Summer Seaside Serenity: Painting 15 - Beach Scenes with Watercolor

1. Welcome to the Class: As the warm some of these approach, many of us begin to daydream about the beach. There's something magical about the sun. The sun and the sound of the waves crashing against the shore that draws us in and helped us not forget about our ys. The beach has a way of transforming our mood and lifting us periods. The feeling of the warm sun on our skin, the refreshing coolness of the water, and the gentle breeze blowing through our hair all contribute to an experience that is both relaxing, an invigorating summer and the beach go hand in hand. And there's no denying the special energy that comes with this combination. It's a time for letting go of stress and embracing the simple pleasures of life. Hi everyone and welcome to my Skillshare class. I'm a chartered accountant or creative artists and creative business. And if you do not know much about me, you can follow me on Instagram under the hand and creating from the heart when I share most of my books with watercolors, gouache, acrylics, as well as my John link. You can also consider the thing I stole page, very clear, handmade watercolor sketch book, as well as journaling kids and other journaling supplies. So make sure to visit our Instagram handles to know more about me and the work started to. I are excited to welcome you all to my new Skillshare class. That is all about painting some of beaches with what Canvas. Over the coming few weeks, we are going to be painting themed beach paintings with different angles, different perspectives, different color combinations. With watercolors, we can create stunning paintings that capture the ceiling beauty of peaches, from the soft sand to the rolling waves, and everything in between. The versatility of watercolors allows us to experiment with different textures, techniques, and colors to create unique, mesmerizing pieces of font. Do not be overwhelmed if you add an absolute beginner with watercolors, because I will be guiding you through all the materials that you would need to begin your journey with watercolors. We will be covering various techniques from washes and pleases, too wet on wet and dry brush. So you can discover what works best for you. Seasoned artist, or picking your journey with art. This class is designed in such a way that it will inspire you as well as help you to develop your skills in Pig. We will also be exploring different compositions and perspectives to create paintings that are both visually striking and meaningful. Through these beach themed paintings, I want you to tap into your creativity and express yourself freely through art, just as the ocean waves. By the end of this class, you will have created 15 stunning beach themed paintings that you can be proud of. You will have honed your skills with watercolors, learned new techniques, and gained a deeper appreciation for the beauty of the beach. So without further ado, let's dive into the world of beach team paintings with watercolor was cleared some Stein pieces of fire this summer season. So I'm looking forward to see you inside the class as well as see all of your unique creations on the some kinda beach paintings, sharing the joy of painting together. I'll see you guys into the next lesson where we discuss all the materials and then dive into each class project one day at a time. 2. Materials you'll need: So let's begin with the materials first before we move on for the class project for D1. So first and foremost, you would require a set of watercolors. I'm going to be using in this set of 32 shades from the branch Shannon, Are there PwC range, which is an artist create professional watercolors range. On the tube of watercolors, you will find all the details regarding the pigment, the vibrancy, the transparency, as well as the staining or the light fastness of the pains. So you can go ahead with either tan, what colors, or tube watercolors with whatever is available. Apart from this set, I'm even going to be using a few of the other sheets, such as this Naples yellow from Magellan mission, Payne's gray from White Nights. I'm going to be using a separate turquoise blue from the White Nights pan set as well. You would also be needing in white gouache to add in a lot of details plus creating in some opaque colors as well with the help of fight question. Mixing it with your basic watercolors, you can go ahead with a mix of different kinds of colors or different brands. As per your availability, you need not have the exact same sheets or the exact same color palette as mine. In every class project, I will keep discussing the best alternatives I'm going to be using in this ceramic palette for mixing my paints. For every class project, I already have a few colors from beginning, so I will reuse them by just rewriting the paints. Next, I'm going to be using in this handmade sketchbook by our store, which is made of Archie is 300 GSM cold pressed paper. I'm going to be using in this five inch by five inch paper. You can see the thickness of the paper. It's 100% cotton paper. I recommend you using a minimum 100% cotton paper for watercolor works so that you can go ahead with a lot of wet-on-wet details, as well as your paper stays wet for enough time and your paper will not come pull up after painting. Next, you would be needing two jars of clean water, one for cleaning your brushes always and one for using freshwater. The wet layers before you beginning with your wet on wet techniques come into the brushes that you would need. I'm going to be majorly using these four brushes, which is a half inch flat brush or smaller sized round brush, liner brush, which is size two, round brush size eight from the silver black velvet rest. All of them are from the brand Princeton. You can see this liner brush has such long bristles and it's very fine tip perfect for adding in the wave effect into your paintings. I'm going to be using majorly these four brushes, but you can go ahead and use any set of brushes that is available. But it needs to be a mix of round and flat brushes. I would be needing these paperclips since I'm using a sketchbook, so just pinned down my paper so that it does not move. Next, you would be needing a masking tape to tape down your paper for each class projects so that you can have those clean edges as well. Apart from this, you wouldn't be needing some basic stationary such as pencil ruler and an eraser for doing some pencil sketch for all the 15 paintings that we'll be doing over the period of 30 days, you would be needing either a rough cloth or some paper tissues for dabbing index as water cleaning your brushes and all of that while painting each class project. So these are all the materials. Apart from this, you can just keep a spray bottle with you. In case if you're using a pan set or half paints on your palette, you can simply use a spray bottle like this and spray a little water and re-wet your pains and use them easily. So it becomes quite handy as well as easy while you're not reusing your colors. These are all the materials that you would need for the coming period of 30 days where we'll be creating 15 different beach themed paintings. So grab all your materials and I will see you guys into the next lesson where we begin with the techniques first and then move on to the day one. 3. Watercolor Techniques - Part 1: So before we dive into the class project for day one, Let's have a look at some very basic watercolor techniques which will help you in beginning your journey with watercolor, or help you better in understanding how watercolors work, or the different techniques that you can use. The first one that we're beginning in with a wet on wet technique. We already are adding in a layer of water which is going to be a wet layer. And this wet layer we are going to add in wet colors. So this is called wet on wet technique, wherein your base layer or the paper is already wet with either color or water. And on top of that, you go ahead with a wet layer of the color. I'm going ahead with a simple serial in blue color layer here. I'm just giving it a simple flat wash. So basically, a flat wash is when you use one single color in one single tonal variation and add it all way throughout. You can see the same blue color I've added it throughout. So this is basically a flat wash and we've used the wet-on-wet technique, which is the paper was wet on top of that, you've gone ahead with wet layer. The second technique here is the wet on dry technique. That is your paper is going to be dry. On top of that you are directly going to go ahead with a layer of wet colors. This technique is only useful when you have to add in details or adding the silicate or just go ahead with a small piece of paper. So right now you can see the block is very small and I'm using a bigger size brush. So it will be very easy for me to cover up the entire space in like two to three color or pickups that I do. But in case if you're working on a bigger space of paper and if you go ahead with the wet-on-dry technique, by the time you reach the end of the paper, it may so happen that the top space has dried and you may get patches of color. Since this is a small space, it will not affect much. And you can simply add in the layer while everything is still wet. But this does not work well when you are walking on because pieces of paper. So use this technique only when the cover area that you have to cover is very small. Or you are working with the detailed part where you have to add in detail wet on dry. You can see this layer still looks a little less moist as compared to the first wet on wet, because there you have to wet layers and here you have only one wet layer. So again, this is also a very simple flat wash to be. I've done one single color, but just the technique is different. That is the wet-on-dry technique. Now, we are going to go ahead with the next one, which is going to be a variegated wash. For that I'm going to use in the wet-on-dry technique only majorly for all our background washes the sky, the beach. We are going to go ahead with the wet-on-dry technique. Wet on wet technique, and listen and we just have to add in a small layer which tries out quickly as well. Also difference between the wet on wet and wet on dry. Wet on wet layer will stay wet for a little longer time, helping you to add in more details if you wish to on the wet layer. Whereas the wet on dry technique or the layer will begin to dry quickly. So if you go ahead adding in more wet details on that, then it may be very difficult as the patches may begin to dry out at places and give you a flat layer. Now in this variegated wash, I've gone ahead with a layer of blue at the top. And now I'm going to use in the pink color at the bottom and blend these two colors together in the center point. Now, blue and the pink mixed together gives a tone of purple or violet, which is a pleasant tone when blending in these two colors. But say in case if you go ahead with a blending of colors of yellow and blue, then you do yellow and blue mixed together will give you a green tone. Which one? Look pleasant, either in a sky or sunset sky, or even in the B2B space. So in that case, the variegated wash will work a little different. In the case where colors go well with each other and form a third complementary color, which things in well with the colors, you can go ahead with the method that we went with the blue and pink blending both together. But now, if the colors are complimentary colors and they do not get in well with each other or forming a third color which would look unpleasant. Go ahead with this technique. So I'm going ahead with a blue color at the top. And I'm going to go ahead with a yellow color at the bottom. But in the center I'm going to leave a small gap fight. And I'll just tilt my board and make the colors flow naturally into each other. In this way, you'll get the lighter tones of the blue and the yellow in the center, but you will not get a green tone. You can use a damp brush like this and run in the center so that the colors of blue and yellow move into each other. And now just tilt your board in both directions slightly a bit, not even much. Otherwise, it may again begin forming in the green tones. So in case when you're using colors like purple and orange, which both together forming muddy color when mixed together, you can use this method of variegated wash, where you use a damp brush in-between for blending, or you can use in the white color in between for blending. Now, next I'm going ahead again with a layer of water. First, we're going to go ahead with the wet-on-wet technique to create a gradient wash. The first two washes that we saw that is the wet on wet and the wet on dry with one single color throughout, that is called a flat wash. Now we are going to go ahead with a gradient wash. Now, gradient wash you can use two to three colors, but I'll show you with one single color. So I'm using in this crimson lake color here, I'm beginning with a darker tone at the top and moving towards the bottom side, I will keep lightening the color tone. So up till a certain level, I will add in this color. Now using a damp brush, I'm just going to begin moving this color from the top to the bottom, donning it lighter as we keep moving further towards the bottom side. So in this way you can see we are creating a gradient of one color, beginning with a darker tone at the top, moving towards the lighter colors at the bottom. Now you can do this in a reverse method as well. That is, you can begin it with the darker color at the bottom and then using a damp brush, keep moving it towards the top side with a lighter tonal value. So this is called a gradient wash, where the color has different tonal values in one layout. So here you can see the gradient between the different oral values of the ping, the darker paint, the lighter pink, and then the lightest. And at the top you can see a flat wash off the same color throughout. You'll be able to see the gradient much more clear when it dries out. Now in this last block here, we're going to go ahead with the glazing technique. I'll just give you a little glimpse of the glazing technique. We're not going to be using much of this in this class. We'll just be using a very little highlight of it while adding in the sand effect or closer to the beach spaces. So again, I'm going ahead with a wet on wet layer. So I'm going ahead with a layer of water first. Now I'm going to go ahead with a blue color and a brown color at the bottom to kind of try to show a beach effect. And I'll show you how we are going to show a little of the water effect overlapping the signed area of the beach. So if you've ever visited a beach, you would see how the waves come towards the sand area and form a layer of water on the Sun. But you can still underneath CVA suddenly or even under the water. So that is the glazing effect. So I'm just adding in a layer of brown and the blue force. Now on the browns, I want a little effect of the blue. Try and show that little effect of water onto the sand as well. So when this is wet, I'm going to go ahead with the blue color that I want to give the glazing effect with. But make sure you do not have excess water. With a very light hand over the blue, you will add a very light layer of blue on the brown. So you can see now the underneath Brown is visible on top of that, you've got a little blue color. I will try extending this space a little more and show you. But let's first have a closer view. So you can see the underneath Brown is visible. And then we added a layer of blue on top of that. So this is the glazing technique where the base layer color is also visible and you give the other color effect on top of it. I will just add in a little more brown at the top here and show you again, I have the brown color here. Now on top of this brown, I want the effect of the blue color to show that effect of the water coming onto the beach using the blue color, not having excess water with a very light hand. I'm just running on top of brown, so it has to be a very light layer of the blue such a way that the brown underneath is still visible. In cases if you feel that the blending at the bottom is not happening smoothly, then at the bottom you can just take a damp brush and run from the glazing effect in the bottom. It does not have different patch or does not dry out separately. So these are some of the basic washes glazing technique, the different kinds of washes, the wet on wet layer that we've discussed in this technique section. I'll write down all of these techniques that we've discussed. And in the next lesson, we'll discuss a few more techniques which are going to be the details for adding in the clouds waves, as well as the reweighting technique. So I will quickly remove the masking tape and note down all the names for you so that you can refer it anytime for guidance. So the first one was the wet on wet technique, the next one is the wet on dry technique. Both of these are flat wash that is one single color layer throughout, without any gradient or without any other color or dual tone washes. This one is the variegated wash. This is the first method that we discussed where we are blending in both the colors together forming in a third pleasant color in between. This is the second variegated wash, where the leaving a little white cat. You can see even after blending and drying, we do not have the green tones formed. The color transition as smooth between the blue and the greens without it blue and the yellow without any greens. The next one was a gradient wash. Now, after drying you can see the gradient effect as well. The last one was the glazing technique. You can see the glazing effect as well after drying the blue and the brands both are visible distinctively. The third color is not formed. That is the mixing of blue and brown. Rather, we have both the colors visible because of the glazing effect. So now these are the basics and in the next lesson we'll dive a little more deeper into the techniques and then move to the dv1 class project. 4. Watercolor Techniques - Part 2: So now let's move on to the next set of techniques before we dive into the class projects. So now I'm going to show you two different ways how you can add in whitespaces. One is going to be the lifting technique and the other is leaving and white gaps naturally. So for the first one, that's the lifting technique, I'm going ahead with a wet layer of water first. Now, whenever you want to go ahead with the lifting technique, you will have to test two properties. One is better, the color is a staining color. Because if the color is a staining color, then no matter how hard you try to lift, it will leave a stain underneath and it will be very difficult for you to lift up. You need to be very careful while going ahead with the lifting technique because it May 1 gives you a rough patches and it may also be difficult to lift up the color in the desired shape or style that you want to go ahead with. I'm going to head with a layer of the cobalt blue color first, I'm just going to add in a little bit of the peacock blue, which is on my palette to turn it even darker. Now, the peacock blue color is a little staining color. So when I try to lift up, you will see an underneath blue layer still being visible. Now for the lifting technique, you just need to go ahead with a damp brush, lift up the color from the spaces that you wish to. Now, it may take you two to three times to lift up the color and getting the lighter spaces. Because as you lift up the color from the nearby spaces, again peaks back into the space from where you've lifted up. In one stroke, you may not get that effect of the lifting. So you can see how I'm going ahead trying to create in random cloud shapes to go ahead with the lifting technique. So that is the lifting technique. You can see still a little of the color is visible. That's a lighter tone of the blue color and as well as by the time it dries these spaces, but again, reducing size because the nearby colors that come in again. Now, next is, I'm going to leave in the whitespaces naturally while adding in the color. So this is most useful when you are trying to paint in skies with different color combinations, are trying to painting some simple fluffy cloud effects as well. I've just added in a layer of water now and I'm going to beginning with the blue tones. Now when you beginning with this kind of technique where you want to live in the whitespaces, you need to make sure that your brush does not have excess water. Because if the paints will also have excess water, they will spread on their own. It's very important to have a little water control while adding these will be discussing the water control in the next technique itself directly. So now, for now I'm just randomly adding in these patches. You can see how I've made sure I've left in enough whitespaces now I'm just going to tilt a little in all directions so that you have that soft movement and blend between the whitespaces and the pains. Try it will all look a part of it together. Whenever you are tilting your board, make sure you do not keep it tilted in one direction for an extra long time because that may make the colors flow in one specific direction for a longer time, making it difficult to have that effect, what you're trying to achieve. And so now you can see the difference in both the spaces, the lifting technique, and one that you leave the white gaps naturally so that you have that effect. That now when you went ahead with the lifting technique, you can see the underlying blue color is still visible. Where else in this case it's pure white that is visible. It depends on what kind of outcome you're looking for that you can decide the technique that you want to go ahead with. Now next, I'm going to go ahead with the technique of water control. With watercolors. It's the most important thing to have the water control while adding in details, wet on wet. So I'm first going to go ahead with a simple blue color layer. So you can pick up any color if you are practicing these techniques along to get a hang of the details or the watercolor techniques to follow it. So I'm just going with a very flat wash off the color first onto this wet background that we've added up, the blue color. I'll show you the water control importance. So we're going to use a violet color on top of these to understand the importance of water control and how you need to control it so that you can get the details, right. So I'm going to quickly squeeze out a little bit of the violet color on my palette. And now I'm going to go ahead first. A very liquid consistency of the violet color. So my paper is already wet where I'm supposed to add it plus this paint that I want to give details, I'm taking it up in a very liquidy consistency and beginning to drop it. You will see at the beginning it tries to maintain the space in which you are adding, but with time it's beginning to spread and cover up the entire space. The blue color that was naturally there underneath is no longer visible. It's a mix of blue and violet now. Now next I'm going to show you when you pick up the color with limited water, your brush does not have either excess pigment or excess water. You will see the difference. Also, make sure that you dab your brush a little onto the paper tissue, that the excess water, if any, underneath in the prisons will get absorbed by the paper. Now, let's begin adding in the violet details here and see the effect. So you will see the violet color is retaining the space in which I'm adding them. It's retaining the shape in which I'm adding them. It's blending onto the edges, giving it a soft effect with the blue color underneath, but it's not spreading like the top layer. So in this top variant here you can see the spread out completely and it's just become a patch of color. Whereas in the second case where we tapped off all the excess water in the tissue, it's retaining the shape even after few seconds and even after it dries, it will retain the shape in which you've added them. So it's very important to understand this water control because when you add in details, wet on wet, like in the coming class projects as well. In all of the paintings, we'll be adding in clouds like these. If you will not have the water control, the colors will spread completely and either give you muddy tones or a patch of color like this, instead of giving in this cloud effect that you want to achieve. So in each of the class projects you will see it's very important to have that water control may be adding it into the sky or the beach area. Water control is very important. Otherwise, with watercolors, it may become very difficult. In these two class project, we will even be exploring the lifting technique and the whitespace techniques that we've discussed. So this was about the water control are very important part and I recommend each one of you to have a hang of it so that it becomes easier for you to paint and work with watercolors. Now the next technique here is going to be the rewetting that pink. I'm going to quickly give you a little insight about the re-weighting technique. Now, basically, if you are using a paper which is, which tends to dry quickly, or if you're living in such temperatures where the paper dries quickly because of the atmosphere temperature. Then in such cases you can go ahead with the re-weighting technique to add in the wet-on-wet details, like in the last technique that was the water control technique. You can see we added in the details wet on wet onto the blue color with a violet color. But say in case your paper has begun to dry already or because of any other reasons that paper is drying out quickly and you have to still add in details wet on wet. In that case is if you keep adding in the detail on the paper is beginning to dry, then you will notice you begin to get patches of color and very uneven edges. So in that case you can use the re-weighting technique. So I've just added one simple layer of the blue color for now. I'll wait for this to dry. Until then we'll discuss very basics about the waves that is wet on wet waves and wet-on-dry ways. So I'll quickly go ahead, add in a layer of water. You're again and beginning discussing the ways. And once the rewetting space dries, I'll show you how to go ahead with the re-weighting technique and add the details again as a wet-on-wet. So I'm just going ahead with a very simple flat wash off the violet color into this space. I'm going to go ahead and add in the waves wet on wet. So while this area is going to be still wet, I'm going to begin adding in the waves in top of this. So why don't you begin adding in the waves wet-on-wet. Very important thing to again understand is the water control as we discussed. Because if you will not have the water control, the waves will begin to spread and give you again one single flat color loop. So the technique that we discussed forward to control is very important when you add in any detail wet on wet. Now I'm using a liner brush size two and I'm just beginning to add in the veins with the water control technique. You can use this technique while adding in wet on wet waves or wet on wet cloud effect or any other element where you want the colors to have a distinctive look yet a softer blend with each other. I'm going with simple strokes to add in as v. So this is called wet on wet waves, but you want a soft effect to your viz and do not want to have those sharp looks to your waves out there. Now I'm fancy drink the center point as the horizon point, that is the center line from where this color is beginning. So they have left a little of the space. But as I'm moving towards the bottom side, you can see the length of my waves have increased because these waves are closer to me. And as I'm making it move more closer to me, you can see I'm beginning to add in some thicker waves as well, trying to show because of the perspective, since it's much closer to me, it's visible to be in much bigger, you know, lines or strokes. Now, this point that I've considered as the horizon point there, I'm going to add in the waves in quite small manner, in a very tiny ways so that these lines, because they are far from us, the horizon line is far from us. So these V's are hardly visible to us. So in very small length, you add them closer. You can see the waves. I'm just going crisscross to each other and simple line strokes to add the details. That was the wet on wet detail. Now in the same way we're going to discuss in the wet-on-dry details as well. Now these wet on wet details, wet-on-dry details can be done with multiple colors, which we will be doing when we go ahead with each class project one day. But for now I'm just discussing the very basics with you so that you have a little knowledge about what's coming up for you in the coming class project. And you have a little hang of it if you are a complete beginner with watercolors. Now again, I'm just going ahead with a flat layer of the paints. I'm going to mix in the violet and the blue this time. So I'm just going ahead with a layer of both the colors quickly. I'm just going to blend them. Now I'm going to wait for this to dry because now we're going to add in the VIV effect, wet on dry. So once your background layer is dried, you go ahead with the layer of wet paint again to add in the VIV effect. Now let's go ahead with the re-weighting technique. So this is a very small space, so small brush works, but if you're working with a larger piece for deviating, you need to use a brush which is bigger in size so that you can give the reweighting water strokes in very less number of strokes. So in this case, if you see in two strokes, this would have got covered up with this brush. But this brush holds a lot of water, so I do not want to add a very too much watery layer. So I'm going ahead with the smallest size brush here. Now, I'm going ahead with the re-weighting technique horizontally or vertically you are. But you can go ahead horizontally depending on the kind of area that you want to revert or the kind of effect that you want after every stroke, make sure to clean your brush and pick up fresh water. I'm using plain clear water and just running with brushstrokes. It's very important that after every stroke you clean your brush. Otherwise, the colors that get lifted from the first layer will get lifted onto the next clear. Now going ahead with the wet paints and adding in the cloud effect, again, your water control is very important if you want, do not want the color to have a simple flat loop. So you can see it's again having the soft edge. The entire background was wet again and it's looking very blended and soft, edged with the blue color tones. So this is the riveting technique Thai using in the biggest size brush possible, depending on the size of the paper that you want to revert. Because less of the strokes for evading easier it is to rewet, make sure you do not have an excess water. The water should be minimal enough that it's really wet, but not even dry. You can go horizontally or vertically depending on the kind of detail that you want to add in. Now we'll wait for this last block to dry and then add in the wet-on-dry waves as well. And we'll be ready to dive into the davon. Now this is also completely dried and we'll begin adding in the wave effect. Now. First, we had added wet on wet. Now we are going wet on dry. So the waves are going to be the same, but the effect that comes is going to be different. Again, in the center, I'm considering it to be the horizon point. So there I'm going to add the waves in very small, tiny lines and strokes. Now as I will keep moving towards the bottom side, I will keep increasing the length of the stroke. You will see just not simple lines you can use in half C strokes. You can move different angles, some thickness as well in between to add a little depth, you can see I begin with a pointed tip, press the belly of the brush, give it a little hump, be kind of a moving wave effect, and then lift it up again. So these are different strokes that you can use in. Now, I'm using the same method as we had gone ahead with the wet-on-wet. But you can see the difference in the log in button that you have. The soft wave look better on the wet, on dry. You can see the waves are having a very distinctive bold effect. I will just quickly add in the waves. You also fast. I'm adding in some takeovers and in-between, I'm adding some very thin leaves to fill in the spaces. So there are different ways again, you can go ahead with this. You can go ahead with some roaring waves, crashing wave effect. As we move further, we will learn how to add each of them into your paintings depending on the kind of paintings that we are going ahead. Great. So as I'm moving towards the bottom side, you can see I've kept increasing the length of the waves because these waves are falling much more closer to us. So that is it. We are ready with the technique section for this class. These are the basic techniques, some kinds of washes, basics of watercolors, then the re-weighting technique, lifting tech t. All of these are quite important to begin your journey with watercolor. So now in the next lesson, we'll beginning with day on day class project every alternate day. And we'll discuss the color palette for that specific class, as in how we proceed further so that you can have a color understanding of the class project as well as I will keep discussing the specific techniques that we're using for that specific class project so that it gives you a much better understanding about each class project. Every day. I have noted down all of the techniques that we've covered in this second section as well for you to refer any time. So these are all the techniques we discussed so far. I hope this has helped you in understanding the basics of watercolor and beginning your journey with watercolor. I will see you guys into the next lesson where we begin painting our class project for day one. 5. Day 1 - Greece - Color Palette: Before we dive into the class project directly, let's first discuss the color palette that we're falling for this class, as well as the different colors that you can use if you did not have the same color options available. For this guy, I'm going to be using in the saddle in blue color. Now in case if you do not have a civilian blue color, you can go ahead with the sky blue color or a very light layer of the Prussian blue color as well. For the beach area or the water area I'm going to be using in the peacock blue color. You can even use the turquoise blue color if you have. But I wish to go ahead with a peacock blue color this time. It's a very beautiful, bold blue and looks perfect for the beaches as well. Then coming to the wall space out here, we are going to be using in the Payne's gray color. So I'm going to dilute the Payne's gray color is going to be like just two per cent color and 98 per cent water mix. That is how I'm going to use it. You can see the white color and the Payne's gray color, just one color difference. So that is the reason I'm going to add in that Payne's gray color next to you would be needing in these shades of green color. I'm going to be using in three different green tones for adding in the leaf detail. First is the cadmium light green, then is the sap green color and the olive green color. Now if you have a look at the leaves, there are so many different tonal values. If the greens that I've used in, you can even use in yellow, I'm going to use a little bit of a yellow instead of the cadmium light green color. Because I already have yellow on my palette. I'm going to use that and mix it with sap green to get a lighter green. But you can even use a lighter green if that's readily available in your palette, then you would be needing in white quash for adding in the details of giving in lethal effect onto the water. Trying to show the effect of the sky color falling onto the water space, giving in The Shining ripple effect. So this is your, you can see very little and very minimal effect. And then lastly, we'll just be adding in a small candle holder or a lamp effect onto the beach space here to give in a little aesthetics. So these are all the colors that you would need for this class and the basic techniques. So just giving a quick overview again, we're going to be using in the cereal in blue color for the sky, the peacock blue for the water area, the Payne's gray for the wall and the pot holder, and then the greens for the leaves. And lastly the white quash for adding the details on the beach. The sky is going to be a very simple flat wash. The area of the Payne's gray color is going to be, again, a simple flat wash and further waves we are going to use it wet on dry technique for adding in simple leaves. This time, I'll see you guys into the next lesson where we create this class project in detail together. 6. Day 1 - Greece: Let's begin in with the class project for day one. I've kept the class project for d1, a pretty simple one and a quick one because we already had a lot of techniques to discuss on the one. I wanted to make sure to keep the class project easy and light so that you can follow up with the schedule as well. So 41, we are going to be painting a beautiful or C painting from a view from Greece you can consider, we're going to go ahead with a very simple wall by the, a site through which this beach is. So I'm going to use this masking tape and I'm going to mark out the wall space first and then move on to the other details. Now using a ruler, I'll mark the rest of the center line. Now I'm going to go ahead with the same shape on the inside as well to give a little brief detail so that it becomes easier to add in little depth to this painting as well. I'm just going ahead with very simple outlines, as you can see. Now, on the right side here we're going to have the entire beach area that we'll be painting. I'm just going to give in a little broader effect towards the right here. And now on the left, I'm going to add a very simple flap or detail across the wall. And on top of that we're just going to be adding in very simple leaf detail. You can see it is so much easier to just tilt or rotate your board when it's taped down on a movable surface. In my case, since I'm using a sketchbook, you can see it's so easy to just rotate a sketchbook. I always recommend to tape down your paper on a movable surface so that it's easier for you to just adjust the movement or angle of the paper according to your hand is on the right side. I've divided the sky, the beach, and the bottom, again, walk area. So for this guy, I have added in a very simple base layer of the civilian blue color. The recording of this part got corrupted. So I'm just sharing with you or direct small detail and further detail. I've used a very light layer of the Payne's gray color, which is a very or diluted color with water. It's majorly water just to tend of the Payne's gray color. So these are the basic wash that I've done for now. Now after this, we'll move on to the details of this painting. So we'll first begin adding in the details for the C. For the C, As I told you, I'm going to be using in the peacock blue color for beginning to add in the base layer of the sea. So once you are done adding in the sky and the wall detail, wait for it to dry. In-between the sky and the wall. You can see I've left that white gap empty. We'll add in a Payne's gray detail later on there so that we can create in that depth and the view out there as well. Now I will squeeze out some fresh become blue color. You can either use a turquoise blue color as well. This pickup blue color is kind of a turquoise blue color. For this class project, I preferred using this color instead of directly using in the turquoise blue color. So using this, I'm going to give him a very simple flat layer of the paint into the beach space here. First, I'm going ahead with a layer of photo. Now you need to go ahead carefully so that the water does not seep into the sky area. So go ahead carefully here and just adding a light layer of the water you are. So now I'm going ahead with the layer of blue color your, as we discussed, I'm just going to go ahead with a very simple flat layer of the color. I'm using very basic and simple techniques for the first class projects so that you get a hang of the basic techniques first and then moving ahead further, you can go into the details of the other techniques as well. I'm just going ahead with another layer to make it a little taco and board because I'm just going to go with one simple layer of this color here. Now across the walkway here I'm just defining the blue line perfectly again, covering up the messy area of the Payne's gray and giving it a very simple straight line. So we are done with the beach as well. We'll wait for this to dry as well. Until then we'll add in the layer into the pot as well. But make sure that your Payne's gray color layer is completely dry before you go on to the pot layer, using the Payne's gray color, I will begin adding in the depth and the 3D effects to the pot. Now. I'm going to use the Payne's gray color as we discussed. Now make sure you use the smallest size brush so that you can add in the details effectively. Now using the Payne's gray color, I will give a very fine outline only at the top and the left side of the pot first. And then using a damp brush and water, I'll again go ahead and blend it. Now just using the damp brush you can see I'm lightening up the Payne's gray color and filling it in the entire pot space. So majorly on the left of the pot, we're going to have a darker highlights of the Payne's gray color trying to show the light effect there as well. And in the rest of the space, just giving a very light layer, again. Now makes sure that this slide layer is darker than the base layer that you've added for the wall effect. So that this time though, now I'm just lifting the excess darker tones from the left edge as well. So you can see very simple technique that we've used and just a simple color and using in water we've given in such a three-dimensional effect to this flat part as well. So on the right of the pot, I'm keeping it light so as to show the light effect falling. And on the left, I'm keeping it or towards the darker tone to show the shadow effect falling in there. Now next I'll begin squeezing out the green colors so as to begin adding in the leaves. Now for the leaves, I have not gone ahead with any pencil sketch because you can go ahead and add them in a very simple way as you wish to, for squeezing out a little bit of the sap green color. And you can use a lighter green that's a cadmium green color. Or you can simply use in the yellow color to lighten the tones. Next to you can either use an olive green color or mixing a little bit of the Payne's gray to your green or a little tent of brown to your green to get an olive green color or a darker green color tone. But since I have that, I'm just going to squeeze out a little bit of the olive tree indirectly. And using instead of the cadmium green, I'm going to go ahead with a little bit of yellow, which is already on my palette and reuse it. Now, I'm going ahead with very random shapes of the leaves together to add an end to the flowerpot. I'm using a round brush and I'm just going in with a pointed tip first and then adding in a simple shape to the leaf. Now with this, you can go ahead with two to three colors in one leaf as well. Now, make sure you add the first layer of leaves in such a way that they are not connected to each other, otherwise they'll all flow into each other. So for this second leaf, I added an outline and now using in the yellow color I'm going to drop it in between and blend it on the edges with the green tones so as to have a little lighter leaf as well. Whenever you are going ahead with these dual tone leaves, make sure that you're not have excess water. Otherwise, both the colors will mix and give you one flat