Sunset and Silhouette Watercolor Paintings | Seven Landscapes

1. Introduction - Sunset & Silhouette Watercolor Paintings: Hi, I'm Shannon, and this is Phoebe. Say hi, Phobe. Hi, I'm a watercolor artist from Bangor, India. I love painting landscapes. You can check out my artworks on my Instagram page, Ws. Welcome to my class on painting sunset and silhouette paintings. In this class, there are a total of seven paintings. We'll be painting them one at a time. Each day, I'll be posting the painting sessions. Painting sunsets is mesmerizing because there are endless opportunities to explore their beauty as we witnessed them every day in our lives. In today's class, we will unfold the magic of painting sunsets and Silowz using watercolors. We will dive into different techniques for painting clouds and sunset skies, creating vibrant and dynamic painting scenes. We will discuss how to achieve various types of clouds from airy light weighted clouds to thick and dense formations. You will learn how to blend the colors seamlessly and how to consider perspective when painting clouds in the sky. We'll also talk about complementary colors and color mixing using a color wheel. Then we will discuss various types of brat strokes to paint the filet, and we'll also have practice sessions to paint simple sunset skies. Ultimately, we will bring together all this knowledge through the completion of seven projects. I will guide you step by step through the process of creating stunning sunset landscapes. Join the class and enjoy 2. Art supplies used in the Class: Now, let us talk about the art supplies needed to paint the sunset and silhouette paintings. I'll tell the name of the color and also the brand. First is permanent yellow. This is by M jello Mission. The next color is Naples yellow. This is by the brand senili Next is yellow per by Art Philosophy. Next orange by white knight, permanent red by Art Philosophy C. Bright opera by Mijello Mission. Burn Sana, again by Mjomsion crimson by art philosophy C raw umber, number two by Mago mission, Sepia dioxide purple by Ceneli On the opposite side, I'll be only using the shades of blue, so I'll only mention about them. Next is ultramarine blue by white knight, Indigo by Mago mission. Pain cray by Daniel Smith, ivory black by art philosophy. And we also have cellin blue by Cenelio. These are the colors I'll be using in this class, and we would need white gauge paint or watercolor paint. I'm using Brustro white gauche paint. Anytime you see me picking paints from here, that is gauche paint. Now, let's talk about the papers. I'm using Citrat four 40 SM paper, and I'm using the backside of this paper, which is slightly mat finish. Let's check the size of this paper. You can take any rectangular paper. Okay, the size is 19 14 centimeters. Next, let's talk about brushes. I'll be using three different brushes. First one is this Princeton Neptune mob brush of size four. I'll be using this for washes and wetting the area. Next, we have silver velvet, size eight for the regular brush strokes and silver velvet, size two for fine lining and detailing purpose. A pencil for rough sketching. If you have a water spray available, then you can use that to wet the paper. This is an optional tool. You can also do without it. Next, I will tape the paper onto a glass sheet. You could use any hard surface clipboard or similar item. We are using this hard surface, so we can tilt the paper and move it around in different direction, making the painting process easier. If you're taping the paper directly onto the table, you won't be able to achieve the tilt and flow effect that's important for watercolors. Okay. And to tape down the paper, we would need masking tape. So I'm using a three quarter inch masking tape. Okay. Next, we have two jars of water. One jar is to clean the dirty paints of the brushes, and other one is to take clean water for the washes. We also need a napkin to wipe off the extra water or the extra paints while painting. I have two napkins, one for wiping off clean water, and the other one for wiping off paints that has already become dirty in the palette. For example, here, my palette has this red color. I'll just take this napkin and clean it off. Lastly, we need a head dryer to speed up the painting process. If you don't have a head dryer, that's also fine. You can let the paints dry naturally. These are the supplies I will be using in this class. You can go ahead and use whatever similar supplies you already have. 3. Watercolor Washes: In this chapter, we will discuss different types of washes used in this class. We'll start with flat wash. Here we apply the paints, either wet on dry or wet on wet. But ensuring the end result is uniformly flat without any unevenness. A flat wash creates a smooth and consistent layer of color, making it ideal for backgrounds or larger areas where a uniform appearance is desired. Next is variegated wash. In a variegated wash, we apply two colors and blend them together evenly using clean water. This technique can be done using any watercolor technique, such as wet on wet or wet on dry. Variegated wash creates a smoother transition from one color to the other, adding depth and dimension to the painting. This is one example of variated wash, where we blend two colors and this one as well. Next, let us talk about gradated wash. Here, we begin with the thicker application of color and then gradually dilute it by adding water with each brush stroke. We are slowly moving towards lighter shade. This method allows for a seamless transition between colors, creating a soft gradient effect. Next is the layering technique. In this technique, we apply two or more layers of colors to the painting. The first layer serves as the base layer, which can be any initial color application. Then we build upon this base by adding subsequent layers. For example, let's say we have painted a base sky using the sunset shades like a yellow pink around the horizon and blue on top area. Next, to add the clouds, we would need the layering method. After completion of this base layer, we will proceed to add darker clouds in the sky. That is our next layer. This process of applying multiple layers, one on top of other is known as layering technique in watercolor painting. These were a few washes and techniques that we will be using in our class. I hope we have grasped the fundamentals behind them. Okay. 4. Perspective guide - Painting Clouds: In this chapter, we will discuss the guidelines for painting the clouds in different sizes. Consider this line as horizon line and the point on it as vanishing point. Let's draw a rough grid to illustrate how everything converges towards this point. Whenever you paint or draw clouds, keep an imaginary sketch in your mind as a guideline to help you shape the clouds realistically. We need to direct all the lines towards the vanishing point. We have drawn all the lines. Now we will start drawing the clouds. The area inside the line is narrow near the horizon. We will draw the clouds smaller there. In the upper part where the area is, we will draw bigger clouds. In the mid section, we will draw medium sized clouds. As the lines grow farther from the horizon, the clouds will increase its size. The lines converse towards the vanishing point, which determines the size of the clouds. Closer to the horizon and vanishing point, the clouds will be smaller. As we move away, the clouds will get larger. Similarly, if we have to paint the reflection, we'll apply the same rule. Smaller clouds near the horizon and bigger away from the horizon. 