Summer Landscapes and beaches-Using Watercolors

1. Welcome Back!: Hello everyone and welcome back. The weather is slowly getting hotter and I'm already in the mode of summer vacations, beach vacations, Bowl time, swimsuits and ice cream, long days, short nights, sunshine, one better and school holidays. Is it any wonder that we associate the summer months with feeling happy and carefree? Well, if you're not excited for summer already, I have got all the inspiration you need. I have come up with this beautiful class where we will explore the summer landscapes and beaches. Each class is designed in a way so that you can chill with a summer drink and paint along with me, or even just sit back, relax and watch me paint while you set up your favorite mock tail. What are you waiting for? Come join me and enjoy your summer vacation along with me. 2. Materials You'll Need: Okay, So let us take a look at the materials that we will need for this class. First is the paper. So I will be using the paper from the brand Saunders Waterford, which is let me show you it up-close. It says that it is a 100% cotton and it is 300. Okay. I suggest you to go with some similar kind of paper which is a 100% cotton and 300 GSM. The reason being all the wet-on-wet techniques will work perfectly if you're going with a 100% cotton paper. If you don't have a 100% cotton paper, you have to just spend more time on wetting your paper to ensure that it stays wet for a longer duration of time. Maybe for this class you can go with whatever you have got. But in future, if you want to invest in watercolor papers, then do try out the 300 GSM, a 100% cotton paper. This is of the size ten inches by seven inches. And I'll be going with this size, maybe a little smaller than this. So I will be cutting out a little based upon my needs. If you want to go with the smallest size or if you want to go with any other size, it's perfectly fine. Size of the paper does not matter. The techniques, what we're going to try in this class matters a lot. So just choose whatever size is convenient for you, and then we can get started. So that's it for the paper. Now next, let us take a look at the brushes that we need. For the brushes again, I think it's very simple and familiar. First is we will need a wash brush or a large flat brush to wet our paper even. Okay, so you can go with any flat brush that you have got. Alright? So that is the first brush, and next we will be needing a set of larger brushes. So I had this quill brush from, I think this is from Sennelier. So this is basically used to cover a larger surface area and it holds lots of water and also a lot of paint. So you can go with any larger size brush you have got. So if you don't have a quill brush, you can go with mop brush. Or if you don't have even that, then you can go with any larger size, brush size number eight or 12. Okay. These are the brushes for the largest sized and for the smaller sized, I will typically go with my size number six brush. This is from Princeton Heritage Series. And for adding the details, we will go with size number four and number two. These are pretty much the brushes that we will need for this particular class. Next, let us take a look at the colors that we need. Again, for the colors. I'm going with all the colors that are from the brand White Nights, but it's not at all necessary for you to have white knight. You can go with any brand of watercolors that you have got. The colors doesn't matter. Again, I'm repeating the techniques is what is very important. So we'll choose whatever colors you have, maybe from whichever brand they are. So they those colors and join us. For some paintings, I am squeezing the paint from the tube. And for some paintings I'm already using this squeezed pins from my bands. So it's up to you again, if you want to have a freshly squeezed pain from YouTube or do you want to use your art bands, cakes, anything? That is it for the paints. And next we may need a masking tape to tape down our paper onto the board. So you can go with any brand of masking tape. There's no particular brand because if you have the right paper, then the masking tape does not have a huge impact. So go with any masking tape that you have got. Then probably for adding the pencil sketch, you will need some pencil and it is okay. And if you're gonna use a palette, then you can go with any other palette or need not be the same that I'm showing here. You can go with a ceramic palette or a dinner plate from your kitchen. Anything would be fine. So if you're using your art, cakes or parents, that is also good, then you may need two jars of water. One to wash off all the dirty paint from your brush, and another is to pick up fresh paint. So make sure you have two jars of water. Then you may also need paper, towel, auto cotton cloth to wipe off the excess paint or water that is there from your brush. This is one thing. And I think lastly, we will have a board wherein we will be fixing our paper. So you can go with any kind of board. You have a hard book covered also would do the job. So make sure you go with any board. This is just to fix your paper formally. And whenever we need to tilt our paper, this would help us to do the job. I think that's it for the supplies. Grab all the art supplies, whatever you have got, and then I'll see you soon in the next class. 