color look. Now in the similar way, I'm just going ahead quickly adding in a few more leaves out here. I'm going to connect all of these later on with the help of the brown are the Payne's gray color towards the pot as well. For now I'm just going ahead with the leaf structures first you can see I'm randomly altering between different tones of greens. Some leaves I'm painting in with a single color, some leaves, I'm going ahead with two to three color tones. That's the sap green, olive green, and the yellow color variations. You can go ahead with simple one stroke leaf of two tone colors, or you can add in two to three different tones leaves separately. Also, you can see I'm going ahead with very random shapes of the leaves, no set pattern or those set style to add in these leaves. You can go ahead freely and add them if you want. You can even go ahead with simple bunch of smaller leaves as well. Or you can even add in some floral details here. Absolutely your choice. You can have the freedom of experimenting. You're as per your vision. Now I've just mixed in a little bit of the Payne's gray color along with the green. And I'm just going to add in the branch detail now, it's more of Payne's gray and very less of green. And I'm just going to add a small branch to all of these leaves, connecting them towards the center of the park. So very simple. One stroke leaves that we've added now with the darker color as well, I'm just adding in some darker leaves medially towards the left side to show some darker effects of the shadows are falling out there. Now, my beach space is completely dry. That's the water area of the beach. So I'm going to shift in to my smallest size liner brush. I'm using the same blue color. That's a mix of the peacock blue and the Syrian blue. I will begin adding again the wet-on-dry v is in the technique section we had discussed the wet on dry method of adding in the way. So I'm just going to begin adding in the waves using that method now. So closer to the horizon line, I'm going to begin in with very fine smaller waves. And as we move towards the bottom side, I will keep increasing the length of the ways also to keep the waves in this class project very simple and easy. I'm going with very simple waves. That's just a smaller lines closer to each other. And just simple straight lines are a little cough to it. I'm not going ahead with any dry brush strokes, take on strobes or water movement into the V's. So keeping it simple so that you get a hang of adding in these details slowly. Now as I'm moving towards the bottom side, you can see I'm increasing the length of these waves and increasing them because these waves are closer to our view, hence visible in a little more detailed manner. As well as you can see, I'm going very crisp, cross into the waves. No set pattern to follow your as well. You can just keep adding them between each other as well as overlapping towards each other. So as I've reached the end, you can see I've increased the length of the waves a very big size because these waves are much more closer to our view. Now after this will dry out, I'll go ahead and add in little details with the white color as well. I'm just lifting a little off the color which was dropped excess at the bottom space and blended it quickly into the base layer. So these are small tricks and tips that you can do lifting the colors quickly or dabbing it with the help of a tissue. If access pins fall, falls out anywhere. Now, we're supposed to add in the detail out you're closer to the beach and the wall space, the small grid that we had created. So I'm using the white gouache for that and I'm just giving in a layer of the white gouache out there to show overall effect to the white quash. I'm just adding a small tent of the Payne's gray color to have that grayish thin and I'm going to add it across the entire so-called area that we've created between the beach and the wall. Now makes sure for adding this. You go ahead very slowly, you can see and also make sure that your beach is completely dry otherwise, the blue colors may begin to see pin towards the side. So as soon as you add this bit a little different color, you can see it's getting a 3D effect to the beach view as well as the wall. So I've just added a small team of the yellow color as well to give him a little different effect from the base layer, Payne's gray that we gave in to the wall on the left as well. So very simple detail, but you can see as soon as you add in the detail there, you'll get a different view to the wall as well as that beach view coming from in-between the wall or a window kind of a view that is getting formed for the beach space. Now, I'm just going to go ahead and darken up this bottom space as well because it's looking too light. So I'll just use the Payne's gray color and I'm just going to blend it into the entire space here. I'm going to further lighten it up a bit by just lifting up a little of the darker tones. Now, I'll wait for this to dry and then add the final details. So now this last layer of Payne's gray is completely dry. So using it as 0.3 size pen, I'm just adding a very small silicate kind of a detail here. That is a small lamp which is just put as an aesthetic towards the beach side. So a very simple one. Now since I wanted to add it in such a miniature size, I'm using an append so that the details do not go out of proportion. But in case if you want, you can go ahead and add this with the help of the Payne's gray color and a very fine tip brush. So it's just basically a candle holder or a lamp that you can consider that I've added in here. Now the last detail that I'm going to add in is going to be, I'm going to use in the white quash and just add in little highlights are and given little shining effect onto the views because of the bright clear sky that we've added. So trying to show that effect of the sky falling onto the waves as well. So just adding very simple white highlights using in the white gouache and medially in the center space and keeping it very light and limited at certain spaces. I'm just adding very simple dots as well to denote some light effect or the shining effect falling onto the water waves. So that is eight. We are ready with our class project for d1, a pretty simple one. And very basic techniques to begin with. Now we're just going to peel off the masking tape. Make sure while peeling off the masking tape, you peel it against the paper that is pull it towards you and not towards the painting. Also make sure that you know, your edges are completely dried before you begin peeling off the masking tape. Otherwise, it will be very difficult for you. As the paints from the edges we begin to seek to your white edges that you've tried to preserve using the masking tape. So here's a final painting for day one of this 15 days beach painting challenge. I hope you guys enjoyed painting this beautiful simple Greece, kind of a beach few painting with me today. I will see you guys soon into the D2 class project. Thank you so much for joining me. 7. Day 2 - Evening Pastel beach - Color Palette: Hello everyone. Welcome back to day two of this 15 painting beach Challenge class. Today we are going to be painting this beautiful paste till evening beach scene, wherein we are going to paint the beach also as a reflection of the sky colors. So for this guy, we're going to go ahead with pastel tones of blue, pink, and yellow. For the blue I'm going to use in the civilian blue color, to which I will add in a little tinge of white to get this pistol blue kind of a tone. Now in case if you have ready based on colors, you can even use them. In case if you do not have pasting colors, you can simply, he was in byte and create your pastel tones for the yellow I'm going to be using in this Naples yellow from Magellan mission, which is already a pasty yellow color. So I do not need to add in the white. Now for the pink tone, I'm going to be going ahead with the crimson lake, but you can either use quinacridone, rose crimson makes college draws matter, whichever pink is available in your palette, you just need a beautiful soothing pink and add in a little white to give it a little pasty effect for adding in the details into the sky. And then we are going to be using in a little bit of the violet color highlight as well to just add little evening sunset kind of a look and toning the sky a little darker. Just very little of the violet color that we are going to use as a highlight. You can either mixing your blue and pink together violet color, you can directly use a permanent violet or purple tone. So these are the colors that we'll be using infrared sky. The CATI is going to be an exact reflection of the sky colors. So on the sky we are going to be using in the wet-on-wet technique for adding in these cloud DDS for which you will be very important to learn the water control technique that you have the perfect control while adding in these details. We already discussed the water control technique. So it's very important to understand that. And then as we discussed, the sea area will be an executive flexion of the sky color. And then we will be using these driveway of technique that is wet on dry. And then the dry brush technique for adding in this blaze of the white color to show the form effect for the beach sand area, we are going to use tones of brown and yellow ocher. Here we are going to use a little tone of greens and then the white quash for the glazing effect. So these are all the colors that you would be needing for this class. Now, make sure you have a white gouache because only with white quash can you get this opaque layer of the form effect that will try to create using the dry brush technique. As we paint. In the next lesson, you will know what the dry brush technique is. We are going to use it in a glazing method will already have an underlayer brown. And on top of that, we are going to add in the white gouache to create that glazing effect. So these other little details for this class project, also we are going to try to show the reflection of the sky into the sea. And accordingly the tribe waves will also vary that we will also be creating that sunlight effect onto the subspace, giving a little yellow highlight into a beach area and then a shadow to the beach as well. So these are the details and the colors for this class. Now in the next lesson, we'll begin creating this painting together step-by-step with every little detail to create this beautiful beach painting. 8. Day 2 - Evening Pastel beach: So let's begin with our class project for D2. Since I'm using an Arches paper sketchbook, this paper is usable on both sides without any paper folding or any paper crumbles. So I'm going to use both sides of the paper. So I've just marked the horizon line. The top is going to be this guy. The bottom is going to be the C and the beach space that we are going to be happening. This time I'm going to be having a beach towards the left side and not just the bottom space. We're going to go ahead with a pretty pinky evening sky. Looked at we're going to go ahead. So for this guy first, as we discussed in the previous lesson, the colors that we're going to use are going to be shades of pink, blue, yellow. And same. It's going to be in the case of the sea, as we are going to show the reflection of the sky onto the beach area. And then we're going to go ahead with the beach space with the tones of brown. So I'm just going to space out a little bit. Often Naples, yellow color for the sky. It's kind of a pasty yellow color. So in case if you do not have a Naples yellow, simply adding a little bit of white to your yellow to get a Naples yellow color. Now, I need one tone of pink for which I'm going to go ahead with the crimson lake color this time. You can go ahead because Scarlett or Crimson, Quinacridone, Rose, rose matter, whichever pink tone that you wish to. We've discussed all the color alternatives already. I already have a little of the city didn't do on my palette, and now I also have a little of the white color already on my palette. You can get all these colors ready before you begin to add in the details into the sky. So I'm forced beginning in with a layer of water only into the sky. Make sure that you go ahead with an even layer of water throughout. Water is evenly spread and you do not have access water collected on the edges. So you can see I'm running my brush multiple times so that I have an even layer of water throughout on my paper stays wet for enough time so that I can add in Leo's wet on wet to build in the sky. Now as we discussed in the technique section, I'm going to be going ahead with wet on wet layer for building in the Cloud details into the sky. So I'm going to make sure to have the perfect Water Control while adding in the wet layer colors to given depths to the Cloud. First time beginning ahead with the Naples yellow color just closer to the horizon line. Now to the side, or even blue color. I've added a little the white color to make it a little piece of sky blue, kind of a tone. Now very carefully I'm adding in the sky blue color, but I'm not having it close to the yellow color because yellow and blue mixed together may give you a green tones in-between I'm going to be using in the pink tones. So for the pink, I'm mixing in a little bit of the white to the Crimson lake colors. But in case if you already have readily available tasteful watercolors, you can even use them. Or you can simply mixing your white watercolor or white quash. I'm mixing in a white bar since I do not prefer using a white watercolor. Now I'm just having of Texas pain because I want very light consistency. So make sure you do not have too dark of a pink color because we are working on now ready carefully. I'm laying a little off the pink over the yellow color and you can see little orange tones getting formed. So that is the reason I've not used in any orange color. Rather use the pink mixing on a little bit of yellow too, given that warm orange color instead of that right? Audience for loop. So you can see how simply you can mix the colors are all have off of beautiful or transition between the color tones. Now, I'm going ahead with the violet color mixing in a little tinge of the Payne's gray color to give it that drastic violet effect. And I'm going to begin adding in the clouds. Now make sure when you begin adding these, you do not have excess water. The water control technique that we discussed in the technique section is very important here. Plus my paper is still wet, but in case if your paper has already begun to try, we also discuss the rewetting techniques. I would recommend you to go ahead with the re-weighting technique in that case. So I've just given a very light layer of the violet color. Now since we use the pink color closer to the yellow, you can see even when you laid the violet color, you do not get in muddy tones. There was already a little bit of the pink which was helping to avoid the muddy tones. So I'm just going to head with a little of the pink again at the bottom side so that even at the bottom, you do not have any muddy tones being formed. So I've absolutely loved the clouds onto the left as well. Now I'm just going to go ahead with little yellow highlight at the top space, just using the tip of the brush, adding the colors with a very light time so that you'd not get muddy tones or green color because of the violet and the blue tones. Now I'm just going to go ahead with a little more of the pink highlights as well. My paper is still wet. I'm still working wet on wet, adding in the details with the red bellows on the red layer that we already have. So you can see when I'm adding in the deviance of clouds, I'm making sure my brush does not have excess water. That is the reason the clouds are retaining the shape in which I'm adding them, but they are having the software because it's the wet on wet technique that we're using it. I'm just going to go adding little blue highlights over the yellow color. Now in this case, since I've added a little extra white color, it will not give you green tones, rather, it will stay as a light blue color tone over the yellow color. So in cases you can use white color to avoid getting in the complimentary color which may give you Maddie tone variations. So very carefully, I'm still walking. It's almost being five to 7 min that have been working wet on wet onto the sky. So you can see when you have 100% cotton paper and you add a perfect layer of water, you can go for a longer time, wet on wet again, smoothly. So make sure that you try using in 100% cotton papers so that it stays wet. But in any case, if it has dried, you can go ahead with the re-weighting technique two to three times to keep your paper wet. Now, we will wait for this to dry and then move on to the CAGR. Now my pretty based on sky is completely dried and I'm going to go ahead beginning with the beach space. I'm going to go ahead with a layer of water onto the entire San as well as the water is based off the beach. We are going to add in both of the base layers for the c and the sand together because we want a soft connection between them. And later on we'll be adding in the two of those crashing Dave effect with the white quash. So in this class, a new thing that you would be learning is about adding in those crashing wave effect using the dry brush technique. I'm just very carefully going ahead with a layer of water again, only in the C, Make sure you do not run into the sky space and especially closer to the horizon line or in very carefully with the water for that, excess water does not move into the sky. Now ask me discuss the speech or the z-space is going to be an exact reflection of the sky color. So I'm going to go ahead with the same colors as the sky. So closer to the horizon line, I'm going to go ahead more with the pink and yellow so as to show the reflection of the pinks and yellows closer to the horizon line falling into the water space. And then at the bottom I'm going to go ahead with the blue and the purpose. Now you can see very carefully, I'm going ahead in such a way that all if it has a soft edge to each other, as well as a blended look and each color is visible. Now I'm going to head with the blue tone, and I'm just going to mixing and added closer to the pink color, the blue tones so that you have a little violet color being formed because of the pink and blue mixing. And you do not have any green tones form. Now again, wet on wet, I'm just going ahead with little more off the blue tones and moving a little over the yellow as well. We're going to add in wet on dry leaves this time as well. Once the base layer of the seat right. Now, we are going to quickly go ahead painting the space for that I'm using in this raw umber color, which I already have on my palette, mixing it with a little bit of the yellow ocher color. And I'm just going to begin adding it into the rest of the space, which we are going to be showing us the same space on the left side moving diagonally towards the right. Now you can see at this point I'm adding it perfectly close to the blue color so that all of it has a soft edge. And later on, when we go ahead with the white tedious, you'll see the distinction point and the sand details coming as well separately. Now onto this, I'm just going to pick up a little of the light red color. I'm just going to add in little effect with the brown browsers because it seems too much of the yellow ocher instead of the raw umber. So just a light wash off the brown as well on top. Now again, then you are adding this brown color. Be careful you do not have access water, otherwise it will seep over the blue color completely. Now this is for the base layer of the beach area. We'd have to wait for this to dry before beginning to add in. The wet-on-dry details for the beach. So we'll wait for this to dry completely. Now, if you can just completely dried and we're going to begin adding the details. Wet on dry paper is completely dried onto this. We're going to go ahead with bet pains to begin adding in the water area of the beach. I'm going to go ahead with the wet-on-dry views. I'm going to be using the same colors that we used for the base layer and begin adding in the driveway effect. So I'm first going ahead with the pink tone. Now closer to the horizon line, I'm going to keep it more often, pink and yellow tones. And a little look, no highlights with. When you begin adding in these fields, make sure you're using a very thin liner brush. You do not have excess water, otherwise, it will give you patches of the color. Closer to the horizon line. Go ahead with very small, tiny beads and small lines. And as you move closer towards your viewpoint, keep on increasing the length. That is because of the perspective. Wherever you are standing, waves closer to you will be visible much more clearly, much more longer inland. And since the horizon line we're considering is far away from you, that is the reason the waves out there are going to be quite smaller in the Lyn. Now using the yellow color, I'm just adding in little highlights. Now since this yellow is kind of an opaque color already, I'm going ahead and adding in these opaque lines here. So just adding in some yellow color highlights onto the blue space before I move on to the pink and the blue tone effect at the bottom side. So now I'm going to quickly keep on adding. These are wave effect. You can see I'm going to head very slowly not rushing with it because I do not want to overdo it. I'm going ahead with some crisscross lines closer to each other building in the layers one-by-one. Now next time shifting into the blue color, I am just picking up more of the blue with very less of white this time. And I'm going to begin adding in the movies as we are moving towards the bottom side. Now you can see at the top, I kept in more of the pink and the yellow highlights. And moving downwards, I'm shifting into the blue color slowly. But I'm even going to add in little of the blue highlights onto the pink tones as well. So I've just shifted up to another brush because that liner brush did not seem to work fine, was holding a lot of water or maybe the bristle brush has got damage to have moved on to another smaller size brush to quickly adding these wave effect. So you can see move towards the bottom side at certain places. I've even added in some kickoff is to show that these waves are closer to your view. That is the reason visible or little more thick and closed. So even for this class project, I've kept WWF details. Simple because the technique that we're going to explore in this one is going to be adding in the driveway effect. So you can see just at the bottom I've given a little detail with the blue color, giving in some little Kogi wave effect as well, trying to show that flowing water effecting there. Now I'm picking up the white quash. Now, white quash you need to pick up in a very thick consistency so that you can add in the bold effect of the crashing V across the entire sand lime. We're first going to go ahead with the white color, given a line and then given little dry brush towards the inside of the water space, for us to add the meeting point of the browns and blues just gave a little fine line like this. So I've made sure that a little of the signed area is towards the water side and not completely towards the white line. The white line you can see I have this little brown patch visible trying to show that how the sand or water comes over the sand when the water I'm that crashing gave effect coming towards the sand is that is the reason I've kept a little of the brown towards the right side while adding in these white crashing wave effect to show the effect of the flowing water on the sand as well. Now, I'm going to pick up the right portion, going to just add in little dry brush. For this, you need to make sure that your white quash does not have excess water. You pick up a whitewashing of both thick consistency and your brush should also not have access for. Now I'm just going to pull out some very light lines using in this dry wash color. And I'm just using it in a very dry consistency and pull strokes towards the water side. You can see with just a little bit now that we've added so far, you can feel that crashing wave effect when the water moves over onto the subspace, giving you those, for me, kind of line effect. And you can see that underneath sand or under the water as well, under the form that gets created. That is what we've tried to convey here. So you can see the underneath, round, under the white tones that you've added using the dry brush. Now you can see my brown does still visible because I have gone ahead with the dry brush technique. If you're bright color will be too watery or if you will add in thick layer of fight, the brown will get covered up completely and you will not be able to see the underlying details of the sun. It's kind of a glazing technique again, when you are adding one color over the other color, but you're making sure that the underneath color is still visible. Now I'm just going ahead with some bold lines of fight moving towards the water speed is trying to show a little of form, in fact, coming from towards the water side. Now next I'm going to add in a little bit of the shadow to this format. So towards the sine side, I'm going to use this light red color, and I'm going to add a very fine line just underneath the white color line. And I'm going to use a damp brush and blend it into the science piece. So this will kind of show the effect of water falling of creating a shadow on the sand as well. I suggest using a very fine line off the brown color. Now quickly using a damp brush, I'm going to blend this brown color line into the VCR such that it is very blended and it looks as a perfect shadow effect. So you can see how I've blended it. So you have that lighter brown moving towards the sand area as well. And at the bottom, if anybody you feel you are having a patch of a color or something, you can go ahead with a very damp brush and then it will the bottom space so that you have do not get patches till the bottom because of this or, you know, color shading that you've tried to give it in for the brown tones. Now using the brown color, I'm just going to give him very little dry brush. Only at the bottom left side trying to show him some artifact here as well. Now next last thing left to add on is a little greenery effect on the horizon line towards the left side. So for that I'm going to use in the tones of green which are already on my palette. And given a very small bushy back, you can go ahead with any green or just a brown tone as you wish to for adding in that effect. Now just add this time-space post. I'm going to add a little bit of a yellow color so as to show that sunlight effect falling on the side. So you can see in the sky exactly at that pace, we have that yellow pad. So to show that effect, I've added a little off the yellow and blended into the background using a damp brush on the edges. So you can see a little lighter it bedtime, the shoulder sunlight effect falling on the sand as well. So a very light effect, but all layer of detail to add it, you can see it creates a little depth as well as flow into your painting when you walk on these little videos time to show the reflection of this falling on the sand. So simply just dropped a little of the yellow, blended it on the edges using a damp brush. You do not get patches when you tried to go ahead with soft blending using it brush. Now I'm using the greens which are on my palette already. It's a mix of the sap green and olive green color. I'm just going to add in little bush effect here. So just a little afraid only medially towards the left side, I'm going to fill it till the horizon line quickly. Now I'm just going to give it a little bit of a darker depth as well at the bottom side to this bush space, I'm just going to go ahead and mix it a little bit of the Payne's gray or brown, but my greens and given a little more gradient to these bush details as well. So you can see the darker color effect, just very little detail that are added, not much of it. So that is it. We are ready with the odd class project for dq2. It's time to remove the masking tape and see our painting. So again, the class project was a little simpler one, but we went ahead with two. Nudity is one, working wet on wet, adding in the Cloud DPS. And second going ahead with the dry brush VPNs for creating in that crashing waves. So slowly that you keep on adding one new technique with each painting, you will get a hang of it as well as you will be able to understand the techniques, why we're using what we're using. Now I'm just blending a little of this brown again into the background because I'm not liking that much. So just using a damp brush, I've quickly blended it and I'm making sure I do not have any sharp edge, so just running with a damp brush across the entire space. So this is again how using a damp brush you can quickly create these soft edges. Again. I'll just add in a little of the yellow again to show that effect of the sunlight falling on the side. It already has a soft edge because the paper is bad. So now I'm satisfied with the yellow color effect has been using a damp brush and bending the edges soft V does not give you any sharp edges, as well as the blue blends the color with the base layer because it turns the we basically are also a little bit again. It's an already carefully remove the masking tape against your paper. And we're ready with our class project for D2 off this 15 of the beach 15 painting beach challenge. Yours. A closer look at our painting for today. I hope you guys have enjoyed painting this beautiful paste in a bit. You can see the glazing effect of the white underneath which the brown and the blues are visible. Crime disorder, unneeded sand as well. So I hope you guys enjoyed painting this. I will see you guys soon into the D3 class project. 9. Day 3 - Shine through the Leaves - Color Palette: Hello everyone. Welcome back to day three of the 15 days beach painting class. Today we are going to be painting this beautiful glowing sun effect from between the palm leaves and a swing onto the beach space. So we are going to beginning with the sky, father sky. You can see we are going to use in a very light tone of the civilian blue color. Here you can see the difference between the sky and the base tone paper. So it's going to be almost a water layer just with a tint of the civilian blue color. Then we are going to go ahead onto the beach space, which is going to be the turquoise blue color layer. So I'm going to be using in this turquoise blue from the White Nights pan set to add in the base layer as well as the details into the water space. Now, into the water, I'm even going to be using in little green tones to create highlights for the deflection of these palm leaves falling into the CSPs. So far, the families we are going to be using in the tones of greens and yellow, olive green, sap green, viridian green. You can mixing browns and blacks to create darker and lighter tones. For the buck I'm going to be using in the raw amber color. Along with that highlights with the brown color and a little of Payne's gray color. So you can either use a raw umber color if you have, or you can go ahead using yellow ocher mixed in with a little bit of brown for the base layer of the bark of the tree. And then we are going to go ahead with little of the red brown tone. Or you can use in bone sienna, burnt umber color, a darker brown color basically, for adding in the highlights onto the back of the G. You would be needing a white gouache as well to create that effect of the glowing sand between the palm leaves and adding little effect of that as well, falling onto the ripples of the water. So you would need a white gouache for that, then the Payne's gray color for adding in the spring details. We are going to be forced beginning in with the water layer, which is going to be the C and the beach. We paint together wet on wet. After which we are going to go ahead and add in wet-on-dry waves as well. So in the techniques that we discussed first, we're going to go wet on wet for the beach space and the skies fees. Then we'll move to the wet-on-dry for adding in the details of the ways we will be adding some waves wet on wet and wet on dry. We've details as well. Then we're going to use in the water control technique while adding in these green highlights when we paint the CAD so that you can see the green is staying in the spaces that we're adding them and not covering the blue tones. And for these families, we are going to be using the wet-on-dry technique to add in the details of the palm leaves. These other techniques and the colors and the flow of this class project. In the next lesson, let's paint this beautiful beach painting together for D3. 10. Day 3 - Shine through the Leaves: Now let's begin with our class project for D3. We are going to go ahead with a very basic pencil sketch. I will just mark a very fitted line for the horizon line. As I told you, the color for the sky is going to be almost a very light tone of the blue color. So make sure you do not have sharp pencil lines. Now, I'm going to be adding in a palm tree at the top, and I'm going to show it in Ogilvy one. So I'm just adding the bark of the tree first and then we're going to add in the leaves falling towards the water side. That will directly be adding in with the pains when we begin adding in the details. And in the center, we're going to add in a swing or reaching till the beach space. And we are going to show in some shining light coming in from between the leaves will begin in with the sky and water first, then move on to the wet-on-dry details once these tryout. So first let's begin with a layer of water onto the entire paper. I'm going to be painting the sky and the base layer for the C together. Because as I told you for the sky, we are going to be having in a very light layer of the blue color. So accordingly, we can paint both of these together because we are going to be going ahead with the wet-on-dry ways. When we add in the wet-on-dry viewers will make the distinction point between the sky and the sea. Now make sure you have an even layer of water throughout so that you can add in the details and no space dries out unevenly. Also make sure on the edges you do not have excess water. Otherwise, when you leave your paper for drawing, the excess water will seep back and may ruin up the edges and fade them out. Despite I'm using 100% cotton paper, I run my brush multiple times so that my paper stays wet for the perfect time for me to add in all the details, wet on wet. Now for the sky, as I told you, I will be going ahead with a very light layer of the blue, that will be the civilian blue color. For now, I'm beginning in with the sea area. I'm going to head with the turquoise blue color and I'm just going to add in a base Leo. And while this is going to be wet, I'm just going to add in little of the green spots at the bottom space to add in as the reflection to the palm leaves that we'll be adding at the top. So just little green effects to show little reflection color falling into the sea space. Now into the sky, I'm going ahead with a very light layer of the civilian blue color. You can see it's such a light tone layer that I'm adding in. Most of the sky will get covered up with the families and the back of the palm tree. So that is the reason I'm not going ahead with much details in the sky for this time. Now. I'm going to go ahead with a little more off the turquoise blue color and add in a little detail and depth veteran way. So I'm going to begin in with one layer darker tone. I'm using in the water control med car. I'm just going to begin adding in little wave effect, wet on wet as well. Later on we'll be adding in detail waves wet on dry as Ben. For now, just adding in little depth while it is still wet. Now again, going with one more layer, darker tone. It's just the base layer that we are building. So be very calm and let it go loosely. Just keep on adding one darker tone and adding little wave effect. But make sure you have the water control. Otherwise, these waves will spread completely and again give you one tone of the turquoise color instead of giving in different tonal variations. Now on the green spots as well, I've just added in a little bit more of the planes. Again. I'm going to pick up a little bit of the viridian green color as well. Now in case if you do not have the viridian green, you can go ahead with emerald green or you can just go ahead mixing a little of your turquoise with your Sap green. And just to add in, I just want to show these as the reflection to the palm leaves that we'll be adding. So giving you a little green effects only at the bottom space. At the top space also just adding in very light green highlights as waves in between to show a little reflection of the moving water. Now we'll wait for this to dry completely and then move on to the details. You can see the sky color is so light. So let's wait for this to dry now. Now my base layer off disease completely try it. You can see the sea color has not moved much into the sky space because while adding it closer to the horizon line, I made sure to not go ahead with a lot of photo. Now I'm just mixing in a little bit of the civilian blue and the turquoise blue color to begin to add in little off the wet on dry waves detail. So first I'm going ahead with very simple wave details and then we'll go ahead with a little detail one as well. Now I'm going to pick up a little of the green tone which is already on my palette. It's a mix of olive green, sap green and a little tent of the brown. And I'm going to begin adding in little wet-on-dry details. I'm just squeezing out a little off the viridian green color as well to mix in with the olive green color. I'm just going to give him little wet-on-dry details at the bottom to showing us that reflection for the palm leaves. I will later on blend this using a little damp brush into the blue tones. For now just beginning to add in very simple lose reflections of the greens at the bottom space. So I'm majorly keeping the reflection for the palm leaves only at the bottom space. So you will notice more of the Greens only at the bottom layer. Not taking it much closer to the horizon line. Do not worry in-between this, we are again going to be adding in little blues and not going to keep it completely green. Now using the turquoise blue color, I'm beginning to add in simple wave effect, wet on dry. I'm going to define the horizon line also well, so I'm not keeping it a very straight horizon line this time. You can see little corny effects of the waves that I've added in. Now, I'm just beginning to add in very simple strokes to actin as the waves and the movement for the VFS. After this, I'm going to even be going ahead with more fine waves into this. For now. You will see I'm going ahead with very big patches of the color to add in the details. Wet-on-dry. Now you are, I'm just blending the blues and the greens to get in a perfect blend and transition happening between the colors as well. So as I told you in the bottom on the green, I'm adding little of the blue highlights again as well, because we want a perfect plan and transition happening between both the highlights. Now, we'll wait for this layer of the waves to dry. You can see it's a very messy and oh, you know, a little bigger brush stroke detail that we've added for the weeks after this, we'll be adding in the detail waves as well. For now, let's begin adding in the base layer for the buck of the tree. So I'm mixing in the yellow or raw umber into brown and the Payne's gray color. And I'm going to go ahead with the base layer for the back of the tree onto this as where we are going to be going ahead with a lot of details moving further. I'm just adding a little more of the Payne's gray to get it more towards a rusty brown tone. So I'm roughly just creating a bark of the tree, trying to show the tree trunk moving towards the top sign. Onto this, we are going to add in the leaves falling towards the bottom water side of the beach. Now using a little after white gouache, I'm just adding little of the white highlights out here at the bottom space as well. To create little highlighted space. This is just again, one more addition. We are still going to go ahead with a lot of details into the water space. To make it look like a natural rippled water effect. Now, till the base layer of the waves, that is the second year of the waves dry and the bulb trays, we're going to begin adding in the first player for the palm leaves as well. For the palm leaves also will have to walk onto layers to build in the depth, as well as the darker and the lighter and the shadow effects as well. Now since I'm working on a sketchbook, It's so easy for me to just tilted the sketchbook according to my hand movement and hand convenience, because for adding in the palm leaves at the top here, I may have to lay my hand onto the water space which is still wet. You can see how simply I could just rotate my book and adjust according to my hand convenience and begin adding in the details. I'm beginning to add in the palm leaves. First, I'm going to add in a set of palm leaves scattered and septic from each other. Once this first layer dries out, I'll go ahead with a different tone of green and yellow and begin adding in the second layer of the palm leaves. Now when you begin adding in the palm leaves, you can go ahead with any green tones of your choice plus a little tinge of yellow to add in little effect of the sky falling onto the families, as well as showing in little variations in the palm leaves as well. I'm going to use in a mix of the sap green, olive green, brown, and yellow tones to create in the different tonal values. You can use in a light green if you want, or you can mix in yellow along with your green to get in a lighter green tone. I'll say if you do not have a sap green or an olive green color, you can simply mixing your lighter green with Payne's gray or brown and get imperial tonal and variations of the green tone. To begin adding in simple palm leaves like this. Now, again, for adding in these leaves, you can go ahead with any color combination for any leaf, there is no specific pattern or no specific color tone that you need to follow. You just need to keep adding in in different variations. So two leaves close to each other. Try keeping them off different tones. So now the next one that I'm adding closer to the first leaf that I've added. I'm going ahead with one tone darker color than the previous one, so that these standout distinctively. Now in-between I've left a little space and I'm going to add in another layer of the leaf here. Once the first layer will dry in-between these two leaves, I'll go ahead with a different color of the leaf to add in little layer and depth into the palm tree as well. Now the next one you're in the center, I'm beginning in with the Naples yellow color. You can use in any lighter yellow color or creating a lighter paste in yellow, using in a little off the white color into it. I'm just going to quickly add in a layer of the leaf with the yellow color. And onto this I will quickly add in little of the green depth as well. But in such a way that the yellow color is still visible into this. Now in-between these last leaf and this yellow leaf, you can see a lot of gap there we are going to have in the swing. So accordingly, where you want to place this thing in the center space, make sure you keep a little space there. We'll first add the swing and then add in little palm leaves covering the string off the swing as well. Now on to the yellow, you can see I'm going ahead with the green color in such a way that in-between you have little yellow highlights visible in the palm leaf. But you do not need to wait for this in for it to dry. You can add in the green layer on the yellow itself. Now also, all the