5. Complementary colors - ft Color wheel: Let us look at the color heel. By referring to the color hel, we know that we can mix any number of colors. Today, using the same, let's understand about complementary colors. Complementary colors are those placed next to each other on the color heel and they contrast with each other. For example, yellow and violet, orange and blue, red and green, are all complementary pairs. These colors sharply contrast with each other. Be careful when you want a vibrant painting as mixing these complementary colors can result in a mud mix. However, this can also be used to our advantage to create various shades of brown. In this painting, I have used shades of yellow and violet. These are complimentary colors and they compliment each other. Now, let's talk about mixing different browns using complimentary colors. Let's take this example. Here, I've taken two portions of yellow and one portion of the opposite color violet, which gives me a muted yellow color. Next, I'll be using two portions of orange and one portion of blue, which gives me a orangish brown color like burniana color. In the opposite side, I've used two portions of blue and one portion of orange, which gives me a paints gray type of color. Similarly, if you mix all these colors in different ratio, you'll get different type of brown colors. So I hope you'll find this helpful in your color mixing journey. Okay. 6. Transparent and opaque Watercolors: In this chapter, let us talk about transparent and opaque colors. Before that, let us understand how to identify transparent or opaque watercolors. On a paint tube, you will find an attribute indicating its transparency. If that box is empty, that means the paint is transparent. If the box is half filled, then it is semi transparent or semi opaque. Let me demonstrate you with some examples. For the demonstration, I will use different types of ellos. One is permanent yellow, and other one is yellow c. Within this box, I'll sketch a pencil line to check the transparency of the paints, followed by applying the paint over the line. If the pencil lines remain clearly visible post application, then it indicates the transparency of the color. Conversely, if the lines exhibit a faded or smudged appearance, it signifies slightly opaque color. Here, we observe that permanent yellow reveals the underlying line through the paint while yellow occur does not display the line as distinctly. Next, I'll use another yellow color, which is Naples yellow. That color also is slightly opaque. Next, for the transparent section, I'll check ultramarine blue for its transparency. This color is transparent. You can check your paint tubes. If it has empty box or half filled box, that will determine its transparency level. Here, if you don't want to spend time figuring out if it is transparent or opaque colors, there is another method for making opaque color, which is adding white gauche paint to the color that you want. Here I have taken white gauche paint and mixed it with the yellow color, which is transparent. After mixing, the color will become opaque. You can see the difference clearly. I will repeat the same for ultramarine blue as well. For this class, we will require both transparent and opaque colors. Transparent colors are ideal for painting the base layers or transparent layers. While opaque colors are better suited for painting dense clouds or any element that does not allow the light to pass through them, which gives them the denser appearance. The above example is watercolor plus water, and the bottom one is watercolor plus white gauche paint. Next, we will paint a sunset scene using two mini paintings for demonstration purpose. In one painting, we will depict the clouds using transparent colors. While in the other, we will use opaque ones. By the end of this demonstration, you will notice the contrast or changes in the clouds. Remember, there is no right or wrong way. It's simply our preference in this class to create denser clouds using opaque paints. Let's begin the painting process by wetting the area completely. I will begin by applying orange paint around the horizon area, followed by crimson and then ultramarine blue on the top. These are all transparent paints. Since we are painting the base layers, for both the boxes, we will use transparent paint itself. Now, let's take crimson and a little bit of violet and some paints gray. Basically, we want a darker volet color. We will use same shade for painting both the clouds. For the first part, we will apply direct paint, which is watercolor paints. For the second one, we will go with white gauche paint. I'm sorry, the color mixing part has not been captured entirely. We've taken small amount of this paint and mixed it with the gauche paint. Let's see how it looks. We have got a thick and dense color. Towards the horizon, we will apply smaller clouds and on the upper part, we'll apply bigger clouds. Next, we will apply only watercolor paints on the first painting. Here you can say this is not that thick and dense and you can see the underlying paints slightly. There is nothing wrong with this as well. But in this class, I prefer having a denser looking clouds. It also depends on personal preference. If you intend to paint A or wispy clouds, transparent colors may be preferred. Conversely, if you aim to depict defined clouds, opaque colors would be more suitable. Ultimately, it's about achieving the desired effect in your painting. Now, let's dry this area and see how it looks once it dries. It is dry. Now you can see the difference. First one is very airy and light weighted. The second one is dense and defined. 7. Brushmarks and Silhouette: Let us discuss the colors used for silhouettes. Even though these colors look like black, they aren't pure black. They have different undertones. In this chapter, let us explore how we can mix various colors to achieve different shades for silhouettes. Firstly, I have this color, which is a mix of sepia and paints gray. Next I'm going to mix violet and paints gray. When you look at these colors, they both look black. But when you apply water and dilute it, you will see different undertone in this. Similarly, I'll take in the go and mix it with a little bit of brown. Here, when you apply water, you'll see a blue undertone. Next, I'll take darker shade of sepia and mix it with the little bit of paints gray. Now when we see the diluted version of this color, it has a brown undertone. Next I'm going to mix crimson with the paints gray and sepia mix. Okay. This will also look darker when you apply thicker color. But as you apply water, you will see a maroonish underton. These are all the paintings and each painting has a different color undertone in its silhouette. This one here has a brownish underton this painting has slightly bluish underton in it. Let us practice painting tra silhouette. I'll use the paints that's already on the palette. We'll start with thick main branch. As we paint, we'll fork it into smaller little curvy branches to make it look natural. Keep your lines continuous and progressively th add small twigs on the outer end for extra detail. You can also add some overlapping brush strokes so that it looks dense. Next, I will paint the tree foliage by dabbing the brush to create the impression of leaves. By wearing the pressure and direction of your dabs, you can simulate the look of the leaves together. Note that I'm just dabbing the tip of the brush and not entire brush. You don't have to worry about making exact leaf shapes. Just da and the brush will do the work, creating a natural leafy texture. For a different style of foliage, I'll dab the brush using the belly of the brush to create long elongated leaf shapes. For this type, you have to use a thinner fine line of brush. Thick brush won't do the job. P dabbing and create cluster of leaves. Yes. Next, let us paint the same tree. But this time, we'll paint the leaves first and then connect them with the branches. I'll dab the brush using the belly of the brush to create elongated leaves. Once we have all the leaves, we can connect them using straight lines, forking them to form the branches. Next, let us paint the palm leaves. I'll be painting them sideways. You'll need to apply repeated jagged brush strokes to achieve the desired effect. We will try to capture the characteristic shape and structure, mimicking the natural essence of palm leaves. In this painting, I'll be using these kind of brush strokes and some grass blades, which goes like simple straight lines in different direction. Again, in this painting, for the tree foliage, we are using the daping method. And the foreground grasses, we'll use some wild grass shapes, something like this. In the next painting, we have painted a bare tree. In this painting, it is these elongated leaf shapes. In this beach painting, it is the palm leaves. And in this pink painting, we have these simple grass plates. And in this sky line painting, they will be painting the building silhouettes. To paint the skyline silhouette, there are two different methods. One involves painting with an orange undertone while the other one uses directly black color. I'll demonstrate both and you can choose whichever you prefer. First, let me draw the outline. Now, I'll fill the color inside this area. I'll write completely using a head dryer. For the second one, we'll mark the outline. Here we have orange undertone and we will leave the spaces to suggest the building lights. Let's carefully apply this dark color. Leave some spaces, smaller boxes here and there. This will collectively appear as city lights. Next, I'll go back to the first one and add some white gas paint suggesting the city lights. I'll apply white dots. Then I'll mix yellow with white and apply the same. I'll apply this on the second one as well. This is a rough depiction and may not look perfect. But I just wanted to show how this can be painted. Once this is painted, you can add some fine details at the end, like adding some wires and towers. Moving on, let us practice painting the birds. Here, we are painting the birds in either or inverted V shapes or you could just draw some dots and then add the wings. You could even use the belly of the brush to create bigger size to birds. Just dab the belly of the brush, creating thicker brush strokes. All right. These were some of the silhouettes that we can include in our painting. 