3. Sunset Windmills: Hello everyone, Welcome to the first today. So today we are gonna paint this beautiful summer landscape. It's basically a summer sunset. So let us take a look at the colors that we need. For the base layer, we will be going with Indian yellow. It's a bright warm yellow. And next we will be going with Indian gold to add those clouds. Then for the deeper tones, we'll go with burnt umber. And for adding more deeper tones, we will be going with when **** brown and finally, for the most deepest tones, we'll be using sepia. So these are pretty much the colors that we will need for this particular painting. Today, I will be using all of these shades that are from the brand White Nights. But it's not a compulsion to go with a particular brand. So grab whatever you have and let us get started. So I'll see you soon in the next section. Okay, So I have taped down my paper onto the board. And I have also made the pencil sketch for this particular painting. I'll show it to you up close. You can pause the video and take a screenshot of this or you can just copy the same as I have done. So, yes, once the pencil sketches done, the next step is to apply an even go to water. And this, we always do it right? And all of her paintings. So I repeat the same sentences again, wetting the paper, please, and important and a major role for the wet-on-wet techniques. When you're using the watercolors. Let us make sure that we apply an even coat of water gently onto our paper. For applying the water, I'm making use of my flat brush, which is a little bit larger. This way it will allow me to cover a larger amount of area in a single stroke. So you can make use of any of your flat brush that you are having. And the idea here is to wet the paper until the fibers of the paper are completely soaked in water. Okay? So I'm going and doing this step again and again, repeating the same process for at least 34 times to ensure that my paper is completely soaked and all the fibers at with. So I think now our paper is completely wet so we can begin with our painting. Okay, so first, let us start by painting the sun. And I'm using my size number four brush and using the Indian yellow shade, I have painted the sun. And now with the same Indian yellow shade, I'm going to go ahead and fill up my entire paper with this color. This is our base shade. So the reason why I'm using my mop or quill brush is that the paper is big cured. The paper size is bigger here. And in order to cover a larger area with a single stroke, I'm making use of a larger brush. So I suggest you also to go with a size eight or 12 brush in case you don't have a mop brush. So I'm not worried about getting a nice flat wash over here. The idea here is to get that Indian yellow shade for our base layer. Now, I want to correct the shape of the sun. It's looking a little bit odd, giving it a nice circular shape with the help of my size number six brush. So this is how it's looking at the moment. And yes. So added enough Indian yellow. Now we'll be adding some Indian goal, mixing this Indian goal properly on my palette on top of the existing Indian yellow so as to get a mixture of both the colors. Indian gold is again a very nice yellowish orange shade, and it is perfect for sunset paintings like this. Now you can see the movement of my brush. I'm just going from left to right and right to left. Just a back-and-forth moment. And I'm trying to create some cloud shapes in the skies. So it's very simple. A union not follow. The same as I'm doing here. Just randomly go in and paint your sky and add some clouds you are in there and make it more interesting. You can see there's no particular order. I'm just randomly going ahead and dropping this paint. So yes, the idea here is to not cover the entire Indian yellow that is present on the bottom, but to make sure to leave some Indian yellow gaps in-between so that you know, you can have both the tonal values in your sky, that is the orange as well as the yellow. Make sure you're not covering the entire yellow that you have already added. This looks nice, and we have added some teeny-tiny fluffy clouds with this Indian gold shade. Next, we will be adding more and more deeper tones. And for that, the next shade that I will be using is when **** brown. And if you don't have NDK brown, go with any other brown that you have. You can also go with burnt sienna or burnt umber if that is what you have. So I think using a larger size brush is not making me to define the shape of the clouds. So I'm switching to my size number six brush. With the help of this brush using the Van **** brown, I'm defining the shape of the clouds. You can see focusing more on the corners and the top edges because those are the areas which have to be the darkest. And the middle area, that is the area where the sun is present. We're gonna