Aquarelas terapêuticas : pinte 5 paisagens bonitas com menos de 30 minutos

1. Hello, Welcome Back!: Hi there. Welcome back to another Skillshare class. If you're joining me for the first time, let me quickly introduce myself. My name is I'm an artist and an art educator based in Bahrain, originally from India. I'm someone who loves painting landscapes and teaching that to my students online and offline. Over the past few years, I've taught thousands of students and help them rediscover the creative side and fall in love with art. You can find me on Instagram and other social media platforms under the handle. This simply aesthetic, but I'm constantly sharing all the updates about my daily life, paintings that I'm working on and any updates about upcoming workshops. In this class, we're going to be doing something different. And that is diving into the wonderful world of watercolors together. I feel like watercolors is a medium that is loved by thousands of others for not only its vibrant and translucent nature, but also because the whole process of painting with watercolors can be so therapeutic and distressing. Keeping this point in mind, in this class, we're going to be painting five gorgeous landscapes together for the next five days using some very simple watercolor techniques. Designed this class in a way that you can join them, even if you're an absolute beginner and have no prior knowledge about watercolors. If you are an intermediate artists, feel free to join him for some relaxing that a pure tech painting sessions will start off by knowing the right track art supplies that you need to pick when it comes to painting with watercolors. Then dive into some simple and basic watercolor techniques. These watercolor techniques and not only essential, unhelpful for the class projects in this class, but you can also use them when you're painting on your own as well. And using our knowledge of the watercolor techniques for the next five days, we will be painting these five beautiful landscapes together. Each landscape painting is unique from one another, having different color palettes. Only vague about less than 30 min to paint. In this class, the main focus is to stop obsessing over our final outcome to get a perfect painting, but rather enjoy the process because that's the journey towards the end that is going to help you de-stress. And the entire process. Each day when you sit down and paint is going to help you relax and it's going to be so therapeutic, I can promise you that. So if you have about 30 min on your hand for the next five days, join me in this class and let's paint together. See you inside. 2. Materials You Will Need: Alright, let us know a little bit about the art supplies that we need to have for today's class. Alright, so we're going to talk about all the papers, paints and brushes, and everything that you need to gather up before we get started. The first thing that I want to talk to you guys about is the paper. Now, I am going to be using these papers from the brand bow hung. Sorry if I'm saying it wrong. I got these from an online store in India. So you can use any paper that you have with you. It doesn't matter. The thing that you're going to be looking for is for it to be 100% cotton paper. Of 300 GSM people, 100% cotton paper works out really well for watercolors because it holds up a lot of water. It stays wet for a longer period of time. And that is a very, very beneficial point when it comes to painting with watercolors. So this one is cold pressed. As you can see, it has this really nice texture on the paper. And your paintings will turn out really nice and this will keep the paper wet for a longer period of time. You're gonna be looking for those types of papers. But if you have any paper with you, you can use that because I'm not trying to force you into anything in this class. So that's the main goal. The size of today's class projects, these, the class projects in this class are going to be almost half of this. So I think this one is 13 cm like this and 18 cm like this. So 13 in the width and 18 in the length. So that's the size that I'm going for. But feel free to choose any size that you'd like to work on. And I will be taping my paper on this wooden clipboard because it's nice to move around In clip it on, tape it on any any sort of clipboard or glass board or anything that you have which you can move around. It works perfectly fine. The next thing that I want to talk to you guys about is the brushes. These are literally the gems of my collection. I love these brushes so much because it comes to a really fine and just show you. You can see if I were to put water in this, it's going to come to a really nice dip. Even with a larger size brush, you can get beautiful brushstrokes and beautiful thin brushstrokes. So this works out really well. So these are the only four brushes that I will be using. That is size 1,284.2. So these are the only brushes that I will be using in the class. So you can keep flat brushes with you to make the blending process easier. I don't mind blending with a round brush, so I just go with it. But again, keep a flat brush with you if you'd like. The next thing that I want to talk about, other colors. Now, these other tubes of paint that I have there, a mix of shimming curve and Daniel Smith's White Nights. So there's just a mix of all these little brands that I invested on over the time. And then I ended up curating my own set. I just got this. How would I put it up? Palate? Yeah, it's a 48 color palette. If I'm not wrong, because it's curated this set for myself with a lot more yellows and pinks and purples and blues. And all the colors that are generally tend to use. I have them placed here. So this is easy for me to carry around with me when I'm going to a cafe to paint or just a lot more easier than carrying all the shades with you. I've done this. I will be talking about all the colors that we use in the class projects, and detail before we begin. So don't worry, you will not be confused about the shapes that I'm using. But I just wanted to show you guys my little palette as well. So yeah, this is the palette. So now we've discussed paper paints and brushes. The other things that you need are two jars of water. One is going to be for you to rinse your brush in, and the other one is going to be a fresh supply of water. Very simple, very easy, basic stuff. I am keeping this ceramic plate as a mixing palette. I prefer ceramic over plastic because it doesn't make those little droplets. It's a lot more easier to just mix the paint on this. Next, you need some kitchen towel, tissues, rag wherever you have with you, at which you will just dry off your brush. So anything works really. And the last thing that you will need is obviously to tape down your paper. This is a 1 " masking tape. And don't ask me for the brand because it's just a really local brand. I don't know what brand this is. Yeah, that's pretty much it for all the supplies that we need. Very basic. If you've painted with watercolors before you already know the drill. So let us learn some watercolor techniques. 3. Essential Watercolour Techniques: Alright, let us learn a few watercolor techniques that will help us understand how to get a hold of the medium better before we go ahead and start painting our class projects. So the first main two techniques that I want to talk to you guys about is still wet on wet and the wet on dry technique. As we know, when wet on wet is put into play, what is it? Just like the name suggests, you wet the surface first, so that is your workings. That is wet and on that you add your paint. So you're adding paint on a wet surface that's wet. Your paint on a wet surface that is your paper. When wet on dry is put into play, it's almost like saying wet paint on a dry surface. You're not prepping the surface with water. So both of these techniques have their own benefits. And wet on wet, the paper is still wet for a longer period of times. If you're working in the background with a lot of you want to add in some clouds and just blend the skies and colors into one another. We prefer to go with wet on wet because the paper is wet for a longer period of time, which gives you enough time to just move the colors around and blend at the clouds. So it's better to work with wet on wet. And wet on dry is mostly done for our transparent layers. And the layers you want to add over a background surface or the background layer that we have. So let us learn what wet on dry is first. Alright, so I'm just going to wet my brush and I'm going to pick up some paint. Let's say I pick up your brilliant blue. This is the color that I'm using. It's a nice blue color, like a cool blue shade, I think. Alright, so you can see, I've just taken that and added it on my palette. You can also squeeze out a little bit of the color and put it on the palate and make the mix. Since I'm using it from my color palette directly and putting it on my mixing palette just to get a nice even mix up the color with my brush. If I were to apply it on the surface directly, it will be wet on dry. So see how when I apply it, the paint just stays there. It's not moving unless I want it to move. So I have more control over what control over the way the paint moves. Now to lighten this up, I will just load up a little bit of water on my brush, apply it and I can bring it down slowly. So using this technique, you can create a nice gradient wash as well. So we're just water, you're bringing down your paint. And as we came down, I didn't do anything with the paint. I didn't mix up any paint on my brush or anything like that. I just loaded water to lighten the color up and bring it down. So you're just going to move in this left and right motion and create a nice even blend in between the sheets so that it appeals nicely, nicely spread. It's nice graded wash from the darker color at the top and the lighter color at the bottom, right. Very simple. Now the same technique can be done in wet on wet as well. But over here I want to show you how to do it wet on wet and how to mix two different colors here. So you're gonna be doing the same thing. The same color combination that we are using here will do that. But for wet on wet first we will take a brush with some water and just apply it evenly on the surface. Like this. Two colors will do the same thing here. With wet on wet technique. See how it is. I have applied a nice even layer of this water on my paper. Make sure that it's even Alright, sometimes we added a lot of water. And when you do that, you kind of lose control over the way the paint is supposed to move. So make sure you don't have a lot of water on your paper because your paint is already wet. Alright, now have a look at this. I apply it. Can you see how the paint is just moving with the paper, right? You can see how it doesn't stay when those sharp edges like it did for the previous one for the wet on dry. I'm going to just move it out. And if you can feel like a lot of the blue is coming down, then you just clean your brush with just water, you're going to bring it down. See, over here. This technique actually gives us a lot of working time, which means that Your paper will be wet for a longer period of time. And you can really do the blending process better and just take your time with it. You don't have to rush to get all the colors in the same backgrounds, such as if you're painting clouds, you might need a new mix. And this way, you know, it ensures that the paper stays wet for a longer period of time as compared to the wet on dry. And then you have enough time to just move the colors around and get the perfect blend that you want in the sky. So these are the main two techniques that we talk about. Wet on dry and wet on wet. The next thing that I want to show you here, how you can blend