8. Practice Simple Sunset Skies: In this chapter, we will practice blending and painting simple skies. Before moving on to painting multiple layers in the sky, I want to make sure you're comfortable with single layer washes. Let's start by painting these mini sunset skies together. I have drawn four rectangular boxes to practice these mini exercises. I recommend you practice along with me so that you feel more comfortable and confident when you attempt the class projects. For the first exercise, we will go with wet on wet technique. Let's supply water inside this box. I will paint the sky using three colors. I'll start with opera pink at the top. I'm using midtone consistency of opera pink color. For the mid section, I'm using permanent yellow. Using a clean dam bruh. I'll try to blend the two colors. And I'll finish it with permanent red at the bottom. Try to blend the colors well. So there are no sharp patches. For the next exercise, I will mix a darker blue color using paints gray and ultramarine blue. I'll apply this color directly onto the paper without wetting it. This will be wet on dry technique. I'll hold the paper in a slightly tilted position so that the colors flow down. Next to the blue color, I'll apply crimson. As blue and pink gets mixed, they'll create a let color. Below this color, I'll apply opera pink. Since the paper is tilted, you will see the colors flowing down, creating a nice blend. At the bottom, I'll apply yellow and blend it with pink. When pink mixes with yellow, it creates an orange color, which is ideal for sunset paintings. This way, we can use both wet on wet and wet on dry technique for the washes. In the third exercise, we will be painting a simple sunset sky with wispy airy clouds. Before everything, we will wet the paper thoroughly and then start applying yellow color, leaving some white gaps. After applying the yellow Brostrokes, we will then take paints gray and apply on the empty areas. This will depict the clouds in the sky. Finally, we will add thick orange color in the bottom area to represent the sun and use the same orange color to apply some bras strokes. Next, let us move on to our exercise number four. Here, we will be painting like a varicated wash. Let's go with wet on wet. I'm wetting the section using clean water. The water is not so clean, but it's okay. I'll start off with the violet color on the top. And then I'll apply yellow occur in the bottom area. Now the task is to blend these two colors together. I'll use orange color in the lower area and opera pink on the upper area. With the help of pink and orange, I'm blending these two colors together. You could also use plain water. Okay. Going back to the first exercise, if your paper is still damp, then you can paint a sun using a orange color dot. If your paper has already dried, then don't touch it. Next is the fifth exercise. In this one, we will be painting a bright glowing sun. First, let's wet the area to go with wet on wet technique. We will use negative space to paint the sun by applying yellow paints around a circular area. This is an imaginary circular area. If we are using pencil to draw the circle, then it will leave the pencil mark. Then towards the end, we will apply orange color around the edges. Blend these two colors together. Voila we have a bright glowing sun in the sky. Now, if you want to create sunbeams or sun rays effect, then you can use a damp brush and lift off the pains in the desired direction. Let us move on to our sixth exercise. I'll wet the paper first. Now on this wet area, I will apply yellow paints in the shape of semicircle. Right next to it, I'll apply orange pins followed by pink color. I'll use opera pink. You could use any other pink as well. Blend these colors together. This can be used to paint sun rise or sunset behind the mountains. I'll cover the rest of the area with opera pink, and then add some purple strokes on the upper part. Okay. Defining the shape of the sun by adding orange color around the semicircular shape. There you go. This is done. Now let us move on to our seventh exercise. In this exercise, we will paint a fiery red sunset. We will be using yellow and red as the main colors. We'll start applying yellow on the lower part of this painting frame. Then I'll take orange and red color, creating a darker red color. Now apply some overlapping brustrokes on yellow area. Okay. Then I'll apply some yellow again, and then some more red. Can you imagine a sunset with such bold colors, isn't that amazing? Next, I'll take paints gray and apply it over the top red color to create darker clouds in the sky. Now with the help of a dam brush, blend these darker colors into the red color. Okay. Next, we will move on to our eighth exercise. Here, we will be painting a blue sky with orange sun. First, we will apply a flat wash using blue color. You could use any darker blue color. Next, using a clean damp brush, lift the paints from the bottom section. Now apply some orange paints there. Next, we will be painting the sun using lifting technique. Take tissue paper and lift off the paints from the blue area in a circular shape. Let it dry. Once it is dry, then you can add the orange color, which will suggest the sun. Here, I made a mistake of not waiting for the paints to dry. I started adding the paints when the blue area was still wet. You can wait for it to completely dry and then apply the paints. For painting the sun, you can start with a darker color, probably orange or red. Once you have applied the full colors, then you can lift off the colors from the mid section of the sun and apply yellow. This will create a pre dimensional look in the sun. Now on the upper part, I'll add some darker clouds. I hope you enjoyed these simple exercises. Now let us move on to the painting process. 9. Class Project #1 - Purple Haze at Sunset: In this session, we are going to learn to paint this beautiful sunset painting. Grab your supplies and let's get started. We'll start off by taping down the paper. I'm using a three four inch masking tape. Taping down helps the paper to preventing an unnecessary curling up during the painting process. Okay. Once you are done, applying the masking tape, run your finger over the sides of the paper just to ensure that they are tightly sealed. Also, I'll be directly painting on the paper without any sketching. Firstly, we'll wet the paper thoroughly to perform wet on wet technique. I'm using a mob brush to wet the entire area, and I'll use this masking tape under my paper to achieve a slight elevation. This helps to create a flowy effect and all the extra water will flow down due to gravity. I'll keep applying water for a long time so that the paper remains moist for longer duration. Okay. And towards the end of water application, take a napkin, wipe off all the water. Now with the damp brush, you will lift off all the extra water that's there on the masking tape. This will prevent us from creating backruns in the painting. Okay. All right. Now let us mix the colors. I'm going to take a yellow and a bit of orange to create that warm yellow color. We will mix this in one is two one ratio. I'm using size eight round brush. Now load your brush with the paints and apply it on the center of the paper. This is the horizon area in the painting, and we are painting the base color for the sunset shades. Okay. Now, let us paint the upper part of the sky. The upper part of the sky has this bluish purple color. I'm going to use ultramarine blue and violet. It will look similar to perivncal shade. Now to this color mix, we'll add water and make it a runny consistency. If you do not get the exact same shade, it's okay. You could use a purple violet or any blue color. Okay. Now load your brush with this color mix and start applying from the top part. Apply the paints in the lower part as well as we are painting a mirror image of the sky. Next, we will slowly try to achieve a gradated effect, making the color lighter as we paint downward. To create a smooth transition from let to purple, we need to pick a color that won't create a muddy mix, and it should go well with both yellow and let. Let us pick crimson apply crimson both on the sky and the water part as well. Okay. So we can see we have a nice transition from purple to yellow color. I'll apply some more rush strokes of violet on the upper part to increase the intensity of this color. We'll do the same on the lower part as well. In the center area which suggests the horizon, we will apply some orange brush strokes to create a sense of red shift around the horizon. I'm mixing yellow and orange