palm leaves you can see are moving towards the water side. They are all tilted towards the bottom edge. So make sure you try to have little variations in the leaves as well. Suddenly you can see I've taken it a lot, tilted and bend somewhere. I've taken it a little street somewhere moving towards the left, towards the right. So try adjusting the angles of these palm leaves as well to give it a natural look. Now as we move towards the left side, I'm going to keep more of the darker tones towards the left. So you can see now I'm going ahead with a much darker green tone, which is a mix of brown and the green and a little tint of the Payne's gray as well. As I told you earlier, this is just the first set of leaves that I'm adding funds, this first layer will dry. We'll go ahead with more leaves. We are still left to add in one more layer of the waves as well. One molar of the leaves and the detail onto the back of the tree as well. So the left side you can see it's almost filled up with much darker tones giving in that natural effect. Now, we'll go ahead with a little of Payne's gray. I'm mixing in with the green. And towards the top side out here, I'm going to give in a darker death, trying to show a very dark space out there as if you know of because if the light reflections turning darker. So I'm just beginning to add in some darker, darker leaves effect falling out from that space as well, giving a little more layer to the leaves as well. Now at this point I'm just blending all the details here so that it all looks well and it does not have any sharp edges. So now you can see that tree effect that is coming because of adding in that darker depth at the top space. Now I'll just begin adding in some overlapping leaves. My first layer of leaves are dry, so just going ahead with overlapping leaves of different tonal values. So you can see that basically are leaf was of a complete olive green color. But now this color is a little darker, so this will just add in the depth to the palm leaves as well. In-between you're just using a little lighter tone as bad to show a little lighter effects of the palm leaves as well. Now onto this lighter one, I will quickly go ahead with a little of the greens again, just giving you some little highlights over the yellow tone. So you can see I've added the highlight in such a way that even the lighter green, lighter yellow is still visible. Now at this point, I'm just going to add in one palm leaves for now. And later on we'll go ahead with the swing details and adjust the details accordingly. Now I've picked up a little of the yellow this time, I'm going to reverse method. I added the green first. And on top of that I'm adding in a little yellow highlights. We are left to add in the spring on the bar, we are even going to be adding in a shining effect, trying to show in the sunlight peeking through these families, creating in that glowing effect when you click on a photo and a light falls at a specific point and the reflection or the white blurry space or that growing space that it creates. We are going to try and create that effect with the help of five gouache. So that photogenic effect of light falling because of the sunlight coming from in-between the palm leaves that we've added it. Now using in the mix of brown and the Payne's gray, I'm just beginning to add in little highlights onto the back of the tree. So some simple lines to give in texture. To the back of the tree. Make sure that your first layer of the back was completely dried before you begin adding in these details to the back of the tree. So the tops piece of the buck I filled in completely with the green and the black tones, time destroying the darker space where again, that's i as well. That is a cluster of leaves, palm leaves, which are not visible in our picture focus. And because of this, the shadow part of which is visible creating in that darker effect. We're almost done with the top spaces. We'll have to wait for the leaves to dry before we add in the swing effect. Until then let's begin adding in the details in the waves. Again. I'm going to begin with the layer of green force. So we're going to add in one more layer of the green details as well on these parts to show us the reflection. So now you can see these rough green patches looking as the reflection of the palm leaves that we've added at the top, which is falling into the water space. Because of which these green highlights in the water area. Now, let's use in the turquoise blue color and begin adding in little details. I believe in squeeze out the white quash and keep ready for adding in the whiter highlights trying to show. So we are going to be creating in that, you know, the glowing effect I told you of the sunlight falling or coming in between the palm trees. I'm going to show that little shining effect falling into the water ripples as well. So in the center space here I'm just adding in very simple white dots and white. Little shining effect is showing the effect of the sunlight falling out your, you can even just go ahead, cover up the rest of these pieces and adding very little splatters here. So this white effect, I'm going to keep it majorly only in the center space. Not going to keep ticket much towards the left or the right side. Because I'm going to show that effect of thumb are glowing sun effect between the palm leaves only in the center of the bar. At the bottom you are, I'm just touching very little effect as well. To give him little unnatural view. Make sure that if you do not have that control over the splatters, you cover the rest of the top spaces so that does plateaus to not move towards the top side. Now using the Payne's gray color, I will quickly add in the spring here. Now when you add in this week, make sure you use a very fine tip brush so that you get the details right. So I'm going ahead with the strings of the swing first onto this will add in little white highlights later on. So we are almost done adding in the spring, I'm just adding little tie on, not effect as well at the bottom space, trying to show that string tied down at the bottom space. Alright, now let's add in that glowing effect of the white gouache as well. I'm first adding in little Payne's gray highlight very little if you want, you can skip this part. I may later on, just go ahead and lighten this up as well. So just added little dry brush effect with the Payne's gray color. Now I'm picking up the white gouache. Make sure you pick up the white caution. A very bold consistency to create this part here. So I'm forced adding a dot towards the left end of the swing string. And now using a fine tip brush, I'm just going to pull out small reads out from this whitespace. So basically trying to show that sunlight peeking through in-between the leaves creating in that glowing photogenic sport out there. So using the fine tip brush, I'm just pulling out these trucks from the center space. You can see the photogenic effect that happens when light falls onto the cameras piece because of the glowing light or the sunset effect. So you're, we're considering it as the sun glowing from in-between these leaves creating in this glowing light effect in the center of the palm leaves. Before you begin to create this, make sure that your leaves are completely dried, your buck is completely dried so that this white spot has this glowing effect strong and visible out there. That is it. We are ready with our class project for D3. I just diluted the highlights of the Payne's gray color a bit using a damp brush because I felt the Payne's gray highlight was too dark. So I just lightened it up a bit and used in a little of the brown bones there again on the back of the tree. So here's our final painting for D3, are beautiful glowing sun effect from between the palm leaves. Along with us. I hope you guys enjoyed painting this beautiful beach view with me today for D3. I will see you guys soon into the day for class project. Thank you so much for joining me into this class and painting along with me. 11. Day 4 - Overview Beach - Color Palette: Hello everyone. Welcome back to day four of these 15 beach painting class. Today we are going to be painting this overview view of a beach parent. We're going to add in a lot of boats joining simple rolling effect as well as the crashing wave effect towards the rock side. We're going to go ahead creating these details when first beginning with the pencil sketch for the board's mark those pieces out. If you want, you can use masking fluid to secure these boats pieces, but I'm going to keep those spaces white. Then we're going to go ahead with the wet-on-wet technique and paint this beach area, water area. For the water area I'm going to be using in this turquoise blue from White Nights, as well as a little of the aquamarine missed from the White Nights, which is a granulating color. I will show you that color in the next lesson when we begin creating. But if you do not have that color, you can simply use in the aqua turquoise, blue color. I'm going to use the base layer, a very lighter one, and then darker tones of the turquoise blue to add in the details, wet on wet creating in the vase. Then for the boards, we are going to add in the shadow using the same darker blue color to show the shadow of the board falling into the water space as well. Then we'll paint the boats wet on dry, and then add in the details on the board. Once the base layer of the board drive on the left side, we are going to show in this crashing wave effect using in the white gouache. So we're going to show and assume that on the left you have a lot of rocks through which the waves are crashing, giving in this form effect. And as the form is moving towards the board, it's turning lighter because it's a little far from the rocks. So very little form effect that diminishing form effect that you'll see. That is what we are going to try and create. Very first, beginning with the boards and base layer color combinations, then add in the details. And then lastly, using the technical pen or the black color, you can add in destroying us rods or the tire effect. Just a little detail to show on the board. If you have a closer look, you can see the wet on wet details are done using the water control technique, which is very important to get the effect and depth like this so that the colors are visible. Yet stay in the space that you are adding them. In case if you're wondering what water control then let me show you. So basically in the technique section, we had discussed the water control, if you remember. So in case if you'll go ahead with lot of our wet, darker tone, it will spread completely. But if you will have to water control, it will give you this effect wherein it has a soft blend with the base layer, but still visible distinctively. So we do not want the first wrong method, rather the right method of the water control to give him the depth into the water space. We are not going to go ahead with any wet-on-dry details. Rather, this time we will be going with the wet-on-wet babe details. Adding in little wet on wet waves effect in half C strokes manner. Moving from left to right or right to left. So very simple wave details as well. So these are the two important techniques. That's the wet-on-wet waves using the water control technique to add in the depth into the base layer C. So now in the next lesson we will go ahead and begin creating in this beautiful class project for day four. 12. Day 4 - Overview Beach: So now let's beginning with our class project for the A4. I'm first going to go ahead with the pencil sketch for the boats that we will be adding in. Now as we discussed, we are adding these boats in the overview view. So I'm just going to mark out the outline of the board. And for the overview view, we're going to add in a little shadow of the good falling into the water when we paint the water. So for the shadows, we are not going to be adding in any pencil sketch. We are directly going to be adding in that depth of the shadows using in the darker tone of the blue that we use in for painting as CAD. Now, I'm going to go ahead and add in around five to six of these boats. Hello head. If you are using a smaller size paper, the number of votes can be adjusted accordingly. Or in case if you're using a bigger size paper, you can accordingly adjust the number of votes that you wish to add in. I will go ahead with approximately five to six. I'm using a five-by-five inch paper so they will fit in perfectly. Plus I'm going ahead with very many sizes of the boat. You can see I've tried to keep the angle and movement off the boats in different direction, make sure that you keep them moving in different angles. Otherwise it may look a monotone is one. I'm done adding in the layer of the board pencil sketch. Now we're going to go ahead with a layer of water. Now I'm going to go ahead with the water into the entire see space, leaving the boats space empty. So in case if you want to use masking fluid or masking tape to safeguard these boards, spaces from water and paint. You can go ahead adding the layer of masking fluid or cut masking tape in this shape and paste it. But for me, I am directly going to leave these spaces empty while adding in this layer of water and preserve them, and later on then adding in the details in the boat, I will correct if any water or paint seeps inside the boat for now. But as much as possible, I will avoid adding in any paints into these. So you can see around these, I'm adding in the layer of water very carefully running my brush onto the edges well enough that I did not add any layer of water inside the boat. But you need to make sure that by the time you are outlining these boards for the layer of water, the left side or the other parts of your water layer should not dry. So you can see I'm running my brush in multiple areas back and forth so that every area of the paper stays wet by the time I'm adding in this detail onto the edges of the board. So I'm adding in an even layer of water throughout. Now I'm going to begin adding in the paint. So I'm going to be using this turquoise blue from my White Nights pan set. You can go ahead with a C blue color or any blue that you wish to go ahead for adding the layer of water. I'm even going to be using this aquamarine missed tone, which is a granulating shade from the White Nights new range. So this is the first time I'm going to be trying out this paint, but I know it's a bluish tone which will blend in well with the turquoise blue color. I'm just going to be adding a little hint of this color. So in case if you have granulating colors and if you want to experiment with little granulation in the water and given little textures to the water with the overview view, you can go ahead. Now first I'm going ahead with a very light layer of the turquoise blue color. I'm going to spread out this color itself onto the entire space. And given a very light layer, because we have to add in a lot of depth using the darker tones. So make sure that your first layer is a very light one. Across the board space. Again, you will see I'm moving around very carefully so that I do not see the colors inside the board space. You can see I've not lifted any further colors since the first lift that I had done. I'm just reading that same color throughout lifting it from the left side, adding it towards the right side because I want a very lightly off, because I want to add in textures. With a darker tone, the shadows to the board as well as on the left side. I'm majorly going to be having in the white quash effect showing in the crashing wave and the form effect. Now lifting a little off the aquamarine color, I'm just going to begin dropping in little color in random shapes to show in water movements. So I'm just using the tip of my brush and moving in very random half C stroke shape to just add in little effect on movement into the water. On the right side as well. I'm just adding little darker spots. So all of this is keeping in mind the water control technique. You can see the paint that I'm adding now is staying at the place that I'm adding them. It's not moving around, but it's just giving in the soft edge because we are working wet on wet. So make sure that you have the water control so that you have the effect of the color. Now, name aquamarine missed. I have shifted to a smaller size brush, and I'll begin adding in the shadows to each of the board. So I'm going to show the shadows falling towards the left side. If you want, you can show all the shadows falling towards the right, but you need to keep one direction because it is, you are taking that photo from one angle. So either all the shadows would move on the left or all towards the right. So I'm keeping all towards the top side and not towards the bottom side. Now in case if you are using only turquoise blue color, you can even add the darker shadows with one darker tone of the turquoise blue color. As well as you can add the shadows to these boards using the darker tone of the turquoise blue color directly. You may not have this color. You can see it's almost like a turquoise blue color or maybe just a little bit of the granulation. So to eat off the board while the paper is still wet, I'm adding in this shadow effect. Again, you will see the shadow is also having a soft edge, but it's retaining the space in which I'm adding them because I have the water control while adding in this paint. Now, using the smallest size brush and using the darker tone of either the aquamarine missed or either the turquoise blue color, whichever you wish to go ahead with. I will go ahead and add a little more darker wave effect into the water while this is still wet. Now in any case, if your paper has by chance began to dry already, you can go ahead with the re-weighting technique that we discussed so that you get in those effect off the wet on wet details. So in the same way you can see I'm just moving half C strokes and giving little coffee beans majorly towards the left side because I'm trying to show the boats are moving towards the left. So that is the reason these curvy wavy effect on the left side that I'm adding it. I'm not adding them straight from top to bottom because the movement of the water that I'm showing is from the right to the left. So you need to have that angle in mind because if you will add the curved strokes in a horizontal manner, then it will look weird and not go ahead perfectly with the perspective. Now just adding little more darker depths as you can see simply, I'm just going with the water control and very loose strokes. I'm still working wet on wet. My paper is 100% cotton paper. You can see it's almost bet for around eight to 9 min. Now that I've added the layer of water. Plus you can see it's able to take in all the layers of the paint's still not buckling up. So when you want to work so much wet on wet with so many wet layers of the pains or add in a lot of wet on wet details, make sure to use 100% cotton paper. And even if you're 100% cotton paper is the one that may dry out quickly. Remember to run your brush multiple times and all that. You know, it stays wet for a little longer time than what it would suggest towards the closer to the board says, Well, I'm just adding little of the wave effect. You can see the lighter color visible than a little darker tone off the blues, and then the darkest tone of the blue that is visible. Now I'm just going to pick up one more darker tone, add in little more detail, and then we'll be waiting for this to dry. So I'm just picking up a darker tone and adding one more layer to the shadows because I feel the shadows are looking a little lighter. So I'm just going to quickly add one more darker tone. These shadows also have been adding wet on wet, but make sure that they have to soft and blended look with the water and do not have that sharp line look as the shadow. So you can see I'm using a damp brush Blend, get well into the water space. So as we discussed, I'm considering the photo view from the bottom side, so I'm keeping the shadows towards the top side. But in case if you are considering the photo view from the top, you can add the shadows to the bottom side. So it does depend on your perspective. Now we'll wait for this to dry completely. Now my base layer has completely dried and I've just removed my palette, which already has a little bit off the PWC pains. So I'm going to pick up the paints from this palette because I need very little sheets for adding the details in the board. So now if all the boats, or you can go ahead with any random color it, any random place. I'm going to go with a colorful board seeing here. In the first one, I'm going ahead with a green boards. I'm going to use lighter in the center and darker towards the end and have a blend between both of them. So I'm using the Cadmium Green Light along with a little off the sap green color on the edge. So you will T2 transitional colors in the boat as well. For the rest of the boats, I'm going to go with yellow, orange, pinks, purples, blue. So you are free to alter these colors or change the placement of the boards, angle of the goods, number of the boards, as well as the palette combination for the boats. So for the next one, I'm going ahead with the purple and pink combinations on the edges. I went ahead with purple. Now, authority in the center, I went ahead with purple and on the edges I'm adding a little of the pink. But this second word seems a little too dark for me, so I'll quickly lift up a little of the color. Because onto this, once they dry out, we still have to add in a lot of overview detail onto this board. That is the seating effect, the rowing rod that we will be adding, the tire that we'll be adding. So I want all of those to be visible so quickly lifted up later and turn this light off. Now in the same way, I'm quickly going to use a yellow color and now add a yellow and orange mix out here for the third one. In the center, I used the yellow and now on the edges I'm using the orange color. And then I'll move on to the next one. Now. Now since I was walking with a yellow, I will quickly add in the yellow to this smaller one on the rightmost side as well. This one I'm going to keep single turn off the yellow only. Now I'm going ahead with one more purple and the pink combination. You are free to alter the combinations, as I told you, you are free to use your own color palette for the board. You are free to explore with different angles and movements of the boat as well. Also, if you want, you can go ahead with much detail boats. Hello, hey, you can go ahead with different silicates off the board. It's absolutely your choice and your preference. This class project is more about the technique. I'm understanding the perspectives, the color combinations are free to be explored. So for the last one, I've gone ahead with the purple and blue combination. I will quickly lighten this up a bit as well because we still have to add in the details. Now you can see how the shadow is creating a debt. Now, I may go ahead folder and darken the shadows a bit because for now I feel the shadows are looking a little lighter, but I won't do that at this moment. We'll add in the details as well and then decide. Now I'm squeezing out a little bit of fresh whitewash to begin adding the details on the left side for the dry brush crashing wave effect. So basically, I am assuming on the left side we have a lot of rock details through which the waves are crashing and creating this form effect on this entire left side. So I'm going to pick up the white gouache. I have not picked up much of water. I'm just going to begin adding dry patches of the white color. And I'm beginning to add in very simple dry brush effect and some very loose white lines. Now when you begin with this dry brush technique, two most important things is that you shouldn't have any water in your white wash, your brush who didn't have access or photo, you need these dry brush pattern to actin as the natural form effect. So you will see on the left edge, I have a little of a white patch. And moving towards the inside, that is towards the right, you will see the dry brush pattern. You can see I'm moving my brush very loosely. We are going to begin adding in very fine white lines, crisscross calls to each other to create in that movement of the water effect. For that, I'm shifting to my liner brush and picking up the white quash, I'll begin adding in some very simple crisscross lines throughout here, which has to be very fine. You will see they are moving in very random directions. Kind of if you have ever noticed a picture of veins moving inside your body, how criss cross and very random shapes they move into. That is the kind of detail that you need to add in here to give him that natural effect of the moving water ways and that foaming effect. So additives, crashing wave details may take up a little time, but you need to be patient so that you get in the detailed view that you are trying to add in. So you can see, I'm not rushing out with it. I'm going very slowly because as it is, my boats are going to take in their time to dry. So might as well utilize that time. Be patient and freely let the water flow with these white details. So there is no set pattern again yours, so you're more free to just go ahead with any random placements. But I'm not taking it too much towards the right as well. Now, I'm just adding in little half C strokes as we added the green ones. Short little foaming effect. Although crushing effect moves little far from the rocks, you have very little white foam effect left on the far view. So that is the kind of detail that I'm trying to add that is closer to the rocks, the crashing Dave and the form is very dark and deep that we've added the white line and moving further from the rocks, the white effect on a little lighter. So whenever I feel I need a little more detail. You can see I'm just going ahead with those details and just adding in little more of these bean and the dry brush detail. I'm almost done adding. I'm just going to add in little after COVID strokes and dotted effects. Far from the ROC area that is far from the left edge, more towards the center side, you can see random dots and lines that I'm trying to add into short little form effect as well. So as I told you, this may take up a little patience and, you know, you need to go ahead and slowly because if you overdo our detail and if you try to redo this area, it will be very difficult because you're using white gouache, which is very opaque. So even if you go ahead with the re-weighting technique and add in a blue color, it will create very different tonal variations. So you need to go slowly. There is always an option of adding in more later on, but once you, it will be very difficult to delete anything. So go very slowly. So closer to the board, you can see I'm just adding very small lines trying to show very little foam effect closer to the boards. Measure of my form effectors towards the half left side and then a little towards the center site, very little effect trying to show the moving effect of the form into the water. Now my boats are completely dried, so let's begin adding in the details into the board. So onto the Green Man, I'm going to use the darker tone of the green on the inside. I'm just going to create some lines to show in as the seating area of the board. Then they're just going to add in one drawer or one stick to show that for the following purpose of the board and vampire at the byte to show that 50 tire that is added. So again, with the silicate or the details on the board, you can use any other reference that you wish to. I'm going ahead with very simple details here so that it's very easy for everyone to follow along. Plus it gives it a very natural look. So I added one inside line, then created two blocks on the inside, added some horizontal lines on the bottom side of the board that is towards the right side. So I guess now you can have a closer view at the details that we are adding into the boat and understand much more better. Plus, in this closer angle view, you can see the shadow effect much more close. Plus the water water waves effect that we added wet on wet with the water control while adding in the first layer. You can see all of the effects much closely and how every detail matters class all of the white dotted line details that we have added towards the center side to show very little form effect moving with the water towards the both side. So now on this silhouette, I'm going ahead with a little different pattern. You are free to explore as I told you, I'm just trying to keep it in a little difference so that all of them stand out separately. So now on this third one, you can see I've gone ahead with a very bold a center line, and I'm going ahead with different kinds of line patterns onto this one. So again, as I told you, you are free to explore the details of the board that you wish to. Or you can keep it much more simpler if you wish to. I'm going ahead with very simple ones. After all of these dry, we'll add in the rest of the details to this as well. And will almost be done with the class project once we are done adding in the details for all of the boats as well. So now on to this yellow, orange one, I'm going ahead with a little darker tone of orange. So using the vermilion color, I'm adding in the details so that all of these looks perfectly self for color boats as well. If you're using the black color, it will look like a very simple illustration, which I don't want to. That is the reason I'm using the same color family that we've used it, the base color for the boards. So now on to this yellow one, that's the second last one. I'm adding in the details using the darker yellow. So in the bass I'd use the cadmium yellow light and for the top, I'm using a little of a yellow, orange mixed kind of a color. And going ahead and adding in the same kind of details, you can see how I've tried to be read very little details in each one trying to make them look different yet altogether well synchronized. So now what I want to, the detail of the last board will quickly add these, then add in the rowing stick on the tire effect and we'll be ready with our class project off day for, as I told you in the beginning, these class projects are a little detail and take a little longer time because I wanted to take help you guys take one step ahead in painting your beach painting stand out from the fear of adding in the waves or the details into a painting. So that is the reason I've kept this class project a little detail, but very easy to follow along step-by-step. Every detail discussed. Now I'm going to use a little off the white quash and adding little highlights at places on the board. It's completely optional again, but I just want to create little glowing effect of the sun falling on the board. So just a very little highlights strokes that I'm going to add in. So you can see with these little highlights that you get one more color tone variation to the boats from the top view, adding in one more dimension as well. Now I'm going to use a black pen for adding in the tire details as well as the stick detail because honestly, I do not want to mess around with the smallest size brush and a mess in any details because we are through the painting very smoothly. And I do not want to make any mistakes because these details have to be very fine. As you can see, our boards are hardly of two centimeter sizes. So on the back of each board, I'm adding one tire. That's a small blue ring, kind of a detail one or two rowing stick effect. So it's absolutely your choice on some you can add in one on some you can add into ruins sticks. So I'm almost done adding in these details just onto two more and we'll be ready with this class project. So let's quickly add them and then remove the masking tape. So that is it. I'm done adding in all the details. Now, after adding in all of the details, you can see the shadow is visible perfectly off the board falling into the sea. So I'm not going to go ahead with another layer of the shadow again. So let's remove the masking tape and see your final painting. Make sure you remove the masking tape against the papers so that you do not lift up the paint or tear off the paper. Going very carefully removing the masking tape. Yours, our final painting for day four of these 15 beach painting class. I hope you guys are enjoying painting these detailed beach paintings with me every alternate day. If you guys enjoyed learning these new techniques, make sure to try out these projects and upload them in the project section. Thank you so much for joining me in to the class. 13. Day 5 - Mountain Beach - Color Palette: Hello everyone. Welcome back to the class. We are on day five today and today we are going to be painting these pH between the mountains. So let's go ahead discussing the colors before we dive into the class project for today. So as you can see for the sky, we have a gradient sky with a tone of blue. So we're going to go ahead with the tone of Prussian blue color. But you are free to use in any other blue that you wish to. You can either co-head with a cobalt blue, acetylene blue, ultramarine blue, or the pollution group color, or even an indigo color if you wish to. It's absolutely your choice how you wish to go ahead with the color. I'm going to go ahead with a little of the Prussian blue majorly mixed in with a little tend to off the setting in blue color to create the lighter effect at the bottom space. So at the top it's going to be the darker tone of the Prussian blue moving towards the bottom side. I'm going to create in the gradient look. So make sure that you create this gradient looking sky. We have discussed a gradient wash already in the technique section. So in case if you are new here and if you do not know about the gradient wash, you can simply visit in the technique section to understand about the gradient wash. For the C I'm going to be using in the turquoise blue color, which is going to be y White Nights pan set. And I'm going to mix in a little hint of green to that. For the sign space, I'm going to go ahead with the tones of yellow, ocher and brown. And for this green spaces, you can go ahead with olive green, sap green for adding in those grass details. And then for the floral details, you can simply go ahead with a little mix of the pink. So you can go ahead with any pink. It can be quinacridone, rose, crimson, Scarlett. I'm just mixing a little of a white quash to it. I'm going to be using in the Crimson lake color and a little of a brighter para color, mixing it with white gouache to create an opaque effect while adding it on the darker tones of green. But you are free to go ahead with any tone of pink for adding in these florals. Now the next detail is the mountain ranges. So if you have a close look at the mountain range, you will see some tones of greens and browns. So we are going to be using in the olive green sap green, right red color, burnt umber color, and the Payne's gray color for creating in the entire detail of the mountain ranges. Now in case if you do not have a specific green or brown, you are free to use any greens and browns that's available in your palate. So in the base layer, we are first going to go ahead with the browns and greens to create the base layer. Then add in the dry brush using the darker tone of brown and the Payne's gray color. So in the same way we are going to be creating in three of these mountain ranges, using in the browns and greens. Again, you are free to use in any color tones of the browns and greens. And then we'll be adding into simple boats, hello hits, and then some dry brush waves as well. As well as we're going to add in the V is wet-on-wet as well as wet on dry in this class project. So both the method of adding the waves that we are going to go ahead with. In this class project. Your major learning is going to be to create this gradient sky that we're going to learn. So we have already discussed the gradient sky in the technique section. So the gradient wash technique we'll be using for creating in the sky. Then for the mountain ranges we are going to use in the variegated wash that we discussed. So you are going to use in the greens and browns to create a variegated wash layer on the mountain ranges. The C is going to be a flat wash with the color of turquoise blue mixture with a little off the screen. And then for the waves will be using both wet-on-wet and wet-on-dry details to create in the depth into the sea space, as well as a little white highlights to create some form effect for the sign. As I discussed, yellow ocher and brown tones that we'll be using. I'm adding in this shadow line as well that you can see to show the shadow of the water falling onto the sand space. So these are about the details and the major detail learning is going to be the dry brush technique. So you can go ahead and learn the dry brush technique for this class. When we paint in the class project, I will be discussing all the tips and tricks about the dry brush as we paint alone. That is about the color palette for this class project, you can go ahead with alternate color choices as well. Remember to make use of learning the dry brush technique in this class project. So grab your colors and I will see you guys into the next lesson where we create this beautiful painting together for day five of these 15 days beach painting class to see you guys into the next lesson of this class. 