two complimentary colors together using either of the techniques. Alright, so we're going to do wet on wet. But if you were to like wet on dry and wet on dry board, then you will be using the same step here as well. So what do I mean by complimentary colors? I mean, if I were to mix blue color, Let's just try it out. If I were to mix blue, has as here, I'm mixing blue with yellow. If I were to take some yellow color, Let's say cadmium yellow and mix it together. I get this green shade. Right? Now. Whenever we are painting skies, we obviously paint a lot of yellows and blues, let's say orange and purple as well. But we don't see a green in the sky, but if you were to mix it directly, we can see we get a green shade. So to avoid this mix, mix between the two complimentary colors, we are going to use a technique here. So let's use the wet-on-wet technique and see how it's done. I'm going to go ahead and read this entire surface like this. Evenly spread it out. Evenly spread it out like this. And then I'm going to go ahead and load up a little bit of the blue color applied at the top and bring it down this way, halfway. Stop here. I'm going to stop here. When a clean my brush completely, load up some fresh paint, switch to the yellow, apply the yellow at the bottom, move it upwards halfway and stop here. Okay, now I've left a little bit of whitespace, right? You can see I've left a little bit of the whitespace. And that's because I'm going to be using this to our benefit, to sort of blend the blue and the yellow together. So I'm going to clean my brush completely, dry off the extra water and just move the yellow up slowly. Bring the blue down slowly with just my clean brush. I'm going to do that. There is no paint, there is no extra water in my brush. Just a slightly damp brush is all that I have. And I'm going to bring it down like this. You can see how they have some blended into one another without really creating that muddy mix. I'm just going to move it slowly up and down in these little strokes. Can you see how the blue and the yellow have nicely blended with a little bit of that whitespace in the middle. And it's not money, it's not as green as this, right? So that's the way in which you can blend two colors together without really having a muddy mix. So it can be any color that you're using, right? It can be anything. Get you use any complementary colors. You will mix them in the same way. Now let's try and mix two colors. Let's say we're mixing yellow and orange and red together. I want to show you how you can do it in the wet on dry method as well. Alright, so over here I start off with a yellow color at the bottom. Then I will switch to my orange color. Now, since these colors will never, you can never go wrong with these colors, right? And why is that? Because they're all warm shades. Mixing them will not create any muddy mixes. So see even with the wet on dry, you can achieve a very similar look into your painting. And see you can blend as many colors as you want. This is like a variegated wash, but you have different variations of colors, such as the yellow, the orange, red. So it's all blended with one another. And you can see how it has gradually transitioned into each other, right? We have the yellow at the base. It's transitioning to the orange, that is transitioning to the red. You can do this with as many colors as you want. And if you ever feel like you're getting this line, like a separate line that divides the color. We can just clean your brush and just using a damp brush, you can go over that a couple of times so that they blend into one another. So can you see how we have a nice variegated wash between the three shades. That is our yellow, orange, and red. And this was done using the wet on dry method. Alright, now the next thing that I want to show you is how you can control the flow of your paint on a wet surface. If you were to create clouds, alright? If you were to create different shades, not even clouds, blurred out objects in your painting, how you can do that. So the first one that I want to show you on how you how different consistencies of the paint sort of control the way in which the paint moves. Now, let's have a look at this. All right. So we're just going to apply an even layer of paint. You're going to go with the wet-on-wet technique. You can do the same thing with wet on dry as well. Try it out and see what you like. Everyone has different preferences, so it's not good to confine people in certain techniques. You can always use a different technique than I do to achieve a similar result. Alright, so we're gonna go ahead with blue. The first consistency that I'm going to make is very watery. Okay, So I have a good amount of water in my brush. They might paint mix. And when I apply this here, can you see how it's spreading? Obviously because this is the wet-on-wet technique, it's going to spread. And you will notice that is spreading more, the more water I have in my mix, the more it's going to spread. Like this. But if I just go with a thick consistency of paint, so if I'm going with a very little amount of water or more paint, just a tiny hint of water. And see when I apply this, the spread, the blooming effect in your paint is a lot more controlled, right? Can you see wherever I apply it, it's going to almost stay there and slightly blend into the background. Obviously, it is going to blend into the background because we're using the wet on wet technique, but it will still preserve the shape that you are going with. Can you see how it is blended, but it's still preserving the shape that I want. Right? So this happens when you're using an more controlled consistency of the paint is slightly thicker consistency of the paint. So whenever you're painting clouds, you want to add the stroke in a much controlled manner so that it just doesn't spread into the sky color completely the sky layer that you applied completely. So let's see how that's done. Okay? So I'm going to go ahead and just wet my entire surface using the water. So make sure that you're not loading any other colors into your sky. Alright, So let's just, I'm going to apply an even layer of paint like this. Going evenly spreading it makes sure it's even that is very important. Let's say I want to create the same grid gradation. So I have the yellow color at the base. Alright, that transitions to the orange color like this, and that transitions towards the red, right? So that's the grid gradation that I'm going for. Right? You can already notice a slight difference in the way the colors look. Right. Here. We have more water. So the way it appears is slightly different as compared to the previous one where we use wet on dry, the one above that. All right. So here I have the red. I'm laying that down. And then I'm just going to add in a little bit of yellow at the base as well and just blend them into one another. Alright, now over here I want you to have a closer look at this. Now what I'm going to do is switch to a smaller size brush. This is a size four brush. I'm going to mix a little bit of the neutral tint, which is a gray color to the red to get slightly browner mix. So you can see here I have this shade. You can also notice how this one's a really thick consistency of the paint. It's not too thin, it's not too watery. Right? Now if I were to create the clouds, I will just stop it and make this into the red area. Like this. I'm just roughly tap it in, see how I'm doing it, and see how it still stays there while slightly blending into the sky. And that's how you create the clouds. So see how I've added that darker color at the top. As they come towards the orange one, I can use a little bit of red ocher mix and then add the colors at the clouds. In the way I'm adding the clouds is more in this linear format. I'm just brushing it up like that. Just adding the clouds. You can just move it with the darker color as well to add, add in a little bit of variation in the colors. This is pretty much it how we'll be adding the clouds and how you can make them control than how you should avoid them completely blending into the background layer, you'd have to use a slightly thicker consistency of the paint. So let's see, over Europe, I was supposed to make these mountains that are in the background. Then I'll go with a darker shade of brown. Again, very controlled, thick consistency. Alright. Then I will just add it in here and see how it blends with the background. But it's still retains the shape in which I am laying it down. See how this goes. So whenever you want to achieve looks like these in the background where everything is sort of blurred out. You will use this method and use a thicker consistency of the paint. That is pretty much it for this block. Alright, so here's our final wash cheek Technique sheet. Whatever you would like to call it. I would request you guys to try it out once to really just get a hang of it before we go ahead and start painting our class projects. As you can see, we'll be using a combination of these types of washes into our paintings. Obviously, I'll be explaining all the techniques and the ways in which we approach that painting. But it's pretty much going to be using this knowledge that we have just done. So here was our basic wash sheet and now I will see you in the first-class project. 4. Day 1 : purple Evening: Alright, let us get started with our first class project, which is of this gorgeous purple evening. The colors that I'm using are cadmium red, blue lake, quinacridone, violet rose, golden deep sap green, and Payne's Gray. And also keep a little bit of white gouache or white watercolors with you for the stars and the moon. And if you don't have the exact same Sheets, use anything that's closer to the colors that we'll be using. It doesn't have to be exact. Alright, so I've taped down my paper on all four sides. I have my palette, I have my mixing palette and the gallows and follow me. This is a thumbnail painting of something that we're gonna do today and try out. Along with your watercolor paints. Please keep a tube of white gouache or white watercolor is with you because we need that to add in our stars and moon. But yeah, this is pretty much it. It's a very, very simple painting over here. We're going to explore the ways in which the colors will blend into one another. So I think it's very, very nice. And it's a very fairly simple paintings to eat. Anyway, let's get started. The first thing that we are going to do is create our basics sketch. Now there's not a lot to sketch here because everything is just this, just sky and then you have the moon and the other elements. So the only thing that you'll have to do is make this ground space. Okay, So roughly just going to sketch it out. I think somewhere around here. I'll do it. I did go ahead a couple of times on the line. So roughly this is going to be the division of my line. This is going to be the ground where I have this happening. And then I have the remaining bit for the sky and obviously the power lines. Yeah, along with your white goulash, do keep a pen with you and a scale because we'll need that for drawing the power lines. It's very easy to draw with a pen, so keep that with you and let's just get started. So the first thing that you are going to do is wet your surface, correct? So you're gonna go ahead and load up your bigger brush with a lot of water and just evenly spread it across the top part of your sky. Part of your intake. Not this guy. Sometimes when I am painting while talking, I end up saying things. Not in the exact way I would say it if I'm doing a voice-over, but I wanted to give it a try when I'm just talking as we paint, because at that moment I can really explain things a lot better. So this is the surface that I've painted, not painted applied water to where using the wet-on-wet