together. Around the horizon, we'll create intense orange hues blend the colors well by moving the brush in horizontal motion. Apply some more strokes on the pink area as well. Try not to cover the entire area, leave some lighter hues as well. Next, I'll take Naples yellow and mix it with the orange. This will create opaque color which will make the clouds appear dense in the painting. The yellow and orange we used earlier is slightly transparent, we may not get the effect that we want in the sky. Similarly, the bluish violet color is also transparent. Now to make it a little opaque, I'm adding white color to it. You could use white watercolor or white gage. It's up to you. Now when I mix this white color, the color becomes slightly opaque. I'll use this opaque color to make the clouds denser. You don't have to completely apply this color, some random strokes on there in the upper part. I'll repeat this for the pink color as well. While you're painting this, make sure you're creating a symmetrical reflection in the water. We need to have a mirror image of the sky in the water. Yes. Next, let us take orange yellow and a bit of red for a darker orange color and apply some brush rows, creating some orange stripes in the sky. Use the pointed tip of your brush. Okay, so the background layer is done. We will let this dry completely. Once the paper is dry, we will add the midground and the foreground elements in the painting. All right, the paper looks completely dry. Now, let us paint the midground area around the horizon line. So I'm taking a darker color mixing indigo and paints gray. Okay. Take this color in a thicker consistency. With the tip of the brush, I'm painting a horizontal line. This is the area where the sky meets the water. Now to create the separation, I'm drawing another line here, leaving a tiny gap. Next, I'll tap the brush, creating the impression of trees. Whatever we paint above the horizon line needs to be recreated below the line as well to suggest the reflection part. I'll be adding some trees and distant mountains along this horizon line. You can paint anything you want. It is your choice. Here, I'll break this straight line by adding some colors in between. Next, let us paint the tree silhouette on the left side of the painting. First, I'll block the area with darker color. And then on the outer ends, I'll be adding the trees and leaves and everything. Next, I am switching to my size two round brush to add the tiny foliage shapes. Okay. You can turn around the paper, whichever angle is comfortable to you. You can switch to that. We'll slowly and gradually build the silhouette part. It will comprise of the branches, foliage leaves and tiny twigs. We'll use the combination of all these elements, creating a beautiful silhouette at the end. We have painted a decent tree branch. Now let us create some foliage. I'm dabbing the bh, creating the impression of leaves. You could use a fan brush or an old brush to create the impression of the foliage. Such brushes make the process easier. For smaller brush strokes, you can use a smaller brush, and if you want bigger leaves, you could switch to a bigger brush comparatively. You can take your own time to paint this. There is no rush because we are painting wet on dry and there is no hurry as such to finish the painting soon. I'm adding some branches and smaller plants in the lower ground area. And in the foreground, I'll add a sort of fence and cover the lower part of it with grasses. Okay. Going back to the upper tree part, I'll add in more leaves by wearing the pressure. I'm wearing the pressure in the brush and painting bigger sized leaves. So there is no restriction in the shape that you have to achieve here. You could paint silhouettes of any tree shape. Okay. Also, try to paint the tree branches in an irregular manner, bringing a sense of organic look to both the branches and the leaves you paint. Also, do not leave a lot of empty spaces between the inner foliage and branches. It's okay to have some loose gaps at the outer extreme end of the tree. But on the inner side, try to fill it with darker colors as much as possible. Leave only a few gaps so that the tree looks dense. Okay. Note that if you're using diluted paints to paint the silhouette, there's a chance you might see the background colors due to transparency. Make sure you're using thick or opaque colors to block out the background colors effectively. I'll add some tiny trees around the main tree. I'll slowly paint the foliage and the other elements. You can watch me paint and then follow along with me. I'll paint with the varied brush strokes, creating some leaves smaller and. This will give the tree a more organic appearance. Adding some grass on the right side of the ground area. This is to bring a sense of balance to the composition. Now it's time to add some birds. I love adding birds in my painting. If you don't want them in your painting, you can skip that part. And we are almost done with the painting. But before we finish, I want to add some orange touches around the horizon to suggest a setting sun. So I'll use a midtone orange color and apply it in the center area to enhance the sunset vibe of the painting. This is totally optional. If you don't want to do this, you can skip this part. If you have these sharp edges around the horizon, then you can use cleaned ambrah to soften them. All right, we have completed this painting project. Now let us carefully remove the masking tape and reveal the final look of the painting. Okay. Gently peel off the tape. Voila, this is the finished artwork. I am thrilled with how beautiful it has turned out. I hope you enjoyed painting along with me. Don't forget to share your projects in the project gallery. I am really looking forward to seeing your artworks. 10. Class Project #2 - Pink Vibrant Sunset: In this session, we are going to paint this gorgeous pink sunset. Grab your supplies and let's get started. All right. Let us begin by taping down the paper using masking tape. Tape down all the sites to secure the paper tightly. This will prevent the paper from buckling up. Run your finger over the edges to make sure it is tightly sealed. Now let us mark the composition of the painting. In the lower half of the paper, I will draw some set of mountains, and then write below it, I'll draw another set of mountain overlapping the previous one. Next, right below that, I'll draw a line. This will be our horizon line, which separates the sky and land. That is it for sketching. Now, let us move on to the painting part. I'll turn around the paper to create a slide tilt. Now, with the help of a mob brash, I'll bed the area outside the mountain ranges. Apply generous amount of water, let the extra water flow down. The paper is wet. Next, let us apply the paint. I'm using permanent yellow, which is slightly neutral yellow. Applying this color on one of the mountain valley to suggest the sun in the painting. Next, I will apply opera pink in medium consistency right above the yellow region. Now to blend the yellow and pink colors, I'm using darker orange color in between to create a smoother and seamless transition. I will continue applying the pink and orange colors on the rest of the sky, creating a base color for the sky. Next, for the upper part, I'll be applying volet to add slight depth in the sky. Blend all the colors well for a seamless transition in the sky. Now, around the horizon area, I'm defining the shape of the sun by making it semicircular around this area, I'll add some extra pink color to intensify the hues. Next, we will move on to painting the ground, which is the grassy area. For this, I will use Burn Siana. You could use any other brown color as well. This serves as the base color for the grasses. We will revisit this area once it dries to add the further details. Next, while the paper is still damp in the sky area, we will add the clouds to paint the clouds. We will use paints gray along with gas white paint, which creates an opaque consistency. Lodo brush with the paints and start dabbing. We'll paint the clouds using continuous dabbing motion, aiming to achieve a wispy cloud effect. On upper area, I'll paint some larger clouds and smaller clouds around the horizon for more dynamic composition. Now let us dry this area. I'm using my head dryer to speed up the drying process. Turn the sheet around to its normal position. Next, let us paint the mountains. On the palette, I have this blue color that had mixed for the clouds. To this same color. I will add ultramarine blue. Apply this paint to the distant mountain, leaving some gaps around the center to paint the sunlit effect. To create the sunlit effect around the sun, I will use burnt sienna on the mountains. Apply the color to the middle gap that we left and blend it with the blue color. When you mix brown and blue, it will become a