14. Day 5 - Mountain Beach: Let's begin with talk class project for the five, we're going to begin with a very basic pencil sketch. I will mark the horizon line, the area, the San Diego area, and the mountain ranges that we are going to be adding. The horizon line is a little below the center space because we are going to be having in mountains on the top. On the left I'm going to keep it one mountain and on the right I'm going to keep it like two to three mountains are clustered together. Now the mountain range line, I'm taking it a little below the center line trying to show that the mountains are the rock is coming out from the water space. Now on the right, as I told you, I'm going to add the mountain into three parts. So just creating in different lines. So I've added in three mountains or stock-out to paint them one by one so that they all stand out distinctively. Now at the bottom, marking out a very small time space and the water space. Now first let's begin with a clean layer of water onto the entire sky. So if a little off the water goes inside the mountain range or the pins go inside the mountain range, it's perfectly okay because we are going to be adding in the mountain ranges, but very dark tones of browns and greens, the blues will get hidden. So I'm just going ahead with a layer of photo onto the entire sky for now. As much as possible, I will try a winding to add in the colors out there into the mountain range. Now, as we discussed in the tech color technique section, you can go ahead and using any tone of blue. I'm going to be using in a little off the Prussian blue color at the top, if needed, at the bottom, I will go ahead with a little lighter tone of the cobalt blue or maybe you're civilian blue color. I'm going to add it a gradient sky at the top, the darker tone moving towards the bottom side, I'm going to turn the tone lighter. Now, in this case, it may be really difficult for you to get the gradation exactly on the borders. That is the reason I told you. If a little off the pains go inside the mountain range will say it's perfectly okay. They will get covered up when you add in the layer on the mountain ranges. Or if you want, you can cover the mountain ranges with a masking tape on the outline or masking fluid. You can see for the gradient has kept the darker tones at the top and moving towards the bottom space. I've just gone ahead and use the damp brush and spread the color till the bottom area to get a radiation to the blue color that I have used in. Now again, at the top, I'll just run with a little more off the pollution blue color so that we have a very dark tone at the top. Because remember, watercolors dry or tone lighter. So I'm just using a damp brush and blending it towards the bottom side. Also. If you want, you can keep your paper a little tilted towards the bottom side so that automatically the pencil flow from top to bottom creating an unnatural radiation as well. Now I'm just going to go ahead and quickly blend all of these. I just added a little of this ideal in blue color. Now at the bottom I'm going to blend in, pick up a little color wherever I feel that the radiation is going a little darker. So it may be difficult for you to avoid the mountain ranges. So again, I would recommend either you go ahead and cover it up with the help of a masking tape or masking fluid or let a little of the blue moving there and then cover it up with the brown. When you paint a mountain range. I've kept the board tilted and I'm done adding in the sky now, we'll wait for this to dry completely and then move further. So now my sky is completely dry. It will move on to the water space. Now, for the water space, I'm going to be using in the turquoise blue color. That's the White Nights pan set color that I will be using. You can go ahead and using the aquamarine color that we discussed in the last class project, or any other tone of blue that you want to go ahead for with the water? I'm going ahead with a layer of water into the water and the sand space because we are going to be painting both of these together for us, then giving in the highlights using the color details later on. So I've just mixed in a little bit of the viridian green along with the turquoise blue this time. And I'm just giving you a little more green or depth to create it like a more turquoise green color. And painting it for the base layer of the sea. Using the darker tone, I will begin adding in little darker depths while this is still wet, just creating in some darker highlights. You can see I've just added this blue tone, only Tilda or sand line and not taking it in the sand space will add this and space later on. But first let's add in the darker details into the seat. At the horizon line of the sea line, I'm dropping in the darker color to get the perfect distinction between the sky and the CSPs. And I'm just going to add in little darker depths into the sea you can see just some random larger strokes to create in the darker depth. Now, make sure at this point you have the water control. Otherwise the colors will spread completely. Also below the mountain ranges. I'm going to add in a darker line so as to show a little shadow off the mountain falling in the sea because of fish. This is.com. So in this case, if you want, you can use a very dark tone consistency of the turquoise blue color like this. Or adding a little of Payne's gray tend to act as the shadow to the mountain range at the top. Now, I'm going to pick up the wrong book. Hello and quickly add it at the bottom. You are in a very light consistency, not too dark. If you want, you can even using the yellow ocher, sorry, I'm using the yellow ocher color if you want, you can use the raw umber color as well for the sand space or any tone of brown, a lighter, medium yellowish brown tones so as to act as a perfect sand color. Now on top of this, I'm just adding in a little highlight with the darker brown mixed in with little tint of white to create a little more sand kind of look. Now at the bottom-right space here, I feel that the tones are a little dark, so I'm just lifting up the colors very gently so that they're not today. But remember to not even turn them to light because you remember the watercolors dry, one tone lighter. So always be careful about the tonal consistency after. Know how will they look after drying out? Now while the sand space is still wet, I'm just going to go ahead with a little of the olive and sap green mix and add a little greener highlights here. We'll be adding in little grass detail once this dries out, but just adding in little lose details here, while this is still wet to create a little shadow effects as well, you can even use a little of Payne's gray color to add in a little shadow effect. So very simple droppings. But remember again the water control. Otherwise a green color will spread completely, cover the entire space, which we do not want it. So I'm just going to add in a little detail with this app, Payne's gray color. So just to actin as a little shadow, I'm just adding little Payne's gray droplet as well. So this will act as the shadow for the grass and the Florence that we'll be adding in later on. Also underneath the mountain range. I'm just giving you a very light highlight with the Payne's gray color for the shadow effect, my CATI is still wet. I'm able to add this, but in case if your paper has already dried or Z space this area has dried out, then be very careful about adding this or revert this piece and then add this. So I'm just blending it a little on the bottom spaces into the sea space again. And even you can just add it and blend it using a damp brush into the z-space. Because later on, when you will be adding the wet on dry leaves, you can cover up these little ball lines if they get formed. So I'm just running with a layer of the turquoise blue color again because it seems that literal of the space set dried and I was getting in patches of the color which I did not want. So you can see how simply I could just run in with the same turquoise blue color again and blending the Payne's gray well with the turquoise blue. Now again, I'm just going to add in little darker highlights of the turquoise blue because since I blended all of those again back with each other. So just some fine lines. Make sure to have the water control while adding in these details, only then they will stand out. Otherwise, they will all blend and create one flat color loop. So we are again Teddy with the base layer for the c and the sand space. Now we'll have to wait for this to dry before adding the details into this or before even painting the mountain changes. I'm quickly just going to add in little more of the Payne's gray detail here because this seems to have spread it completely and turned to light. So I'm just adding in little grass kind of a detail to actin as the shadow of other graphs that will be adding later on. Now let's wait for all of these to dry. Now everything is completely dry. It, and I'm going to begin in with the mountain ranges. So far, the mountain ranges, as we discussed in the color technique section, I'm going to go ahead with the tones of greens and browns. You are free to use any darker tones of greens and browns that you wish to go ahead for the mountain range, squeezing out a little bit of the olive green color I'm going to use in lesson of the brown tones, little of the sap green color as well. And I will just mix and match and blend these colors together and creating the details for the mountain range. So beginning in with a thick layer of the olive green color here, you can even use a sap green mixed in with a little bit of the Payne's gray color to get a darker green tone if you do not have an olive green color. Now on the right side, we have three mountain ranges, so we'll be painting one mountain range at a time so that each of the mountain ranges also standout distinctively from each other. So at the top, I've added in the green tone. Now at the bottom I'm going to pick up this light red color and blend it with the green. Then we will add in little darker brown. Now, if you do not have the light red color, it's absolutely okay. You can simply go ahead with a bouncy and non-color or row bond, amber color, any tone of brown. That's absolutely okay. It's not necessary to have the same color for these tt's. It's more about understanding the technique and the ideology behind Booking step-by-step one part at a time. Now on the edges, I've just picked up a little of Payne's gray color and adding in little darker depths while these basically are off the mountain is still wet. So you can see just on the edges, I'm just using the tip of the brush and dropping in the darker tones, CMV, even at the top space, I will just add in little. Now you can see the blue color has got completely hidden under the greens and browns. Now I'm going to paint in the mountain range on the left first, because we cannot paint a mountain range that is just closer to the right one. So we'll have to wait for this first one to dry. Now, I just added a little green highlight as well. In the right-side mountain range, you can see a lighter green color. That's the cadmium green color. Now in the same way on the left side, using in the olive green, I will just begin adding in the top detail. Then using the brown blend is now in days if you want, you can use the brown at the top, green in the center, again down at the bottom. That's absolutely a choice. It's not necessary to follow the same color layout for the mountain ranges because it's as much natural as you can add in. So there is no set pattern that the mountain has to be green on the top only and darker at the bottom. Now at the top of this mountain range, I'm just going to go ahead and define the shape a little bit, the darker tones. So I have a little of Payne's gray mixed in with brown, so just adding in the darker depths at the top. And also you can see how I'm trying to create a very random shape for the mountain range at the top, giving in that uneven shape to make it look natural. So it's very important to go ahead loosely out here to create that shape so that it gives him a natural effect. Now using a little of the cadmium green color, I'm just adding in little highlights in the center. And I will blend it well with the brown tones. Because after this we are even going to be adding in the dry brush details, which will be off the darker tones. So again, all of these lighter tones will add into the highlights when you go ahead with the dry brush strokes. Now while these two mountain ranges settle in a bit, I'm going to go ahead and begin adding in the wave details, the wet-on-dry. For that, I've just picked up a little of the turquoise blue color on my palette. I'm using a liner brush and I will just begin adding in very simple wave effect out here and give it a little wet on dry way of details that we had discussed in the technique section. So just simple ways crisscross closer to the horizon line, very smaller lines, smaller cars. And as you move towards the bottom side that's closer to you, you begin adding in bigger ways, a little more curves, a little more thickness to show the perspective view. So you can see I'm not adding a lot of the waves as well in-between, I'm using little lighter tones and some there, I'm just using little darker highlights because I want to keep the water tone or lithium soothing and the waves are little less prominent this time because we have the mountain ranges bell to create focus on. We'll be adding two simple boats elevates as well in the center, very simple one door. So I do not want to just overpower the leaves. So very simple wave highlights that you can see, but it's important to add in to give that element to the water area as well. Now next, using in the white gouache, I will give him little highlights into the water space to show a little forming effects in the water. So this time not a clear to forming effect kind of a thing, but just little waves in between to show that form effect of the way. So basically I'm trying to add in a little dry brush pattern with the white gouache instead of adding in bold white v's. So very simple ones you will see. So you can see in-between the turquoise blue highlights how I've added in these white highlights in the dry brush pattern. I've not picked up much water into my white gouache. I've just begin adding it with a thick layer of the white on top of the blues very loosely. Now I'm using a size ten by zero brush because of which I am getting in these fine details, you can hardly see the bristles of the brush here. So make sure you add these details with a very fine tip brush so that you can get in the details. The highlights also makes sure that, you know, the white gouache does not have excess water, otherwise it will not stand out opaque. Now at the meeting point of the water and the sign you can see I've added a little highlight with the white gouache there as well. Very little, not much of it. Now let's add in a little shadow line out here to show the distinction between the C and the sand space. So I'm just using a little mix of burnt sienna with a little of the yellow ocher color to create this shadow line. So I've just added the shadow line now on top of this, I will go ahead with a little white quash detail. But first I will blend this using a damp brush into the base layer of the sun. So I'm just using a damp brush learning below the line so you can see it's turning lighter and softening up the edges at the bottom space and blending in. So just using a damp brush you can see I've blended it so smoothly into the bottom science piece, which gives it an actual effect of the shadow to the waves that will be adding at the top. Now I'm just going ahead and adding in this third mountain range here. And then once both the third and the first mountain range on the right dries, we'll add in the center mountain range later on. Or you can go ahead and add in the center mountain range as well. Now, then when you go ahead with the dry brush technique, you can create a distinction. So I'll go ahead with that method. So I'm just going ahead painting both the mountain ranges for now together. But for the first one I've left a little fine lines so that it has that distinction. Then when we go ahead with the dry brush detail, I will create the distinction between the mountain ranges. Now just using the darker tone of the green color mixed in with Payne's gray adding in the highlights. So for this mountain range, you can see we went ahead with the reverse. We went ahead with Brown's first and then adding in the highlights with the green tones. So now using the green you can see I'm adding the highlights over the brown. So as I told you, there is no set pattern to be followed. You can go ahead with any color at any place to create in the details for the mountain ranges. Now at the bottom, let's add in little lose grass details. And then on top of that we'll add in little floral details. So both on the left and the right edge, I'm just going ahead with simple graphs. You can add in simple leaf details as well if you want, along with it. Same way on the right as well. I'm just going ahead with simple details, not much in detail. Just simple things to create little greenery effect onto the sand space. You can see the beach line that we added. The brown color line between the C and the science piece is creating such a realistic effect, trying to show the shadow effect of the water on the science piece. Now I'm going to pick up a lifted off the brown tone and adding little highlight with the brown color as well. So just very simple highlight using in the brown color. Now, using in the brown tones and beginning to add in the dry brush effect. I've just picked up the brown color with very limited water and I'm just trying to drag my brush given the dry brush technique. After this, we live in the adding in little dry brush using the Payne's gray color. So this is just the first layer of the dry brush. You just need to drag your brush and getting that very rough effect for this, you have to make sure your brush does not have excess water or excess paint. After you pick up the paint, make sure to dab it forced onto a tissue so that the excess water and paint is absorbed by the tissue. You can see I'm holding a tissue in one hand so that I can quickly just get rid of the excess paint and the pigment. So now if you have a close view, you can see how I'm just picking up very little pigment on my brush with no water and just trying to drag my brush out here to create these dry brush pattern onto the mountain range giving you those rough patches of color. Now seeing the aspect of the Payne's gray color to begin creating in the patches here. This will give him the natural detail to the mountains. So in-between you will see I create some very fine lines and then giving less of the dry brush TTL. So with a closer view, you can understand how the dry brush pattern looks like CMV onto this left mountain ranges. Well, I will quickly go ahead, add in the dry brush details. So you can see how the dry brush details create the natural effect onto the mountain ranges or the rocks. So at the top I first giving a little line details and now just dragging my brush, giving in that dry brush detail, I'm repeating, it's very important to have the water control. That is, your brush shouldn't have excess water nor excess pigment. Only then it will give you these dry patches to act in giving in the natural effect. So keep a tissue or a rough plot handy so that you can always keep dabbing in the excess water and pigment at certain spaces. You can see I added clear dark patches of the paint to give him some texture as well. Now I'm just going to go ahead and quickly defining these two mountain ranges onto the right-most side here. So I've just gone ahead and I'm going to pair these mountain ranges. One only I may not create a distinction point, but I've separated it from that first mountain range on the right completely. Now using the Payne's gray color, just adding in a little of the texture on this as well. So I just went ahead with a little more texture onto this one as well because I found it a little less so just add a little more texture. Now using the Payne's gray color, I'm just going to simply add in a small boats hello, hit into the center space of the mountain ranges. I will add in two of them, one towards the left, one towards the right. You can see a very small silicate that I've added trying to show it's very far from us. That is the horizon line is also very far from us. And just adding in very light Payne's gray highlights into the z-space to create some darker effects. Very little, not much. And you can see the color is also not too bold. Now the last thing that we are left to add in a little detail with the flag. For that I'm going to pick up a lot the pink tone mix it along with the white gouache. So before adding in the floral details, I've just gone ahead with one more layer of little darker green strokes. Now I'm lifting up a little of the pink color which is already on my palette and I'm going to mix it along with the white gouache and adding very simple dots to actin as the Florida. So I'm just going to add in the florals or into color tones. One's going to be this light pink. And then to these, I'm just going to add in little darker tone to create one more darker variation for the floral effect. Now, just adding in a little more darker pink color, you can see again the white quash is there so that this color stands out opaque onto the green tones. Mary's simple technique that I'm using to add in a bunch of florals, just dabbing the tip of my brush to create that loose floral effect out your wildflower detail. And that is eight, we are ready with the class project for d5 are pretty beautiful, mountain range view of the beaches. So now let's remove the masking tape. Make sure that your edges are completely dry before you begin to move masking tape and always remove the masking tape against the paper. I hope you guys enjoyed painting this beautiful mountain view beach painting with me today. And understood the technique of adding in the dry brush and how the dry brush patterns can create so much texture and depth into the painting. You also closer view at the completed painting, you can see the small silicates of the boards, the floral details, the details on the mountain ranges. I hope to see you guys into the next class project, as well as all of your paintings to allow into the project section of the class. Thank you so much for joining me into this class. 15. Day 6 - Sunset Beach - Color Palette: Hello everyone. Welcome back to D6 of these 15 day beach painting challenge. Today we are going to go ahead and paint this beautiful sunset beach. So let's go ahead with the colors that you need first and then move on to the techniques that you would need to understand to create in today's class project. For this tie, as you can see, we have the tones of blue and the yellow. So you can either co-head with Prussian blue color or a serine in blue color as you wish to. I will go ahead with a little bit of the serine in blue, a little indigo and violet tones. Now in case if you do not have the indigo color, you can simply using the Prussian blue mixed in with a little bit of the Payne's gray as well. So these are the colors in the sky and for the yellow, orange tones I'm going to be using in the Naples yellow color, as well as a little bit of the yellow orange tone. So you can go ahead with any yellow orange that is available in your palette. Or you can mix in a little off the vermilion and the yellow tones to create a yellow orange color. Now the C is going to be a reflection of the sky. So the same colors as the sky, blue, violet, yellow, and a little of the turquoise blue color that I'm going to use at the bottommost space. So you can either mixing your blue and yellow to get a greenish tone directly, use a little tent off the turquoise blue at the bottom in the CEO there in the sun. I'm going to use in the raw amber color. Now again, you can use in a yellow ocher mixed in with a little tinge of brown as well. If you do not have a raw umber color. And then for the shadow line, as you can see, I'm going to use in a little tent of the bond sienna color. Now for the green spaces, I'm going to be going ahead with the sap green and the olive green color. Let me give you a closer view of the green tones so you can see it's a little hint of green and then texture with the Payne's gray color. So I am going to go ahead with the sap green color and then adding the highlights using the Payne's gray color or the indigo color. Now again, if you do not have an indigo color, you can simply use in a Payne's gray color. You can either use sap green, olive green as per your availability, both the colors will go in when you just need a medium tone of the green first and then texture with the Payne's gray. Same way even in the bottom spaces, we are going to go ahead with the same details. So these are about the colors that you need for today's class project. Now in the next, let's discuss the techniques that we're going to go ahead with. So far the sky. We are going to go ahead with the wet-on-wet technique with a variegated wash off the blue and the yellow first. Then we'll go ahead with the water control technique, adding in the Cloud details into the sky. So all these Cloud details using the violet, indigo and the yellow orange tones for the CV are going to go ahead with the wet-on-dry details. No wet on wet weight waves details this time. These other little details than the dry brush technique using in the white quash that will be going ahead with the greens as well. We'll be going ahead with the wet-on-dry technique creating in the deck. So these are about the techniques, the wet on wet, wet on dry water control and how we are going to proceed in. So these are all about the colors and techniques for this class. Then we're going to add in little splatters with the Payne's gray color to create depth and natural detail closer to these green details that we've added in. Even at the bottom here you can see little patches of the greens that will be adding. So grab on your colors, get them ready onto your palette. And I will see you guys into the next lesson where we created this beautiful class project together for D6 of these 15 beach painting challenge. 16. Day 6 - Sunset Beach: Let's begin in with our class project for D6. I have my paper taped down all the D. We are going to begin with a very basic pencil sketch marking the horizon line, distinguishing the sky, the C, and then adding in the details one by one. Now in the C, I'm going to be having these two spaces which I'm going to show in as the grass or muddy area. And at the bottom we are going to be having in design space. And then design space as well. We're going to have in these bottommost spaces as the greenery spaces. So I've marked out this space is the top is the sky. This is the area. These two are small greenery patches. This is the sign space and at the bottom again on the edges we have the greenery spaces. So this is about the pencil sketch. We'll first beginning with the sky. We already discussed the colors for the sky. The colors for this guy are going to be yellow and blue and a little tent of the violet color. I am adding in a little tent, often Naples yellow on my palette. Now, this is kind of a pastry yellow color. You can simply using a yellow tone mixed in with a little tint of white as well. Next time squeezing out a little bit of the permanent yellow orange tone. Now in case if you do not have this, you can simply mixing a little of yellow along with our little tint of the orange color and getting the similar kind of a tone for the browns. I'm going to go in with a little bit of the, set it in blue. You or you can even go ahead with the pollution blue color, as we discussed, to not go ahead with either ultramarine or a cobalt blue. Preferably try for acetylene blue or Prussian blue color. And lastly, I'm squeezing out a little bit of the permanent violet color as well because we are going to be adding in little blue violet highlights, wherein we'll mixing the violet along with a little tint of blue to create the details. So these are all the colors that you would need. We've squeezed out the colors already on a pallet because when to begin painting the sky, it will be very difficult to wait to squeeze out the colors. So make sure you have everything ready on your palette freehand so that you can go ahead and add in the details altogether. Now, I'm just squeezing out a little bit of the indigo color as well now in case if you do not have the indigo color, that's absolutely okay. You can simply using Payne's gray mixed in with a little bit of blue and use that color directly. So now I'm going to go ahead with a layer of water onto the entire sky. Now I'm going ahead with an even layer of water throughout. Make sure that you have an even layer of water so that while you're working wet on wet to add in the details, your paper does not dry unevenly giving you a rough patches. So I'm running my brush multiple times despite using in 100% cotton paper so that my paper stays wet for enough time until I can add in all the details. I'm first beginning with the Naples yellow color closer to the horizon line. And then onto this I will be adding in a little highlight of the yellow orange tones as bad, but false beginning in with a pistol yellow. Then at the top we're going to have in the blue tones on which we will be having in the highlights with the blue violet colors. Now at the top, I'm beginning with the surreal in blue color as you can see and creating in the highlight. Now make sure you do not blend the yellow and green, yellow and the blue tones. Otherwise you will have in green tones. So you need to leave that little white gap in between for blending it naturally. Now I'm picking up the yellow orange tone and I will begin adding in highlights on the yellow color. Now makes sure that this point you have the water control, the water control technique that we discussed only then you will be able to have in the effect of these tones. Otherwise, they will cover up the entire space and will not stand out distinctively. So very carefully as you can see, I've just been using the tip of the brush and blend it all of these together. Now to my said elan blue color and beginning to add in a little bit of the indigo color and a little hint of the violet color to create a bluish violet tone. So you can simply mixing a little of a Prussian blue along with the violet color to get this bluish violet tone. Again, using in the water control technique, I'm just beginning to add in the strokes at the top, the afternoon some Cloud details into the sky. So at this point as well, It's very important to have the water control only then will you be able to get in these Cloud details. Otherwise, the paints will just spread out randomly and cover up the entire species and give you one flat color look. Now I'm just going to keep on varying this color mix. So I'm just going to increase a little contents of the violet color so as to get in some different shades of blue violet tones here. You can see I'm adding it very carefully closer to the blue, yellow tones so that we do not have any muddy tones form. Now, even on the yellow orange tones very carefully with a light hand, begin adding in little of the blue highlights of the Cloud details to show the perfect sunset effect kind of a detail, as well as the perfect blend between the clouds and the sky. But you need to go in with a very light hand if you want, you can add in a little bit of the white color that will make it not form a green tone in case if it's difficult for you to add in naturally. Now using a damp brush, I'm just blending the bottom of these Cloud details that we just added in. Now next half just mixed in a little bit of the violet and the indigo color. And I'm just adding in some darker highlights into the clouds. So you can see how step-by-step we are creating in the darker details. On the top-left side, I'm letting the lighter tone of the sky be there because I just want some darker clouds only in the central and the right spaces so as to show that perfect sunset kind of an effect. And in the rest of the top space on the bottom, I'm letting the yellow and the blue be there. Now wherever you feel that, you know, you need a little of a color highlight, you can go ahead with the color. I didn't little highlights as well. So using the yellow tone, I'm just pulling in some highlights into the blue, trying to show in some sundries kind of an effect very lightly. But after every stroke I'm making sure to clean my brush so that the blue color that gets added onto the brush does not get paid back onto the yellow, orange tones creating in a very muddy kind of a texture there. Now this last yellow highlights that I added in the center, local little muddy. So I'm quickly just going to go ahead with a darker tone of the blue tone and cover it up there so you can see how simply you can use a darker tone color and cover up these pieces if you feel any of the spaces blending is not looking smooth and you know, appealing. So closer to the horizon line, I'm again quickly just starting in the rest of the highlights of the yellow, orange tones. And we are ready with this guy, but almost just a little more highlight. And then we'll have to wait for this guy to dry before we paint in the area. Because after we paint in the C will be painting the green patches that we are going to show in the z-space. Now let's wait for all of this to dry completely and then we'll move ahead further with the next layer of details. So now my sky is completely dry. It after drying the sky looks a little unsatisfactory to me, but I'll just move ahead with the process and paint the sea area as well. And after wards at the end, we'll judge whether this painting went ahead as per expectations or noon. So I'm mixing in the violet and the indigo color. I'm going to begin adding in closer to the horizon line. So as we discussed in the technique section, the color theme for the C will be forced, will be having in this blue and violet tone closer to the horizon line in the center will be having a little of the yellow highlight to show the yellow color of the sky falling into the sea. And add the bottom-most piece, we'll have a little lighter, greenish blue, kind of a color tone. So accordingly, I'm just going ahead with that phones. So I added a little of the color closer to the horizon line. Now since you are, you can see I'm going ahead with the wet on dry detail. That is my base layer paper was completely wet and I'm going ahead with dry details on top of it. Now that I've added in a little of the Naples yellow color in the center space. Now at this point, I'm not worried much about the green tones being fun because when I add in the wet-on-dry details, I can cover them up and, you know, creating the perfect blend as well happening. Now using a little off the aquamarine missed or the turquoise blue, I'm adding it at the bottom-most piece. Or you can mix in your blue along with a little tint of that green. They're having a greenish blue color. And add in your. Now I'll quickly go ahead with one molar of the colors and blend them well because watercolors dry or tone lighter. So I do not want these also to dry lighter just as the sky tones. So I'm going in very carefully first only with the sea colors here. Now while this is still wet, I'm going to go ahead with the mat area as well. So for that I'm using the raw umber color. I'm directly using it from the tube itself because I need a very little tense. I do not want to squeeze out extra paint and wasted. So just a little tent and spread it across. Now, if a little of the thins coincide, the green space for now it's completely okay because as you would have seen, the green spaces are going to be of much, much darker tones, um, so, you know, they will get covered up completely when we go ahead with the green and the Payne's gray tones. Now let's wait for this layer to dry, then move on to the last layer of details. So now my base layer of the sea and the sand is completely dried. So let's begin adding in the detail. So with the waves and the greenery patches that we are going to show in the sea and the science piece. So I'm going to squeeze out a little bit of the sap green color. I already have a little off the olive green on my palette. So just squeezing out a little of the sap green color. Now using a bowl consistency of the sap green color, I'm beginning to create in a greenery patch in-between the sea bed. So you can see, I'm just going ahead with very rough edges at the top and even at the bottom, I'm going ahead with a very rough patch detail. And then later on we'll go ahead add in the details with the highlights of the Payne's gray color as well. So now if you have a closer view and if you see, you can see how I'm trying to give him those bottom line strokes to make it look natural. So try adding in these little, little national details which makes the painting look more natural and realistic. Now, in the same way, I'm going to go ahead with the green details onto the right-most side and then at the bottom spaces in the signed area as well. So go ahead very carefully. This is just the first layer onto this. We are going to be adding in darker details. Now for adding in darker details, you know, it's not compulsory to using the Payne's gray color only you can go ahead mixing a little of the indigo with the green to get a darker green tone. You can even mix in a little bit of the brown color to get a muddy kind of a green tone. And go ahead with these different tones of greens. I'm going ahead with a little tent of the Payne's gray color just adding in little highlight wet on dry, wet on wet. So the green color is still wet onto that. I'm just adding in little off the green highlights as well. So on the right side here as well, you can see how I'm trying to create in the natural loop by giving in these very rough edges. So make sure you go ahead with these little details to make your painting look natural as well as realistic. We are still left to go ahead with the waves details, the details into the sun. So we'll walk one-by-one onto them for now. I wanted to let the waves, sorry, the first layer of these green spots trial. That is the reason I'm adding in this first player and then we'll begin walking onto the waves. So even at the bottom spaces, you can see I'm just going ahead filling in the green spaces of the areas that we had marked with the pencil. The pencil sketch may not be visible to you, but we remember the spaces in which we are supposed to add them onto this as well. I'm just going to add in little darker highlights with either a darker green, Payne's gray, indigo or brown tones. However you wish to make it look natural. Now you can see I'm adding in the dark or highlights in such a way that the green tones are still visible. So you need to do three different green color variations to make it look natural. So add it in such a way that it does not cover up the entire space that you've already added in. Now in the same space I'm just using in the darker green tone and adding in some rough patches to show in some smaller green RDDs onto the grass as well. So you can see very rough, natural just using the tip of the brush, dropping in these smaller droplet details to actin as the grass spread across into the sand space randomly. So these are little, little details that make it look more natural and realistic. So on the right side I've added very limited one, not much of it because I want to let the sand space also be there. Now I've shifted to my liner brush and I will begin adding in the details into the veins. So let's begin adding in the details one by one into the waves. So closer to the horizon line, I'm going ahead with the same mix. That's the violet and the indigo color and beginning to add in very fine lines. So closer to the horizon line, I'm going to show these waves are very small because they are very far from us. So you can see the tiny lines that I'm adding. It's off the self color that is of the base layer color only that we had added. One by one. We'll keep on changing the color as we move towards the bottom side. But you can see for now, this is one tone darker than the base layer. Only then will it be visible perfectly. Make sure to have your color combinations accordingly so that they are at least visible. Once you add them on the lighter tones, I'm giving the bold line on the horizon line so that the horizon line is visible distinctively. So very carefully you can see I'm adding such small, small strokes closer to the horizon line so as to show the perspective view. So make sure that you go ahead very carefully and do not rush in with the details. Now you can see as I'm moving towards the bottom side, I'm increasing the length of the ways in-between. I'm even adding in some ticket waves are anti more coffee tones to the V is trying to show these waves much closer to our views. That is the reason visible and much clear angle and the detail of the waves. So I've added a bunch of the thick waves first. Now in-between these, I'm going to go ahead and add in the lighter ways. Now when you are adding in the waves with this darker tone on the yellow tone makes sure you do not cover up the entire yellow color. Let the base layer yellow color be visible in between. So go ahead accordingly in such a way that in-between the yellow strokes acting as the yellow color into the area. Now as I will move further towards the bottom side, that is towards the aquamarine missed or the turquoise blue color. I will increase the length of the waves, the depth of the waves, the thickness of the waves. Again here as well. You can see your I've added into thicker waves and a plus the length of these waves are so much or longer and thicker as compared to the top ones that we added. Now in-between these, I'm going to go ahead with the same or Tino VMs but in longer in length and fill up this PC. So some of these takeaways are just two actin as the depth to the ways. So you don't need as much of it but little of it so as to show the depth of the wave. Now at the bottom here, I've added a little of the aquamarine color into the veins, or you can use in the turquoise blue color or just lighten up this mix of the violet and the indigo mix to create in some lighter weight so that the accommodation and the yellow tones are visible perfectly. Now I'm just going ahead with little veins wherever I feel after drying the waves are looking a little lighter. So just going ahead with a little more layer on top of it. Now I'm going to squeeze out a little bit of fresh white gouache to add in the details. So make sure that you have fresh white gouache and not access watery white gouache or reactivated because it turns are less opaque than once, then these dry out, then it will not have the same opaque consistency. At this meeting point of the sea and the sand, that is a little where both the colors are blending into each other. I'm adding in this shoreline kind of a detail wherein I'm trying to show in the foaming effect of the water at the beach. So just going ahead with this white line first and then on top of it, we'll just give them little dry brush detail. Now on top towards the water side, I'm just going to add in very simple or dots this time to actin as the foaming effect. Every time you can see we are trying to use in different methods to show in the form of fat. So this time I'm just holding my round brush perpendicular and dropping in this D. D is very casually you're so across the entire pipeline that we have added. I'm going ahead with this kind of TTL to create in the deck. So if you want, you can even go ahead with the dry brush method, just adding in little dry brush. But I wanted to give in a little different effect than the dry brush detail. That is the reason went ahead with very simple dropping method this time just using the tip of the brush and creating simple dots. Now using the white gouache, I'm just going to add in little highlights into the waves as well. Now towards the bottom side, I'm just adding in a little of the white quash and I will use a damp brush and blend it into the base here. And then we'll be adding in little detail or with the darker brown tone to actin as the shadow. So that is the reason I've added a little white color there to show little forming effect as well into the shadows space. I'm just adding in little highlights into the waves again, I've shifted to a very thin brush. I'm using my liner brush size two so that I can get in these 5D the fine details into the veins creating it. Now with the same liner brush, I've picked up a little bit of the burnt sienna color. You can use burnt sienna, brown, red, light red color, or a brownish tone, whichever is available in your palette. Now on design space, I'm forced giving you a little texture with this color to show in little different tones of the sand as well. And then I will create in that shadow line on the water space that we have discussed. You can see it's very simple dry brush technique that I've used again to add in these details. If you want, you can just add in a little bit urine there. It's not necessary to add it across throughout. Now using the Payne's gray color, I'm just beginning to add in little texture onto these green patches that we created inside the seabed. So I'm just using in the smallest size brown brush. This is a size two or size three round brush. And I'm just giving little dry brush detail with the Payne's gray and creating in little patches as well with the Payne's gray color to give him the debt. So that is the reason I had painted these green spaces first so that by the time we add in the ways these details dry out so that you can give him these dry brush details as well. So at the bottom side you can see how I've added in these darker details of the Payne's gray color creating in that distinction from the z-space, giving it a very distinctive colored cone. Same way even on the right side, I'm just adding in little of the Payne's gray detail, little texture with the Payne's gray color. So these are little details that create the depth inside the painting, giving it to the detail under realistic view. Now, once I have done adding in these details, I'm even adding in little of the highlighted details with the Payne's gray color at the bottom side. And now I I'm loving the sky as well along with the CDDs. So that is the reason at that point I told you to not give up. Now using the little Payne's gray color, I've covered the remaining spaces and just adding in little splatters. So you can see a little of this platter did go into the sky. I will clean that up as well. So just a little towards these are two green patches in the sea adding in little dots to actin as very small random or what we call the rock effect. You can see so many tiny kind of Iraq detail that I wanted to show you. So I've quickly add a little white patches there and I will dab it with the tissue so that the Payne's gray color from there it gets lifted up so that there is no patch left out. So you can see how you can clean up these small spaces. Very simple tips and tricks, but you can get in good effect if you create such small mistakes. Now I'm just using the tip and adding in some smaller black dots randomly urine there to actin as smaller rocks or grasp pieces into the sea area as well. Now the last detail before removing the masking tape that's adding a little shadow line underneath this white line. I'm just adding in a small bond CNR, the light red color line, and I'm going to blend it using a damp brush into the bottom space. At this point, if you let the line be bold, you can see how it looks weird. So I'm just going to pick up a damp brush now and using it, I'm just going to blend it into the bottom spaces. And that white quash you can see is lightening up the bottom space as you're blending in. So that is the reason I'd added into that little white color space and Captain, because it would help in blending this. So at certain spots I'm just adding in little blue highlights as well into the shadow to show a little water effect of the shadow. Now at the bottom, if you feel it's not blending in well with the US Science-based, just use a damp brush closer to the sun space and blend it well. So you can see the blending has happened smooth. I do not have any rough patches anywhere, and even the brown spots are visible perfectly. Now I will just given the bold white line again to show it bold enough because it got covered up with the blending process. So now let's carefully removing the masking tape and see our final painting. Make sure you remove the masking tape once your edges are completely dried and always remove the masking tape against your paper. And go ahead very slowly because the green spots may still be wet if you haven't waited enough for it to dry completely. I'm going to hit very carefully peeling off these spaces. So here's the final painting of D6 from these 15 beach painting challenge. You can see now the sky and the sea all are looking so well in sync with each other than what it was looking previously when you just painted the sky? Do I feel this guy could have been a little more better, but I'm satisfied with everything altogether put now. Never give up at any stage. And I will see you guys in to the next lesson now. 17. Day 7 - Pink Sunset Beach - Color Palette : Hello everyone, Welcome back to T7. And today we are going to be painting this beautiful sunset beach. So let's have a look at the colors that you need for this class project. So first for the sky, as you can see, we are having in tones of blue, line it, pink and the yellow tones. So for this guy, we're going to beginning with the tones of blue. For blue I'm going to use in the pollution, do our cobalt blue color for the pink, I'm going to use him though, are brighter color mixed in with the yellow, orange, I'm going to mix in range. And then the poeple, you wouldn't be needing in bright color to mix and create lighter and darker consistency is for hiding the details. Then the C is going to be a reflection of the sky color sets the mood and the violet. For the green spaces we're going to use in different tones of green sap green, a little yellow highlight, and the Payne's gray color. We'll have a closer look at what the space we have the Payne's gray highlight in the sense of what these