technique. The first color that I'm going to use as cadmium red light writing to clean my brush because I think I have a little bit of Payne's gray in there. But yeah, that's loaded up again, this is the color that we have. As you can see, it's a very nice Depot, orange color. I wouldn't call this red. Red because it's not very red. It's almost like a vermillion shade. So you're going to use that color and apply it at the base. You're just going to go ahead and just apply it somewhere around here and start moving upwards like this. All right, You're going to start moving it upwards like this. We've got the sky. You could also add in a little bit of orange to make this section a little bit more brighter at the bottom, I think it's too dark, but you can add in a little the base and then move it up like that. Alright, now right here, I want to add in the pink fellow. So I'm gonna go ahead with a quinacridone, violet rose color. So this is a pink color. You can use any pink color that you have tissue. This is the color that I'm using. I'm gonna go ahead and apply a lighter layer off this over here. Nicely just blended into one another. And then just leave it. I'm just placing the colors right now. At the top. I am using the sheet called Blue Lake. It's a very nice, deep blue. These are all from White Nights. This is the sheet that I am using. Wanna go ahead and just apply it all over at the top. As you can see, we are not matched the color, well, this is still a very different color. We have a night sky in our painting, but this one's a lot more brighter, correct? Darken it up. We're going to use Payne's gray. Now I'm going to add Payne's gray to the blue mix. Make a deeper blue color. It almost looks like an indigo shade. You can't really see it here, but it's. Almost like an indigo color and when to apply it, you could use indigo directly as well. I just wanted to play around with the colors and just mix and match and move it around and see what works. Alright, so now that we have all our colors in place, it's time for us to go ahead and just blend everything into one another. What do I mean by that? Is start moving these colors into one another. So you can load up a little bit of red. Correct. And you can just start making these streaks like this so that it moves in with the pink. Like this. I didn't some darker colors at the bottom. Load up a little bit of the quinacridone, violet. Apply it here, move it, play around with the colors, mix and match blended around. Just enjoy the process of adding these colors in your painting. So as you can see, I really like doing these tricky things because that makes these colors roughly blend into one another because of the wet-on-wet technique. And it looks really nice, almost looks like clouds without having to do the work for the clouds. See like this is just going to roughly add that in. Make these strokes like this randomly placed it whenever you feel like it. And that's pretty much it. We are not doing a lot of blending for our sky. We're leaving it very simple. And we will let this entire layer completely dry in the one another because the surface is wet, the wet on wet technique is gonna do its magic and let all the colors blend into one another one. And everything will be looking really nice and evenly spread when it all dries. So we're going to let this whole section dry and then we'll move on to the ground. But alright, so over here this is still wet, but this bottom layer has dried. So we're going to let this air dry for now and move on to this bit. I'm gonna go ahead and Z, but not re-wet, but wet this entire surface. Once using water, you can use a clean water. I'm just using the same muddy water because we are using going to create just muddy structures here. It doesn't really nice and clean anyway. So we're gonna go ahead and start off with a sap green color. This is the color nice and light, correct? So it's just going to apply that here. As you can see, it's very light. Almost not the color that we need in our painting. To this. You can apply a little bit of the burnt umber color to darken this bit, a little bit more. So over here, I just like to work around and a lot of sections play around with darker versions of the color. Really just bring in a darker tonal value here. I'm just using a little bit of that indigo shade, my burnt umber color. So all of these are the colors that I'm using to add in the darker colors. So I'm just going to go ahead and randomly add some strokes like this. Even over here where the remaining trees are. I will add it here as well. Just so that this section appears darker. And it shouldn't look like it's completely light as compared to what we see at the top, correct? It shouldn't be that light. You're amusing. Some more darker colors. Mixed it with the brown and the green. These, you can just add it like this randomly. Just add it here as well. I'm just making these strokes like that using some strokes here to say maybe these are grass shapes that we can't really see clearly. I'm just playing around with different radiations in this section. Really like the way this looks. I'm not going to overwork on this area so much. Once this dries, it'll look a lot more evenly spread out. Good. Alright, so I really like this. There's a little bit of green so that, you know, it's grass, but you have the darker colors as well. Now I'm going to switch to a smaller size brush. You can switch to a size two brush or a size one brush. Whatever you have with you. And I'm going to load it up with a little bit of Payne's gray, a darker version of the Payne's gray. And I'm going to start adding some strokes like this that will depict the plants at the horizon line. Right? So I'm just making this up. Dots of different sizes. And once all of them are laid out together, they will really look like plants at the horizon line. And you'll have to do this wireless layer is wet so that the sort of blends into that section and you will not have those harsh lines and that area. So I'm just gonna go ahead and dab in some more like this. I'm just complete this entire nail with it. So make sure that you're varying the height of these shapes. Because that really makes that area pop up a little bit more, shows the different radiations that you have and everything just looks a lot better. If you walk around in different sections. You can send escaping dots, loading my brush with some paints, just tapping different dots around that section. And this is pretty much it. Once you complete this, this is your main part of the painting that's done. We're going to let this dry and then we'll go ahead and add the other details. While the sale was drying, I wanted to add in some more finer details. And what I mean by that is some final finer dots so that it looks a lot more natural. So I'm just going to play around with that. Some smaller dots around the main structure that I've added. Like this. Very fine details, very light handedly. Just going to touch the tip so that I have to find these details are sexy. What we need, you don't need a lot of details, just fine structures in that area. Yeah. And that's pretty much it. I really liked the way this looks right now. We are going to let this dry and then add the other details. Alright, now that the entire section has dried, it's time for us to add in our stars. I'm gonna do that by just loading my brush with a little bit of white gouache. And I'm going to go ahead and load up another brush with nice mix of it. You can also use white watercolor directly, but make sure that you are using a sick consistency of it so that it stays nice and opaque. So this is the color, this is the consistency that I'm using. The shape is titanium white. And I'm gonna go ahead and tap, actually apply this here so that I don't get stars all over the place and just dab it against another brush to create the stars. So I'm just going to add in some more water to get a thinner consistency so that I get some big stars. The thicker consistency is the final your stars are gonna be. So I really like the way this looks. Not going to overdo this because this is a step that a lot of us tend to overdo because it's so much fun to tap in the stars. So I'm just going to stop right here and let this section completely dry. Alright, now that this has completely dried, it's time for us to add in the power lines. You can do this freehand. Freehand as you can just place them wherever you want. Or you can sketch it out with a pencil first and then apply it. I'm just gonna go ahead and do it freehand. So I have one here and another one at the top of it. Somewhere around here. And another one. Another one would be below this. I'm going to vary the distance. So this looks like this ones. For the most. This one's slightly in front of you, so the distance is like that. The next three that I apply, I'm going to make it stick up. Alright, so I'll have one, he'll just move it slightly upwards and draw another line so that It's nice and thick. These power lines are really closer to you. So they appear thicker. One here. We'll go. Scales are around and make that thick, myosin thick. And just another one somewhere around here. One more with a little bit up or down and just make it thick. Again. Here is the power lines. If you think you want to just go ahead and fill it in, just using Ben, go ahead and do that as well. This is what it's going to look like finally. And now it's time for us to add them. Using my smallest size brush. I'm using a size two brush and the white quash that we already used, I'm going to go ahead and make them nice crescent moon that I'm going for similar around in the middle over here. So just using my smallest size brush, I'm going to make a more likeness. Nicer control in this area if you want a nice crescent moon, because it's very easy to mess up the shape. If you think you messed up the shape, then you can always make a full moon in that area. Alright, so I'm just going to stop right here because I like the shape of the morning. It looks good. So I'm just going to let this dry completely and that is your final painting. Alright, this is eight. You're going to build the tape off and see your final result. I really liked the colors in this one. There are a lot more vibrant as compared to thumbnail payday. And now we reveal our crispy clean edges. This is my final favorite step actually. All right, This is your final painting. Let's have a closer look at it. All right, I'm going to bring it up here. You'd go nice and focus. It was very simple painting, focusing more on the blending of this guy. We've got beautiful stars, power lines, crown, plants. A very simple composition, but a painting that will really help you de-stress because it's a simple composition. So yeah, this was it for this class project. I shall see you in the next one. 5. Day 2 Part 1 : Sunset by the Lake: Alright, let us begin our second class project, which is off this beautiful sunset by the lake. The colors that I'm using are blue, violet, cadmium, red, golden deep quinacridone, violet, rose, burnt umber, and Payne's gray. If you don't have the exact shades, feel free to use the colors that are available with you and just enjoy the process of painting. Alright, so I've taped on my paper on all four sides, and I have my mixing palette here, and I have the colors inside of me and everything ready to go. Here's a thumbnail of the painting that we are going to do. As you can see, we're achieving a lot of the details in the background using the wet-on-wet technique. And why is that? It's because we want a blurred out effect in the background. And the main focus of our entire painting are these wildflower elements that are in the foreground. So that's all done wet on dry, but everything that we are achieving in the background is wet on wet. So it's a really, really