black color. We will dry this area using a head dryer. So if we directly apply the paints on the next mountain, it will bleed into each other. So let's dry this mountain first and then move on to the next one. To create the sunlit effect in the next mountain, we would need orange and burn Ciena. I'll apply orange first around the mid area where we'll have sunlit effect. Then right next to it, we'll apply this burn Ciena. Then we'll take pines cray and apply it around this area. When I mixed Berciana with pines cray, it looked like a darker color. You could also use indigo here. Next, we'll create a transition from warm to cool color. I'll apply ultramarine blue mixed with brown. Next, using burnt Siana, I'll blend the colors together so that there is seamless transition. Next, using a darker color, we will create a jagged and toothed effect to suggest grasses near the horizon. You just have to move your brash up and down. So I'll go back to this mountain area and change the shape of the mountain. So I'll simply add some bluish darker bluish color on the left side mountain. Take Bersana we'll paint the grasses. Apply some tiny dotted lines to create the effect of grass blades in the distance. I just switched to my size to round brush for painting fine lines. As you come closer to the foreground, increase the size of the grass blades that will create a sense of depth in the grasses. Around the foreground area, I'll apply some random, bigger brush strokes, creating definition in the grasses. Since it is closer to the foreground, it will appear bigger and it demands more attention. Okay. Now it's time to add some birds freely flying in the sky. So more smaller birds on the upper part of the sky. All right. We are done with this painting. Now let us peel off the masking tape, revealing the final look of the painting. Gently peel off the tape. There you go. This is how it looks so beautiful and vibrant. I love how it has turned out. Do share your projects as well. I'll see you in the next session. 11. Class Project #3 - Skyline Sunset: In this session, we are going to paint a beautiful skyline at sunset. So grab your supplies and let's get started. I'm going to tape down the masking tape on all the sides, preventing it from buckling up during the painting process. Once you are done taping down, run your finger over the edges to make sure it is tightly sealed. Before we start the painting process, I want you all to mark the composition of the painting. So we will mark the sky line. It's nothing but drawing the shape of the buildings, smaller and bigger buildings against the sky. On either side, we'll mark some mountain shapes. That is it for now. Rest of the details we can add as we proceed with the painting. I'll place this masking tape under my paper so as to get a slight tilt in the paper. The color of our sky is going to be blue and orangish red. Here I'm taking Persian blue. I'll mix this in slightly to medium consistency. Now, apply the pines starting from the top part. The slight tilt in the paper will allow the pins to flow down. Keep applying the pines until the mid section. Once we reach the mid section, we will add water to the pines and create a gradated wash darker on the top and lighter in the lower area. Then I'll apply water all the way till the skyline. Next, we will mix the pains in thicker consistency and apply darker brush strokes on the top part. This will allow us to have a sense of depth in the sky. Next letter is mix the orange hues. I'm using orange and a warm red color. Basically, I need a darker orange color. I'll start applying it around the skyline area. These are the sunset hues. Here, there are chances that we might get some green color because of the intersection of blue and orange. If that happens, you can use a damp rush and try to lift off the pains. Around this intersection area, I'm trying to keep the colors light and towards the bottom, I'll add more darker color. And then we'll apply some angular brush strokes in the mid area. Next, we will mix red and pink color. Apply few brush strokes of this darker red color. Leave some suggestions of orange sky as well. Don't completely cover it up with the red strokes. Then I'll take paints gray and apply some brush strokes on the upper part of the sky, suggesting the darker clouds. This layering work in the sky adds a sense of depth in it. Here in the bottom part, I'll cover it up with orange color. This will be helpful to us when we are painting the city lights. Now, let us allow it to dry or you could use a head dryer to speed up the drying process. Okay. All right, the paper is completely dry now. Now let us paint the skyline. For that, we need a darker color. I'm going to take black and mix it with the existing Persian blue. I don't want to waste the colors here. You could take any darker color. So let us start painting the sky line. Here, we have to just create the building shapes on the outline area. Then for the inner area, we can simply fill it up. I'm very carefully painting the outline part so that it appears as skyline. You could also use a flat brush for painting the squares and rectangle. So here, what I'm doing is, I'm using the underlying paint, which is the orange color to be depicted as the city lights. You can see I'm leaving some tiny spaces in between. Just leave some tiny dots here and there that will do the job of the city lights. And then fill up rest of the area using this darker color. It is okay if you do not want to follow this step of painting the city lights. You could also paint or the darker color and then add the lights using gas color. That's also another way. And with slightly transparent color, I'll be painting the mountains in the background. Now, I'm going to define the shape of the buildings. If they're out of shape, you can add some defining shapes to them so that it looks organic. I'm going back to the city light area and adding some lines in between. The lights looked quite bigger to me, so I'm making them small. Now, again, allow it to dry so that we can add more details. I'm using a head dryer to speed up the drying process. All right. The skyline area has dried. Now I'm using a fine line of brush to add some tiny details like wi towers or so. If you're not sure about the shapes, then you can look up to the Internet for some city scape images. Next, let us take white gauge paint or even white watercolor works, and you can mix it with orange and yellow. I'll use this for the city lights. We already know that adding wash to the paints makes it opaque. Simply add some dots on the buildings. Lastly, I'll add some birds flying freely in the sky. And some more birds with the slightly bluish color to suggest a sense of distance in the sky. Okay, so we are done with this painting. Now let us remove the masking tape. Oh, no, I just tore the paper. Never mind, we'll fix that later. That's why it is very important to peel the paper in opposite direction. Now let's fix this. I'm going to take the same color and paint it in the original shape. All right. This is how it has turned out. I'm really happy with the outcome. This looks gorgeous with all the city lights. I would love to see your artworks as well. So please share them with me under the projects gallery. Okay, then I will see you in the next session. 12. Class Project #4 - Lakeside Sunset: In this session, we're going to paint gorgeous red sunset by the lake side. Grab your supplies and let's get started. Let us begin by taping down the paper. I'm going to apply the masking tape on all the sides of the paper, giving about a quarter inch border on all sides. Once you are done, taping down, just run your finger over the edges to make sure it is tightly sealed. All right. Now, let us mark the composition of the painting. Take a pencil and let us start sketching. Firstly, I'll mark the horizon line in the center of the paper. Dividing the paper into two halves. I'll draw another parallel line for a sense of separation. Then in the lower part of the paper, I'll mark the foreground element. Here, I'll be drawing a fence. First, mark the vertical lines, then connect them through a horizontal line, making a fence. Then we'll mark the outlines for the ground area. Now, on the left side of the frame, I'm going to draw a giant tree. The sketching is just for the reference. You can change some shapes later on while painting. I'm going to paint a bare tree in the foreground area. Okay. So that is it with the sketching. Rest of the elements and the details will add while painting. Now, let us get to the painting part. Okay. Keeping the masking tape under the paper to get a slight tilt. Now, let's start applying water for wet on wet technique. Using a bigger brush to cover the area faster. You could use any brush of your choice. Keep applying water and let the paper so the moisture. And with a dam brush, lift off the