we're gonna withhold or keep, retain those yellow shades. So we just want darker tones on the top and on the coordinates. Again, I'm using the same backend fourth brush movements. It's barely the repetitive process, and you can just go ahead and drop the Van **** brown. Another important tip over here is make sure you're not covering the entire space with this brown because we want to still retain that yellow. And the Indian goal that we have added previously leaves some gaps in-between and add these fluffy clouds. So yes, I think it's looking good now. But we are going to enhance this by adding more deeper and intense tones. Okay, so we have added enough of this, wenn die Kay, Brown. And it's all looking good and nice. Now, I want to add more deeper tones. And for doing that now, I will be switching to another deeper tone that is CPR. Cpr is again a nice dark, intense tone. So if you do not have sepia, then take any of your brown, add a little bit of Payne's gray or black into it and you'll get a similar shade as CPM. So yes, Now you can see we have a nice bold brown onto the top and the right and the left corners. Okay? And you want to retain that yellow and that warm golden in the middle. So creating a nice fluffy clouds sky. Gently. I'm dropping the sprint. And you can note that I still see that my paper is wet because of which when I'm dropping the shades, it is getting blended with the previously added colors. But if your paper has started to dry, then you may not achieve this effect. So to get this effect, please wait until your paper is completely dried, leaving the paper gently so that you don't disturb the underlying paint. And then you can add the burnt sienna mixed with black or sepia. Since my paper is still wet, I'm making use of the time and dropping the colors as in when I needed. Okay, So you can just do this. Once I'm satisfied and just going to stop adding CPM. I have added enough of this fluffy clouds and now it's looking nice. Now let us start painting our bottom areas. So we're just going to paint some random bushes and plants. So first I will be going with my burnt sienna. And I'm using the same round brush size number six. Because it has a nice pointed tip and I will be able to get those nice bushes and branches. Randomly. We're just going to add some dotted patterns, lines, etc. And just make sure to fill out this entire bottom region. For this bottom region as well, we're going to add more and more deeper tones and we're going to retain a slight golden yellow shade in the middle because that's where the sun is and the sun's rays are falling over there. But towards the right end and the left end, we are going to have that nice darker tone. So the idea is to entirely fill the bottom area and go with the different size of bushes and plants. Don't go with a linear shape. So just randomly go ahead and add these dotted patterns. And he is, as I teach the middle, I'm just making the bushes to be a little bit smaller and not taller. So the idea is to have tall branches and bushes towards the both the ends. And when we are reaching the middle, I'm just making it a little bit shorter. So you can see I'm just randomly pressing the tip of my brush and creating these dotted patterns. So yes, we just want some random looking bushes and plants. Okay. So go ahead and fill up this entire space. Okay, so now we have added the first layer. Now we're going to add more and more deeper tones. And for this now I'm switching to my wenn die Kay Brown, which is a little darker tone compared to burnt sienna. Mixing it nicely in my palette and going to drop this only towards the edges and corners. The middle area should be retained light and it should be very light compared to the edges. This will give a nice perspective and depth to our painting. So gently I'm dropping that. And yes, so this is looking nice. Just go ahead and randomly press the tip of your brush and create some dotted tiny bushes pattern. So I'll be doing the same on the right edge as well. And I'm going to retain that lighter area in the middle where the sunlight is hitting. Okay, so now I'm going to add the darkest possible brown. So for that I'm going with sepia and focusing only on the edges and making it much more darker. Now you can see the darker bushes towards the edges. And while we reach the center portion, where the sun's light is hitting, that area is retained and it is looking nice, golden, yellow. This is the idea that we want to create over here. So you can go with any random shape of bushes that you want. You need not actually follow what I'm doing over here. So just fill out the entire bottom area. We're just trying to create a nice sellout since it's allowed. So just go ahead and fill out this entire shape and do it until you're satisfied. Okay, so we have added enough of bushes and now it's looking nice. Now the last and the final step is to paint a foreground subject that is the windmill. So I can still see the pencil mark and the pencil sketch that I have already painted. So I hope even you are able to see this. And we're just gonna make, go ahead and