nice and fun painting where you're learning a lot about how to control your paints. Alright, so let us get started. Alright, so the first thing that we are going to do is create our basic sketch. Now over here, the sketch is very simple because all we have to do is take our scale and divide our paper like this, somewhere in two-third and one-third. Alright, so that's the distance that we are taking, just roughly very lightly draw a horizon line. Now as you can see, we have two sets of mountains here, right? Or foliage or a piece of land. Basically. This entire section is like that, roughly done. So I'm not really going to sketch out each and every element because it's all very free flowing in nature. So we're just going to let the colors be there and let the wet on wet magic do its job. We have a son here which we will learn how to create by using a very simple method. And obviously we have all our elements here. These are all going to be done as we progress. I'm not laying out a lot of sketch. The only thing that you will have to know is where this line is, so that you know which part is the sky and which part is the ground. And we can quickly just get started with our painting. I'm going to take your bigger sized brush and you can keep all your brushes with you actually so that it's easier. I am using these for brushes. I'll be using them throughout the class. These are the four brushes I use. I'm using the bigger one. We can use a flat brush as well. You can use whatever brush you have. You can use a biggest size brush to wet the entire surface. You're going to evenly load up your brush with water and just wet this entire surface. Make sure that you are not using a lot of water. Because sometimes when you do that, if you apply paint on it because there is a lot of water, it will just go all over the place. So over here we're trying to learn control on our beans. Even though what watercolors are very free flowing medium, if you know how to control them, things can be very easy and not be as steady as they seem. I've applied an even layer to make sure that you have in evenly, you can go over this a couple of times so that you're just getting rid of the extra paint, not paint to water that you might see on your paper. So now that I have this ready, I'm going to start painting for the base color. I have cadmium red, so I'm just going to mix a little bit of cadmium red here on my palette. Alright, and I'm going to add a little bit of water in it. So we're going to start very slow and light. So I'm going to apply the cadmium red here like this. Alright, do this cadmium red roughly, I'm going to apply a little bit off my orange color. I'm going to apply a little bit of orange color here somewhere in the middle. And just let it go like this. Right here, I'm going to clean it. Let me just also swatch the colors as we go. So here I have the cadmium red shade that I've used. I've used a little bit the orange. We'll also use a little bit of pink later on. But right now these are the colors that we're using. Next, I'm going to mix a little bit of my blue violet color with Payne's gray. Alright, so when I do that, I create a grayer mix. Instead of having violet color as is, I have this grayish shade. Using this color, I will apply it at the top like this and just bring it down as you bring it down here. Be very careful because when they sort of merge into one another, they can be a little bit muddy and Blache. So just using a clean brush. I'm gonna go ahead and just move the colors into one another roughly. Alright, so now that we have this section, then we can just work on this as well. Now, whatever is the part of the sky, you're going to see a reflection of that on the lake. So starting off with the red color here somewhere, you're going to roughly placed it in. Then you have the orange color again, roughly placing everything in here like that. I'm not focusing a lot on the final outcome. I just have this and I'm not trying to copy the exact things. Remember that. Never get yourself to really think about copying the exact things that you see because then you forget to enjoy the process and you focus more on getting your final results. I'm just roughly placing all the colors in like this as you can see, I've done that. And I like how this looks. We don't have to work a lot on the details here. Just roughly placing everything is good enough. Now we're going to switch back to our sky to add in some of these rough cloudy effects that you see right there all blurred out. So we don't have to work a lot on getting really good details. So to my cadmium red, I'm going to mix a little bit of a violet color, of pink color, rose color, whatever you have. I am mixing Quinn violet rose. And this is the shade that I get. It's a lot more warmer. And I'm gonna go ahead and just apply it like this roughly using the wet on wet method. I'm just roughly going to add it here. Make this rough, rough placements of these scholars. And let the watercolor do its magic by adding the fellows in the sky. We can add it somewhere around here and then using a clean brush, you can also just sort of blend it out into the mix. This really rough. I'm not looking at the final outcome. Now to make the sun you will take a softer tissue. This is a very soft tissue. I'm going to turn it like this and get to a point where you can see an almost like a circle top. You see how it is circular, spherical. And then you're going to take this tissue and just dab it like this. That is going to lift the paint off from the paper. You have a sun right there. Very simple way of making it, correct. It was not so complicated at all. It was such an easy way, easy method of doing it. I'm just brushing over some of the pink. I'm adding the pink gifts as well here. This way, roughly just placing it in. Now we're gonna go back to these, these clouds, the darker ones. For that I'm going to use the same mix of my papa and my Payne's gray this time a little bit more Payne's gray so that they appear darker. This is the shade that we're going for. Maybe a little bit more purple because it's too gray. So that's the color. Using a little bit of water in my mix, not a lot of water, just a little bit of water. I'm gonna go ahead and start tapping these clouds like that. Like this. Just roughly rough strokes. Can you see how it is coming from the right side and stopping somewhere in the middle like this. Rough, rough strokes like this. And we're doing all of it while the paper is still wet. Once this dries out, it will dry out to be lighter. So don't worry if it looks a little bit weird or not something that you are into at the moment. They're also going to repeat the same type of strokes down. It doesn't matter if it's exact or not because we'll have a lot of elements here. So it does get covered up a little bit. It doesn't matter if it's exactly the same or not. You're just roughly placing all the colors, similar colors at the bottom as well. Now, using a clean brush, I'm just gonna go ahead and move these colors around a little bit, just so that they look a little bit more natural. And to do that, you can use your clean brush directly and just move colors around like this. See how easy that was to create, right? Because all of it is done on wet and wet. It's very easy and simple to just move around and create these brushstrokes. Alright, so I really liked the way this looks. I'm going to switch to my smaller brush. This is a size four brush and we're gonna go ahead and add all the cloud or no clouds, the details for the foliate section here. So for that I'm going to mix my Payne's gray with a little bit of sepia. There we get darker colors. Alright, so this is the shade that I'm using. It's a dark sepia color. I'm gonna go ahead and just apply it like this. Since the paper is still wet, it's going to do the job for you for creating the strokes. All you have to do is guide it in what direction you would like it to go. I'm going over this line, the horizon line that we made carefully than just adding it in that area. And can you see how the colors are just seeping into one another? And it's doing all the job for you by just moving around. Now, it is bleeding on the side as well. But we will fix that. We will take care of it, don't worry. And we will create that separation between the land that's above the water and the one that isn't to create a lighter shade in it. We are going to go ahead with our burnt umber color. So I'm just going to load up a little bit of burnt umber and just add it at the top here where the sun is. The sun rays are going to create a little bit of lighter colors in this foliage. So just trying to put that in as well so that when it dries, it looks like there are different colors in that area. Now using a mix of burnt umber and Payne's gray, just a lighter version of the color. You're going to go ahead and repeat, repeat this at the bottom as well like this. Fleet. Make a smaller section of it because as it bleeds through, it will create the same effect. So just a smaller section of what you see above the horizon line. And as it bleeds through, it will create the effect like this. Alright, now, to get that separation between the land and the water, they're going to take your brush, you're going to dry it nicely carefully. And just brush over this line like this. And wipe your brush again. And brush over this line like this. Wipe your brush again to get rid of any water that might be there. And just brush over like this. So it's almost like you're lifting the paint from the surface to create the separation between the two. Now, if you look very carefully, you can see what section is above the water and what isn't. Very nice. It's very clear. At the same time, our section is drying, somewhat drying. You're going to let the whole section dry. Lift up the paint from the sides if you think it's seeping in a lot. And to make it a little bit more natural, I'm just gonna go ahead and add in some more clouds because I felt like there was a lot of speaking in from here. I'm just going to add in some clouds, some smaller strokes like this. And since the paper is still wet, it will just blend into one another. Just rough strokes like that. Here as well on the water to make sure you're doing this while the paper is still wet because you don't want it to dry. Otherwise you're not gonna get the similar effect in your paintings. You have to have to see if your paper is dry. If it isn't, then you are going to let the whole section dry and then you will repeat this step. But now we'll do it on a, just a dry surface. Then it will create a very blotchy effect into your painting. Right now I'm happy with the way this looks. I'm going to add up these blurred out foliage at the bottom, these plant elements at the bottom. For that, I'm going to mix my Payne's gray and set beer together to create a dark mix of color which is very close to black. It's a very dark color, very close to black. And using a thicker consistency of it, as you can see, it's not very watery, right? It's nice and thick. Using a thick then system, the office. You're going to go ahead and just really like this. And you will be doing this because you're using a thick consistency because it will not spread out so much. If it's very light consistency, there are chances that it will flow just like what we've done here. Since we use the light consistency, it was flowing everywhere, correct. But now we want to just use a thicker consistency that so that we have more control over these brush strokes that we have. Can you see how they are blurring out a little bit. But there are a lot more controlled, a lot more in position. Since it was a little bit dry here the people who are dried, you can see how it's not blurring out. So you have to make sure that your section is still slightly wet while you're doing this. I'm going to add in some more plant elements, the flower heads, just some stuff at the bottom and just let this whole thing dry completely because we're almost reached the end of our painting. I'm going to let this whole section dry. And then we'll move on to our final step, which is adding all the foliage that is in-focus. 