excess water on the sides of the masking cap. This will prevent the water from seeping inside. Now, take paints gray and add a little bit of wide gauche paint to make it opaque. Now let's supply the paint in top and the bottom part, creating a replica or a mirror image of the sky in the water. As you can see, this wash was very diluted. Next, apply slightly darker paint gray over the same area. Next, I'm taking sunset hues. I'll mix yellow in a mid tone consistency. I'll apply this for the glowy effect around the horizon. Here we have this sharp transition from yellow to white. To blend that out, I'm using a damp brush. Make sure your brush has very little amount of water so that you can blend it well. Next time taking orange color in mid to consistency. Notice that the consistency of the paint is flowy. It is not thick or very diluted. Mine consistency. Now, I'll apply this color in circular manner, leaving the yellow space to suggest the sun in the picture. And then I'll apply the paints around this area. So we have this glowy sunset appearance. Having the yellow base helps to create a sense of depth and glow in the sky. Next, I'll take a red color and apply some brush strokes over the orange area. This will suggest the red shift in the sky. For the reflection of the sun, I'm using yellow color on the mid area. Also, blend the colors around the mid section in the sky. We do not want any sharp transition similarly in the reflection part as well. You can intensify the colors in the sky or the reflection part. Next, let us take a darker paint gray color. Da brush on the upper part of the painting, creating the clouds in the sky. Well replicate the same in the water as well. Going back to the sky, I'll apply some bras strokes defining the shape of the clouds and also some thin brush strokes, suggesting tiny clouds. Next, let us mix a darker color in sunset hues to paint the clouds around the horizon area. I'm mixing paints gray with orange, creating a brownish color. With that color mix, I'm painting the clouds around the horizon area. When you're painting the clouds, also at the same time, paint the reflection part as well. Otherwise, later on, it will be difficult for you to replicate the shape. You can fix the shapes of the clouds, but do not over work as it might in the painting. I love the watercolors to do its job. All we can do is control the brush stroke or the amount of water or pressure. All right. Now we will allow this layer to dry. I'm using a head dryer to speed up the drying process. You could also choose to let it dry naturally. Okay, so the paper has dried. Now, let us paint the area around the horizon. I'm mixing black and indigo to form a darker color. You could mix any color of your choice. The next color we would mix is ultramarine blue and indigo. This will give us a darker blue color. Now I'm taking this color in a very diluted mix and applying around the horizon area. Leave some space in the middle and continue painting. The middle space left is to create the site effect on the mountains. Here, if you notice the mountain that we painted has sharp edges. So to soften that, I'm using a damp brash. Next, let us makes a brown color. I'm taking Bercana and red and also a bit of sepia. You could take any brown color. We just need that sunlit effect in the mountains. Blend this well into the darker part of the mountain. Okay. Now, we will take the darker color, the black color that we mixed earlier and apply in the bottom part of these mountain. This will create a depth and a sort of light shadow effect. Now, take burn siana and orange. This will create a darker brownish or orangeish mix. I'll use that to paint the ripples around the horizon area. Next, we'll make slightly darker brown color. Paint some horizontal lines, creating a rippled effect in the reflection. Now, let us create some ripples or movement in the water around the foreground area. The color here is gray. Let's use a darker gray color and apply some z zaggitrokes creating the rippled effect. Towards the horizon, the size of the ripples are bigger because it is close to the viewpoint. Okay. Now take any darker color. I'm mixing black brown indigo. All these color mixes will make the color even more darker. I'm painting the silhouette part in the foreground area. With the help of some simple lines, I'll be painting the fence in the foreground. Also, adding in some smaller extra lines as filler elements to make the area look busy. Moving on, let us paint the giant tree in the foreground. I'm using the same color mix for the tree as well. Okay, so the paints around the horizon area has not dried yet. So because of the wetness, it will spoil the shape of the tree that we are painting. So we'll allow it to dry and then continue with painting the tree. All right. Let's continue. I'm adding the branches for this tree. We are painting a giant bear tree, so we need to add more branches and twigs in various direction. Next, to paint thinner branches. I'm switching to my size to file liner brush. This will be easier to create thinner lines. Paint the branches regularly so that they organic. Now, let's paint some tiny ks. To achieve thin brush strokes, you can apply light pressure on the brush so that it creates very thin lines. S. Now to create the sunlit effect in the tree branches, we will use brown color. This transition from black to brown color will create a glowing sunlit effect in the tree branches. There is no fixed number on the number of branches we are creating. You can paint as many as you want. It's up to you. T. On the upper tree branches, we'll paint some overlapping brush strokes so that the tree looks dense. Now, we'll go back to add some tiny twigs on the outer extreme ends of the branches. Finally, it's time to add some birds. If you don't like birds in your painting, you can skip this step. Okay, so we are done with this artwork. Now, let us peel off the tape and reveal the final outcome. There you go. This is how it looks once it is done. I'm really happy with the result. Very bright and vibrant sky by the lake side. I hope you enjoyed this session with me. Do share your artworks under the projects gallery. 13. Class Project #5 - Beach Sunset: In this session, we are going to paint a beautiful sunset at the beach. Grab your supplies and let's get started. Let us begin taping the masking tape. Here, I'm using the paper in a portrait mode and not landscape mode. Let's tape down the paper. I'm applying the masking tape on all the sides, sing it down tightly. Once you're done, taping down the paper, run your finger over the edges to make sure it is tightly sealed and also place a masking tape or something under your paper to create a slight tilt. Let us begin with the sketching, draw a line in the center of the paper, marking as a horizon, on either side of the paper, we'll mark the points to connect the shore area. Then we will add some waves defining the shape of the shore. Okay. So let us begin our painting process. I'm going to wet the paper using a mob rush. Apply generous amount of water. I'm wetting the entire paper. I'll keep applying the water so that the paper absorbs good amount of moisture and remains wet for a longer duration. Now let's mix the colors. I'm going to mix two colors, opera pink and orange in equal quantity. This will create a very orangish pink color. You could use any bright pink color of your choice. Now, I'm taking this color mix in a diluted form like very water remix. I'll apply this color mix, starting from the horizon area. Also leave some white spaces in between depicting the white color of the sky. I'll applies on the lower part as well on the shore area. Next, let us take panes gray I'll dab the panes on the upper part, leaving some white spaces in between. Okay. Also applying it on the ground area as well. Apply some brush strokes over the pink area, suggesting the clouds. This is just the initial wash to add clouds. We are going to paint another layer of colors. Now let us add some touch of blue color. I'm taking Cerulin blue and the Coval blue mix and damming it in the blank spaces that we had left earlier. I. Apply some paint gray or gray brash strokes on the ocean part. Next, let us paint the sun. I'm going to use orange in a thicker consistency and directly apply it on the paper. Applying the orange brash strokes on the sea water and also on the shore. This is a reflection of the sun. Apply some orange brush strokes around the horizon area. Apply orange brush stroke again along the horizon line. This will intensify the sunset colors. My paper is still damp. If you spend some time wetting the paper, it will remain wet for a longer duration. Next, I'll take this opera pink and apply some clouds in the sky. Also pin the reflection in the water and the sand part. Here, the sand is slightly damp or wet. That's why we can see the