fill out the shape for this. I'm not using black, I am directly going with sepia as it is very much dark and intense. So just following the outline of my pencil sketch and I'm gently adding this paint. And now another trick over here is I'm not filling the entire shape with the sepia, but I'm leaving some gap there. I'm going to fill it with Indian gold just to show that the sun's light is hitting one part of the windmill. Okay? So first I went with sepia. Now I will be picking up a nice consistency of my Indian gold and blending that with the previously added sepia. I already have Indian yellow at the bottom. And now that will get nicely blended. And this will show as the sun's rays is hitting the edge of the windmill. So this is necessary because at the end, all that matters is the perspective. And if the perspective is right, then your painting will look much more realistic, okay? Yes. Now you can see the bottom and the left edge of the windmill is dark, whereas the right edge, which is closer to the sun, is a little bit lighter and warmer. So this is the exact thing that we want to achieve over here. Now the rest of the thing is very easy. You just gonna go ahead and fill out the shape with the remaining shape with this sepia. Okay. For the rest of the blades as well. I'm going to go ahead with this sepia up. But for the bleed, which is you're no closer to the sun, again, we're going to go ahead with a combination of Indian gold and sepia. This is to depict that the elements that are closer to the Sun will have the sun rays hitting them. And yes, this is looking nice. Now for the blades as well. I'll be following the same technique, but only to this particular blade, since this blade is closer to the sun and the rest of the two blades are away from the Sun. So I start with sepia again. And when I reach the bottom of the blade, that is the tip of the blade, I will switch to Indian gold, blended with the sepia that I already have and create that nice glowing sunny effect. All right. So yes. So you can see we have added sepia. Now, switching back to my Indian gold and gently adding that following the outline of the sketch that I already have and blending with the sepia. You can see now we're getting that nice golden yellow along with the sepia. So the rest of the job is very easy. All you have to do is just paint and fill out that outline that you have. So I'll quickly go ahead and fill out the blades. And also for the second windmill that we have at the bottom that is very far away from the sun and it is also far away from the viewer. So you need not add the lighter tones directly. You can go ahead and paint it with sepia and create a nice sellout. Watch me how I'm doing this, and I'll just go ahead and finish out filling both of these windmills. Okay, and now the painting is finished and it is looking so stunning. Let us quickly go ahead and peel off the masking tape. I really can't wait to show you the finished painting. I hope you are already in love with your painting. So yes. Make sure you remember your masking tape only after your painting has completely dried. And always peel the masking tape at an angle. This is just to make sure that you are painting is intact and nice and you're not ruining your paper. Just gently take out your masking tape. I just loved the warm colors in the sky that we have used. It's giving such a nice WARMI, effect. And the light that is hitting on the windmill, that is my favorite part. So I hope you enjoyed this painting. And if you did enjoy, please try out this painting posted in the class projects section. And I'll be very happy to see your beautiful creations. So I'll see you soon in the next class. Until then, happy painting. 4. Summer Evenings!: Hello everyone, Welcome to the D2. So let us take a look at the colors that we need for creating this painting. To create that sense, that effect in the middle, we'll be using Indian yellow and Indian goal. And to create those pinkish stones, I will be using my carmine for the blue tones. I will be going with my bright blue, but you can go with ultra marine or city Lynn blue as well. And lastly, to add those palm trees, I will be using Payne's gray. These are pretty much the colors, and I am using all these colors from the brand White Nights, but it's absolutely fine. You can go with any brand that you have got and let us get started. Okay, So let us start by wetting the paper evenly. So today we do not have any pencil sketch. We're just gonna go ahead and directly paint. So I'm gonna make sure that my paper is completely wet and it is read evenly because I want to be, you know, my paper to be staying wet for a longer duration of time because we are going to paint the entire thing in wet-on-wet. So make sure you're applying an even coat of water. And to apply this even coat of water, I am using my flat brush or wash brush. You can also go with any other brush that you have, but make sure it's a larger size brush so that you can cover the entire paper in a shorter duration of time. And that way you can save the time. So make sure you wet the paper evenly. I