6. Day 2 Part 2 : Sunset by the Lake: Alright, so as you can see, our surface is completely dry, right? So now it's time for us to layer this section. So it's almost like this entire background was done in a single layer using the wet-on-wet technique. So now we have to go ahead and just add in some extra strokes of all these little wild plants around the lake. Alright, so we've got some beautiful strokes to work with. The color that I'm using is a deep, deep shade of Payne's gray and severe. So really a very, very dark color. It has to be slightly darker than the one before so that it appears darker, right? In very simple terms, that's how it's supposed to appear. Alright, so I'm gonna go ahead and start off with this section. You can also sketch this out if you're not very confident. So you can have a picture of this to sketch out all the elements, the way in which they are moving. I like to do a very free flowing depending on where I like to place them in my mind and how I go. But feel free to do whatever feels good to you. I'm gonna go ahead and just make a nice curve like this. Again, you have to be cyclic controlled with the way in which you move your brush. Now I'm going to release some strokes towards the left and some strokes towards the right. So you're going to use the smallest size brush for this so that you have more control over it. So any brush style comes to a very fine tip is good. You can, I'm releasing another section of this wild plants just like that. So that's a nice and big head. I'm releasing some more. So I'm just going to be repeating the same step. It's a nice strong line upwards and then you have some strokes towards the left and right. To make the leaves, you will start at one point over here, go up and just bend your brush like this and release it. This is one way in which you can make the leaves. I'll show you another one where you just press on one of the light anywhere on the line and then just release it so it can be in different directions. You don't have to follow a single direction. You can just make some more of these little, I don't know, What do you like grass elements. I think that's what you would call them. Maybe you can make a leaf standing just like that. Like that. So just adding a lot of elements here, playing around and seeing what works. And adding different brush strokes. So you're not going to limit yourself to something. You don't have to copy this exact thing, you don't have to copy what I'm doing. Just flow with what your mind tells zero. Because the whole point of this is to enjoy the process rather than getting stuck up on the final results are being kid to make a mistake. So once you let go of that fear, you're going to really enjoy painting. So I'm just gonna go ahead and make another one like this. This one's gonna be a nice and tall one. I'm going to bring it all the way up till the sun. Then I'm going to make these brushstrokes just relieving it left and right, trying to keep the shape of fit in mind. So it's gonna be wider at the base, wider at the base, and then as you go up it's going to get narrower and narrower. Lilly's another one, just to make it look. Even add in different strokes around with it. So this took them very similar to if you've made a palm tree and made those leaves. They're very similar to that. Just in a different format. Just a different sort of plant element. So you can only see a lot of things in nature that are very similar to another plant, probably like the way in which you make it in on a painting. Brush strokes are gonna be seen, but it'll be a completely different plant elements. So a lot of fun stuff happening with these plants. So I'm just going to release some leaves from here, bring it down so you can see I'm playing around with the shape of the leaf. I'm not really making it straight up and down, or just focusing on a final outcome for the leaves. Make it, make it sway around and dancer onto the wind. Maybe have another lunge element here. Nice wildflower right here. And I'm going to release these, make a leaf like that. Then I might want to add something to it. Maybe let's see. I want to add something coming from the outside. Alright, that's coming from the outside of the painting. And then it has the, the wildflower head like this. And then if maybe has a leaf coming down like this. And then you can make these smaller sized grass shapes. Just add in different variations, so make them in different directions. And that's pretty much it for our painting actually. You're going to let this whole section dry. I really like the way this looks. I'm not trying to I'm stopping myself a lot from adding bullets. Because if I do that in not make sense because this is a section that's in focus, right? You have to stop yourself from adding birds. And if you wanted to add boards, you'll have to add them in the wet-on-wet technique itself so that that section is sort of blurred out. But yeah, this is pretty much it for this simple painting. You're going to let this dry brush by the time let this dry. And then we'll move on to painting the paper and seeing a final result. Alright, now that might be poor, is completely dried. I can be lifted off. So you're gonna carefully peel away from the paper keeping in mind that you don't pay your painting. So just be a little bit careful around this point. Repeating this process carefully away from the paper. Make sure you don't have paint on it and don't touch your painting directly using your fingers if you have wet paint because then it's not salvageable since it's watercolors. But yeah, this is pretty much it. This is your final painting. I love how this looks. Let's get a closer look at it. Look at it. I love how this looks, how we were able to achieve very simply lake background by just moving around and P going on with the wet on wet technique. And probably learned a little bit of control over our brush and paint. We've got this beautiful outcome. I hope you enjoyed painting this one. I will see you in the next class project. 7. Day 3 Part 1 : Break of Dawn: Alright, welcome to Project Three, which is often the break of dawn. The colors that I'm using are blue, lake, cadmium, yellow, golden, deep, burnt umber, and Payne's gray. These are the names of the shapes that I'm using. But again, if you don't have the exact shades, feel free to work around with the colors that you'd like. And let's get started. Alright, so I've taped down my paper on all four sides. I have my palette, my color palette with me, along with my mixing palette. And then I have my sample painting here. So this is a thumbnail painting of what we're going to do today. It's very simple and simple in terms of the background colors. And all the three elements that I've added is very free flowing. So I'm going to teach you how you're going to be making that without really focusing so much on the final outcome. Because a lot of times we try to hold onto a brush, onto the brush to really make this clear, clean strokes. But the art lies in the randomness of these elements. We're going to learn that today that's the main focus of this painting. So let us get started. Alright, so by now we know that our first step is always to create our basic sketch. Now over here, my basic sketch is going to be like this. So I have some elements, plant elements that will be coming out from here. All of these sides, I have the sun somewhere around here, and I have a huge working space for the sky. And obviously many more plant elements coming left and right. Alright, so you can sketch these plant elements just to understand the placements of them. But make sure that they are very lightly place because we don't, we don't want a lot of details because it can be very free flowing, right as we go. So it's just going to roughly create a basic sketch as you can see how light it is. I haven't really pressed onto my brush and applied a lot of pressure. It's just very light. Just understood what the painting composition is going to be like. And I'm just going to directly move into the painting bit. So what you're going to do is using your bigger sized brush, you are going to apply an even layer of paint everywhere. So I'm going to load my brush with some water, clean water, and apply an even coat of it all over. You can use a flat brush here, but I'm just going to go ahead with my round brush and just roughly spread it all over, making sure that the water that I apply has to be nice. And even again, you can go beyond this section as well if you'd like. I'm just going to make sure that I'm covering the entire surface using my brush. And then I'm going to move it across in one direction so that it is nicely and evenly spread rather than it being all over. So I'm just going to spread it. Clearly. There's an even amount of water. Alright, so now it's time for us to start painting. The colors that you've seen our thumbnail paintings are orange, yellow, and let's get it, get right into it. For the yellow bit, I'm going to be mixing my cadmium yellow medium color. This is the shade. I'm going to swatch it. You can use any yellow that you have with you. Really just don't worry about using the exact shades. Focus more on enjoying this process. Yellow color. I'm going to apply it where the sun is roughly like this. Let the wet on wet do its magic of spreading around the paint is going to move around, dance around. And you just have to slightly guided into the direction that you would like it to go. Now, I'm going to load up my brush with some orange color. Alright, so this is the orange sheet that I have. Alright, and I'm going to load up a lot of it so that the color is nice and vibrant and intense. And we're going to apply from the sides like this and just cover all the area around the yellow that I just idea is to have the yellow where the sun made lies. Then you can have orange around it. So I've covered the half of my paper with orange. I'm going to switch back to this lifting techniques or using a soft tissue, you're going to just roll it up so that you'd get a little rounded spherical shape at the top. And then using that, I'm just going to lift off the paint like this from my paper. Alright, so now we have a son if you think it's not nice and round. And just using your blue color is not blue color, sorry, yellow color. You're going to just apply it around. The sun just to make the circle more even, makes this nice, nice and round, right? Just smoothing it out. Okay? Now that we have our orange in, it's time for us to move on to our blue. For my blue color, I'm going to create a mix of blue lake that is from my palate. It's a beautiful white knight mix. Along with some Payne's gray. You can use a little bit of indigo color if you'd like directly. Or you could use your Prussian blue with your Payne's gray. To get the color, which is very simple, you just wanted to have a depot tonal value of it. So I'm going to start applying the scholar at the top. Like this. Right? The people were slightly drying so you'll have to work quicker in case your paper is drying. I'm going to bring it up to here. And right here where the orange and the yellow, orange and the blue are meeting, you have to be careful using a clean brush. We're just going to blend them into one another. Just using water, nothing else. If you just put the pigment right into one another, they will create a muddy shade, which we are trying to avoid using a clean brush. If you go over, it's a lot more better. I would say the color is not as intense as if