green spaces. So this same green bones lived on BPOs into the families. So next for the signs of space between eating in the drop box in. If you'll see as much space, your on-site effects. We're going to add in these thoughts on the back of a clean and to show the night effect of your window with the yellow and white space. So this is about the followers and border-box of the pixels. Along with white. I'm going to highlight the effect of this by calling Jesus. Then this is about the carlos that you need. And very simply, I know the last part is simple. Now, one of the techniques of this class we are going to be using clean ago obeyed on wet technique for painting the sky. Then using the water control techniques, we'll be adding in the Cloud details, bet on red. It's called the Cabo. We're going to go wet on wet and then go ahead with the wet on wet PBLs as bad in two layers will be adding in the views as well, but all wet on wet. For this piece, we're going to paint wet on dry very small spaces to add on. The same space we'll be painting along with the CAD only you can see us off. And then we'll be adding in these die once the sky is completely dry. So this is about the techniques that you would need for this class project, the colors that you would need. In the next lesson, Let's begin creating in this beautiful class project together. This brain region is one of my favorites from the 15 meter, meaning CDs that we're doing for this class. I will see you guys in the next. 18. Day 7 - Pink Sunset Beach: So let's begin with our class project for D7. We'll first beginning with the pencil sketch. So I'll begin mocking the horizon line. First. On the horizon line, on the left side, we are going to have a little greenery space. So I'm going to mark out that space as well, which will move a little into the sealant to just taking it a little below the horizon line. And now at the bottom I'm just going to mark out to nine for the wonder. And the science base. To the top area is going to be the sky onto which we're going to be having in a lot of palm trees. So I'm just marking out the palm trees. One which I'm going to have on the right side, two to three of them on the left side in the same type and let it be this time to see me. Go ahead. And on the left full stop on that. I'm adding just one small part of that is just mark out the pencil sketch for that has been betting. I just think that nothing is now being mixed in with this guy for us then. So for this guy, we have all heard me. So I'm going to go ahead for the day. I'm gobbling up. Even though, you know, box of nifty thing is we are going to go ahead. And I didn't or masking tape. Or you can go ahead and just lift up the water, get from what I've heard me. Try my best. Just to avoid in those white spaces. Now forced them to the right of Beta. So far the pink tone, if you have a brighter colors and veiling good, or you can simply mixing crimson with a little off white and yellow, neon pink color. So I have mixed in a little of fight to this as well. And I'm just going to begin adding it first closer to the horizon line. Now, I'm going ahead with a yellow orange color. I'm just off the oranges and mixing or very little orange ball. So in case if you want, you indirectly use an orange mixed in with white. Just adding a little yellow. Now closer to the big, just adding in one interview stops we are going to have in the open and the wind and dust and added up the pink and orange, bright white closer to the horizon at night. Now, It's basically on. I'm just asking if not, let's go ahead and added a little bit highlights that leak in between before we begin moving on though. So I'm just adding in a sleeping in these highlighted pieces, specifically much more closer to a yellow color so that we do not have any money when we add in the white ones. Now Father, I'm going to hit the city. I love it. I, on my palette. You can use in our mixes the city. Now I'm just mixing in a little bit of the prominent by the phone and going and filling it up. Now this is just a false view of this pilot. We are working on BMI going ahead with a lot of females and we still have to add in a lot of clouds. Just forehead very loosely and make sure that your paper has Stephen for enough time so that you can add in all the media's wet on wet. Now just picked up a little of the violet color, adding in little violet highlights over the blue and the pink cones. Mark. Make sure you add it in such a way that you do not cover up the tones completely. Class closer to the orange and yellow to be a little careful with the violet color so that you're not forming any muddy. Now Father, cloudy day and I'm mixing in the violet along with the pink, along with the white wash and Bell, but in a face to violet. Now, with this, I'll begin adding in the Cloud DB is coming about me. Make sure I have to work that otherwise have been to just begin. And now you can see fingers be having extended quite hard for the audience. If not giving you money. Now just using in the paper was monocytes, but I try to add the clouds. And just beginning to be going into the cloud says the phosphate of spouse that fabric short, Who has the public was also make sure that you do not do this. He makes that fun. I don't talk about this. I'll just begin building, but in such a way that I covered the entire Cloud. Now if I add more darker tones, might be, but that is the reason I'm even add all of these wet-on-wet. But in case if your paper has already begun to try drawing a week for it to dry completely and go ahead with the reweighting technique. Now I'm done adding in little highlights in Victorian better but I feel the little stones to mark on the rightmost side closer to the horizon line, you can see the yellow highlights speaking from in-between the violet, now in-between the violet clouds as well. I'm just going ahead with these clouds giving a novel color variation to the Cloud details as I'm just using a round blender brush and I'm just going to softly blend all of these onto the pages and they're not ready to not have me just go ahead and use it as a strong freshwater mop brush. And just I'm Glenn, the edges of the sky of it. Now let's wait for this type of dried. My sky is completely dry. Then I will go ahead and painted. So far. I'm going to go ahead with the neuron and the dance pieces fit. I may open your eyes in the time that they can either be on the bottom of this gene, the effect that we'd be adding effects. So for that you need that you have the nicer moon's light. The sign on the back of the t-shirt on the left in any of these based on their behalf, the thing in the sky on the left side and on the right, I'm going to have it mean to be the blue and the white. And then we go ahead with the video now and do the CBD. I'm not eating in the morning stones at all, but in case we need, we'll just add in a little highlight later on. For now, I'm just going to go ahead with the blue, violet and the pink dots. Now all these three colors go well with each other because Ben, pink and the blue meat and you'll get in a tone of purple and white blood cells then stay purple out there so you will not have in any muddy tones as well. So you'll just be having indifferent also find it. Why did man pink and red, violet. I have added in the basically all now on this we need to begin adding in the wet on wet. Sky is still wet. You need to add in little bit because this time we're not going to be going ahead with the wet-on-dry. I've just picked up the wrong number. And I'm just adding in the face of science, pizzas, nightly or 1 oz is glowing effect of the light and not added there. I'm just adding units. So I still have that night. Now on the edges, I'm just going ahead with images beats me highlight, mixing in different routes that split. Spacing the central night. Create a more diverse piece by using invite for fun. Now have to skip that. Once the night that I did. In case if your partner has gone in there, you can lift up the shadows as well. Now I'm just adding even more ghetto and white beans mixed with darker. I'm just added in there. So you can mix in whitewash along with a little bit of yellow and add your own. And then they just with themselves. After moving. Now using the wet on wet ways, using the water control technique, begin adding in the wave. So I'm beginning with a violet color. Make sure you have the water control. Otherwise the waves will spread completely and just give you one flat color, blue. Also, make sure that your paper is still only then you will have these bird on that pFET looks, I'm going ahead with the pink tone highlight. Onto the left side. I just added a little bit violet color. You can directly using a red color to begin adding in the details here. In-between, I'm even going ahead with that. Little highlights. You can see even on things Given the white and color highlights. But for now I'm just going to live in Britain. Morphines be highlighting this time please, and let me go ahead and say, well, maybe that is the reason I'm even given all of these people, they're not going to be adding in any whitewashed or if things are moving. Thank you for being pulled me into the veins. I'm going ahead with one for me so as to give it a little more depth. So after every meal you can see I paid for a few minutes, go ahead with other details in other species and then come back and add in another layer of details so that I do not overdo the details plus the force of details or settle in a bit so that I know what kind of a layer I need to add in again. Now on this side, I'm just going to add a little more off the pink highlights. Now we'll wait for this to dry completely and then move ahead with the next layer of details. Now let's begin painting in fees on the horizon line. Now when I begin painting in this green space, I would not add it into the box p. So this section by section, because this green card opens and release it in the box, which I do not want. The G box as we discussed in the private section. That means kidney. So then the greens will be visible in the violet. So it's better to go ahead with painting in these green spaces five-by-five. To have begun in with the biggest part in the center space and just started the smallest piece on it. Now onto this green as banner beforehand with different goals. So I'm just going to hide this means today. So you can either mix it in a couple of main audio isn't anything you want. I'm just going to use in a mix of thinking. Now, as I'm going towards the bottom side, you can see I'm even defining the shape had to call time In visit of his doctorate. But making sure they're not having excess off the stack is one. Otherwise the light would get covered up at the top. Austenite. Now in this event briefing in this part onto the right. And I'm going to take even a little towards the right side of war with the Payne's gray indigo color or the brown bone. I'm just going to extend it. You're a little towards the right side as well. But you can see as I'm moving towards the right, I'm diminishing the height completely and daunting and very small in size. Now I can just go ahead with this in more detail in the same speed. When they get a little further, I'm just dropping in between the highlights. Those pieces, as I'm doing all of these y's directly, you can see how they get their fellow just blend in with the Benin highlight. It doesn't just using the Docker going up, just going ahead and adding in the beginning and then add some species given many dopamine. Now in this center speeds as needed in the darker spots. Now let's begin adding in the box one-by-one. So as we discussed for the box, I've clicked the mixin bite, bite it off the beans green, violet. And I'm going to keep using this morning different color constancies the first time beginning in with the lighter color, and then I didn't use a darker tone to add in little darker. So for obesity, I just started with a lighter tone. Now you can see I'm trying to think the shape of the buck very natural, very Coby, as well as very rough edge. I'm not keeping it into a straight line. So using a damp brush, I'm just painting it into the bottom space of the Sunday they're trying to show this vessel didn't do the sign space. So just using a damp brush to blend the bottom of this tree. Now I'm going to pick up the darker tone and begin adding the darker highlight. The highlight on one side, the left side. And I haven't I haven't seen them both in the board. Speeds. Again, I don't want them making it look perfectly. Now this end of green space looks at it and then I'm just going to go ahead with a damp brush again so that does not have any sharp edges because of uneven drying. Isps. And you can see now they get to try it out. The most fun, I've just got the board and the lighter. These giant, I don't know this one. I didn't get anything. Onto the base of the DCP out again gets us. How good the same mix of the violet and the white color, I'm going to hit boxes. And on the left side of the foot that I'm one of the data. Now one believes box I think in orange and the pink highlight, light falling on the bottom of the tree as well. So I added a little yellow, orange color now, adding a little thin. Now on the edge I will give a very fine line with a darker tone again so that this is not look uneven or an unfinished edge. Now I'm giving in this darker don't detail, you get C and it's blended in bed. So we just have that very little sneaky make me highlight. There. I'm going to go ahead with this last box are the three that we have in the left side. So in that also foster, go ahead with the same color mix of the violet Payne's gray and the white color. Then I will hide in a little pink highlight as well on the left side so as to show this guy fellows colleague in Europe as well. Now on this one as a block inside I'm going to show, and I thought I wanted to show that effect of the light, of the thoughts calling a ligand onto the evening in the middle, Watson, right? Now I'm just going to add in a small thing highlight on the left side and then adding water. So now I'm adding in the data highlights. You can see on the right-hand side, not much of an actor. Because I want that light. Using a damp brush. I'm just going into the base of the box and the light effects of see that we have with right. Now I'm just adding in Winton warping. What's this one I just wanted to say. And I have to get this Ts when science-based, they're using a damp brush. I can click the plane that as I'm almost done blending besides well into the bottom space very quickly. Now, we'll go ahead and move on to the palm leaves. So the for the families are going to go ahead with simple tones of green and yellow as Ben, and just some darker tints as well. And after that, we'll add in the torch effect because we need them. Wait for this backup, the key to drive on meeting before we add in the effect, I'm done adding in this perfectly good effective means you have taken out the Mouton towards less than right side and blended it well in subordinate space, showing it perfect. Now let's add in the properties for that. I know my line of that phrase, scooping up enough paint for me. I didn't Oh God. The Father me if I wanted. Thickening is just simply out and let's see how I'm making. One of the big money is needed. Symphony Hall. Now asked to both of these dry, I'll go ahead with a little more color variation, least. Until then I'm going to go ahead and add in the leaves onto the trees on the left side. So in the scene, I'm just going to add in little leaf. I don't want flower. You'll get z because I knew it would have been nice. I get the top of this thigh a little wet violet tone. That is not just the females there because I knew I didn't deviate defect. Their poverty me. I've added one of these D that's better for now. And I'm adding water. All crisscrossing each other as bent. Then I've shifted like that one at the light. On the lift force, as I knew, we're not going to be adding in the leaves now has shifted into the right. And I'm just going to add in all of the copies they did with this yellow, orange light color. So onto the right side, I'm just going to add a little highlight on to the greens with this yellow, orange color. I will not add in any further leaf detail because I feel this leaf is enough. I do not want to make it louder with a lot of people, but if you want to add in little more details, it's absolutely your choice. Now, I'm going to go ahead and add in the short term for that and using the technical pen, I'm just going to mark out as my rectangle and this muscle but underneath that. And then we will add in the media as with the whitewash to die. So I've just marked it up with a pen. Now I'm just going to fill it completely with the Payne's gray color. That does give any missing bizarre scheme. Now at the Martin and adding in a small white kind of getting that light effects morning, noon, and night species that are designed together. Just like riding a bike. Picking up the white dwarf, god, ****. I click, replace it with the base, that we do not have any sharp edges of the pattern. Now I'm just going to highlight one. Before that he was either mix up the white and the white point with a little bit of dusty. So as I know Luby not be using in any way. I'm just using in a very lighter consistency. You're forgiven the distinguishing point. Last week before we remove the masking tape, I'm just going to add in small highlight onto this torch so as to give it a little dimension and blend it better to just little lifelines to join a little effect on leading onto the torch space as well. Hello, so that it does not stand down labeled white line up there and just giving it a new edge. Now, I'm just lifted with the last thing that I'm using the light of the violet and a white color mixing Payne's gray and giving you little effect on this last bar on the left. I needed in that finite using the right Ben, now, I've just thought that that was the fact that I'm closer. Look, let's remove the masking for D7 as bed. Make sure once you register from the title that you do not lift up the ones. I find that meaning for these seven. Close the loop, you can see how pretty this thing is fine. By far my favorite. So far. Thank you so much for joining me into the class. 19. Day 8 - Walkway - Color Palette: Hello everyone. Welcome back to day eight of the 15 days beach painting class. Today we are going to be painting this beautiful greenery, sunny day beach painting. And if you have a look at the colors in the sky, It's going to be a beautiful sunset color tone sky using in the tones of blue, yellow, and then a little bit of violet to add in, a little cloud highlights, along with a little bit of the orange tones. Then moving on to the greenery spaces, you can see a lot of green tones depicting the summer vibes. And then we have in the beach space as well. So in the sky you can see we're going to add in the Cloud details, wet on wet, using in the orange and violet colors. So first, begin with the sky. I'm going to use in the civilian blue color, Naples yellow color, the yellow, orange tone, and the violet color. For the greenery space I'm going to use in cadmium light green, sap green, olive green, and a little of Payne's gray to create little darker green tones. So that is how you can go ahead with multiple green variations to depict the greenery spaces out. Your father beat space. I'm going to use in the turquoise, blue or the green mist and the raw sienna color to depict the sand area closer to the beach on both the left and the right side, you can see the same color tone. Then for the center pathway I'm going to be using in the brown tones, as well as a little of the darker Payne's gray color. To give him the death of the darker tones of the brown on the pathways piece. So if you have a closer look at the pathway, you can see the horizontal and the vertical lines that we've given on the edge and the horizontal lines in the entire center space to give him the texture to the path. And the Payne's gray color linking both the greenery and the path-based piece. These are the color tones that you would need for this class project, also in the greens, if you have a closer look, you can see the different tonal variations of the greens that are visible. So this is about the color palette. Now, for the technique, the sky is going to be wet on wet with water control, adding in the clouds. This greenery space will also be wet on wet. The CAD also we'll be painting part by part, wet on wet and the sand and the sea will be painted together having that soft edge, the pathway is going to be wet on dry or very small space and then wet on dry. We'll be adding in the details. And the final highlights, all of wet on dry details that we'll be adding in. This is the class project that we are painting today for d e, I hope you guys have understood the color palettes of the class and the techniques that we're using throughout the class for painting in different parts of this class project. So I will see you guys into the next lesson where we begin creating this beautiful painting together today for the ETE of this 15 days beach painting class. 20. Day 8 - Walkway: So let's begin with top class project for D. It will begin with a very basic pencil sketch. So let's begin with the horizon line. And as we discussed this time, since we are going to be having in a very big green bush space at the top of the horizon line. So I've taken the horizon line a lot below the center line. Now, below the horizon line in the center, I'm marking out the walkway that is going to be the wooden pathway kind of details that we are going to give him on either sides of this we are going to be having in the beaches. And this time as we discussed, the sand space is going to be towards the horizon line and not towards the bottom side. And on top of this, let's quickly add in another of the bush detail outline. So we'll pause, be beginning in with the sky. That is, we are going to be working wet on wet into the sky first, then moving onto the grass and the See details step-by-step. And the sand and the sea will be painting together, wet on wet as we move ahead further, I will keep discussing in all the steps again, and we've already discussed a brief outline of the project in the previous. So let's begin with a layer of photo onto the entire sky for now. So before you begin adding the layer of water, I recommend you having in all the layers of colors that you need for the class project to be ready out on your palette for that when you begin painting, it's easy to paint along and your paper who didn't dry out. Otherwise, it may so happen that while mixing in the veins are getting them out of, people, begin to try it out, squeeze out a little bit of the fresh whitewash, and also keep an eye on the rest of the colors on my palette. Now, let's beginning with adding the layer of water into the sky. So I'm going ahead with a layer of water into the sky. And if a little of the water moves inside the bush space, it's perfectly okay because the bushy area, as you know, is going to be off the green and the darker tones. I definitely love the yellow or the blues go inside the bush area. We can cover them up easily with the help of the darker green tones. So I'm not going in that strictly across the line of the booth space. I'm going in very roughly, beginning in with the Naples yellow color. I will begin in closer to the bush area at the bottom space of the sky. We are going to have in the yellow tones at the top space. We are going to have in the blue tones on top of that, we are going to be adding in the detail with a violet color. Now for the blue and mixing in a little bit, often cities in blue with a little touch of the indigo color to get a Prussian blue kind of a sheet. And now I'm just going to lift up a little tint of the violet color and mix it to my blue and mix them together. Now as soon as I reach closer to the yellow color, you can see I've left the blue separate and the yellow separate, so that will not have any green tones. I listed the slope, the indigo color given little more darker highlights at the top speed. Now, beginning in, I'm going to mix in the white along with the yellow, each color that is on my palette and paste and yellowish orange tone and begin adding in little cloud details. Wet on wet. So we are going to work wet on wet, adding in the Cloud details into as phi with this basal yellow, orange tone, I'm pasting, or purple grayish tone. Now the only important thing here is you need to have the perfect Water Control while adding in these details into the sky. If you will have an excess wet paint or excess water into your brush, the paint will begin to spread and cover up the entire space. At this moment, if you noticed my sky, the yellow color layer is visible. And the shapes in which I've added the yellow, orange tone, they are visible distinctively because of the water control that I had while adding in the beans. Now I'm mixing in a little bit of violet along with a little bit of the indigo and the white gouache to get grayish purple color. But adding in little white costs so that when I add it on the yellow color, I do not getting any muddy tones. Using this, I'm going to begin adding the darker clouds details into the sky. Remember, I'm still working wet on wet, so my clouds will have in a soft blended edge. And just at the bottom. I'm at the edges. It will have in that shape that we are trying to add in. So you can see how slowly and beginning to add in very small Cloud details. All of this is still wet on wet my paper is still enough for me to add in these details. So it's very important to make sure that your paper stays wet for enough time to work wet on wet. But in any case, if it begins to dry, we have already discussed the re-weighting technique that you can use to re-wet your paper and adding these wet on wet Cloud details. I'm just using the tip of my brush to add in these smaller cloud details. And you can see because of the mix of the white color into the violet color and the indigo color when added over the yellow color. Also, it is not giving us any muddy tones because of the pace to constancy that it begins in. Now I'm just going to pick up a little more of the yellow, orange tone and adding little more highlights over the blue tone as well. Very little, not much of it. So to make the clouds look perfectly blended with different color tones, you can see I've added it, but along with the violet color, as well as added little of this cloud color detail onto the blue cloud space as well. So we are almost through the sky. Now, does this guy dries out, go ahead and paint in the beach spaces because the genie spaces are connected to this guy, so we have to wait for it to dry completely. So until then let's begin painting in the beach space one-by-one. So far the beach part. Now I'm going to first beginning with the bottom right side. You can begin in with the left side as well. That's perfectly okay. Now I'm just going ahead with a layer of photo. I'm not going to add in the neuro photo into the center pathway that we've added it. So that is the reason we are going to paint them. This is part by part. Now, I'm going to beginning with the turquoise blue color at the bottom space. You can even use in the granulation colors if you want to. I haven't makes us the turquoise blue and the aquamarine myths from the granulation series of quite nice. I'm just adding in little bit here at the bottom speed. And now for the mathspace, I'm going to go ahead with the raw umber color. You can go ahead mixing a little tinge of brown, yellow ocher to get in, or brownish yellow tone for the science piece. I'm just going to use a little directly from the tube and going to add it at the top space, blend it too well at the meeting point with the IOC colored. Now in the same way, Let's quickly painting the left side as well off the beat space with the same color tones. When to add in a little off the wet-on-dry details if you want. Or you can directly go ahead with the wet-on-dry details that will be adding later on. So beginning in with the same aquamarine blue color and then a little off the amber color at the top space for the sand area. Now, what my beach spaces are still wet. I'm going to go ahead with a little wet on wet with a little darker tone of the aquamarine color. In case if your paper is the one which we begin to try in quickly, you can pose forehead and painting the entire left side or the right side with all the wet-on-wet details and then move on to the next side. But since I know my paper is 100% cotton paper and it does not dry out quickly. I painted both the sides, waited for it to settle in a bit so that when I add in these details, it does not spread in much. So I'm just going ahead with very simple wet on wet vapor details for now. Not giving in much of the detail look, just dropping in some darker tone. Once this dries up, I'll be going ahead with a lot of wet on dry with details as well. Always remember watercolors dry or tone lighter than what they look when they are wet. So when you are rolling any color onto your paper, make sure that how you want it to look once it dries out. So accordingly, you need to adjust the tonal values. Now we'll wait for this to dry and then move on to the next layer of tedious. Now Ms. Guy, and the beats completely dried. So I'm going to go ahead and beginning with the center pathway first that is between the beaches. So for that, I'm going ahead with the sienna color. You can use in the burnt sienna color or the light red color or a reddish brown tone, whichever is available in your palette. For the base here of this, I'm just going ahead with a very lighter tone as you can see onto this, we're going to add in the darker details onto the edges while this is still wet. And then once this dries out, we'll give him little details, all the horizontal lines as we had seen in the technique section. I'm defining the edges well, you can see using in the pointed tip of the brush. Make sure now you define these shapes because this is beginning in with the final details of this painting. Now I've just mixed in a little bit of the Payne's gray with my brown. And just using the tip of the brush, I will begin adding in this darker tint only on to the edges. It's still want you can directly using a darker brown tone as well. But since I already have a little of the pins, turn my palette, I prefer mixing it along with the crown for getting the darker tones for the edges. You can see the water control. There is not much water in this darker brown tone. So the paint is not spreading much. I'm just adding it onto the edges and giving it a soft blend into the lighter brown in the center space. Now let's begin painting in the bush space for that, I'm going to squeeze out a little bit off the light green color, That's the Cadmium Green Knight. You can simply mixing a little bit of the yellow along with your sap green to get this light skin tone. You can directly using the yellow color in-between the greens AND blend, it will all turn out or well together. I'm squeezing out a little bit of the sap green colors, but I do not need to wait for the center pathway to dry completely for painting in the bush space. Just make sure that you see on the sky is completely dry. I squeezed out a little bit of the olive green color as well so as to have different tonal values of the green color. Now I'm going to hit with a layer of water here, but I'm making sure onto the edges I ran very carefully the bottom and the top as well because I do not want to ruin the sky or the sea area that we padded it. Remember a little of this guy Carlos have come inside this green space and that's perfectly okay. It will all get covered up when we begin adding the darker tones of green out their first time beginning in with this green tone and just giving in a very lightly or also the lighter green color in the center species. Now on the edges I will begin adding the darker greens. Now there is no set pattern or way to begin adding in the greens. You can beginning with any lighter and darker green tones that's available in your palette by what I want names. It's not necessary to have in the same sap green or the olive green color. As I've been telling you, you can mix in your darker green tones with the help of indigo grounds and Payne's gray in your basic green color. For creating in the lighter greens, you can mix yellow and white to get the according or desired color that you needed. Now at the top space closer to the skyline, you can see I'm going in with a very rough shape, giving in a very dark edge and as well as giving it off different heights, as well as making sure all of the yellow colors that might have seep inside this bush area by painting the sky have got covered up completely. Now I'm defining this bottom space as well. You think point of the bush and the path. We are going to give it a little darker depth so as to show both of these well blended into each other. Now at the bottom wall, so you can see I'm giving you a very rough shape, showing it perfectly routed onto the sand area, not giving it a very simple straight line, making it look unnatural. Now I have begun picking up the olive green color and I'm just beginning to adding in the center spaces will still be going in with the darker tones of green with the help of the browns, ando or Payne's gray color creating in Dhaka bones. For now you can see all the different greens visible. We have the lightest screen that we added for us, also visible in the centers pieces, the sap green color and the olive green color tones. I'm just giving a little more uneven edge at the bottom space again. Now after meeting point of the bush and the pathway, as I told you, I want to give him a little darker depths. I'm going to pick up a little of the Payne's gray color and add secure and blended with the brown and the green. So now you can see there is a sharp line between the brown and the green tones are using a damp brush. I will quickly soften up this Payne's gray color and pull it a little towards the brown and the green board. So you can see it shows him perfectly that this pathway is moving in the bush area. That is the reason turning our backs that we're now using the darker green, I'm just beginning to add in the darker depths into the green spaces while this is still wet. So I'm still working wet on wet, my pathway is almost about to dry. That is a reason why to use a damp brush to blend the Payne's gray in the pathway. But my push area is still wet, so I'm just beginning to add in the darker dips onto the bush has been. Now I'm just running a layer of damp brush again here so as to blend this Payne's gray veil into the brown tones and not having any deaf shape. Now you can see the bush and the pathway being well connected to each other. Now, we can begin adding in the wet-on-dry with details, areas as the CAD as a completely dried. So I'm going to be using in the same color with a little mix of the Payne's gray so as to get one bond backer who begin adding in the wet on dry leaves effect. So very simple waves that I'm going to add in your, I'm just going to go beginning with the, along the lines to actin as the vase and some curves in between. I will add it both the sides on the left and the right as well. So you can see we are going ahead with very simple DTLs, nothing much complicated. This time they are going ahead with the veteran diabetes. On top of this, we already added a little of the wet-on-wet waves. By the BCAC EDR Was, was. Now in the same way. The details onto the left side as well. After this, we'll even be adding in little of the waves effect using in the white quash, giving him very little details onto the waves with white as Ben. I'm almost done adding in the views with the blue color will have to wait for this to dry before I add in the next layer of leaves to this. So my right side views or dry detail beginning with the white on the right side, and until then the left will also dry out. So as I told you very simple white highlights that we're going to add in, not the crashing wave is just some simple highlights with the white color over the blue tones. Now remember to keep in mind when you begin adding in these details with the white color. Your white color shouldn't have excess water so that it will stay out opaque and give that highlighted loop. Also make sure to not adding two waves of the white this time, just very fine and tin ones. So now I have quickly added it onto the left side as well as you can see and just giving them the perfect look out on both the sides of the beat spaces. Now, we're left to add in little details on the center pathway and then a little highlight into the grass area. So you need to make sure that your pathway is completely dried before you begin adding the texture onto the pathway. So for that I'm going to use in the same ground color in a little 1to1 darker than the base layer. And just begin adding in very simple horizontal lines and onboard the edges, I'm just going to give him very fine vertical lines as well, going diagonally left and right. So you can see from the edge, I've left in a little space and given in the second line. So basically vertically moving diagonally, I have given in two lines, one on the edge defining the edge of the pathway and one towards the inner side giving him the DTA. Now in the center space, I'm going to go ahead with the horizontal lines completely. So for this, I'm using my liner brush. You can see I'm getting in such TIN lines. Now I'm going to keep adding in these horizontal lines closer to each other. You can see it's just one bone darker than the VCO. Do not go ahead with much darker tone. Otherwise, it will look very different and would not look as a picture, rather it would just look like earlier added on top of it. Also make sure that you add very fine lines so that the texture remains very natural looking. So I'm almost done adding in just some last few lines. Also one more thing, do not add this directly with just a Payne's gray color. Make sure you're using in the brown color so that it looks well and also looks as in the texture inscribed into the wooden or pathway that is put in there. Now using the damp brush, I'm just blending the edges a little and giving it a little darker there, pumped to the edge and giving it that little darker highlight on the edge so as to make it look more natural. Using the damp brush, I'm just giving you the finished edge and lifting up all of Texas p and given it a little darker blended look onto the edge. Now just using in a little of the white gouache, I'm just going to add a little highlight spots into the greenery space. You have very little, not much of it. If you want, you can skip this part has been not a compulsion to add these highlights. So as I told you, very little of the highlights, not much of it. So make sure you do not add a lot of it, just some limited highlights strokes to act in there. Now, let's remove the masking tape and see your final painting. We are ready with our class project for D eat as well. Make sure you remove the masking tape once your edges are completely dried so that you do not list that the color or tear of your edges. So here's the final painting for D eat of this 15 days beach challenge. I hope you guys are enjoying painting these bids me. We're just left with seven more beach paintings like these. To close the sum of each painting challenge, I hope to see your class projects uploaded into the project section of this class. 21. Day 9 - Pink Sunset 2 - Color Palette: Hello everyone. Welcome back to day nine of these 15 days beach painting class. Today we are going to be painting this beautiful scenic sunset view of the beach with those tiny boats again. So let's go ahead and have a look at the colors and the techniques that we will be exploring through this class project in the sky, as you can see, we have the tones of yellow, orange, violet, and the pink tones. We are going to beginning with a yellow tone. I'm going to be using in the Naples yellow color, the yellow orange color, the pink I'm going to be using in brighter para and the Carmine mix. And then the violet color too, which we'll be mixing in a little bit of the Payne's gray and the white color as well. So these are the colors for this guy. And this guy colors are going to be reflected into the sea as well. So the same colors that you used in for the sky will be used in for the sea as well. You can see where we have the glowing space of the sun in the sky. Same VAB are going to add in the growing space of the yellow, orange space into the sea as well. So same way this guy Carlos reflected into this, see, this time the sign space has value. Can see we're not going to be adding in it with the brown tones will be adding the science piece as well, along with the colors of the sky. Also the sun space that you can see we are going to be creating in this glowing effect going ahead with the lifting technique of the color while the sky is still wet, creating in this sundry effect as well into the sky. Also then these shadows on the same space as we discussed, the sky, you can see the color that is there. We are using the same color to reflect the sand as well. Show that reflection of the sky falling on the sand space as well this time. Then the shoreline using in the white gouache. So these are all the colors that you would be needing for this class project. And lastly, at the top space, we are going to be adding in the entire Bush detail of the Payne's gray and green tones on the mountain ranges. But we are going to be going ahead with a violet Payne's gray mix as well. And these little details into the C later on at the top, if you have a closer look, you can see the Payne's gray color and the green tones that we'll be using to add in these details. Now phosphorus sky, we're going to go ahead with the wet on wet technique for the C also will be painting wet on wet along with the science piece together. Then we'll be going ahead with the wet-on-dry details for the waves will be going ahead with wet-on-wet waves as well as wet on dry waves. I'm showing you in little patch details to show in the cloud effect. And we'll be adding in these leaf details wet on dry as well into the sky. So this is about the colors and the techniques for this class. Now in the next lesson, Let's begin creating in this beautiful class project together for D9 of this 15 days beach painting class. 