think now the paper is ready. So let us begin with our painting. First, I am going to drop Indian yellow to the center just to create the sunny effect over there. So I will be using my quills sized brush so you can go with any larger size brush like ten or 12. Next color that we're adding is Indian gold. So we want to create that yellowish orange shade in the middle if we are doing that. And after adding Indian gold, the next color that we need is Carmine. Carmine is a very nice bright pink shade. And it gives a nice look to your censored Cloud paintings. So you can go with carmine, or if you don't have Carmine, you can go with crimson as well. So it's up to you. I mean, you can go with any color of your choice, doesn't matter. So just dropping the paint randomly, you need not follow the way I am doing over here. So randomly you are in there, just drop and make the painting look very organic and realistic. This is how it's looking at the moment. I will just go ahead and drop this scar mine everywhere. Okay, so we have added enough of this crimson shade. And note that I am not adding the colors very dark at the first place. So as we progress, we will add deeper tones. So at the start, make sure you go with a lighter tone. Now I'm adding the bright blue shade. If you do not have bright blue, you can go with ultramarine blue or even civilian blue. That's completely fine. So I chose bright blue because it gives a nice sheet and it looks a little bit bright. But that's absolutely fine. You can go with ultra marine as well. I'm just adding the bright blue to the spaces where I can see some whitespaces or left. So I'm adding this over there randomly just trying to create those fluffy, cloudy shapes. And yes, I think this is looking nice. So I'm going to enhance all of this because once it's dry, it's going to look very dull. So we're gonna add more and more tones and make it more intense and bright. So I'm going to pick up my car, mine again, and adding to the places where we have added the Carmine before, it doesn't matter if it is touching the blue or getting mixed with the blue. Because once it gets mixed with the bright blue, you can see that it is slightly forming a violet or appropriate sheet, which is absolutely fine and it gives an extra beauty to our painting. So it's absolutely fine if it's getting blended with the blue. So go for it. I'm just gonna keep adding the colors and making it more intense and more bright until I'm completely satisfied. Okay, this looks nice. I think I'm going to make the bottom region as well as indents. I'm just picking up my Indian gold and adding more deeper tones over there just to give the effect of the sunset happening there. So this is completely optional, but you can decide the tonal value of your painting depending upon your choice. Okay, So I think that's it. Now, everything is looking good. So picking up my blue and adding to the edges, just to the edges to give a nice depth to our painting. But if you're completely satisfied at this point of time with your painting, you can stop and there's no need to follow along with me. But if you still feel like some more tones are needed and you want to make your painting look more dramatic, then you can go and go ahead and add more and more deeper tones. Okay? Yes. Just giving some final touches to the painting and let us allow everything to dry and then we can start adding the palm trees. Everything has beautifully dried. Now let us begin by adding the palm trees. For that, I will be using Payne's Gray and a smallest size brush. You can go with black if you don't have Payne's gray, that's completely fine. Starting with the tree trunk and make sure that you don't go with a thick bold line. We want the trunk to be organic and realistic as possible. Go with a ten delegates, a branch or trunk. And then as you come downwards, you can make the trunk a little bit thicker. Not too much thicker because the tree is ready tall. So when the viewer is viewing it, the trunk looks thin. So we need to follow the rule of perspective over here. You can see how delicately I have added that trunk. Now the next step is to add the branches for the palm trees. For that I'm switching to my size number four brush. You can go with any other smaller size like two. So that will give a nice fine tip for your branches. So yes, just go ahead and add these branches. It's very simple. First, I will be drawing the outline for the branches that I'm going to draw the mean branches first. And then we will be adding the palm leaves onto these branches. Okay, so now I have added the branches. Let us start by adding the family leaves to these branches. It's ready symbol. You need to just drag the paint from the top towards the down and make sure you do not have large amount of water and paint on your brush. Otherwise you will not be getting this effect. So it is just a simple, thin, delicate strokes that you will be adding. So note the brush movement and follow along with me. In this manner. I am going to go ahead and fill up all the branches for this palm tree already. So watch me how I'm