you were to just move the blue and the orange directly. Alright, so I really liked the way this is going. Now that we have all our colors in place, it's time for us to add more intense values of it around it. So starting off with my yellow, I'm going to go ahead and load up more yellow pigment in my mix like this. You just apply it where the sun is around that roughly like this. Just blended into the orange as well. Just moving the colors around like this. And now I'm going to switch to my orange color. Make a nice intense mix up the color by using more paint and a little bit of water. And then you're going to apply it like this, just using the wet-on-wet method for the streaks in the sky. Just going to add it like this roughly. Just placing it playing around with this color. Like this. If you're feeling like you want to add a little more of intensity into it. You can mix a little bit of red to your orange. And this will be the color that you get. So it's almost like a red orange color. And then again in some more strokes on the sides. Just to add a little bit of intensity into it. Roughly just placing it in. You can also go upwards into the blue slightly, not so much, just a little bit like that. And now we're coming to the blue part. So just using my clean brush first, I'm just going to blend this together with the previous layer so that it doesn't look so awkward. In that section. It looks nicely blended into one another like this. Alright, and now I'm going to switch to my blue color this time adding a little more Payne's gray into it so that the intensity of the color darken. Then you can make in some more strokes at the top like this. Just darken the sky at the top and then just bring in some strokes downwards like this. I'm very light with it. The light, lighter your brush stroke is. And what I mean by that is to be leather. You tap on it. The pressure that you apply very light z. So you get thinner stroke and you have more control over your brush. If you feel like, oh no, I made a mistake and I need to fix something, then you can just use your clean damp brush to move the paint around. You can always just use your clean brush to fix it. Anything that is going wrong or you don't like. Sometimes we load up a lot of it of intense colors on our brush and that doesn't look that good when we laid down or it just blends in a lot, leads in a lot. And we're like, oh no, we don't like this. This is not where I wanted the color to be. Then you can always just senior brush and just use the clean brush to move the colors around. So I'm just using a clean brush here now to just move the blue slowly into the orange colors so that they look nice and blended. And they don't look like they're just not together. All right, In section I could add a little bit of orange and yellow right here. To intensify this, a little bit more of the color upwards into the blue. Okay, That's pretty much it. I guess I really liked the way this looks. So I'm not gonna do anything else to this because that'll be almost like overworking on the entire section and that might ruin it. I'm going to let this section dry. And then I'm pretty sure it's gonna turn out nice. And even because there's what does, it's going to blend into one another, bleed into one another, and create a perfect blend in the sky. We're going to let this dry and then we'll move on to the next step. 8. Day 3 Part 2 : Break of Dawn: Alright, so now this entire section is dried. As you can see, I love the blend between the darker blue shade with yellow, orange and all the colors, warmer colors at the bottom. And I really like how they've blended into one another without having all the muddy shades that you would usually end up making. So now it's time for us to move on to this section. Now, as you can see in our thumbnail painting, we have an intensified version of the darker color, which is a mix of Payne's gray and our sepia shade around and where the sun is. Almost at this region, we have a lighter color, alright, which is our burnt umber color directly. So now I'm going to create a mix of both the shades that I can show it to you. I have septicemia and I have my Payne's gray blending into one another. Let me just give you a quick movement of the brush. Shade of yellow. Here is the darker color. And let's just go ahead with the first question. Let's just apply it. So I'm just going to apply it like this. First. Cover the remaining bits with the shade. Like this. Alright, so it's almost, almost since this movement. Right now where this section is, I'm going to go ahead and say my brush, load my brush with some burnt umber color. Right? And just applied like this. It's still very dark. But when you really look closer to the section, it will appear slightly lighter than the colors that is around it makes it so I'm just going to move it around and make sure that it's nicely blended into one another. Once you're done with this, It's time for us to switch to our smallest size brush. I'm gonna be using my size four brush because it becomes too really nice. Fine tip exactly like how I would want it to be. And we're gonna go ahead and start painting all the other foliage details that we see. Starting off from the right side. Make sure that you're not putting your palm directly on the wet surface. And we're going to start painting. The plant elements that I have here are really like this. See I released a stroke, maybe make one branch, and then I have just dots randomly placed around it. Can you see how I'm actually not thinking the whole process through or trying to make it look like a leaf. I'm just making random dots and just sort of tapping and releasing my brush so that there's an unevenness in the brush movement that will give you the randomness that you actually need in your structures of plants and foliage elements. So you can see how I'm doing this over here. I've switched to my burnt umber because it's closer to the sun, that I need some lighter elements to be lighter shades to be along that area. So I'm just going to this infancy her randomly placed it is not focusing on our structure directly. Is it going to look like a leaf eventually? All i, for, all I'm focusing on is that it should look like a branch. And elements around the branch can be uneven. Like this. I'm just going to get in some more structures here. Some more structures here to make this appear a little bit fuller. You can also make bigger strokes when you want a lot more opacity in the region. And the others that you make will be really free-flowing and smaller so that you can see through it. And you're just blocking in a little bit of light, little bit of the background. Alright, so I'm just going to make some more strokes. This is, this is the only time consuming part of this entire project where you are having fun. But really this is a lot more enjoyable because you are making these potatoes batons and your brush movements are pretty much interpretative, but the strokes that you get can be different, right? And I'm just I'm not really focusing on my final outcome because that's not something that I wanted to think about. I want to just think about enjoying this process, enjoying this step of adding a lot of these foliage details in my painting. So I'm just going to randomly place the whole thing. You can look at this thumbnail that is right here to make the movement. The only reason I made these companies are because sometimes people find it easier to always look at what our final outcome is or what we are actually painting, and what the approach is and what the painting is about. So that's why I have this in front of you so that you can constantly look at it and see how I am also painting from it. How am I approaching that painting? And this way you also learn a little bit about how my brain functions. So think is very cool by the way, can also just read this out so that it doesn't look like the layer is just lying on top of this foliage section. So I'm just going to blend it into wire mother. Then moving back through all the details here. Just adding a bunch of different brushstrokes, bunch of different elements. Just completing the whole thing. So you can see there's a lot more that we are supposed to do. So don't worry, Take your time. This whole process can be a little bit meditative. You might get into a head-space where you're not thinking because your brain is sort of used to. It knows what it's supposed to do, what is the function that it needs to do? And it will give you the signals of trying to make those kinds of brushstrokes on your brush. Your hand will move in that way. And slowly your brain tries to descend into a lot more meditative space. It's almost like a meditation. We're just repeating the process again and again and again and again. And because of that repetitive motion, your mind feels a lot more calm. It does take a little bit of time probably to get there. Because if you're just starting out, then you might feel stressed about the process because you're trying to make it look like something. And that is why I said earlier that don't focus on the final outcome. Don't focus on trying to make a painting look exactly like its reference picture or the painting that I've made? Or it doesn't need to look like that. No one is going to question you if you made it exactly in the same manner or not. As long as you're enjoying the process and just painting and learning, That's all good. It doesn't matter if you are doing the exact thing or not. So we're done with this section here. Let's complete the ones here, and then we'll move on to the left. It's more side. Alright? So usually when I'm making these type of brush movements, I tend to go in a very meditative space of my own. I'm not talking a lot and I'm not seeing a lot. I'm just repeating the process. Over here. I'm making a lot of work because sort of brush movements make more blocked in space. As you can see, it's a lot more blocking spaces, right? So there are a lot more closer to one another so that you have a lot more of that negative space. Whenever you want to block in more of the space, you will make the strokes very close. If you want it to have a lot more space between them, then you will make them close but leaving a little bit of gap. Right? See how they are different. And that's okay. It's okay to make the final outcome our new trade for the second time. It might not be in the exact same manner and that's completely okay. It shouldn't actually look exactly like something that you've done before because each time you are in a different headspace. All right, so I'm just gonna go ahead and make some more strokes around the top. Might get real quiet in the in-between. Just know that I am just enjoying the process along with me, you can tell. So I'm just going to queue in some more music that's coming to your brain. And we're just going to complete this whole section together. Alright, so I've completed this section as time for us to move on to this one. Again, making some morphine, more mix of paint of my darker fallow. And over here I have a branch or a trunk coming in like this. And then that separates into the final, final ones. Make sure that you're not pressing onto the ones that you've made on the left side. Because you might load up some paint on your farm or your fingers and it could. You could tap it on your painting, so just be a little bit careful around that area. Other than that, it's all good. So start tapping some more details. Many free flowing, as you can see, randomly pleased, different sizes, different shapes, different ways. The final outcome will look. And that's the beauty behind this class project. That it doesn't have a particular outcome and doesn't have a very exact outcome. You are three elements could look different when you would make it. Mine might look different as compared to yours and that's okay. That is the whole process of this painting. You're going to just complete this whole tree. And once you do that would be the end of your project. So just go ahead and enjoy this last bit. Okay? Alright, so I'm pretty much done with this section. I'm going to, Let's step back and actually look at it and see maybe if a brown just left empty or there's certain things that I would like to change or add or neglect or whatever. So right now I feel like I could use a little bit of foliage on this section. So I'm just gonna go ahead and tap that in as well, just to make it appear a little bit fuller, they feed, it looks empty. So I'm just going to do that roughly placing it in. If you are happy with your structure, then just let it dry. And then we'll feel the tape off together. Alright, so I think I'm done. I like how this looks. So I'm going to let this dry and then we'll be in the tape off together. Alright, so my painting is completely dried up. So I'm gonna go ahead and just be lifted off. Pulling away from the paper, making sure that I don't end up doing anything. And this is ready. You can see how the crispy edges I've been revealed. And this is our final painting. Let's have a look at it. Let me just focus on this button. 