reflection. Now, going to the upper part of the sky, we will add some darker clouds using paints gray. Also replicate the same in the reflection. The reflection on the seashore sand part will not be that visible at the end, we'll be covering that up, but we need to have some hints of the reflection of the sky. All right. Let us dry this area. I'm using a head dryer to speed up the drying process. All right, the paper looks completely dry. Now let us mix the colors needed to paint the s. I'm using paints gray and a little bit of opera pink. This will give us a muted gray color. Now, take this color in a runny consistency and apply it inside the sketched area. I'm leaving the space for the orange part. We will later blend it with the water. For now, paint the rest of the area. Once you're done with this, clean your brush and with a damp brush, you can blend it with orange and the gray part. Next, I am taking orange color in a Maton consistency and applying it along the horizon line. This will create a glowing reflection in the water. Okay. Next, we will focus on painting the sea. Here, we will define the shape of the waves. The shape of the waves is curvy or slightly up and down, so we will capture that form first. Next, to add a sense of movement in the waves, we will incorporate some darker colors to create contrast between lighter and darker areas. Thus, I have added these horizontal brushes on the wet area. Next, with a slightly darker color, I will outline the shape of the waves. This will define the boundaries of the sea. To enhance the depth of the ocean or sea waves. I'm adding dark color brass strokes. Additionally, I'll also add some orange stones to amplify the reflection of the sunlight. These techniques contribute to creating atmospheric seascape. I'm using a head dryer to dry the pains. If you do not have a head dryer, you could just leave it to dry naturally. Now that the paints have dried completely, you may notice that they appear slightly dull. This is a characteristic feature of watercolor where they tend to appear lighter upon drying. You don't have to worry about that. Moving forward, I'll be adding some intricate details using a fine liner brush to create the shape of the waves. To capture the movement in the water, simply apply smaller and repeated brush strokes. This will beautifully depict the liveliness of the water in the scene. Next, we are going to paint the ground area of the shore while also being mindful of the reflection I want to create in the moist sand. To achieve this, I'll first wet the area thoroughly with the clean water. Apply gentle brush strokes of water so that you don't pick up the existing paints. I'm taking raw umber in a midtone consistency and applying on the sand area. Leave some areas untouched to maintain the pink hues. These untouched areas of pink will act as the reflection of the sky on the wet sand. I'm applying some pains cray as well. I'll add some more brush strokes of raw amber creating a connection between the sand and the water. We'll go back to the sea water part and add some ripples around the horizon area. This area is far from the viewpoint. It is closer to the horizon. The waves or the ripples are going to be much smaller in size. Simply add some dotted lines that will do the job. Let's go back to painting the sand. I'm going to add some details here. Take raw umber in slightly thicker consistency and apply some brush strokes over the brown area again. This is to intensify the shape and form of the wet sand. Now, I'm going to cover the upper part to go with the splattering technique, load your brush with pains and splatter the pains on this wet area. This will create a sense of noise in the foreground area. Now when to stop, please do not overwork on this area. Next, let us add some definition to the waves. I'll use white gauche paint directly from the tube. This will suggest the foam or the bubbles formed by the crashing waves. So when you're painting the foam around the horizon area, just apply some dotted lines. The elements far from the viewpoint doesn't have to be that detailed. The waves currently appear flat. So to add a sense of depth, I'm adding darker brown color around the perimeter of the sea. I Moving on, I will be adding palm leaf silhouettes on the left side of the painting. This addition will enhance a harmony and also contribute to the overall composition. I will be painting multiple palm leaves. Painting the palm leaves is quite easy. You have to apply repeated jagged brush strokes and also vary the pressure that you apply on the leaves. I'm painting the palm leaves of different sizes. You could also paint some overlapping leaves. If you're finding it difficult, you could watch the video first and then rewind it and paint along with me. Returning to the s part of the painting, I still feel that the boundary of the sea needs a little more fine tuning. Therefore, I have decided to add more darker colors around the perimeter to enhance its depth. Remember, it's perfectly okay to go back to your painted elements and make some adjustments, but do not over work or get hung up on the perfection. Allow yourself to enjoy the process and embrace the flow of creativity. I'm adding some final details on the palm leaves. Okay, so we are almost done. You can step back, have a look at your painting, see if it needs any changes. All right. This is done. Now let's peel off the masking tape. There you go. This is how the painting has turned out. I hope you enjoyed painting this with me. Do share your class projects under the project salary. I would really love to see your artworks. 14. Class Project #6 - Golden Glow Sunset: In this session, we are going to paint a warm golden sunset. Grab your supplies and let's get started. Let us start by securing the paper tape all the sides to prevent the paper from buckling during the painting process. Once you're done taping down, run your finger over all the sides to make sure it is tightly sealed. Now, let us outline the composition of the painting. Draw the horizon line approximately in the middle of the paper. Then add some bushes along the horizon. Next, we will sketch the reflection of these bushes in the water. Moving to the foreground area, mark the ground area and include some rocks partially submerged in the water. In the upper part on the right side, we'll sketch the tree branches and some leaves. There is no fixed count on the number of branches. You can paint as many of them. That is it for the composition for now. We will add rest of the details as we paint. Next, let us mix the colors. I'm going to take shades of yellow orange. First is yellow cor, mix it in a thicker consistency. Next, take yellow cor and mix it in crimson. This will give a nice muted orangey brown color. I don't know what that shade is called. Next, let us makes yellow color. I have this neutral yellow color. So we have these three colors ready in the ballette. Let us begin painting by taking this yellow color and applying it around the horizon. Apply yellow for the reflection as well. Next, apply yellow occur right next to this and blend it well with the existing pins. Continue applying the paints almost till the upper area, and then add the orange mix. Blend all the three colors together. This will create a smooth variegated wash. Now repeat the same process for the water reflection as well. Next, I'm going to mix a darker mix using yellow cor, let and crimson. These three colors will create a nice muted maroonish color. Since yellow occur is a opaque color. We don't have to add white gauge to create that opaqueness. I'm using this color to paint the clouds in the sky. Gently dab the brush, creating the impression of the clouds. Whatever you do in the sky has to be replicated in the reflection part as well. Moving on to the reflection part. Here I'll add the clouds. The size of the clouds doesn't have to be 100% s. You can try to achieve 60 70% similarity in the reflection and the actual shape. Okay. I'll also apply some yellow grass strokes around the horizon area. Also applying some orange grass strokes along the horizon line. Moving on, let us paint the bushes around the horizon area. I'm using a very darker color. You could use any darker color, such as paints gray, darker volet, dark brown, black or any color that you prefer. When you're painting the tree shapes, try to make them irregular and asymmetrical. That will make them appear organic. Okay. This step can be performed either when it is damp or completely dry. If the paper is very wet, then it will smudge and won't create the desired results. Next, we will paint the reflection of the bushes in the water. To accomplish this, apply horizontal brush strokes to create the rippled effect. Next, we will mix a darker volet color. I'm using violet because it's the opposite complementary color of yellow. Mix violet with paints