doing and then you can follow me. Okay, so we have added one palm tree. So now we will add another palm tree, but this time it's gonna be a shorter palm tree. The process remains the same. It's just, you're not following the perspective rule. Again. Make sure this tree is a little bit shorter. So yeah. Again, it's a bit creative process so you can just follow along with me. Okay, looks like we have completed the paintings, so now let us peel off the masking tape. Make sure your painting, it has been completely dried before you be lost the deep. We haven't got Tina just this time. I'm happy about that door. You have not got clean religious, It's absolutely fine. You can go ahead and cut off those edges. Okay. So yes. Take a look at the final painting. So this is how it's looking at the moment. I hope you enjoyed painting this. It was a very simple and easy project. It was it was just about getting the wet-on-wet technique, right? I hope you enjoyed this class as much as I did. And if you didn't do post your projects in the class project section, and I'll see you soon in the next class. Thank you. 5. Summer Sunset Beach: Hello everyone, Welcome to the D3. So today we are going to paint this beautiful sense IT landscape. Let us take a look at the colors for the sky. We will go with Indian yellow and Indian gold for the bottom region. And for the top we will be going with the Carmine shade. For the darkest tone, we will go with the violet. You can also use poeple if you have the same colors will be following for the beach part. And finally, to add those stones, you can go with your brown or any other darker color that you have got. These are pretty much the colors for this class. And again, these paints are from White Nights. Let us get started. Okay. Let us start by applying an even coat of water onto the sky. The Asian, make use of any of your flat brush or any other larger brush that you have got to apply an even coat of water. So make sure the paper is nicely and evenly wet. That help us to work on the wet-on-wet techniques. So yes, I have applied the masking tape along the horizon line to get a clean border and to get a clean horizon line. But this is completely optional. If you want, you can add the masking tape. You can totally skip it. So I'm going to go ahead and gently wet my paper. And yes, you can follow along with. Okay, so now our paper is wet and let us begin the painting. First. For the bottom of the horizon line, we're gonna create a shape of the sun. So leave a tiny whitespace for the sun and fill the entire space with the Indian yellow. So gently you can do that with your brush or you can just start take your tissue paper and create that sonship. Next color is the Indian gold. I'm adding this from the sites that is towards the left and the right side. And I'm retaining that Indian yellow in the middle as it is, that we have different views and different colors for the sky. So I'm not worried about getting a perfect blend. It's just that I'm trying to create some clouds and some sky sheets. Okay? Yes. So now that we have added the Indian gold and the Indian yellow, let us start by adding different shades to our sky to make it more dramatic and more colorful. So now I am adding the Carmine. If you don't have Carmine, you can go with crimson. That is absolutely fine. And I'm just trying to create some cloud shapes in the sky. It's absolutely fine if the car mine is touching the Indian golden yellow because it will not create a muddy color over there. Rather, it can create a different shape that is orange and it's completely fine. So we will have a nice blended and a dramatic looking sky. And that is exactly what we are looking for. So without any fear, just drop that paint and let the background water do the magic for the blending of the colors. You can see I'm already blending the carmine with the Indian gold to get a different tone like orange. Not exactly orange, but some orangeish yellowish tone. And yes, I'm loving the sky for now. And let us keep adding more and more tones until it looks more bright and intense. Okay, So now I think we have added enough of carmine. So now for the leftover whitespaces, let us fill up that space with YA lit. If you do not have boil it, that's absolutely fine. You can go with any of your purple shade that you have got. So again, mixing this purple with carmine does not create a muddy color. It will rather create a nice, beautiful pinkish purple shade and that is absolutely fine. Again, without any fear, drop this purplish shade to your Skype. So there's no particular brush stroke or any movement. I am just dropping the colors that I feel like it is needed. There's no particular place that you need to add it here or there. Just drop it wherever you feel like you have to and just form that fluffy, cloudy sunset sky. So yes, I'm just making sure that the corner and the top edges are very dark. So this kind of gives a nice depth to our painting. So you can easily see here that the middle region is light compared to the edges. And this is what it will make your painting look more stunning. So