1 s. Yep, Here we go. This is our final painting. I love the brush strokes of the foliage that's around our section, the sun, the sky, everything is so pretty very repetitive, very simple. But I'm pretty sure it was so much fun to paint, right? Alright, so this is it for this class project. And I will see you in the next one. 9. Day 4 Part 1 : Under the Stars: Alright, let us begin our fourth class project, which is of this beautiful sky titled under the stars. The colors that I'm using are cobalt turquoise, Prussian green, blue, indigo, Payne's gray. And I have a DBA white gouache with me for the stars. Now, don't worry if you don't have the exact sheets, you can work around with the colors that you have and just enjoy the process. Alright, so I've taped down my paper on all four sides. I have my color palette with me, and I have a mixing palette and everything just ready to roll with. So here's the template sample piece of what we are going to paint today. As you can see, it's actually a very, very beautiful starry night. Not the van Gogh's Starry Night is just a very galaxy themed painting. And we'll just actually letting the colors flow into one another and enjoy the process of getting these different shades of blue in our sky. I can do this with any color that you'd like as well. You don't have to stick to blue. Pick any shade that you sort of are attracted to and we can work with it. Alright, so that's quickly get started. Alright, so the first thing that we are going to do is get everything covered in water, right? So you can use a larger size brush, flat brush or a round brush. Something, something that's really big so that you can cover a good amount of surface area using that brush. And I'm just going to apply water all over the surface like this. Make sure that you are evenly applying the water, which means there are no puddles of water on your paper, is just nicely evenly spread across the entire surface. Just sort of vetting the working space of yours. And as you know by now, this is your wet on wet technique, which means you prep the surface first with water and then you will have your watercolors on it. And this will really help the watercolors to just flow around and dance around on your paper. So here I have all the water laid out evenly on the surface and I'm going to switch to a smaller size brush. So this is a size eight brush. So this one works well for this surface area that I have. And we're going to start painting. For me. I'm starting off with the lighter color first. Over here, I'm actually using cobalt turquoise. Let me just show you what the color looks like. It's a very, very light blue. We can use a light blue shade as well. I'm going with the shade called cobalt turquoise. And I'm just going to apply the shade in the middle. So what happens really here is that as you apply, you will start off with the lighter colors first and then move around with the darker shades around this area. And then just really blend and move and mix everything into one another. So this is going to take some time to really play around with. So you generally just apply the lighter colors in the middle around it. I'm going to apply a darker shade. Now my darker shade is going to be the Russian green color. Let me just show you what it looks like. It's a very, very nice, deep turquoise color. You can use turquoise color as well. So this is pushing green. So I'm just going to apply this around the science like this. The second time that I'm going to be making the same painting might not turn out exactly like that. Because obviously there will be things that you will add and you cannot control the way in which your watercolors are going to move. That is the beauty behind this, right? You really cannot control the colors or nowhere they're going to go and how they're going to mix. And you can just hope for the best and just enjoy the process. So your final outcome might not look exactly like mine. And that doesn't mean that it's wrong. It means that you worked hard for it. You worked, but in your thoughts and your work into it and you're getting the results of it. So I think it's just so beautiful when you work and learn from somebody online or offline and then just apply that in your own work and get a completely different outcome. Moving on, I'm using a deeper blue shapes. I'm just playing around with colors and just moving around with colors and exploring how to move these shapes. It's really not a lot of thought behind this brain here. I'm just looking at how the colors are blending into one another. And all I have to do is sort of just guide it. All I have to do is just move the paint, just tell it where to go, what the surfaces that is supposed to occupy and it's going to do the remaining bits on its own. So as you can see, now we have all the lighter bits put in, right? What I mean by that is you have, although, although turquoise and all the protein green color and then we have the blue. So now we're going to add in the darker bits. For this, I will be taking my indigo color. So this indigo shade is a very, very nice deep color. If you don't have these shades. And you can use shapes that are closer to add indigo color is almost like a mix between Prussian blue and black. So you can try it in equal amounts and see if you're able to get a color that is similar to that. And really just don't think about the final outcome. Alright? That's, that's one thing I want you to keep in mind for this class project is to not, I mean, all class projects actually not just this. All of them that don't worry so much about the final outcome because that's a lot of times it just takes away from the process of enjoying the journey. And you're so strong upon getting the buffer extra, getting the perfect colors that you forget that art is all about enjoying, right? So just let that fear of failure goal. I know it's a very hard sort of thing to apply. I can totally agree with you on that. But let's figure out, let's try, right? We can always try and see forever to let it go. So as you can see how I worked around this entire stack structure with the lighter color than I had darker color around it, and then the deeper blue and then I have the darkest indigo color around it. So that's how you're playing with it. Because we need to be sort of preserving the lighter shades in the middle. That's very important. Now that we have all these colors laid out, we're going to go back and just mix in a better way. Just let everything blend together again. You can also lift this up and just move this around a little bit or keep it slightly elevated. Whatever is more feels good to you really. If that feels good, go with it. You can elevate it. You can move it around and just see how you feel while you are painting and moving the colors. And then just go with it. So I'm just trying to preserve in this little lighter shade here for our galaxy tall. And then have all the darker bits around it. So it's very uneven, very scattered. There is no particular order that I'm following. I'm just, I'm just adding in the colors and moving it around and just seeing what it might look like. It might look different when it's dried and that's okay. You're just, like I said, exploring and having fun in this spirit. This is a very simple class project. It's just all about enjoying the process of letting the colors blend into one another. And you really don't have to think about the final outcome here. I really like how this is turning out. Maybe I would, maybe I'd want to add a little bit of this deeper blue shade that we use. This one. I could add a little bit of that sum in some place, certain places, just to add a different variation of the color. Just move it. You can add in some blue and green as well. Let me add a little bit of cobalt, turquoise again. Just to lighten some bits. Alright. I like the way this has turned out. I'm not going to add in any darker colors because we have to also show the trees in our painting. So I'm just going to let this entire section dry. And then we shall move on to the next step. That will be for adding our pine trees and the stars. Alright? Alright, so this is what our final dried-up painting looks like. It's completely dry right now. And see how it's very different from this, but also has the same color palette. I really like the way this is swirling and just blending into one another. Just love how it's done out. So now to add in the stars, we're going to switch to a white gouache. If you don't have white gouache, you can use white watercolors and just use a very thick consistency of it, like really thick. And it would be a lot more beneficial if they using white watercolors directly from the tube rather than the bands. If you have a white tube, that will be a good substitute for your white gouache. But if you have white gouache, well then good because it's very nice and opaque. So we're going to start tapping in the stars, right? So for the stars, what I want to do is sort of thicker, smallest size brush, make a consistency of paint that's like this. If you're using watercolors, you want to get to this consistency, this nice thick consistency. And then you're going to take another brush, any other brush actually. And then just start tapping stars like this. You're going to just tap against the other brush. And just stars will just splatter around. Alright? So the lose, you're the loser. Your consistency is if it's nice and loose, maybe has a little bit more water, the bigger the stars will appear. Remember that a case if you want big stars, you want to start loading up a lot more to paint on the brush. See how I have bigger stars here. If I want a smaller ones, I would just tap in with a thicker consistency that will give me really find stars. So now I want a few big ones. So I'm just going to sort of loosen up the consistency of my white quash. Then just tap it and see how I've got bigger stars right now. You can always just play around with this. And that's very easy to go overboard in this section. So be a little careful because all of us have a tendency to just add way too many stars. Just stop somewhere where it looks like this. It's nice and full, but it's not too much as well, right? And then you can use the same round brush to add in some bigger stars. If you didn't get that many big stars, then you can manually add them as well. Just draw them. Really big one here. Alright, so really like how this is turning out. Final outcome looks nice. So we're going to let the stars dry. And then we'll be adding in all our pine trees. 