape. This keeps the paper flat and gives us those clean, crisp edges at the end. Let's prepare the paper using a wash brush, I will apply a clean even layer of water. Take your time here, make sure the surface is evenly wet because this will directly affect how smooth your gradient turns out. Now let's begin with the sky. I'm taking very light mix of indigo and green. Starting from the top, I will apply the colour gently and then slowly drag it downward. I'm not adding any extra pigment here, just using whatever is on the brush to create that soft transition. This gives us a smooth gradient darker at the top and lighter towards the bottom. Mama Let's move on to the mountains. We will begin with the first layer. This should be the lightest. Using very diluted mix of indigon sap green. I will paint a soft mountain shape while the paper is still wet. Keep the edges simple and flowing. Don't overwork the shape. Layer represents the farthest mountain, so it should it should stay very light. Now, let's allow this to dry completely. Once the paper is dry, we will move on to the next layer. Now I'm taking a slightly darker mix of Indigo and green. I will paint the second mountain overlapping the first one slightly. A Using a thin round brush, I will suggest a few pine trees on this layer. Just simple vertical strokes. We are not adding too much detail here. This helps create depth and give texture to the mountain. Now, let's allow this layer to dry completely. Mama Now, moving on to the third layer, this one will be darker. I will increase the pigment and paint another mountain shape. Again, I will add a few pine tree indications. Notice how each layer is getting darker and slightly more defined. That's what creates the sense of depth. Robby. Rabbi. Mommy ami. Mommy. Mommy. Do. I'm going with another layer of mountain total four, like I said in practice session. For the final layer, I'm using darkest mix. This is the closest to mountain, so it should stand out the most. Keep the shape slightly sharper and add a few more tree details if needed. While everything is drying, let's add a few birds. Using a small brush and a dark tone, I will paint simple bird shapes in the sky. Keep them minimal, add a few strokes or enough to add life to the scene. Now, take a moment. At first, I thought to go with only one bird, but now I'm thinking to go with three. So let's see where this will go. The Oh, three, it is. Now take a moment to step back and observe your painting. If you feel like adjusting anything, you can do that, but try not to overwork it. Once the paper is completely dry, you can gently remove the masking tape, and that completes our 20 days of minimalistic landscapes. It's been such a beautiful journey painting these landscapes with you. I truly hope this series helped you simplify your process, let go of overworking, and find more calm and confidence in your painting. Thank you so much for joining me. I will see you guys in my next class.