I suggest you also go with the same techniques as in men. I feel the colors are getting lighter. I'm just adding more and more tones. I'm just repeating the same colors. And I'm just keeping on adding these until I get a nice dramatic sky. So just feel free to go with your intuition and just keep dropping the colors. And also make sure to stop when you are completely satisfied, okay. And don't overdo it because otherwise you may ruin your sky. So yes. Okay. So it looks like the bottom is looking a little bit dull, so I'm just going to go ahead and intensify the colors only at the bottom. So starting with Indian gold, I'm adding that right below the Carmine that we have added. And I'm just going to add the Indian yellow as well onto the middle. And I know that the sun has disappeared now, but we can always create it. So just make your brush a little bit done. Make sure there is no paint on the brush, just water and very little water. And you can create that semicircular shape for the sun with the help of your brush. Okay. So yes, This is the reason I tell you to go with 100% cotton paper. You can do this so that the paper is still wet and Anibal to do this. But if your paper has already dried, then you need to wait for the paper to completely, you know, get dried then reapply the water and do this step. Okay. So yes, I still feel like I need to add more colors. So I'm just going ahead and creating those cloud shapes. But if you're already satisfied with your painting, then you can stop the sky as of now. Yes. Intensifying the sun a little bit. Yeah. All right. This guy has dried. So now let us take off the masking tape from the horizon line. So make sure to wait until your papers right. Otherwise, you know, the paint may start bleeding and it may flow to the bottom part, which we absolutely do not want to happen. So, yes, look at that horizon line. I've got a nice and clean horizon line. That is the reason I had applied the masking tape, but it's absolutely fine. You can skip that part. Now. I will just go ahead and wet the beach area. I'm just applying a clean coat off even water again. Again, we're gonna work on the wet-on-wet technique and the beaches, just the reflection of the Skype. So we're gonna go with the same set of colors that we used for the sky and just create a nice reflection. So apply a clean code of even water and make sure that while applying the water along the horizon line, the water doesn't seep into the skies. So take a smallest size brush if you want to apply the water along the horizon line, that's absolutely fine. Okay. Yes. Just be careful while applying water along the horizon line. Yes. Okay. So I need some more carmine and boil it for painting the beach areas. So I'm just squeezing out those colors onto my palette. So I have squeezed the toilet. Now I will take my carmine and squeeze that onto my palette. So, yes, let me quickly do that. If you have your colors, then you need not squeeze it. My colors are over on the palette, so I'm just your freshly squeezing it again. Okay. So yes. I think we're good to go and the paper is also wet now. Looks like a little bit more water is needed. So I'm just gently applying the water again before I start with painting the beach area. So yes, you should be able to always judge your paper, how much weight it is and how much water do I required? Okay. Okay. So the paper is wet, so we'll let us start painting the beach area, starting with Indian yellow. So I'm applying this Stewart's the horizon line. I'm just going with a very light tone first. Later on we can intensify the colors as and when needed. So I'm applying this Indian yellow starting from the top of the horizon line towards the further area. And the next shade that I will be using is the Indian gold. I'm applying this on top of the Indian yellow that we have added and trying to create a nice yellowish orange shade. Yes. Okay, so now we want to create that sundries following on the beach. So I'm just taking my wet brush and just cleaning that middle area. So you can see doing that very gently so there's no more water. The brush is just damp and I'm just picking up some paint from the method. So yes. Okay. So now I will be picking up my carmine shade and I will be adding it. I'm from the edges that is towards the right and left edges. So yes, I'm simultaneously blending that with the Indian gold and the Indian yellow that we have added previously. Yes. So keep adding the SCADA mine to the whole of the bottom regions starting from the horizon line towards the end. Yes. Once we add Carmine, we're going to intensify this by adding YA lit on top of this car mine. It's just a replica of the sky. So yes. Okay. So we have added carmine to both the edges, the left and right and yes, I'm just wiping off the excess water that's got collected towards the masking tapes so that the water doesn't seep through in. Now, I'm just trying to create that nice blend between all the colors and adding more and more of this carmine to intensify. So since this is a wet-on-wet technique, the colors may look darker now, but once it dries, it