22. Day 9 - Pink Sunset 2: Hello everyone, Welcome back to D9. So let's begin with the class project. I'm going to begin in with the pencil sketch, so I'm just going to mark out the horizon line first. So on top of the horizon line I'm going to be having a very small mountain range just marking out the sun spaces bear, which is going to be on the bottom right side this time. The top space where we'll be having in the green leaves. I'm not mocking out that space will directly beginning with the sky. And for this guy, I already have the colors here, which is going to be the tones of pink, violet, yellow. I'll just squeeze out a little bit of the bright opera again, because it seems to have been mixed in completely with the purple. Just a little bit of it separately again, you would also be needing a little bit of the white along with it. And I will even squeeze out a little tent of the crimson color to mix it along with the parietal pleura color. Now apart from this, the violet and Naples yellow color are already on my palette here. I have the violet here and the Naples yellow here. So let's begin in, and I will just **** out a little bit of the yellow, orange or the vermilion color as well and keeps all species are the watermelon you, so that I can get a little orange tint as well into the sky. So I will just keep it ready in case if I wish to add in. Now really beginning with the sky first, also spacing out some fresh white gouache. Before we begin in with the layer of photo, make sure that you have your paints ready before you wet your paper. Because once you wet your paper and then you spend time on squeezing out the pins, your paper begins to dry out. So it's very important that you have all the things ready before you begin and adding in the layer of photos so that you can walk enough time wet on wet, adding in all the details. I've added in a clean layer of water onto the entire sky. I'm just running my brush multiple times so that my paper stays wet for enough time so that I can add in all of the wet on wet details into the sky. Now, in the top-left corner of the sky, we are going to be having a lot of leaves coming in later on. If you do not add a lot of Cloud details in that space for now it will workout. But in the rest of the space, make sure you add in the Cloud details as well enough. Now I'm beginning with a little of the Carmine color at the top space, beginning in with very lighter tones because we are going to build in the sky in different tonal values, adding in a lot of Cloud details. So beginning with the lightest color tones for the base layers, adding in a little of the yellow closer to the horizon line. So as for now in the sky, we've added the carmine and the yellow color tones. Now I'll pick up a little off the orange color and begin adding in highlights in between. Now when you are beginning into adding these highlight details, make sure you do not have either excess paint or excess water in your brush. Otherwise, the paint will begin to spread completely and will not retain the shape in which you add them. I'm mixing in a little bit of the white along with the orange tone and beginning into adding some lighter highlights as well into the sky. Now I've shifted into my smallest size brush so that I have minimum color on my brush, as well as I can move ahead with smaller details into the yellow color. I'm still adding the highlights with the orange mixed in with a little bit of the white goulash. I'm almost done adding in the orange details. Now I will next move on to the next layer of details for which I'm going to use in this violet mixed in along with a little of the white quash and the Payne's gray color. And I'm going to begin adding in the Cloud highlight with this color. For this color as well. Important is that you maintain the consistency of the color and do not have an extra liquid constancy or excess paint adding in. Otherwise it will not read in the spaces in which you add them. Now while you're adding this color onto the orange and the yellow highlights as well, you can see you would not get in a muddy tone because in a yellow, orange tone, you have already used in white color and even in the violet tone, you've mixed in a little bit of the white, which prevents the muddy tones from being formed. So whenever you wish to mix in two of the colors, which may give you muddy tones. You can use white to make the blending goes mood without having any muddy tones being formed. Now I've just mixed in a little off the Carmine color as well, and I'm beginning to add in little darker spots of the Carmine in whichever spaces we had added the Carmine previously. Now just using a damp brush, I'm going to begin blending in little of the edges of the clouds wherever I feel the need to. Now with the violet color and beginning to add in the next layer of Taco depth. So you can see in the first layer I had gone ahead with a lighter consistency. And in the second layer I'm going ahead with the darker consistency of the color. So as I told you in the base, you're beginning with a very lighter tone consistency. And then moving with every layer, you begin darkening up the tone so as to create in the Cloud details. Now, on the left side here, I'm creating in a little glowing space for the sun. So I'm just lifting up a little off the color in a circular motion and turning this pace a little towards the lighter side, I will add in a little often Naples yellow here. So Naples yellow already has white in it. So in case if you want and if you're not using a Naples yellow, you can mix in a little white to your permanent yellow light so that it's easier for you to get in the consistency here and the glow as Ben. Now using a smaller size flat brush or a smaller sized round brush. And you can just begin pulling out little of the rays from this color spot that you added in to create a little glowing effect. Some kind of a loop. Makes sure after every stroke you clean your brush so that the colors that get lifted or clean before you begin pulling out the next row. So you can see I'm going ahead cleaning and after every stroke so that I have that clean brush stroke. The yellow-colored droplet of the color that I added. I'm just pulling out rays from that color using the smallest size brush. You can even use a round brush if you do not have a smaller sized flat brush. So once this dries out, it will give a glowing effect of the sun and also showing some of the sundries effect out there. Now, even with the orange color, I'm just pulling out little rays effect. I just added a little orange highlight to the yellow. And again, going ahead with the same procedure of pulling out little of these Sundays to show that glowing effect. At this point when it is wet. It may not clearly showing that effect that we're trying to achieve in, but once it dries up, you will see the lighter effect of the rays. Make sure you are doing this only while the sky is still wet. In case if your sky has dried out, then the effect would not turn out well and you may get in very rough patches. So you have to be very sure that your paper is still wet or else you can go ahead with a riveting technique and then go ahead with a yellow spot and the listing of the pins. Let me give you a closer view while this is still wet to show you how they affect us looking, you can see the glowing sundries effect that is coming out. It will be more visible once it dries out completely. So now we'll wait for the sky to dry completely. Before we move ahead to the next layer of details, I will just add in a little more of the violet highlight closer to this glowing effect that we've added in to show in a little more cloud effect. And after that, we'll wait for the entire sky to try. Then move on to the, the see, as we discussed in the color palette section is going to be a reflection of the sky colors only. So let's wait for this to dry now. So now my sky is completely dried and we're going to go ahead and beginning with the layer of the C first. So I'm going to go ahead with a layer of water into the entire C so that we can add in the base layer and let the policy as well to dry. Now go ahead carefully at the horizon line. And as it is, we are going to be having a very small mountain range as well at the horizon line. But be careful. And now we have the entire area wet for a C as well to be painted. Now we're going to go ahead with the same colors just as this guy. So wherever in the sky we have the yellow highlights. We are going to go ahead with a yellow, orange pinks accordingly. And at the bottom right side, we are going to go ahead with a deep purple mixed with the white and the Payne's gray color. Because you can see in the sky on the right bottom side, you have that dark cloud that we've added in. So to show that reflection of tag falling onto the sand as well, I'm going to go ahead with a deep purple out there. So first I've gone ahead with the yellow and orange closer to the horizon line, then a little of the pink tones at the bottom side, and now just giving you little pink highlight over the yellow orange tones as well. Next at the bottom sands piece, I'm going to go ahead with the violet colors. So I'm first going ahead with a lighter layer and then I'll begin adding the darker the color of the sky cloud that you added on the right bottom side, closer to the horizon line. Same Halloween, a little more darker consistency that I'm using here at the bottom side. And I'll blend it with the lighter tone. So basically at the bottommost tried we need a darker tone and a little towards the seaside. You can keep it towards a little lighter side to show a perfect transition from the sea color to this darker sand color, which is the color of the sky falling on the sand as well. Now I'm taking a little of the violet says well into the z-space because you can see in the sky we have a lot of violet clouds as well to show the deflection of those in the sea as well. I'm taking in these as the highlights. So basically this is kind of little wet-on-wet waves that we're adding in with the color highlights, we'll be adding in the actual waves once this dries out completely. That is the wet on dry waves method. So at the bottom space here, I'm just adding in a little bit off the more darker highlights as well again. And we're almost ready with the base LEO of the sea as well. Now the wet-on-dry details, the details for design speeds, the crushing of the crashing wave effect, all of that we'll be adding in once this dries out completely. Before we let this to dry, I'm just going to go ahead with a little more off the wet on wet wave detail. So I'm just going to mix in a little of the violet, white and a little tint of the Carmine Lake as well. I'm going to go ahead with this color to add in little highlights of the waves. So using a smaller size brush, you can see I'm just going ahead and adding in little details. Not much you can see I'm going in very carefully with very limited details and only with one tone consistency that I'm going ahead with somewhere I'm even adding in little off the curvy strokes has been. So now closer to the horizon line, I'm going to go ahead with little more lighter consistency and very limited ones. We're still going to be working wet on dry with the waves. I'm not going ahead much with the wet on wet. I'm just going ahead with some soft waves so that we have little soft details as well before we begin adding in the wet-on-dry VS. Now again, let's wait for this to dry completely and then we'll move on to the next layer of details. So now my sky and the c both are completely dried in. And now we'll beginning with the next layer of the details. So I will begin in mixing in the same carmine, violet and a little bit of the white color and begin adding in the wet on dry wave details. I'm using my size two liner brush, which has a very pointed tip and a long bristles. So I can get into the fine details. I'm beginning with the tones of pink and violet, and I'm just beginning to add in very simple strokes to actin as the sea waves here. We'll be defining in the shoreline as well at the bottom side, which we had math through the pencil, which will be defining later on. For now, I'm just going ahead with little off the wet-on-dry details. So I'm trying to create a little reflection of the Cloud into the sky for so you can see I'm giving in a patch of this violet color which we have in the sky as well, giving you a little effect, as well as depth into the sea as well with the reflections off the clouds. So same way, even on the left you can see I've added a little reflection of the Cloud with the violet color. So this time it's not a simple wave. You can see it's a little patch of the color, but in a kind of a reflection of the cloud. So I'm adding in little darker depths as well to show the darker effect of the clouds as well falling onto the sea as a reflection. Now from the edges of this badge you can see I'm pulling out these fine lines to actin as blending in perfectly with the waves and showing it as a perfect reflection into the sea area. Now in the rest of the space that is at the top space closer to the horizon line. I'm just going to go ahead with simple pink and the violet tones to add in the wet-on-dry details over the yellow and the orange tones. But I will add them in such a way that I do not cover up all of the yellow, orange pieces. We need to let them be visible as well. Now using the yellow tones, I'm just giving you little highlights over the violet color as well to cut in the reflection that we've added and try to give him the moving water effect into the reflection as well. Now we'll begin adding in a bunch of leaves at the top space here. So forth that I've squeezed out the fresh Payne's gray color. Now I'll simply tilt my book because my waves are still wet. I'll make sure I do not lay my hands on top of it. Now using the spoilt round brush, I will begin adding in the first layer of the leaves our chores, I'm holding my brush perpendicular and I've just picked up the Payne's gray color in a thick consistency. I did not dip my brush into water, otherwise the bristles would have soft enough. I've just gone ahead with a damp brush, lifted the Payne's gray color and holding my brush perpendicular, I'm beginning to dab it. Now. I'm just mixing the paint in the right consistency with another brush so that this brush does not hold any excess paint or water. This is just the first layer on top of this bill, given a little detailed leaf detail using the Payne's gray color with the smallest size brush and also little highlight detail with the green color on top of the black color later on. Now when you're adding these details, make sure you do not overdo a lot of this. Otherwise, you know, you'll cover up the entire sky and on top of it, we still have to go ahead with little detail leaves as well as a little bit off the green leaf details as we discussed. So make sure to go ahead and limit also, you can see I'm trying to define the shape here itself. So somewhere I'm taking these leaves a little taller, some are just shot up towards the top edge, only. Using in a smaller size brush. I'm beginning to add in detail leaves on top of it. I'm first going ahead with the Payne's gray color only. Do not worry. We'll make sure that the green is visible on top of the Payne's gray as well with a little help of the white gouache. So for now, just go ahead with the Payne's gray color, adding in a little of these detailed leaves as well. So if you have this close look, you can see I'm just adding in very simple patch details and just dabbing the tip of my brush to give him these leaf details. I'm just pulling out smaller branches randomly and very fine lines to actin as the leaf details here. Now quickly onto the rest of the spaces as well. I'll just go ahead with these little detailed leaves and then we'll move on to the next layer of TdS by the time this layer dries out. So now in-between, I have mixed in a little of the sap green along with the Payne's gray color. So you can see the green highlights that are coming in now. Make sure I'm in the center space. You mixing a little of the white with a little tint of the Payne's gray and the green color, very little white. And I'm just dabbing a little of the green onto the edges as well so as to show a perfect blended look off the greens and the Payne's gray. So very simple leaf details that you can see. I'm just tapping in the tip of the brush at certain places. I'm even pulling out the branches and creating a branch off a leaf, kind of a loop. Very simple. But it's very important to make sure that you use the smallest size brush so that you can get these details right. So that the coin perfectly with the sink of the size of the paper as well. So I'm almost done adding in this layer off the leaves as well. Now I will just pull out some random leaves at certain places and some smaller branches and some just random twigs hanging out, out of these leaves as well. Now on to the Payne's gray color, I'm just adding in a little of the green highlights at random places you can see the Payne's gray leaves are also still visible, not completely hidden. We have both of the color combinations visible. So it's very important that you make sure that the green and Payne's gray boat is visible to give him the natural effect. Now I've shifted into my liner brush to pull out those smaller twigs and branches out from between these leaves. I'm just pulling out very simple lines. You can see two given that detail effect, simple strokes but not in a simple straight line as you can see, I'm trying to make sure that these strokes are also posted on intertwined with each other. So even on the edge here, I'm just pulling out a little of these as you can see. So we're almost through the painting. We just have to add in that mountain range on the horizon line and a little detail into the area and the science piece. And it will be through this project for D9 as well. So just adding in a little more detail somewhere, pulling out those strokes and adding in just one or two leaves hanging from a branch giving in a little detail view. Now if I move ahead with the violet color and add in the mountain range, so I'm going to mix in the violet along with the white and a little bit of the Payne's gray and add in the first layer of the mountain range here at the horizon line, make sure you add in a very small, tiny mountain. Also, depending on the size of your paper, it may vary a bit. So I filled in the entire mountain range this little color droplet that had dropped in, I have just blended it well into the background and just giving them that simple effect. Now onto the mountain range while it is still wet in the center, I'm just adding little yellow highlight to make sure the effect of the sunlight falling onto the mountain range as well. So I will blend well with the help of the orange color, giving in that little highlighted blue. And just at the bottom, I will give in that little violet color effect. Well, so that's chosen perfectly as the mountain range. So now you can see that little tiny peaking highlight on the mountain change trying to show in the effect of the sunlight falling onto the mountain as well. Now that's defining the shore line. So for that I'm mixing in a lot of white with a little tint of the violet and the Carmine color. And this time I'm going to use in this white tone for adding in the highlight here. I'm not using a simple white color to define in that form wave effect on the shoreline. Rather, I've added in a little bit off the violet Payne's gray and a very little of the Carmine color. So as to show that off the sky colors falling onto the foam effect of the waves as well. So you can see how pretty this is looking at all in sync with the color tones of the sky falling in your, I'm just pulling out very simple strokes with this dull white. Make sure you do not add in a lot of violet or any other color tone because otherwise you will lose the white completely. So you need to make sure that it has a bald effect. Look. So I'm just pulling in simple crisscross lines and just, you know, juggling up everything together to create in the form effect this time not going ahead with that or dry brush kind of a pattern, rather simple scribbling pattern to create this effect, make sure you do not cover up the entire area with this. You just need to go ahead onto a very small space, which is going to be the distinguishing point for the c and the same space. Now using in a little more bold white, I'm just going ahead with an adenine at the bottom space, or bold white line. To the same mix. I added a little more of the white. So now you can see the highlighted space of the white as well as the shore colors that we've added in. Now at the bottom-left cure, I'm just adding in another form line which I'm just going to take in till the center of the first line and blend both of these to form lines and all given the little detail to this as well. Now to these shorelines that we've added, I need to add in a little shadow effect to show the shadow of these falling onto the water or the same space as well. So I've shifted into my liner brush. I've picked up a little off the violet mixed in with Payne's gray and white and just adding in a fine line underneath the white line to actin as the shadow. I'm sure if you have been following me from day one by now, you would be knowing the trick of adding in these fine lines to actin as the shadow giving in a layer of depth to your seascape paintings showing in the foaming effect of the waves as well. So at certain spots you can see I've just increased and thicken up these lines so as to show the shadow or altering as well and giving in that depth as well. Now on the same space, I'm just adding in little white patches which I will blend using a damp brush. Suppose I'm just adding into creating those little lighter spots. And then quickly using a damp brush, I will blend it into the bottom basically. So just simple highlights that I'm adding now using a damp brush, I'm just blending these, creating those lighter spots so you can see how quickly this get blended and ogives in those highlights pieces onto the sand space as well. Now, using the Payne's gray color and the liner brush, I'm just adding in some quick details into the area as well, trying to show a little of the twigs growing it out for in-between the sea as bell. So on the left and the right, very little, very fine strokes and not to offer darker tone. It's a very medium tone, Payne's gray consistency that I'm using. And I'm going to add in like two to three off the boat effects as well. Very tiny one, nothing detail, just simple silhouette of the board. You can either using the violet color or the Payne's gray color or a mix of both colors. So I have used in the Payne's gray color and added in the simple effect you can see I will give you a closer look as well. Once we remove the masking tape, for now, I will quickly add in another one here as well, a very simple board celebrate that you can go ahead with. One more in-between both of these, I've added approximately five to six of these. You can go ahead depending on the size of your paper. Now I'll quickly blend these rest of the white patches that I had added in using a damp brush. So you can see the white is also visible but blended in well with the base layer. Now, let's remove the masking tape and then have a closer view of our painting for D9. Make sure that your edges are completely dry, especially the top space are details that we added enough the leaves, otherwise the colors may split onto the edges. I'm going to ruin up your edges as well. So here's a closer view at a painting for D9. You can look at those little delicate details of the leaves that we've added in those delicate boards. I hope you guys enjoyed painting with me today. I will see you very soon into the day ten class project. Thank you so much for joining me and do not forget to upload your class projects as well. 23. Day 10 - Evening Beach - Color Palette: Hello everyone. Welcome back to day ten of the 15 days beach painting class. Today we are going to be painting this beautiful blue yellow sky, along with the seascape and the greenery details. So let's begin in with the sky first. As you can see, we are going to be using in the shades of blue and yellow majorly into the sky. So for this guy, I'm going to be using in cobalt blue, permanent yellow light, a little bit of the violet mixed in with the blue, and a little bit of the orange mixed in with yellow to give him little highlighted details. So that's about the colors for the sky. The C is going to be a reflection of the sky colors. So the same colors that we use in the sky are going to be used in the CAGR as well. For the greenery details that we have on the right side, I'm going to be using in the light green and the sap green color. You can see and have a closer look at the waves and the sea colors, which are exactly same as the sky colors in the center, giving in the highlight of the sky falling into the sea as well. For this green detail, I'm going to use in the sap green, light green and a little of the Payne's gray to turn it into a little darker green on the horizon line. I'm going to be using in the Payne's gray color just as the rocks, the Payne's gray color. And on the horizon line as well. I'm going to use in the Payne's gray color and in the back, I'm going to use a little of a purple mixed in with Payne's gray for the background layer at the horizon line. So for this guy, we're going to go wet on, wet with the water control to create in the details into the sky. For the C will be giving in the base layer of wet on wet and then wet-on-dry wave details. The greenery and the rock details are all going to be wet on dry ones, are sea waves dry out completely. We'll be adding in these details, the horizon line detail as well. We'll be adding in once the sky is completely dry. And this all greenery details, the branches as well, will be all wet on dry once our sky and the sea is completely dry. So this is how we are going to approach the class project wet on dry, wet on wet. And then going ahead with the details and a little of the splatters as well as you can see into the sea space for the rock areas. So grab on your colors, get them ready. And in the next lesson, we'll begin creating in this class project together for ten. So I will see you guys into the next lesson now. 24. Day 10 - Evening Beach: Now let's begin with our class project for d ten. We will begin with the pencil sketch, which is going to be pretty simple, just marking out the horizon line. Because the rest of the details we're usually going to be adding in with the paints directly. So at the bottom you are as well as given in the space wherein we'll be adding in the greenery details and the C and the top is going to be the sky on top of the horizon line. If you need, you can add in a small mountain ranges. Well, and then we'll be having in all of the details of the green leaves coming in. I'm not giving him the pencil sketch for all of those will directly move on to painting the sky for which I am using the permanent yellow light and the cobalt blue color this time, I'm just going to squeeze out both of the paint onto my palette quickly. Now I have two paints ready for the sky. So I'll beginning with a clean layer of water onto the entire sky first because we need to paint step-by-step. So this guy, as we discussed, we'll be painting wet on wet. So we'll begin in adding the details are living in whitespaces for creating in the cloud effect using in the yellow and the blue tone. Now remember the yellow and the blue mix together may give you a greenish tones. So when you are adding both the colors closer to each other, you're keeping a little white gap and let the colors naturally flow into each other so that you do not have the green tones and the colors will blend smoothly into each other. I'm just running my brush multiple times onto the edges as well so that there is no excess water remaining onto the edges anywhere. And we have an even layer of water throughout. So beginning in with a yellow color, this time I'm going to add it in sports like motion. So at the top I'm going to add in the yellow in such a way that we live in little white gaps closer to the horizon line, I'm adding in completely yellow color detail. So now in the rest of this guy you can see I'm just creating little clouds using in the yellow color detail. And after this, all of the white gaps that remain, we will add in the cobalt blue color and make both of these colors blend into each other smoothly without farming in any green tones. So when you add in this yellow color as well, you need to have in the water control. Even by lighting in the blue, you need to have in the water control or leave, then the colors will stay in the place and have a soft blend. Otherwise they may give you a green tones. So now into the remaining gaps, I'm going ahead with the cobalt blue color and filling in the entire space has been the green to blue tone. So you can see how carefully I'm adding in the blue color in such a way that closer to the yellow there is no green forms because of the blue and green mixing together. Now using in the blue color, I will just go ahead with a darker layer. I just went ahead with a lighter layer filled in the entire species. Again, CMV, the water control technique, I'm beginning to add in the darker depth into the Cloud space, even onto the bottom yellow that's closer to the horizon line will be adding in little blue highlights very carefully, but in such a way that we do not have any green tones formed it. I'm even going to use in a little tint of the orange mixing it with a yellow color to get a yellowish orange tone. You can directly even use a yellow orange color. But since I have both yellow and orange on my palette, I'm going to pick up and makes both the colors and when to add in little highlight over the yellow space. Now next I'm mixing in a little bit of the violet along with the cobalt blue color and a little tender fight. And I'm going to begin adding in little more darker Cloud details your as well. So that is the reason it's very important to have all the colors ready on your palette so that you can easily go ahead working wet on wet. I'm still working wet on wet. And with these clouds you need to have in the water controlled by working wet on wet. Now wherever I feel that the colors are not blending or moving, I'm just using a damp brush and running across the meeting point of the colors so that they blend into each other smoothly. I'm almost done adding in the purple highlights as well into the entire sky just a little more over the yellow space at the bottom. So there I've added a little more of the white so that we do not have muddy tones. So a lot of purple mixed in with a lot of white getting in this basal kind of a tone which I'm adding over the yellow and the orange tones. So you will not get in any muddy tones, otherwise, purple and orange mixed together may give you a very rough muddy tones, which may make the sky look very unpleasant. Now I'm just adding in little more of the yellow highlights planning in the yellows and blues together, as well as adding in little more off the blue highlights as well, living in some darker decks. And then we'll be ready with this guy. Now next we'll move on to the sea. And for the C, It's going to be the same colors. That is going to be the reflection of the sky color only into the sea. So I'm done adding in the sky details. Now let's move on to the c. So I'm going to go ahead with a layer of water into the sea. On the horizon line, we are going to be having a small mountain range, as I told you. So I'm going to leave a very fine line between the sea and sky space so that we can cover that up later on. And we do not have to wait right now for the sky to dry them. But in case if you're not confident, you can wait first guy to try and then move on to the CSPs. So far the sea I'm moving in with the yellow color in the center and on the edges I will give him the violet and the blue colour highlights and blend into each other. Then we will be giving the wet-on-dry waves detail once everything dries so fast, picking up the cobalt blue color and beginning to add it into the rest of the sea spaces at the bottom, the space that I've mapped out, you can see I have not added much of the color there. There I will be adding in the green tones, wet on wet. You're only when we are painting in the CSPs. Now very gently, I'm going to take in a little of the blue highlights moving over the yellow color. But you can see a little greenish blue being formed, which is acting as the turquoise color. So perfectly blending in well. Now picking up a little of the violet mixed in with the white and adding in little highlights over the blue tones moving inside towards the yellow color. From both the left and the right edge, you can see the fine white line between the sky and see that I've left in so that the colors from the sea to not move into the sky because the sky is still wet. And if we went up the sky, then now I'm just going to pick up a little more of the blue mixed in with a little of the city didn't do as well. I'm just going to add in little wet on wet waves, you're not much of it, just little highlights mentioning over the yellow color. And now at the bottom space which I have left in empty, I'm going to go ahead and add in the green tone there as well. I've just picked up a lighter green color. I'm just adding in one basically I will be giving in the detailed leaf effect once this dries out completely. For now, this is just a little color blocking along with the sea. So make sure your green does not have excess water. Now I'm just lifting up a little of the excess paint. So that's the blue and the yellow tones just moving in one single stroke and dabbing it onto the tissue because they feel the colors are looking to dark, which I do not want. So just lifting up the excess color from the edges using a damp brush. After every lifting you can see I'm cleaning my brush so that the colors that are lifted on the brush to not get laid back. Again. I have very little yellow highlight left. You can see at the bottom we have the green tones. Now I will just given little more highlight into the sea wet on wet mixing in the white and the purple together. And then we'll wait for this to dry completely. So I'm just giving in simple cards by lifting in the color you're a little and now we'll wait for this to dry completely and then move on with the next layer of details. So now my sky and see you have dried out completely and we're beginning with the next layer of details onto this. So let's first begin adding in the detail of the waves. So I will first begin in mixing in those same violet and blue tones together. So before moving on to the vase, I'll give him the first layer of the cityscape that will be adding on the horizon line. So I'm just going in with a mix of the violet byte and a little tinge of the Payne's gray color. And I'm creating a very small, tiny cityscape with very different shapes. You can see, you can go ahead and add in your own shapes for the cityscape. So I have mapped the entire outline now I'm going to fill it completely with this color till the horizon line. And given a defined straight horizon line, once this layer dries, I will give him one more darker layer with a darker tint of the Payne's gray color on top of it. So going very carefully, filling in the entire space, make sure that the shapes are a little visible. And make sure you're given and define the horizon line. Well. Now let's begin adding in the wet on dry leaves for that I have mixed in the city and blue with a little tint of the violet and the white color. And closer to the horizon line, I'm beginning to add in very fine lines as you can see. And as we will move towards the bottom side, I will keep increasing the length of these waves. So now you can see as I'm moving towards the bottom side, I'm increasing the length of the waves as well. And you can see how crisscross I'm going to add in these wave details. So closer to the horizon line, make sure to keep the waves and the length smaller. And as you move towards the bottom side, keep increasing the length of the ways each layer by layer. You can see how I'm adding them, crisscross, overlaying on to each other to make it look natural as much as possible. So I will not be adding in the waves at the bottom right green side that we've added, because there we're going to be having a bunch of leaves coming in. So I'm just going to add it at the bottom left side now and quickly finish this up. So now as we moved almost towards the bottom side, you can see how long waves that I'm adding as compared to what I was adding when we were closer to the horizon line. So closer to the horizon line I was adding in very tiny v is closer to each other. I'm almost done adding in the ways or till the bottom side, the bottom right side, you can see I've left it empty, the green space that we've added because they are going to be having in the green leaves on the entire right side as well. We'll be adding in that leaf patch into our painting. Now let's move on to the next detail That's going to be adding in the green leaves onto the bottom right side. So I will begin in with the sap green color. You can use in any green which is available in your palette. Now in this part as well, you are free to use in different tones of greens and different shapes of leaves however you wish to fill it up. There is no set pattern or no set method of filling up this space. So you will notice. I'm going ahead with very random leaf shapes, very random patches of different green color tones. And then on the entire right side will be adding in a patch of the leaves as well. So what I'm doing is for the base layer, I'm adding in the lighter green tone entirely and then I will move on to the darker green on top of these two, given the layering detail. Now by the time this first layer of the leaf dries out, I'll begin adding the second layer at the horizon line for the cityscape. So for that I'm using in the Payne's gray color in a bowl consistency without adding any white or purple to it. Just a bolt Payne's gray color line that I'm going to add in and define the horizon line. And given us I can small mountain range layer in front of the cityscape that we've added in. So going very carefully, you can see in-between, I've taken up this mountain range a little taller, covering up the background space. I will justify in all of this. Well, again, and on the right side I'm just adding in little cityscape detail as well. So now on top of it you can see in the center I've taken the mountain range and on both the left and right edges, I've taken a little cityscape details. Now let's go ahead with the next layer of details. So I'm going to pick up this yellow, that's the Naples yellow color, which I already have on my palette. Or you can mix in a little bit of the white to your yellow color to get a little pasty white, a pasty yellow tone, and begin adding in little yellow highlights to the waves as well. So I have just some fresh white got squeezed out, which I've mixed in with the yellow so that I can get a bold yellow color. And I'm just adding in little yellow highlight effect into the V so as to show the effect of this guy, Carlos, falling onto the moving water, you are as well. So majorly you can see I'm adding it only in the center space and giving in the detail in the center area. Now to the same mix I've just added in a little orange tint as well, and giving in some highlighted VMs with this yellow, orange color mixed in with a little of the why. And now in the rest of the blue spaces, I'm just going to add in very little highlights, not much. You can see hardly just a few ways to show in the effect of the sky colors blending in well into the area as well. So you can see how far I'm adding in these yellow highlights not much closer to each other. Also, you can see how find these details are. I'm using a size two liner brush, which is giving me these fine strokes, letting the blue color be visible and the yellow also standout highlighted on top of the blue waves. So in the same them quickly doing it up on the right side as well. And now we are only left to add in the entire green patch on the right side of the paper. So I will quickly move on to the green tones and begin adding in that patch on the right side. But before that, I'm going to quickly use my damp brush. I'm just going to lighten up lifting of the yellow and blend it well into the base layer. Blue color, just running a very little brush stroke on top of it. You can see the waves are still visible, not gone completely, but they have a little blended look with the blue tones. Now I'm moving on to the sap green color and I will begin adding in the leaf detail first on top of this lighter green color details that I added. So my lighter green patches completely dried. So now on top of this, I'll begin adding in the details here with the darker green color. Now in case if you do not have a dark green, you can simply go ahead and mix in a little bit of your brown TO green color or indigo or Payne's gray green tones and begin adding in these simple leaf details. Now let's quickly add in that thin patch on the right side. So I'm beginning into it, very simple leaf. You can see I'm just dabbing in the tip of my brush and pressing the belly of the brush, adding in these leaf details. And I will quickly fill in with this sap green color mixed in with a little lighter green first. And then I will move on to a darker green color layer on top of this as well. So I've just popped out one branch of the leaf and giving in some detail leave out you're trying to show it bent towards the water side. Now I'm just taking it up till the top-right side before we move on to the darker shade. Now in case if you want, you can add in a little shadow of the leaf as well into the CSPs, but I'm not going to go into that part of the DD name for this painting. At the top, you can see I've given him a little off the branch details as well. Now I'm shifting onto a darker tone. So I've picked up a sap green with a little tint of the Payne's gray mix to it so that I have a little darker green. And now I'm just going to begin adding in the darker green leaf details on top of the entire lighter green patch that we've created so fast into the branch, I'm just adding in little of the darker green leaves as well. And then onto the entire right side I'll give him little darker leaf details. So very simple leaves you can see just adding in simple leaf shapes. You're on top of the light of in detail that we've added in, giving you a second color touch here as well. I'll just quickly add in a little more off the leaf detail at the top space here as well. And we'll be almost ready with this class project. Just a little more highlights before we removing the masking tape. You can see at the top I'm giving him little branches hanging out as bad so as to make it look natural and blended well. I'm done adding in the darker green details on top of the lighter green, you can see the lighter green is also still visible in between the darker green tones. Now I'm going to shift into my liner brush to add in little off the tweaks hanging in between these leaves. So I'm going to mix in a little more of the Payne's gray to the green and just add in some fine details as well. So imagine you have the top space. You can see the fine lines that I'm pulling out trying to show that twigs hanging in between the leaves, making it look more often natural beauty here. Even at the bottom, I'm just giving you a little of the grass popping out from in-between the leaves, very little, not much of it at the bottom space. Now lastly, I'm just adding in little of the rock details using the Payne's gray color. And then we'll just add in little splatters as Ben. When you add in the splatters, make sure you cover up your sky completely so that the splatters of the black color to not go into the sky or else it may ruin up your sky with black patches. So first just adding in some floating rocks onto the water space, very random shapes and patches of the Payne's gray color that I'm adding in Europe. So at the bottom here, I've added a bigger patch. As you can see, I'm just trying to show in a little more bigger patch off a rock, kind of a detail. So I've quickly added in just a few more at the top as well. Now just going to splatter a little of the Payne's gray as well. Make sure you splatter only into the sea space and cover up the sky space completely or else you may get in black patch dots into your sky as well. So we're ready with our class project for d. Let's quickly removing the masking tape and then have a closer view. Make sure you are removing the masking tape against your paper so that you do not tear off the painting along with the paper as well. So you also final painting for day ten. I hope you guys enjoyed painting this beautiful beach with me today. I would love to see your class projects into the project section as well as if you liked this class, make sure to drop a review so that it can help me reach maximum students. Thank you so much for joining me. 25. Day 11 - Bird Eye View - Color Palette: Hello everyone. Welcome back to day 11 of the 15 days speech painting class. Today we are going to be painting this beautiful overview, but I view beach along with a lot of shadow details this time. So let's have a look at the colors. First pharmacy area I'm going to be using in the turquoise blue, along with a little bit of the city in this time-space I'm going to be using in the unbound mixed in a little bit lost the brown tones to give him little darker if the bonds, the Anaconda, the bottom means male, is going to be mixed with the lidocaine sap green, and then the Florida atheists, but it'll be off the white bits limit. While the dry brush we'll be using a wash for the shadow. Round off the main ones that's going to have the same kind of pattern that I have. The shadow this time we have mics off the white. It has long been the one we did at least be out of luck. One thing that locks on these pieces and everything dries, I'll try. And mainly you can even use masking tape, but you might be adding all of these dry brush deviance. And all of the even the flawed and videos we've had in the last, maybe. You can have a closer look. I'm assuming that I just wanted to come to the bottom left. That is the reason all of the deflation falling towards the right side. Sitting spaces that we haven't had the perspective view. If you want to assume the sunlight falling from the right side, you can have all the shadows towards the left side. So that's about the fellows and the technique for this class. I will see you guys into the next lesson that we begin creating this beautiful. But I view beach together. 