gray or black to get a darker color. Now apply this color on the silhouette areas. Next, let us paint the rocks, depicting them as partially submerged in the water. Okay. I will also add a few smaller rocks around this area. Next, I will dry the paints completely using a hair dryer. This will prevent interference with the future leaves that we are going to paint. Next, let us take a color. This will have a purpliish undertone. Okay. Next, let us begin painting the leaves one by one. I gently dabbing the brush to create the impression of individual leaves, applying each brush stroke in various direction to miic the natural growth patterns of foliage. We will link all these leaves with branches, making it look like they are growing together naturally. After adding the branches, you can add some filler elements by delicately applying simple lines to enhance the overall composition. Next, we will move on to another branch. Here again, we'll paint the leaves individually and then add the connecting branches. Okay. Next, we will introduce additional branches overlapping with the existing foliage. This creates a sense of depth and complexity. Next, let us introduce another layer of foliage on the upper part of the painting frame. Here, I've started by adding the branches first followed by the leaves. Both approaches nice results. On the corner, I'm adding some filler elements by simply adding some lines and leaves depicting the branches. Apparently, all the leaves appear uniform or similar in size. To infuse further organic appearance into the composition, we will introduce some smaller sized leaves around the main foliage, enriching the visual complexity and the essence of the scene. Next, we will go back to the rocks area and enhance the sense of depth by applying dark bras strokes. This technique will create a play of light and shadow adding realism to the rocks. After this, we will depict the reflection of the rocks in the water. Now to achieve this, we'll use shades of orange and orange brown complementing the natural hues of water. We'll opt for slightly darker tones to create the contrast. Then apply horizontal zigzag lines to evoke the ripple effect and capture the movement in the water. Okay. Next, I'm adding some grass blades on the lower bottom area. All right. Lastly, we will add some free flying birds in the sky. I'm using my size two round brush. You can also use a fine liner brush. Before we conclude the painting, I would like to make a quick correction. So I want the three branches to appear denser, particularly around the corner area. To achieve this, I'll add more branches and leaves. Additionally, adding some random paints to create a and denser pang. All right. Now let us carefully remove the masking tape to reveal the final look of the painting. There you go. It turned out so beautiful, right? I'm truly pleased with the colors and the contrast between the silhouette and the sky. Please don't forget to share your own class projects in the project section. I'm eager to see your creations. 15. Class Project #7 - Cloudy Sunset: In this session, we are going to paint a cloudy sunset painting. Grab your supplies and let's get started. Let us begin by taping down the masking tape. Gently tape down all the sides to secure the paper from buckling up during the painting process. Once you're done taping down, run your finger over the edges to make sure it is tightly sealed. Okay. Let us mark the composition of the painting. Take a pencil and mark the horizon line in the center of the paper. This will divide the sky and the water. Next, I'll draw the mountain and its reflection around the horizon area. In the foreground, we'll have some wild grasses. I will roughly outline the grasses for the painting. And then during the painting process, we can define their shape more precisely. And then on the top left part, we will paint the tree branches. Now, let us get to the painting part. Here, I'll place masking tape under the board to create a slight tilt or elevation. Next, let us mix the colors needed for painting the sky. First, let's mix ultramarine blue. I'm mixing the colors in one to one ratio. You should have a runny consistency in the paints. Next, let us makes orange and red, creating a darker orange color. Then I'll add a bit of burnt sienna to this color. We have the paints ready in the palette. Now let's wet the paper. I'll apply generous amount of water using my mob brush. I'll apply multiple strokes of water so that the paper absorbs good amount of moisture. Now, let's take the blue color that we mixed. I'm using size a round brush and applying the paints on the upper part of the paper. This is to suggest the blue sky. Similarly, I'll apply it for the reflection area as well. Next, we will apply this orange red color around the horizon. Now, I'll take some yellow color and apply it around the orange brass strokes that we applied earlier. Next, I'm going to mix orange and red and apply it around the horizon area. Next, let us take ultramarine blue in a slightly thicker consistency and apply it on the upper and lower part depicting the clouds and its reflection. Here I've applied all these brush strokes in horizontal manner. Okay. Around the mid section, I'll try to create a glowish effect by applying some yellow bras strokes. So far we have painted the base layer. Now let us add the clouds using opaque colors. Let us mix opaque blue color. I'm going to use white gauche paint and ultramarine blue mix it together forming an opaque color. With this color, I'm going to paint the opaque clouds. I'll repeat the similar brakes on the water part as well, creating the reflection of the sky. Next, I'm going to mix a darker blue opaque color. I'll take paints gray and indigo mix it with the white again, and a little bit of purple. I have a let blue opaque color. With this, I'm going to paint the clouds in the sky. So I'm applying some angular brush strokes. You can also use zigzag brush movements to paint the clouds. Switching back to the ultramarine shade. I'll apply it in the mid section wherever I have some empty white areas. Do not use two water paints. Take it in a mid tone consistency. You can paint the clouds in any desired shape. There is no restriction in the shape and form of the clouds. I'll apply some darker clouds on the left top and bottom, creating a sense of depth. Then around the horizon, I'll apply some darker orange brush strokes. All right, we are done with this layer. Let us dry it using a dryer. All right, the paper is completely dry. Now let's paint the elements near the horizon. I'm going to paint a tree line. First, let's draw the horizon line. I'll be dab the brush, trying to create the tree shapes. We'll paint the similar replica for the reflection part. Leave a tiny gap between the actual shape and the reflection. This is to suggest the separation between the sky and the water. You can paint any tree shape here. If you want you can also paint some mountains in the background. Next, we will paint the tree silhouette. Here I'm using a mix of indigo and paints gray. You could use any darker color. Start by painting the branches in a thicker manner. Then as you proceed, you can fork it into multiple branches. Paint tree branches in irregular manner. So here you could leave the tree branch dry and bare, or you could add the foliage. I'll be adding the foliage by dabbing my brush, creating the impression of collective leaves. Here, my brush has very little amount of paint. That's why I'm able to create this textured defect. Next, in the foreground area, we will be painting the wild grasses. Apply the paints in this manner. This will create the wild grass shape. Just have to apply some repeated lines. Paints in different direction. Once we are done with this, we will use a fine line of brush and connect all these with the straight lines, creating the overall shape of the wild grasses. Paint them in by manner, and not very straight lines. Okay. So once we have added the basic shapes, we will add in some random lines and dots inside this area to make this appear fuller. Next, we will go back to the tree area and add some leaves, creating a sense of realistic effect in the tree. I'll use my fine liner brush and dab the brush creating the impression of the leaves. You don't have to paint the entire area. Just some leaves here and there would do the work. And some more grasses around the foreground area. Lastly, I'll add some birds in the sky. All right. We are done with this artwork. Let's feel off the masking tape. I hope you enjoyed all the sessions and had a fun learning experience. Do share all your projects under the projects gallery. I'm really looking forward to see your artworks. Please do leave your reviews or feedback for this class. That would be really helpful to me. All right. I'll see you in my next class. Until then, bye bye.