may fade off a little so you can go and add darker amount of paint. So go with more paint and less water. Okay, So this is looking right now. Now let us begin by adding more deeper tones. So I'm picking up my violet starting from the top of the horizon line and gently coming down towards the end. So I'll be just adding this violet shade in different places and trying to create the weaves pattern for the beach. Just keep adding this. And yes, you can follow along with me. And yeah. Okay, so this looks good. We're almost towards the end and when I'm reaching the edges, that is towards the bottom, I'm just trying to intensify that she'd trying to add more and more deeper tones, whereas the middle area is left as it is. We're not gonna touch that, just those strokes by dragging the paint from the masking tape towards the inwards and stopping right where the sun rays are following. So you can see I'm adding more and more deeper tones towards the bottom. This will give a nice depth to our painting. So keep adding this and if you're satisfied, you can stop at that stage. Alright? So, yes. Okay, So it looks like the sun rays that we created, God vanished. So I'm trying to create that really is reflecting on the beach. So just picking some paint and I'm not using much water, the brush is just damp and it is very clean. There's no paint on my brush. And I'm doing this, so yes, I think that's looking nice for now. So just trying to add more and more yellowish and orange sheets. Yes, this is optional union not do it. I'm just playing around and seeing what's good and habits gonna look so you can absolutely stop. Yeah. Alright, so let us wait for this to dry. Yes. It looks like everything has dried beautifully now the last step is to add some stones or some rocks on the beach. But if you're happy with your painting, you can make that as your final painting. But I felt like the beach area is looking a little bit duller and, you know, It's looking a little empty. So I thought to add these tiny rocks, not a huge ones. Teeny tiny stones are rocks. Just to give that realistic effect to our paintings. So for that, I will be going with when Nike brown, but you can go with any other brown or burnt umber, burnt sienna. But make sure it's a little bit darker, so it makes that shade with a little bit of brown to get that darker tone of brown. See that I'm not adding very bigger stones. These are very small stones since they are far away from the viewer. So there's no particular place where I'm adding this and just dropping in wherever I feel like adding them. Okay. So just just go ahead and drop these stones. So the size of the stones again, it's not the same at some places it is small and at some places it is a little bit bigger and a different shape. So there's no exact shape and size for it. And just follow your intuition and add the stones. And whenever you feel like you have achieved the final stage, please stop adding it and mark your painting as complete. So I'll quickly go ahead and fill the beach area with these teeny tiny rocks. Alright. Okay, so at some places I am, you know, dropping shade of Indian gold on the stones just to show that the sun rays are hitting the stones and the light is reflecting on the stone. So I'm just trying to create that particular thing, but it's again completely optional. These all small details and small things will give a nice depth and a realistic look for your painting. Stones. You know, when the sunlight is falling or hitting the stones, There's a little brownish orange shade, right. So I'm just trying to create that. Yeah. I'm just going to quickly go ahead and add few more stones and then I'll be calling it as done. So I think we have added enough of these stones also have added some reflections below these stones. It's not ready detailed because they had far. Okay, So now I think it's time for us to peel the masking tape. The entire painting has dried. I just go ahead and quickly be off the masking tape. Okay, so take a look at the final painting. Everything is looking so beautiful. I absolutely loved the dramatic sky and the reflection of it falling on the beach. The stones give a nice realistic field to our painting. Yes, I'm happy with it. So if you liked this painting, then do post it in the class projects and I'll see you soon in the next class. 6. Thank You!: Very big. Thank you to all of you who made till the end. I hope you enjoyed this class. Let us take a quick recap at the paintings that we have done. For the day one. We went with this sunset windmill landscape, and it was very simple yet beautiful painting. And for the D2, we explore different color palette for adding those fluffy clouds and palm trees. It was another simple painting. And for the last day we went with a sunset beach scape where we explored a dramatic sky. I hope you loved all the class projects. And if you did, do post it in the class projects section, and I'll be happy to see a beautiful creations. If you're going to post this on social media, do tag me using my Instagram handle, my paint story, and I'll see you soon in the next class.