26. Day 11 - Bird Eye View : I'm going to sketch the next four weeks. So I've got the top is going to be the one piece and it's going to be the science on which we are going to be having. It makes that space painting. We can see the top. Instead, what site? But you need to map this out. Why do you not want to be just the pieces? I like chocolate? Without drilling technique, make sure you haven't even been walked with on the drop. I'm just using up why? What's going on here? I was wondering what that means. But I'd walk on the fourth and most species that is byte right now, then you're going to have a lot of money propped up. So basically a bunch of kids also not nodes we heard with being born. I'm just giving you little darker. One. I'm just given this type of thing. What? The one on the back of your mind. So you can see my people wasn't enough for me to walk benefit. Otherwise, it may really not that hard. I just told me. The best. Shadow, along with these things about a lighter rocks really define the event on dry once this piece. So just use a very nice added as the base can be used to find them one by one and show what distinction between each of them needs. I'm going to go ahead with this happening and just adding one to the side to speak that came to be and quickly fill in this space. I was saying it needs to be sent. Hi. Unit because the next one I'm going to write any of these settings based on the beat. Just as we've been run in the forest. You can even even good morning. Sunday night. Right now I think you saw during the night. I think. I'm just adding limited shadow with this shadow violet, which is a mix of both define it and the Payne's gray. So basically we have even adding the shadow to the V in any species that I'm going to head with gametes of the violet color and the mainstay instead of just two beans green color for the shadow to make it look natural. Now let me look at me like maybe last year Section. Now using the wash, I'm given the warming effect of the leaves as best I could meeting point of the sand. I'm getting into effect. Last mocking out of any line. And now I just What's the word for site in the dry brush effect in these dry brush technique, you need to make sure that the maintenance costs that you will not have access being worked on your brush. In these pictures. In this scene, It's pretty big. Topic right? Now, using the brown color. And I'm using a damp brush using a **** thing. Right? Now. He's lost describing invading. Can you hear me now? So now we V8 father, shadow of the tree as my diagonal, pull me aside. And now this darker green, I'm adding in such a way that is happening on this side so that the shadow begins to look at tonight. By design. I thought was a Sunday, fingers on the floor. My shadows on the shackles of these the right side. I have not had even come back here. Wait. One, you add one by one. That's right. Variations of the faith not wanting that pink color. So you can do union. That means white and the pink one. It's an odd prime. I just got a lot of mathematics. I don't like me. 27. Day 12 - Boat Ride - Color Palette: Hello everyone. Welcome back to day 12 of the 15 days beach painting class. Today we are going to be painting this beautiful scape for the 12 of these 15 day challenge. So let's quickly have a look at the colors for the sky I'm going to be using in the Prussian blue mixed in with a little bit of the cobalt blue and then the Payne's gray color. Then for the CVA going to be using in the turquoise blue color only with different color tone variations of the turquoise blue color for the mountain range. I'm going to be going ahead with the blue tones, whichever will be available on our palette, you can use Prussian blue mixed in with a little bit of the turquoise, cobalt blue, or any other blue that's available for the board. We are going to be going ahead with the tones of orange and brown. The bottom rock spaces, it's going to be brown. And then the dry brush technique with the black color for the boat in the center, it will be orange and then on the edges, but we'll be adding in the brown tone. And using the darker brown tone, then we'll be adding in the highlighted space. For this guy. You can see the growing space that we will be creating we are going to use in the lifting technique and creating that space. We're also going to be adding in the reflection of the boat into the sea, using in these darker tones just underneath the boat to create the reflection onto the water. Time for the waves, we are going to go ahead with the wet-on-dry ways. As you can see, it's completely wet on dry. And all of these color tones for the veins will be adding layer on layer. And then creating in that glowing effect of the top glowing sky falling into the sea as well. And a little onto the rock as well on the left. And then lastly, a little dry brush onto the rock space at the bottom spaces using the Payne's gray color. So we'll first be beginning in with the sky using in the blue Payne's gray color and the lifting technique can go ahead with the sea. Then we'll be painting in the rocks and the boat wet on dry once everything dries out so fast, we'll be covering the wet on wet part and then for detailing will be majorly using the wet-on-dry technique, even further reflections as well. So let's quickly go ahead into the next lesson and begin creating in this beautiful class project together for 12 of this challenge 28. Day 12 - Boat Ride: So let's begin with our class project for D2L. We will begin with the pencil sketch first. So I'm going to go ahead mark out the horizon line. And this time we are going to be painting a boat scape, as we discussed in the previous lesson. So I'm just quickly going to go ahead and mark out the outline for the boat. Now let's quickly add in the boat silicate that we are going to be painting onto the moving water. I'm just going ahead with a very simple silicate off the boat. You can go ahead with your own reference as well. If you wish to change in the silicate for the boat. I'm going ahead with a very basic boats. Hello, hate. I am adding the boat as if you are viewing it from the left side perspective. But in case if you want to go ahead with the right side perspective, you can completely tilt the board accordingly. Since I'm painting from the left side perspective, I'm adding the details, the sitting area of view accordingly from the left side view underneath the ball, we're going to be adding in the reflection for the boat as well. At the bottom. I'm just going to add in little green spaces as well into the water area only. So I'm just marking out those spaces and rope or something connected to the boat, to the shore line or, you know, stationed at the shore or kind of a view that I'm going to add in with a rope detail. On the left side you are, I'm going to have into mountain ranges. So first we'll begin in with the sky, then move to the C For this guy makes sure to not add in the water layer into the board space. I'm going to go ahead with a pretty simple blue sky using in the Prussian blue color. So I'm just squeezing out a little bit of the color first. Now adding a layer of water onto the entire sky, only make sure that you do not add the water into the bottom boats piece. You can see on the board I'm going ahead with a very sharp outline even on the mountain range in case I felt little color seeps in also, you should be able to cover it up with the darker details on the board later on. So we're going to paint the sky wet on wet for that I'm going to use in the Prussian blue color and this ideal in blue color. So this shaded in blue and a little of the cobalt blue is already on my palette. I have not squeezed out any fresh color of the same. I'm going ahead with very light or consistency of the paints first, I'm going to be leaving in little white gaps in-between where I will be creating little cloud effects using in the Payne's gray color. You can see I've left in spaces at random places living in those white gaps to give him little cloudy detail. I've gone ahead with very light layer or color in the first layer. Now when we begin adding in the cloud effect will keep darkening the tones and creating the effect. Now I've lifted a little of the Payne's gray color and I will just add in little Payne's gray effect into the whitespaces that we've lifted and blend it well, a little with the blue color on certain places. Now, I'm going to create a glowing space into the sky. So I'm just swapping one drop of water using the tip of the brush. And now I'm just going to lift in the race to create the training effect of the sunlight. After every stroke you can see I'm cleaning my brush onto the tissue or the paper towels so that the paint that gets lifted up is dropped on onto the tissue. And then when you go ahead with the lifting, you have a clean brush again to lift. If you do not clean your brush after every stroke, the color will get applied to the next stroke and you will not get these clean shining effect for the glowing effect of the sun that we are trying to add in here. I just went ahead with one more layer of the glowing spaces and you can see the white rays that are coming in trying to show the sunlight peeking through. Now, I'm just adding in little more darker cloud effect using in the darker color mix of the blue tones. And making sure that I let that glowing space be there. And I do not add in any detail on top of that on the left side. Now just going ahead with a little more of the Payne's gray highlighters well into the sky space So I just went ahead with one more layer of the color lifting out here so that we have that growing space once it dries out completely. Now we'll wait for that to dry completely and then move ahead on to the next layer. Until then we can paint in the layer in the sea as the C is not connected to the sky much except for the little right side there. I will leave or Go ahead very carefully with a fine line. Now when you are painting this year as well, make sure you do not add the layer of water into the board space or the mountain ranges on the left side. Those we will be painting wet on dry once the base layer is dry out into the sea, I'm going ahead with the layer off the turquoise color now make sure you go ahead with a very light consistency layer, because this time they are going to be adding in a lot of wet-on-dry effect reflection to the board as well. I'm showing in the moving effect using in the darker tones. So I'm going ahead with a very light layer in the base color for the z-space closer to the horizon line on the right side. Be a little careful because the sky is still wet and we do not want the sky colors to move into the sea or the sea colors move into the sky. Now wherever I feel the color is a little darker still, I'm quickly lifting up the excess paint and dabbing it off. Well, now quickly I will just give it a little darker wave effect using the same turquoise color in one tone, darker consistency, just adding in little highlighted spaces, not going to add in much of the depth, wet on wet. We're going to create major of the depth into the sea wet on dry this time. So that is it. Now let's wait for this guy and the base layer of this E to dry out completely. Then we will move ahead with the details of further into this painting. So now the sea and the sky are completely dried. And I'll move ahead with the next layer of details into this painting. I'm going to go ahead painting the first layer of the mountain for that, I'm using in the cobalt blue mixed in with a little tint of the Prussian blue. I'm going to use it in a very light consistency. It's going to be mentioned in water and very little thin. This is just the first layer that I'm adding in on top of it. We'll go ahead with one more layer once this dries out completely. So make sure that you go ahead with a very light consistency because the next layer that will be in front of this bigger mountain range will be offered darker consistency. I'm just going to define the shape at the top here as well. I'm just adding in a little more off the pollution blue at the top and blending it towards the bottom space. I'm going to quickly lift up a little of the color and still turn this a little towards the lighter side. Now next, let's go ahead with the details into the sea. So for that, I'm going to pick up a little of the turquoise blue color and take it out on my palette. And I'm going to beginning with one tone darker than the base layer and begin adding in some wet on dry bees. Make sure you do not use the darkest consistency now, because we're further going to be adding in one more darker layer of the waves. Once this lighter layer dries out. So very randomly, I'm going to go ahead with bigger waves effect this time. So you can see this time the waves are much in patches trying to show in the realistic photo effect of the waves, as well as trying to show in the water movement and creating in that shadows as well. So majorly at the bottom side you can see I've given in this taco consistency closer to the board at the bottom, I've kept it a little empty because they are, we're still going to use in one tone darker consistency to create the shadow for the board that is tearing So this time we are going ahead with very differently out for the waves as you can see, wet on dry, but very bigger waves as well, not do simple lines that we add in. Now, I'll just quickly add in little darker spots in certain waves of these as well. Very little, not much of it. Now we'll begin adding in the dark of wave consistency for that, make sure that your lighter waves are almost dried. Otherwise they will all blend into each other and just mix and blend away. Now the bottom right and the left space that is still white there I'm going to use in the brown color. I have the light thread along with a little dent of the yellow ocher that's already on my palette. Mixing these two colors, I will begin adding them here into this space. So basically kind of a rock space into the sea that I'm trying to add in here. I'm going to add a little of the Payne's gray as well to the brown and taking different tonal values of the brown color and add it, you're in the base layer. The top you can see I'm trying to define it in a very rough shape. So same way, even on the right side, I'm filling up this space and you can see I'm defining a very rough shape here to show it as the stone effect. Now next, let's go ahead painting the first layer for the boat as well. So I'm going to use an orange and brown tones. So I already have a little of the orange color on my palette, bright orange. So I'm going to pick that up, added in the center. Make sure that your waves and the mountain range connected are completely dry before you begin adding in this detail into the board space. So I'm going ahead with the orange color in the center. Now on the edges I'm going to use in the burnt sienna color, you can either using burnt sienna or the light red color, whichever is available in your palette, or a reddish brown tone if you want to. So now on the edges I'm adding this reddish brown color and blending it well with the orange color. Then once this dries out, we'll be adding in the outline and the details onto the boat as well. So make sure you add them in such a way that the orange color is still visible in the center space and the brown on the edges. And both of them blending into each other, having a beautiful transition between the layers. Now, living in a very fine white line in-between your, I'm going to paint the right side as well off the boat with this brown and orange mix in between. You can see I've left in that very fine white line to show in the dimensions for the board. Now at the top here as well, I'm going ahead with the brown color tone giving in the outline. We'll paint the rest of the details. Once this dries out. Unable to live in the white gaps, you can later on using white gouache or white gel pen to define the details and the shape of the boat, keeping in these highlighted part. Now, my second mountain range, we'll begin adding in, but make sure that your boat is completely dry. I begin adding in the second mountain range with one tone darker consistency of the blue color. But my boat area was still wet. So you can see a little of the brown tone seeping into the mountain range. I quickly had to lift it up with a damp brush and stop the color bleeding in there I've quickly shifted to a dry brush and lifted up the color and the water from this meeting point so that the brown of the boat does not move into the mountain range. So that is why you'd be a little careful, wait for the boat to dry completely and then add in the mountain range so that the colors do not bleed into each other. Now using the Payne's gray color, I will quickly begin adding in the details onto the board. Makes sure that your board is completely dried before you begin adding in the details as the colors may seep into each other again. Now you're at the horizon line. I'm just adding a very small, tiny fence effect as well. So just simple two, horizontal Payne's gray line and then some vertical lines to actin as a fence walkway. Now I'm going to mix in a little bit of the Payne's gray along with the turquoise blue color and begin adding in the wave effect under the boat to show in the reflection of the Board. Now this color you can see is quite DACA as compared to the two base layer colors of the turquoise blue that we have been adding in. Now again, I'm going to go ahead with a very crisp cross line and giving in a very uneven shape for the reflection off the board falling onto the moving water. So you can see in-between, I've even cut the reflections and let the space be there. Now I'm just going to quickly add in some more darker effects into the rest of the z-space as well. So as soon as you added in that darker reflection underneath the boat on the left side you can see the board begins to look more realistic because if the reflection that's added into the water space to show in the shadow effect falling into the board or into the water of the board that we've added in. Now, going in with the darker tones on the rest of the pieces, adding in some darker waves as well. I'm done adding in the dark of effect as Ben now these are brown patches at the bottom are dry. So I'm going ahead with the Payne's gray color to add in little darker depth and some textures you're in as well. So majorly at the top and the bottom, I'm giving it a little darker effect. And in the center space, I filled it with the dry brush layer to show it as the stone effect. In the same way, I'm going to go ahead with the stone on the left side as well and adding little patches with the Payne's gray and then fill in the rest of the space with the dry brush technique. So now let's squeeze out a little bit of the fresh white gouache to begin adding in little reflection DPS of that growing space in the sky, into the water space as well. Now make sure you use this white gouache in a bowl consistency, we are going to create the reflection of that growing space in the sky on the left side, into the sea on the left side. So I'm going to add in very small, tiny wave effect using the dry brush method. It's going to be these dry brush strokes to show in that reflection and shine falling onto the water as well. So major knee, I'm going to be adding this only in the left side because we have that glowing shiny space of the sunlight effect only on the left side into the sky. So quickly going ahead and adding in these details, make sure that you use the white version of bold consistency so that you have that bold effect onto the water as well as on the edges. You can see I'm just adding in some drops using the tip of the brush and just dabbing the tip of the brush to create that effect of the water ripples. Now, I'm even creating in some glowing species like the star kind of an effect into the water to show that reflection that falls into the water space. So for that, I'm using my very smallest size brush. I'm just creating a small star shape using the white gouache to show in that if shining effect on the water. I'm almost done adding in the detail on the left side. So I've used in three different kinds of details, some white lines. I'm just a small dots of the white-collar and some of these shining stars to show in the effect of the shine falling onto the water. Now on the left side drove just adding a little deflection falling in your as well creating in that glowing sports. Just very little. And I will blend this a little into the rock space. Now, I'm going to head with one more bond, darker consistency on to that second mountain range that we added because I find the second mountain range still a little lighter. I'm just going ahead with one more layer of a darker blue so that we have that effect and the distinguishing point between the sky and the sea as well. So you can see as soon as you've added that gold color onto the second mountain range, the sky, the C, everything gets in more detail. Now I'm quickly going to begin adding in the details onto the boat as well. My boat is completely dried in the center wide gap. I'm just adding in the Payne's gray color, That's the seating space inside the board. And as I told you, since I'm painting it from the left side perspective, my details are added accordingly. In case if you are painting it from the right side perspective, the shape and the layout of the board will change accordingly. I went to this meeting space as Ben just creating in some handles and some details of the rod as well. Now, using in the brown color, I will add in some lines onto the board. So I've shifted into my liner brush size two so that I can get in these fine details, making sure that the brown color is darker enough then the basically a brown that you've used in so that this stands out onto the board once it dries out. As always, remember watercolors dry or tone lighter. So whatever tone you wish to use your, once it dries out, it will be lighter, so it has to be quite darker than the base layer brown that you've used so that it stands out even after drying. I've just doubled up this line at the top and bottom, leaving a very fine gap in between. You can see these tiny details making it look more elegant and realistic. Even on the little right side, I've given in a similar kind of detail. And now we are almost through this class project for day 12. We are just three days away from closing this 15 days, some of each painting class. Let's quickly add in the final details to this one and removing the masking tape. Then I'm just adding a little bit of the white splatter here at the bottom space makes sure that you cover up your sky and the mountain ranges and the boat as well, so that the colors are the white drops do not move in there. So let's remove the masking tape and see your final painting. I hope you guys enjoyed painting this beautiful boards cape with me today. I absolutely loved the details onto the boat. Very simple yet very pretty and elegant. Especially the realistic looked at the reflection of the board create as soon as you add it with the darker color onto the bottom space of the water. I'm just quickly adding in one more tone darker layer or deflection at the bottom here. This is the fourth color consistency, but I'm making sure that the third layer also is still visible. So just some more darker highlights to create the reflection more realistic. So you always the final painting for day 12. I hope you guys enjoyed painting this with me today. I will see you guys soon into the day 13 class project. Thank you so much for joining me in this class and painting along with me. 29. Day 13 - Let it Swing - Color Palette: Hello everyone. Welcome back to day 13 of the 15 days beach painting class. Today we are going to be painting another beautiful spring painting, a pretty simple one. This time we are going to go ahead with the lifting technique in the sky to create in that cloud effect a bit. So we are going to be beginning in with the sky first, wherein we will be using in very lighter tone of the blue towards the top side. And then we'll be creating in little cloud effect by going ahead with the lifting technique with the help of the brush and then adding in little highlights with the Payne's gray color. It's going to be a pretty night sky and not much of a darker tone. Only towards the top side we are going to have a little darker tones of the blue color. Later on we'll move on to the sea space, which is going to be again a blue tone. You can go ahead with whichever blue tone you wish to. And for the sand space, we are going to use in the raw umber mixed in with a little darker browns are creating in the shadow effect of the leaves that we have added on the top for the spring and the highlights onto the board we're going to use in the Payne's gray color. Wheel phosphate beginning in with the sky, then move on to the C and the beach space. Then later on using the wet-on-dry technique will be adding the details of the dry brush waves onto the CAD. And then we'll be moving on to this patch of the tree that we're going to add in the tree I'm going to use in the brown tones and father leaves, I'm going to use in different green tones. And we're going to walk on two layers. You can see the lighter green and the darker green strokes. Then we'll be adding in the spring. And lastly will be untangling a little off the branches off into the spring as well. The shadow into the same space for the leaves we'll be adding while the sand space is going to be still wet. So this is how we're going to proceed in with this class project and the colors that you'll need. Grab on your colors and get your materials ready. I'll see you guys into the next lesson where we begin creating in this class project for day 13 together 30. Day 13 - Let it Swing: Hello everyone. Welcome back to day 13 of the 15 days beach painting class. Let's begin in with a little pencil sketch for this one, it's going to be a pretty swing side view of the beach, giving him the perfect vacation vibes. I'm first beginning in with the horizon line. It's a little about the center line, as you can see. Now from the right side, I'm going to be having in a tree to the branch of which we'll be adding in the swing attached. So I'm just giving you a very rough outline for the bark of the tree. You can go ahead with any other layout if you wish to. I'm going ahead with a very simple one. I'm not going to be adding in much of the pencil sketch for the tree and the branches because I'll go ahead directly with the paints. I'm just adding in the major branches that needs to be daring onto this will be adding in little foil age as well. So I'll be just be adding in one more branch at the end out here on the right side. So I'm just adding in these little details and keeping in the spring as well, I'll add in direct link once we are done adding in the tree in the center space, at the bottom, I've even mocked out the beach space or very little one and medially the science piece. Now let's begin in with the sky first. So as we discussed, this guy's going to be a pretty simple blue one. So far. This guy I'm using in the blues that's on my palette. A little of the cobalt blue mixed in with a little off the Prussian blue color. I'm not leaving in the space for the tree empty right now because it's going to be off the darker brown color which will get easily covered up with the blue tones underneath. I'm just going in with a very simple layer of the blue sky. I've added in a very light layer now from the top, I'll begin adding in little darker tones to create a gradient into the sky. So the top of the sky will be on the darker side, moving towards the horizon line, the color will keep on turning lighter. Now into this I'm going to create in little off the cloud effect. For creating in the cloud effect, I'm going to keep on lifting the colors now. So I've cleaned my brush and using a damp brush, I'm beginning to lifting the color. After every lift. I'm dabbing my brush onto a tissue so that the paints that I've lifted get absorbed by the tissue. I'm just beginning to create in little cloud shapes into the sky. Make sure you do this while the sky is still wet. Also makes sure that you do not lift the colors too harsh. Otherwise you may get in very rough edges to these white patches that you create. You do not want in those harsh edges, you want a soft blended look into the sky. Now, using a little off the Payne's gray color, I will just begin adding in little highlight into these whitespaces, which we've lifted to create a little cloud effect. I'm still doing all of this while my paper is still wet. So you can see all of it has a soft blended look. While I'm adding in the details with the Payne's gray color, you can see I have to work to control that is the reason I'm able to add in these details in such a way that they still remain visible. I've mentioned the added in the Payne's gray cloud effect closer to the horizon line as you can see here, also just lifting in little color tones to create an effect in between as well. So we are ready with the sky, a pretty simple one as you can see. Now we'll wait for this guy to dry first and then move on to the other details. So now that my sky is completely dry it and let's move on to the base layer off the beach and the Sun. Time false beginning in with a layer of water into the sand and the beach space, both together. We are going to paint the base layer of both together. And then once this dries out, we'll be adding in the details on top of this as well. So make sure you go ahead with an even layer of water throughout so that you get in the details straight into the CME going to be using in the simple turquoise blue color. You can even use the acromion missed or any granulating colors if you wish to further some space I'm going to be using in the brown tones majorly the raw umber color and getting a little shadow effect for the tree and the village detail that we'll be adding into the tree. So beginning with the blue tone into the sea, or little of the turquoise blue mixed in with a little bit of the civilian blue, which is already on my palette. You can use in any blue tone for the beat space that you wish to Now closer to the horizon line, I'm defining the horizon line. Well, make sure that you are given a little darker tint towards the horizon lines so that once it dries out, you have a clear distinction between the sky and the sea boat. Also, you can see all my sky is perfectly right. That is the reason the color from the sea is not moving into the sky space. You are free to use any blue tone that you wish to further CSPs. You need not use a turquoise or acetylene specifically. You can go ahead with any tone of blue that you wish to. So I've given it a little darker highlight towards the horizon line. And now just using a damp brush, I'm going to blend all of these well into the bottom space. And then we'll begin adding in the same space as well. So I'm again going ahead with a little darker tint on the horizon line, defining it in one more time better so that once it dries out, it still stands out. Because remember watercolors dry or tone lighter. So if in any case, you know, you'd leave the layer light, once it dries out, it will turn out more lighter, not giving in a distinguishing point between the sky and the sea. I am just giving in one more tone darker effect and blending it well into the bottom space using the damp brush. So now you can see the horizon line has a distinctive dark line. And once it dries out the sky and the sea boat will stand out distinguished. Now, I'm just squeezing out a little bit of the raw umber color for adding it into the sand species suggest going ahead with a layer of the raw umber color into the bottom space, you're blending it lightly into the blue space so as to show the perfect blending between the Sun and the water space. Now onto the browns on my palette, I'm going to mix in a little bit of the Payne's gray color. And while my beach area is still wet, I'm just going to add in little darker effects onto the subspace so as to showing us the shadow effect. Because as we discussed in the technique section on the trees we're going to have in the foliage. So I want to show the effect of those leaves falling onto the subspace creating in the shadow. So very little darker effect that I'm going to create while the sand area is still wet. Make sure you do this while your signs pieces wet, only then you will get that shadow effect blended well. I'm not going to be adding in this shadow effect to the entire space. You can see in-between I'm leaving the lighter space still visible, measured in the center and a little of the edges that I'm going to create in the effect for the shadow of the leaves that will be adding at the top of the sky. So we're adding this while the sea area, beach area is still wet because once it dries out, it will have in that perfect effect. Now in the center you can see the color has spread a little extra, so I'm just lifting up little of the darker spots to let the little lighter colors in-between be there. So by adding in these darker shadow effect, It's very important to have the water control only then you'll be able to get in all the color looks as well as the shadow effect. I'm just adding in little more darker dots once I've added the second tone of the beach spaces. Now we'll wait for all of this to dry again and then move on to the further details. This painting. Now everything is completely dry it and we are going to beginning with the tree on the right side. Now, I'm beginning with the tone of the burnt sienna color, which is already on my palette. You can use a light red color or a brownish red color or any brown color that you wish to add in. I'm first beginning in with the thicker branches and moving the head will keep on adding in the fine branches and then move on to the green leaf details once the branches dry out. So I'm beginning with the brown layer. I'm not going ahead with the darkest tone of brown for now because we are going to be adding in little texture onto this branches off the tree as well. So make sure you do not go ahead with the darkest tone altogether, because we'll be adding in little dry brush details as well. Now at the bottom or into the CSP is where the brown color was looking to light there. I've just added a little darker, thin and onto the edges as well. I'm just adding in little darker tint while this is still wet so that it has a little blended look. We'll be adding in little wooden texture to these branches. So make sure you do not add in a very dark tone altogether. Otherwise, you will have no scope of adding in the darker highlights or the texture effect with the darker tones. So I'm just adding in the other thicker branches as well first, before we move on to the thinner branches, you can see very randomly at certain spaces, I've added in those darker spots to create a little highlighted effect onto the branches, giving it a natural law. But I've made sure I've not covered up the entire branch with the darkest tone onto the darker spaces as well. Using the Payne's gray color, I will still be able to add in the highlight effects that I want to undo these branches of the tree. So I'm just going to quickly go ahead, add in the thicker ones. We'll be adding in the texture or the dry brush effect once this teacup branches dry out. So this is just the beginning that we are doing a head right now. I'm done with the basic branches for now, now till the time this dries out, Let's begin with a little wet on dry is behaves detail into the CSPs. So I'm going to begin in with the same grounds. I've shifted into my liner brush and I'm just going to begin adding in very fine wave effects. So closer to the horizon line, I'm going to go ahead with very fine and smaller length waves. And as we move towards the bottom side, that's towards the sun side, I'm going to keep on increasing the length of the waves gradually so as to show the perspective view your as well. So very simple waves you can see I'm using the same blue tone that we used for the base layer of the sea, but Justin, 1to1, darker consistency. I'm even adding in little dry brush effected waves in-between so as to give a little texture into the weeds as well. You can also see randomly in-between, I've gone ahead with some thicker waves as well to give him a little depth to the waves as well. I'm keeping into waves detail quite a simple one because I want to make the swing of this painting are major attraction point as well as we'll be adding in a very tiny white board towards the left side later on. So I do not want to emphasize a lot onto the wave spot this time. So just going ahead with the simple wet on dry waves detail and very simple ways. A little curvy ones, little straight lines crisscross to create in the depth of the vase. So I have almost reached the bottom space of the water area, that's the beach part of the painting. And now we're closer to the sun space where we'll be adding in little off the blending details later on. So now using the white quash, I'm going to begin adding in that. You're not crashing point of the waves onto the science piece. So I'm going ahead with the white quash color. Now make sure you use the right question. A little thicker consistency so that you get in that bold effect. But I'm not going to go ahead with a very thick layer this time. I'm going to keep it a little subtle and a little towards the lighter tone. Now, on the inside I'm going ahead with very simple waves this time I'm not giving you more of the dry brush technique this time just going ahead with simple little technique and blending it well with the blue tones at the top space to create in the crashing effect, I'm even going to add in little highlights with the white gouache into the top waves that we have added with the blue color Now underneath the white color, I'm just going ahead with the shadow line using in the brown color so as to show the shadow of the crashing be falling on the sand as well. So I'm going with a little blue line first and then I'll move on to a little of the brown tint. So showing you in a little warp effect onto the crashing and then the sand shadow effect as well. So now I've shifted into the brown color and I'll give a little brown highlighters Bell and using a damp brush, I will quickly blend it into the same space. So I've shifted to my normal round brush so that I can blend in easily and using it in a damped constancy. I'm just blending the bottom shadow area into the same space you can see giving in a soft edge creating that shadow effect of the crashing v. Now let's begin adding in the green foliage effect into the tree. So for that, I'm going to squeeze out different tones of green. I'm going to use an olive green sap green. I'm a little bit of the brown and the pins gray color to create different cream consistency. You can go ahead using whichever green you wish to. So I'm going ahead with very simple leaf details here. I'm going to add in little branches with the green color as well. And I'm adding in very simple tiny leaves your and creating a bunch of them altogether. I'm just using the tip of the brush, dabbing it to create in the leaf shape and add in the details of the leaf. Now, I'm just going to pick up a little of the lighter green color as well and adding little lighter green leaves as well in between, you can either add in yellow to your sap green or directly using a greenish yellow color. If you have one. I'm going ahead with a little of the sap green mixed in with the yellow color to create in this lighter green, since I already have yellow on my palette. On the other side, that's the left edge. You can see I'm going to head with a little bit of the lighter greens first. And then on top of this, I'll add in little of the darker green leaf detail. We're going to show in three to four color variations of the green color leaves, so as to show a perfect natural effect to the leaves and spell that we add in your first, I'm adding in all the leaves with this lighter green color that I've shifted two and then I will move on to the different tones of green. I'm making sure that the branches are still visible as we still have to add in little texture on top of. We'll even be adding in little tiny branches later on once we are done adding in the lease so as to show that, you know, a bunch of branches happening in-between the leaves as well to give it a nudge to look. Now, you already, you can see I'm trying to create in a little bunch of the leaves hanging around. So I've just added in 33 leaves in pairs out there and then I'll be adding in the branch effect later on with the autonomic brush. So just showing in some hanging leaves detail as well. In the center, I've left a little space empty for now because we'll be adding in little darker leaf there. And a plus there will be having in the swing hanging in. So I'm keeping in the species out there ready. I'm showing you a little of the leaves moving towards the bottom side as well, creating in a little more natural effect towards the right side. Now at the right end your I'm just showing in a little bush area on top of the CSPs, closer to the horizon line, giving you little greenery space out here. Now using a darker brown color, I'm beginning to create a little texture effect onto the tree I'm just beginning in with very simple details, just going in with very simple lines to create a little texture in between. I'm just going to give him little more spiral effect as well so as to show in little effect of the wooden texture. So very simply using in the Dakotas, you can see I have made sure to keep the base layer of such a color that when I'm using the darker Payne's Grey author brown color, these texture details are visible. You can go ahead first with our darker brown layer of texture, and then go ahead with one molar of the texture using in the Payne's gray color if you want to give it a little more detail. Now using the darker brown color, I'm even adding in little very fine branches under hanging for these leaves as well that we had added. Make sure that you use a very fine tip brush. You can see how fine my strokes are because I'm using a pointed tip liner brush, which is giving me these fine strokes to create in the details. So everywhere around I'm adding in these details of the branches. We're still left to go ahead with one more darker layer of the leaves so as to make it look all-natural. I have first gone ahead with a little bit of the branch details so that when we add in the next layer of the leaves, these branches will get covered up a little showing in the perfect, you know, getting through between these leaf kind of look. Now I'm shifting into the darker green color to begin adding the darker leaves on top of these. Now I'm going to add these in such a way that the lighter leaves us still visible from behind of this light darker green tones that we're adding in. So you can see as soon as we begin adding the details with the darker green color, the painting is getting to look more beautiful. As well as the effect of the leaves is turning out more natural because of the different tonal variations of the green color that's visible. Crick giving it a natural look of the leaves that we are adding in. I've added the darker green details in such a way that the lighter greens are still visible and not covered up completely. So behind these darker green strokes, you can see the lighter green color details. If you want, you can go ahead with one more layer of leaves with one more darker tone or color. Or you could go ahead with one more lighter tone color in the base first to create in another tonal variation. So this will show that there are leaves of all different phases of the leaves that, you know, very beautiful green tone or dry tone, a little medium-term giving in the different stages of the leaf effect as well. Now I'm just going to add a little more leaves towards the bigger branches. One branch I'm going to add in moving towards the sea side, going into the sea almost. Now on the left side here, I'm adding in a very small board using in the white color. I'm going to later on given little highlights or with the pen so that I can get in fine detail. So using the white gel pen, I will quickly add in little detail you want. You can use in a fine liner brush and the white color itself to add in these little details. But I find it easier to add in these details using the white gel pen Now using the Payne's gray color, I'm just giving you little highlights towards the edges of the boat and towards the bottom space to create little shadow off the board as well. Now, using the black pen, I'm going to add in the swing details. So as I told you, I'm going to show it almost in the center space. If you want, you can go ahead and using again the black color or the Payne's gray color with the help of a fine tip brush. But I'm using a 0.3 nib pen so that I can get in very fine details for these are details you can see as we're moving towards the top side, the distance between these ropes has short enough. Now at the bottom, I'll give him the bench detail for the spring as well and fill it with the Payne's gray color. So after marking the outline, I've shifted into my brush. I added in the Payne's gray color to the entire branch and now just adding in some tie around details of the row. Now I'm just adding in some branches and tangled towards the roof of the spring as well. So using the Payne's gray color, I've just added in some entangled kind of detail of these branches to which I'm going to add in little off the leaf details. So basically trying to show some branches of the leaves entangled towards the swing that we've added in. So we're ready with our painting for d 13. Let's remove the masking tape and see the final painting. If you have a closer look at the branches and the leaves, you'll see the natural effect that's coming in because of the texture details that we've added onto the branches of the tree as well as the bark of the tree. The different green tonal variations that we used into the leaves. You can see the shadow effect of the leaves that we added while the sand was still wet and that tiny board detail as well. I hope you guys enjoyed painting this with me today. I will see you guys soon into the next class project 31. Day 14 - Evening Vacation Vibes - Color Palette: Hello everyone, Welcome back to day 14 of this 15 days, some of each painting class today we are going to be painting this beautiful sunset beach vibe. So let's go ahead and have a look at the colors that you would be needing. For this guy. The colors that you would be needing is going to be the tone of blue and a yellow, orange color. I'm going to be using in the Prussian blue color and the yellow orange tone. You can go ahead with any yellowish orange color or a yellow deep color. Any tone of blue. Sky colors are going to be a reflection into the sea as well. So the same sky tones will be using in, for this bush space. We'll be using in different tones of greens by creating in Dhaka highlights. For this bottom space, we'll be using in the Payne's gray color to give him the sound effect because we are showing in the evening effects of other sand as well. We'll be using in the darker tone. Now of course, we will be painting in with the sky wet on wet. Then we'll be using in the water control technique, adding in these little cloud effect into the sky using indifferent tones of the blue color. Then we'll move on to the beach space. The base layer again is going to be wet on wet. And then once it dries out, we'll go ahead with a wet on dry wave effect, giving him the details into the V's. This small space here will be going wet on dry. It's a very small space and then using the white gouache will add in the sun or the moon and the reflection of the same. We'll be adding in these palm leaves as well are using in the gold Payne's gray color into the sky. We won't be having enough pencil sketch for the sky. The palm leaves will just be having a simple horizon line and the bush areas sketch. If you have a closer look, you can see the colors of the sky reflecting into the sea. And this time the crashing wave effect. We are going to give it with a bold Payne's gray and blue tone instead of the white tone because I'm trying to show in that perfect evening vacation loop. So that's about this class project. Now in the next lesson, Let's begin creating in this beautiful class project together. For day 14 of these 15 days, some of painting class 32. Day 14 - Evening Vacation Vibes : So now let's begin with our class project for day 14. I'm quickly going to squeeze out these colors. That's a Prussian blue and cadmium yellow, orange. We've already discussed all the color tones in the previous lesson. I will quickly squeeze them out into my palette. And then we'll beginning with the pencil sketch we had on the second last class project of these 15 days, some are painting beach class. So let's quickly squeeze out the colors. You can go ahead with any yellow, orange tone or any blue tone that you have in your palate, it need not necessarily be the same exact shade as I am using it. Now I will quickly mark out the little pencil sketch that we need. That's going to be the horizon line falls and marking out the beach space, that's the sand and the water space. At the left end here of the horizon line, I've just marked out a little bit of a greenery space as well. We'll first be beginning in with the sky. So Father Sky, It's going to be a pretty simple sky with the blue and the yellow orange color. So I'll quickly beginning with a layer of photon to the sky. I will try leaving that bush space empty for now because they're going to go ahead with the tones of green. And I do not want the orange tones to get in there. I'm almost done adding in an even layer of photo. Now I'm beginning with a yellow orange color first closer to the horizon line. Now remember the yellow, orange and the blue color mixed together may give you green tones or bid. So in the planning phase in-between, I'm going to leave a little white gap and let both of these blend in naturally. We've discussed this as well in the technique section. I'm just lightening up a little of the color as well. And now at the top, I will beginning with the Prussian blue color. And in the center, I will just use a damp brush for letting both of these blending smoothly into each other. So I'm just rotating my book in all directions so that these colors blend a little into each other. Now I will go ahead with one more layer of the colors because this color tone is very light for now. Once all of these dries out, it will dry, even afford the tone lighter, which I do not want. That is a reason running ahead with one more bold layer of the same color consistencies and creating in the depth into the sky. Now for a little cloud detail, I'm going to mix in the blue along with a little bit of the white quash. And using this pistol blue, I will add in little cloud effect over the yellow orange color. The reason of not directly using in the blue color is so that I do not have any green tones. Adding in a little white makes it easier to blend even complimentary colors without forming in any thought. So just a very small light cloud effect at the bottom. And now just going to add in very little darker highlights with the darker blue tone on top of this. Now you can see because of the underlying white and blue, this blue is also not creating any green bonds or with the underlying yellow orange tones as well. So just a little darker highlights and I will just quickly blend it well and define the horizon line also perfectly. Now into the sky, I've just run ahead again with one more layer of the blue tone. And I'm just going to blend this in the center space using a damp brush, the yellow and the blue tones. And then we'll wait for this guy to dry out completely and then move ahead with the next layer of details. Now, while my sky is still wet, I'm quickly going to add in which love the cloud effect using a smallest size brush into the blue layer of the sky as well. For that I'm going to use in a medium tone of the blue and just going to add in very little cloud highlights from the edges like this. Make sure you have the water control your otherwise the color will spread completely and cover up the entire space. I'm just going to add in very little cloud effects onto both the sides and very tiny ones as you can see. And then we'll wait for this to dry completely and then move on to the next layer of details. After this guy dries out completely, you can see the water control that I have vile adding in these clouds. So they are retaining the shape in which I'm adding them while having a soft edge blended look with the base layer. Make sure you do this while you're basically out of the sky is still wet, otherwise you will just get in sharp line of the colors instead of the soft blended look into the sky. So that is it for the clouds. Now I'll wait for this to dry completely and then move on to the next layer of details. So now my sky is completely dry it and I'm going to move ahead to the beach space. So I'm going to go ahead with a layer of water onto the rest of the bottom space for now. And we'll begin with the C first. So into the C, I'm going to have in the same colors as the sky, but very little of the yellow, orange and a little more off the blue tone. So the yellow, orange color, I'm going to take it only in the little centers piece of the water space. So just little highlight that I'm adding in first, most of this will again get covered up and I begin blending in with the blue tones. Now, if I let go of the green tone gets informed Also it is completely okay because the green tone will be right, that bluish green tone which will be formed, which looks perfect for the water spaces. So I'm not worried much about the blending out here or the green bonds being formed here. So very carefully onto the edges you can see I'm adding in the blue tone, but I'm making sure that my yellow, orange color is still visible a little in the center space. After the first lighter layer, I'm going to begin in with the darker tones of the blue on the edges defining the horizon line. Well, give me the little wet on wet wave d. D is a measure of the waves we'll be adding in wet on dry. So I'm just using the tip of my flat brush to given these little highlights, I'm defining the horizon line well, because on the horizon line only at the left end we will be having a little of the bush details, rest of the space we will not be having in any other details. So we need to make sure that the horizon line is defined. Well. Now for the remaining subspace, I'm going ahead with a little darker consistency of the brown color. I've mixed in a little of Payne's gray along with the burnt sienna, which was already on my palette. You can directly using a darker tone of brown as well. But I just picked out, going ahead with the colors on my palette, mixing them and using in so that I do not have to waste in those colors. You can even directly go ahead and using the Van **** brown or a darker brown tone, whichever is available in your palette. Now, on the edges you can see at the bottom have again given in little darker highlights. Now I'm just going to blend in a little of this time-space along with the water space giving in that soft edge. Later on, we'll just be giving in the little foamy effect out there for now. Just going ahead with very simple blending and overlaying of the water and the sand onto each other. We are ready with the base layer for the c and the sand as well. Now we'll wait for this to dry completely and then we'll move ahead with the next layer of details. So now my water area is also completely dry. Now before moving on to the wave details, I will quickly lift up the green color and given the first layer for the bush as well. So I'm just going to define a very random rough edge. I'm not going to go ahead in a specific shape. Just going ahead with bold colors you are defining in a bush space, giving in a very natural look to the details that we are adding on top of the horizon line here. I'm filling up the entire space out here with the green tones. You can see I've gone ahead with a little more darker green as I'm moving bottom towards the horizon line. And now when I'm moving much more closer to the horizon line, I'm going ahead with very bold consistency. And for that I'm mixing in a little bit of the brown and the Payne's gray to the green color Now with the darker tone, I'm just going to take a very thin line till the centers P is giving it a perfect lookout. You're at the top space of this bush whenever you feel the sky colors have already come in because of which the green color is not visible perfectly. You can use a little darker green there to hide in the blue and the orange tones that have peeked inside. Now I will quickly begin adding in the palm leaf effect that we're going to add in the top of the sky. So I'm just beginning in using my liner brush and the Payne's gray color. First time beginning in with one half palm leaf on the rightmost edge. So I'm just showing in the half side of the palm leaves. So just some leaves, foliage that is peeking out into our painting here. I'm just adding, these are leaf very randomly as you can see, overlapping onto each other as well. Just trying to give him some ball leaves in-between as well. I'm even going to be adding in two of the more leaves peeking out from the center space here. So make sure you do not lay your hands onto the leaves that you've already added on the rightmost side. So go ahead very carefully or wait for it to dry. Now in this center space, you're, I'm adding in the entire palm leaf. Again, you will see the foil each of which I'm adding it in a very random manner, crisscross to each other. As I'm moving towards the bottom side, I'm making the final age more bent towards the bottom side that's dripping downwards. So I'm quickly going to add in the foliage now on to the next side as well, you can see overlapping each other, creating in some darker and thicker village as well. As well as giving in some bold lines in between to create that little bold effect. I'm just adding two to three bold lines now you can see it's creating a different impact and giving in that bold effect in between because of these two to three or thicker leaf strokes that we are adding in. Now I'll wait for these two leaves to dry first. Until then, I will go ahead with the first layer of the V's. So far the waves, I'm going to go ahead with the blue tone. I'm going to go ahead with very simple wave detail. So a closer to the horizon line, very smaller lines close to each other. And as we move towards the bottom side, I will just increase in the length of the ways these waves also are close to each other. I'm just overlapping and intertwined with each other. Now in the center, I'm keeping in little space closer to the yellow orange space because there I will be adding in little lost the waves effect that the yellow, orange color as well. So fast I'm going ahead. So the edges only in the waves also you can see I'm randomly adding in little thicker waves in between two, given that bold effect and very simple crisscross and zigzag lines to each other to show in the wave effect. So as I'm moving towards the bottom space, you can see I'm making the waves a little more bold and longer as compared to the previous one. Even adding in a little tint of the Payne's gray to give him little gold effect of the waves as well. Majorly, I'm adding all of them using in the Prussian blue color directly. Just a little highlighted darker tones with the Payne's gray mixed in with the blue tone. Now in the center with a yellow, orange color, I'm going with very lighter tone of the blue and leaving in little spaces in-between as well. So as to add in the yellow, orange wave effects they're in as well. Now using in a bowl layer of the Payne's gray color, I'm going to define in this line, That's the meeting point of the water in the sand. And later on I will be giving in little depth out there. Now from this line itself, I'm just pulling out very simple strokes like this are moving towards the water side. You can see I'm just randomly going ahead with little dry brush, little in the wind waves with each other. Just very crisscross kind of look. So this time instead of going ahead with the white look of the crashing waves, I'm just going ahead with a very simple look off this black bold effect of the crashing wave. Because I do not want to give in that white wave loop because of the evening sky that I'm trying to create a new array. Now some of the ways you can see how I've tried to blend them well into the sea space by taking them a little longer so that all of these look perfectly and the crashing effect looks in well blended into the waves as well. Now at the bottom I'm going ahead with one more line. Now this line I'm using in the Prussian blue color as you can see. And into this, I'm going to add in little detail with the white quash now, but it's going to be a little dull white quash, not too much of a bold effect. First, I'm just going ahead with very simple pulling lines with the same Prussian blue color. Just as we went ahead in the previous layer of the Payne's gray color. So very simple strokes that I'm pulling out towards the water side. Now in the center you're just adding a little yellow, orange highlight as well. So as to have that sunlight sunset effect falling in here. We'll still be adding in the sun into the sky later on using in a bold orange effect. So for now, I'm already adding in the reflection where we'll be adding in the sun just in that bottom space closer to the waves area as Ben. Now using the yellow orange color only and just adding in some wave highlight, make sure you use a yellow, orange color in one tone, darker consistency than the base layer. Only then it will be visible. You can add in little wide core so that it gives in a little ball effect. Now using the yellow, orange color, I'm going to give him a little highlight effect onto the crashing waves as well. So make sure that the Payne's gray line of the crashing wave is completely dried only after that you begin adding in these highlight. So using indoor yellow, orange color with a little tent of the white. I'm just going ahead onto this in the center space where in the sunlight effect is falling. You can see as soon as you've added the highlighted effect, it's looking so much well blended into the CSPs with the crashing effect. Now into the rest of the water space, I'm going to quickly add in a little more highlights. We are just left to walk in with little more details into the CSPs and then add in the sun and one more palm leaf if needed. After that, we will be ready with our class project for d 14 as well. Now using a little darker color, I'm going to quickly add in little darker highlights into the waves as well. Because you can see as soon as the waves layer has dried out, the earlier looks a little dull. That is, the color has dried one tone or much, much lighter. So I'm quickly going to go ahead with little more darker consistency of the waves that we have that bold effect into the rest of the waves space as well. Now this type of consistency I'm adding in such a way that little of the lighter tones in between are also visible. So we'll automatically having like two to three different color variations and do Aviv's as well. Because of the different tones of the waves using in the bold color have defined the horizon line as well, very clearly giving in a very distinctive line with a darker tone. Leo. Now quickly adding in little more of the yellow, orange highlights as well onto the edges majorly, you can see I have used in the literate end of the white quash, which is giving you that bold effect even on the darker tones of the blue. Now I'm just adding in little of the Payne's gray detail at the bottoms piece and I will blend it well. So first I'm adding it in a little dry brush pattern, then needle of the patches, I will blend it into the bottom space using a damp brush. And some of these pieces, I will let that dry brush look be there. Using a damp brush. I'm quickly blending in all in and giving him that darker effect at the bottom species making sure that the lighter effect is still visible closer to the sea waves space. Now I'm going ahead with the last palm leaf. And I'm going to add this a little more towards the z-space. So it's a little longer than the previous two leaves that I've added. Plus this will have a little more off the boulder leaves as well. Now you can see this is overlapping the second leaf that we added, that is the reason I waited for the second leaf to dry out completely and then move on to this third layer of the leaf. After adding in this third layer of the leaf, will quickly add that sun highlight and we'll be ready to peel off the masking tape and see our final painting. Now the bottom waves and the science piece is wet, so be very careful. You do not lay your hands over the bird species. You may either wait for it to dry completely and then add in this palm leaf or rotate your paper or board in an angle such that it's comfortable for your hand as well. So as I told you, I'm going to take this leaf a little longer, moving till the z-space. I'm just going to take a little of the leaf effect moving towards the sea side, touching the seawater almost. So under the ball leaves as well, you can see I'm going ahead with an overlapping of ten leaves as well so as to show it up perfectly loaded palm leaf with a lot of foliage details. Now I'm going to quickly take the center of the leaf and I got to tell the board what does P is touching the water? Look, I'm just going to add in little small effect closer to that. Now lastly, let's quickly add in the glowing sun effect here. So I'm going ahead with a bold white quash layer to actin as the sun's peace. Or you can call it as the rising moon or the setting sun, whichever you wish to. And I'm just adding a similar highlight of that into the bottom water space as well. So a perfect reflection of the sun or the moon that you want to consider in the water area as well. So we're ready with our class project. Make sure that your edges are completely dry before you begin removing the masking tape so that you do not tear off the edges. Go ahead very carefully and always remove the masking tape against your paper. So here's our final painting for day 14 of these 15 days beach painting class, inspired by the Summer Team. I hope you guys are enjoying painting each of these beautiful beat scapes with me. How pretty the moon or the sun reflection looks here, giving in that perfect vacation vibes. Thank you so much for joining me into this class, and I will see you guys soon into the final and the last class project of this class. I hope you enjoy painting all of these with me as well. 33. Day 15 - Summer Evening Beach - Color Palette: Hello everyone. Welcome back to the day 15. This is our last painting for this 15 days beach painting series. And today we are going to be painting a very simple serine evening, some kind of a beach look, giving him the perfect vacation wipes. So it's going to be a pretty simple tropical beach painting that will be going ahead with phosphate beginning with the sky veteran, we'll be using different tones of blue, a little of the cobalt blue, cobalt green shaded in blue, and then adding in little cloud effect as you can see closer to the horizon line. Then for the CM going to be using in the turquoise blue and the cobalt green color. I'm going to use this cobalt green hue by the brand Magellan mission. You can go ahead with any tone of a pistol green if you do not have a cobalt blue color because this is just p G7 and PWC. That's a mix of a pigment, green, pigment white. So you can create a similar looking basal green by mixing emerald or viridian green with the white gouache. Then you can use in a little bit of the turquoise blue to the darker highlights, we'll be adding in the darker highlights to create the shadow for the bush space on the horizon line will be using in the darker depths to create the shadow for this rock space as well. For the rock we are going to be using in the raw amber color. Then for this file HER you can see the different tones of greens that we'll be using to create in the details onto the palm trees. So that's going to be a pretty simple painting for Dave Weil, beginning with the sky where we'll be going wet on wet using the tones of blue. Then we'll be painting the base layer of the C for which again, we'll be using the wet on wet technique. And this time we'll be adding in very subtle wave effect using the wet on wet technique, as well as the shadows for the bush and the rock space. Then we'll be painting this bushy area, wet on dry. And then the palm trees wet on dry. This time we're not going to be adding in any veteran that waves are wet on dry waves effect the sea and the sky is going to be pretty simple. One very subtle clouds, very subtle details, and then wet-on-dry details to create the elegance and the look into this painting. In the next lesson, Let's begin creating in this final last class project for this 15 days beach painting class. So without further ado, I will see you guys into the next lesson where we begin squeezing auto colors for our final painting of this series. 34. Day 15 - Summer Evening Beach: So let's begin in with our final class project of this 15 days beach painting class. So we'll just quickly beginning with the pencil sketch. This time I'm keeping the horizon line a little about the center line. So this guy is going to be a very small space and we are going to be having in a little bigger CSPs this time into the sea. I'm just adding in a small rock kind of space in between, which is on the sea bed. And onto that we are going to be adding in small palm trees later on. So I'm just giving you a very rough layout for the details out here. And we're just going to have in a small mountain or a bush kind of space on the horizon line at the left side, and a little on the right side as well, but very thin one on the right. This guy is going to be a pretty simple one as well. And even the C will be a pretty simple one. First beginning with the sky. So let's quickly squeeze out the colors. This time as we discussed, I'm using the cobalt turquoise color. So you can use cobalt blue or you can use in any other blue which is available in your palate. It need not necessarily be the same blue as mine. I'm squeezing out a little bit of the cobalt blue as well. Going in with a very bluey combination for this one, I'm going to paint in a very pretty simple seascape. And the last one, ultramarine blue as well. A bit, since all the blue on my palette you can see is already over. So just squeezing out fresh blues to beginning. So let's begin in with the sky first, and I'm going to go ahead with a layer of water onto the entire sky. I'm not adding any water into the bush space on the left side, you can see I'm trying to keep it as much white as possible if a little color still peaks in on the edges, It's completely okay. And I'm just going to go ahead and add in an even layer of water. You can see I'm running my brush multiple times so that there is no excess water on the edges. Otherwise, the excess water will see back into the painting and may create in or uneven edges. So we begin with the cobalt blue mixed in with a little dip of the ultramarine blue at the top and a little below. I'm going to use the cobalt blue as the cobalt turquoise blue as well. I forgot to squeeze out a little bit of the cellular and blue colors. I've just squeezed out a bit of that as well to give it a little darker deaths. And now using a blend of these blues, I'm going to create a very blue sky in the center. We are going to have in that cobalt green color. At the top, I have more of the civilian blue and moving towards the horizon line, I've lightened up the color a bit. I'm just lifting up excess color from the top because I do not want a very dark sky. I want a very sunny day kind of look. So just going ahead with the colors. Now I'll just quickly add in a little more of the lighter tones into the sky. Now I'm just blending in all the colors where you can see how you are having in different tones of blue mixed together, not standing out separately. At the top. We're going to have in little darker depths, but not much. I've used in a little bit of the white quash your Asbell to create a little opaque layer, as well as giving a little lighter twist to the colors in the sky. So that is about the sky. Now I'm just going to pick up little of the blue tone mixed in with the white quash. And I'm going to add in little cloud effects into this. Much closer to the horizon line. So closer to the horizon line, as you can see, I have a very light tone or color of the blue in the base layer. So now this blue color highlight for the clouds will be perfectly visible out your because of the lighter blue layer that we've added. That is the reason I told you closer to the horizon line, keep the blue color very light so that you can create in literal of the cloud effect. Now when you're creating in this cloud effect, make sure to have in the water control, as well as the color consistency look to not go in with a very bold color. And also make sure that your base paper is still wet. Otherwise you will just get in sharp patches of color instead of a perfect blended look. So I'm just majorly creating in the Cloud effects towards the horizon line. And majorly on the right side, I'm not going to cover the entire sky with the clouds effect. When to keep it pretty simple and light The sky. Now I'll beginning with the C. Now on the horizon line, as you know, we are going to have in that mountain range. So I will keep a very fine line gap in-between so that the colors from this guy do not move into the sea and the colors from the sea do not move into the sky. But in case if you're not confident about it, wait for your sky to dry completely and then move on to the z-space. I'm going ahead with a layer of water into the entire see, I'm leaving that center OCT space empty. So you can see I'm not adding in any colors out there. And closer to the horizon line you can see a fine white line gap that I've left between the sky and the horizon line. Make sure you do not cover the rock space this time because it's going to be off a very light tone, beginning in with the cobalt green hue at the bottom space into the C, I'm going to use in the same blue of the sky, but more of the cobalt green hue. And I'm lifting up a little of the turquoise blue color. And I'm just going to blend both of these blues and creating the CSPs. So the C also this time is going to be a pretty simple one just to blend of the turquoise and the cobalt green you, and while it is going to be still wet, we will just add in little wet on wet waves effect. This time we won't be going ahead with the wet-on-dry waves. For the last class project. I've kept it a pretty simple one, but a very soothing one. It's going to be a perfect summer vacation by BH loop that will try to create it. Now using a little darker tint, I'm just defining the horizon line more prominently so that once it dries up, we have the perfect distinction between the sky and the sea. You can see I'm just using the tip of my flat brush to give him the little wet on wet beef details and the darker details into the sea. I'm not going ahead with any prominent wave look or any wet on dry waves later on, it's all going to be the little wet on wet waves effect that we are using in the darker tint and the tip of the brush. Now, I'm just picking up a little off the turquoise blue color and I'm just going to give him little shadow effect to this rock space. So why is the sea area is still wet underneath the rock space? I'm just creating a little shadow to it because once this dries out, if we add in the shadow, it will have in a little rough edge. So adding in the shadow while RC area is still wet. Now I will quickly add in little off the back of waves effect while this is still wet, make sure you're adding all of these wet on wet in case if you feel that your paper is beginning to dry in, you can either choose to add in little of the wet-on-dry waves or you can leave at your space and then adding the details again so that you have that wet on wet soft wave effect. So let's add in the darker depths into the sea. I'm using the same cobalt between you and the turquoise blue color to create little darker effects. You can see my paper has stayed wet for such a long time because I'm using 100% cotton paper. Plus I run my brush multiple times while adding the layer of water so that I can add in and work wet on wet. So just adding the darker depth using the same cobalt green color at the bottom as well. You can see I'm not covering up the entire space with the darker depth, just adding it onto the edges and blending it well, giving in the soft edge look. With the little off the turquoise color raspberry adding in some waves effect blending it well with the base layer. Again, as I told you, we are not having any prominent wave loop, just very soft wet on wet waves effect. And the rest of it is going to be pretty simple. C this time, the main detail will be the highlight of the rock and the palm trees that will be adding into the sea. Just adding in little darker edge to the shadow as well. Because you can see as it's beginning to try out, it's looking a little lighter, so just little darker effects before all of these dries out completely. So now we'll wait for the sea and the sky to dry out completely and then add in the final layer of details for this last painting of the beach painting class. So make sure everything is completely dried before beginning in with the details. So now my sky and the c both are completely dried and we're going to begin adding in the final layer of details. You can see the dark details in this C are standing out so beautifully. Now for the greenery space here, I'm going ahead with the mix of the olive green, sap green and light green tones to create in a greenery Bush space On the horizon line, you can go ahead with any greens that's available in your palette and go ahead adding in the detail. You can see since we've added in that dark layer on the horizon line, we already have a little shadow effect for this green space has been at the top, I'm just dropping in some darker green that is green mixed in with Payne's gray and brown to create in this darker effect at the top so that the blue color of the sky, whichever's come into this bush space gets covered up easily. So at the top and the bottom edge of this bush space, you can see I've added in the Payne's gray loop now in the center I'm again dropping in little of the lighter green tones. And now you can see how the shadow effect is looking so beautiful with the details into the bush space. Because of the top bush space, we have that shadow effect also coming in perfectly same V. I will quickly add it onto the right side as well, and then move on to the rock space into the sea. Then adding in the detail onto the right side as well. Now let's move on to the rock into the sea. So I'm going to use in a very light layer of the raw umber color first year. And then on top of type we'll add in little effects with the brown and the Payne's gray color. So for the first few, use a very diluted layer of the rumba color like almost equal to a water Leo, but just with a little tint of the raw amber color. So this is the first layer that I've added now, very Nand assembly. I'm just adding in little greenery details at the bottom yours, I'm using green mixed in with Payne's gray color to show some Mauss collected onto this rock space here. So make sure in this part you have the water control. Otherwise, this Payne's gray green color will spread completely and cover up the entire lighter space that we've added on the rock. You can see I have the water control because of phage, the lighter tone is still visible and I only have the daka, daka most effect only on the edges and not covering up the entire rocks piece. Now on top of this rock, I'm just adding little green detail moving into the z-space as well to show some greenery collected onto this rock as well. Make sure again, this also you have the water control, otherwise the rock lighter space will get covered up completely. And I'm just trying to give him little of a grass kind of an effect randomly at the top space onto the sea as well. Now let's wait for this rock and the bush to dry completely. And then we'll add the final layer of the palm trees into this painting. So now everything is completely dry. I'm just giving it a little darker effect at the base. Again, this is wet on dry, so the rock is completely dried onto that. I'm just giving it a little dry mass effect. And then we'll add in the palm trees. As I told you, it's going to be a pretty simple painting for the last one, but it's going to be a pretty evening, sunny day view on a vacation vibe. Now, we'll quickly begin adding in the palm trees onto this rock space. So you can add in two to three palm trees depending on the size of paper that you're working in bed. I'm using in the bunt sienna mixed with a little bit of the raw umber color and add it in the branch for the tree, sorry, the stem for the tree. And now onto this, I'm just going to add in little darker effect using in the darker brown or you can use in the Payne's gray color to give it a little darker highlights on the edge, make sure you have lived in night. This piece is visible and little darker spaces for the stem part. Now for the foliage of the palm tree, I'm going to use in the green tones. So I'm just going to go ahead with the olive clean all the sap green color and just begin adding in the file is for the palm trees, you can go ahead simply using any darker green that's available in your palette. Just make sure you use it in a golf ball consistency so that it's visible perfectly with the base here of the sea and the sky and stands out into the palm tree. In between, I'm going to use an even some lighter tones of the green to give him little highlighted effects. So far the lightest strokes that I'm adding, I'm using a little bit of the yellow mixed in with the green since I already have the yellow on my palette, you can even use the greenish-yellow color or a Cadmium Green Light color if you want to, make sure you use it in a bowl consistency only then you can see it's visible even on the darker tones. So I've mixed in a little tent of the white gouache to it so that it stands out opaque onto the darker tones. But in case if you already have an opaque color, you can directly use that as well. So in a similar way, I will quickly add in the foil age to both of the trees. So quickly adding in the foliage towards the right side as well. And you can see I'm just adding in very simple foliage effect now overlaying the lighter ones as well with a little of the Dakotas. Now lastly, let's quickly add in the foliage to this tree on the left side as well. In the similar way, I'm going to go ahead with same mix up the colors. I've added in the lighter layers here and now on top of it, I'm going to go ahead with the darker deaths. You can see how the lighter color stays in the background creating in that Sonny effect falling onto the palm trees as well. Creating in that lighter effect onto the foliage. On top of the lighter ones going ahead with the Docker file is, but in such a way that the lighter foliage is still visible in the back layer. Now using the Payne's gray color and further adding in little more of the darker dips onto both of the trees. So once your first layer dries out, go ahead with one more layer with little darker things to create one more darker violet effect into your palm trees. I just started little more lighter highlights on the darker ones to create a balance between the light and the darker highlights. I will just add in little lighter highlights with the mix of the yellow and green out here. And using a damp brush, I will blend it into the base layer and create that soft edge because my Bush was already dried, so I'm just running it with a layer of water again so that this color blends in and has the soft edge only in the center. I wanted to create an add in little lighter highlights, which I forgot to add in in the previous layer itself. So just to add a little dry brush effect with the brown color tone your onto the rocks piece. And we have the lighter and the darker both spaces visible. So we're almost ready with the class project. Just some last part of highlights before we peel off the masking tape. Let's be honest, the masking tape and see your final painting for the 15 of these 15 days beach painting class. This was our last painting of disease. And I absolutely love painting each of the beach paintings for this 15 days series of the summer beach painting class. I hope you guys enjoyed painting these with me. In the next lesson, we will have a flip through of all our 15 paintings. So make sure to have a look and make sure to upload your class projects into the project section. If you've painted along with me and do not forget to drop me a review if you liked this class for whatever reason so that it can help me reach a wider audience. Thank you once again, and I will see you into the next lesson with a flip through of all the 15 paintings 35. Thank you for Joining: So here's a quick flip through of the 15 paintings that we did into this 15 days. Some of each painting class, I hope you guys enjoyed painting each of these beautiful beach paintings with me throughout the period of 30 days where we painted each beach painting one day later. I hope you enjoy painting these with me and enjoy your summer wipes through these beach paintings. If you could not make it to a beach this summer. If you've painted along with me into this class, either one painting are all 15 paintings. Make sure to upload them into the class project section. All of us can have a look and appreciate each other for the efforts that we take in to create these beautiful views. If you've liked this class for whatever reason, if it makes sure to drop me a review so that it can help me reach a wider audience and health by class do a little better. I hope you guys have enjoyed painting this, and I loved painting each of these paintings with you for this class. Thank you so much once again for joining me into this class, painting along with me for 15 days. And thank you if you've already dropped a review and uploaded your class project, I will see you guys soon into my next class till then, Happy painting