10. Day 4 Part 2 : Under the Stars: Alright, so now we're going to go ahead and add an Ola pine trees. So what you can do is take a pencil and mark all the trees first. If you're not very confident with where you'd like them to be. So I'm just adding trees like this. Instead of adding it just flat, I'm giving it a little bit of it so that you get a different sense of direction here rather than it just being flat. Like this, I'm just going to add different sizes. The ones here will be slightly shorter. And then as you come here, I'm gonna be adding some more vigor, bigger trees. Make this one can be a little bit more slanted. So you can sketch out these lines just to give you a little reference, right? You can do that or you can just straight away go and add these pine trees. The color that I'm going to be using for my pine trees is Payne's gray because it's a nice, dark, deeper color. This is the sheet that I'm using. It's a nice deep, Alright? So we're gonna be using Payne's gray for the entire process. If you don't have Payne's gray, you can use a mix of black and just add a little bit of your Freudian blue in it. So make sure that it doesn't become indigo color. And to avoid that, you will just have to add in more black paint into your mix. Alright, and we're going to start painting our pine trees. We're going to start off first with the center trunk like this, bringing it up to the height that we want it to be. And then we're going to be releasing these tinier strokes left and right, like this. And as you come down, you will be sort of increasing the span of your branches that you fan out. Alright? And if you really pay attention to the way I'm making it, there is not any particular idea that I'm following. I'm just keeping in mind the shape of the pine trees, which is as it comes down, it has this nice doll triangular shape, right? I'm just keeping that in mind. And the way in which I'm just releasing these branches are very random. And the beauty behind your pine tree to look very natural is the randomness that it has. So don't worry about the way of pine trees look because this is supposed to be fun, right? Enjoy the process of adding these random branches on the left and right side. You might notice that I go really quiet in the middle and that is because I am so engrossed in the process of painting these pine trees. Then I've forgotten that I should be also explaining things as we go. But really just the process of painting these pine trees are very therapeutic. I love painting trees in general I find is so nice and so therapeutic because you get so lost in doing these repetitive brushstrokes. And some people might find it stressful. I'm not going to lie. We all are different, right? If there's something that I enjoy my buck be the same thing that you enjoy as well. But I feel like I've done this so many times. But my brain is wired to know when I sit down to make these repetitive strokes left and right. It's sort of like I'm not thinking, I'm just doing it and I brain sends the signals to my hands to know what the brush stroke is. That I think that happens a lot when you are used to a particular brush stroke. A couple of times, you've done this a lot, so you sort of have more control over it, but see how it's very randomly placed, right? I'm not focusing so much on the structure. So I'm just going to release in some of these branches as well, which does not have any thing just to add a little variation to our pine trees rather than just being all pine trees fully, right? So I'm going to start adding in some variations here. This one could be a small pine tree as well. So see how I go left. 1 s. Let me just see for getting a good focus. Yeah. You are, You guys are able to see it. So I'm just going left to right, and then left and then right. There's just many randomly placed brushstrokes. Alright, so I'm just going to release in some more of those little branches as I was saying, just to add in some variations. So this could be a little process where it takes a lot of time to complete because the background was a simpler form, simpler way of doing something. There's a lot more easier to achieve. But over here it might take some time, but don't rush it. Don't rush the process to just finish something. We just take time to enjoy this bit. So I'm just going to go quiet now because we're just repeating the steps. If you notice, this is more slanted and as you, as I'm coming towards the middle, these trees look slightly more straight up. And that's how I'm gonna be adding the sort of like this curved look at the bottom to add them. The variation in the land where the trees are around me and not just in front of me. More shorter tree branches. So I'm just going to go quiet now and enjoy this process to the fullest. So we have almost reached towards the end of our section. So just a few more trees to make until we're done with this. So just hang in there and add in some more trees. Alright, so we're almost going to finish this bit. Just have to add one bought off the tree here. Like that. We're not going to see the whole tree. It's just the top section of the tree. We're pretty much done with the way our tree looks. I really like the way this turned out. So we're going to let this dry completely and we're gonna pull the tape off. So this is it for this class project. So just hanging there, let it dry and then let's get back to it. Alright, so I feel the tape of off-camera because I thought I was filming it, but it wasn't filming anyway. Here is a final outcome. He can see. Let's have a closer look. Actually, you can see how beautiful the stars love, the tree and the blends and the sky. I mean, it was such a therapeutic process. I mean, I totally enjoyed it. I hope you guys felt the same way where we weren't stressing out about the final outcome and just enjoying the journey. I hope you had fun. This is the class project for today and I shall see you in the next one. 11. Day 5 Part 1 : Hilly Sunsets: All right, Welcome to your last and final class project, which is off this beautiful sunset. The colors that I'll be using as cadmium, yellow, golden deep, which is an orange shade. Cadmium, red, burnt umber, and Payne's gray. So very basic, simple shapes that you probably have in your palette. So let's get started. Alright, so I've taped down my paper on all four sides on this board. And I have my color palette, my mixing palette and everything ready brushes and everything ready. And use thumbnail of what we're going to be painting today. Cds of these gorgeous mountains and a sunset and a silhouette of some trees and branches at the top. I think this is a very, very pretty project to learn where you're just using similar shades to achieve the scotch gradation in the mountains. I think it's really, really fun project to do. So let's quickly get started. The first thing that you're going to do for this one is actually create a basic sketch. You will need a pencil with you. Now if you really notice the thumbnail painting that we have in front of us, we have almost this much part like one part of the paper of the surface that we're working on as the sky. And then remaining bit is almost like the series of mountains. So somewhat more than half of the paper is going to be covered in these series of mountains. And we have about seven or six C's of my series of mountains. So let's just go ahead and sketch them. You don't have to sketch them in exactly the same order. Obviously, you can play around with it. So just don't feel like you have to do it in the same way. So if my half of the paper would be somewhere around here, it's going to extend it a little bit upwards and I'm going to have some mountains like this. This is the first one, right? Leaving a little bit of gap. I'm going to draw the second one, k like this. I have a second one over here, right here. Actually want to make a third one, which is not all the way, It's just half this, halfway like this. Okay. Then here I have another one like this. All the way like this. Just ends somewhere halfway like this here is but not halfway, but just does not reach the extreme end. Then here we have another one like this, scrolling and enjoying the series of mountains that we have. We have another one here to see how I'm just sort of playing around with the shapes in different shapes to this like different directions and just playing with it. And that's exactly what you're meant to do. Just play with the different sizes, right? So here I have 1234567 lines. And in this one we had six because I meant to do one, but maybe I missed it while I was painting it, but that's alright. Right at the top somewhere around here is going to be my son. I'm not going to mark that because obviously it's not necessarily to market. We're going to be lifting the paint off, so we will be achieving that look based on how we lifted. But yeah, this is pretty much what our basic sketch looks like. So let's just get into the painting bit. We're going to start off with a wet on wet technique for the sky. So I'm going to load up my brush with water and just apply it like this at the top. Right, you can be slightly careful around the mountain bit. That's alright. Just don't go beyond that. Try to not go beyond that. But even if you do it somewhat okay. So I'm just going to go ahead and add in water, just evenly spread it out, make sure that it's evenly spread. And here's what it's going to look like. Alright, now I'm going to switch to a dash, like a size eight brush. And we're going to start painting this bit. I'm going to use orange color actually at the base. Alright, so I'm going to be using the shade called golden deep. It's nice, deep orange color. I'm going to apply that at the bottom here. Carefully at the bottom, I'm going to apply it like this. Alright, and this transitions to a yellow shade. So the yellow color that I have is does cadmium yellow? Hello. This is the sheet that I'm using, cadmium yellow, and that is the color that I'm using at the top. This using my brush, I'm just going to blend them into one another. Right? So I have this nice, gorgeous warm shade in the sky, right? You can see how gorgeous that looks. You can add in some more variations of the orange at the bottom. Just to sort of dark and let bit. We're just playing now. Just spreading the colors and different orders and seeing what they look like spread out. You can also clean your brush. If you feel like you're loading up too much orange upwards into the yellow. Yeah, this is pretty much like how the sky is going to look. At this point. You can add in some more yellow if you'd like, and just play around with the intensity of the color that you add. Now, I'm going to actually take a nice little facial tissue. I'm saying facial tissue because it's a lot softer, right? There are a lot more softer. So I'm going to take this facial tissue and bring it into this bowl shape at the top. Can you see this round shape at the top? Now using this, I will be just lifting off the paint from the paper. Like this. I'm just lifting it off using that method. You can also use a little bit of water and food like on the wall surface just to reward that Asia if you think it's stained. So you can just use that to sort of wrap the paint off. And then again go back, switch back to a drier side and lift off the paint. But yeah, it's pretty much like this. Now. It is uneven, right? It's not very circular. You switch to a smaller size brush. Right? Is a smaller size brush and just make a circle around it so that it looks even. Can you see how it has that shape now than it did before and we just lifted the paint off. So now it has that propose so close and sheep. Right? Now what I'm going to do is actually using the same size four brush. I'm going to be adding in some darker colors into the sky. So the shade that I'm adding is actually red. I'm using my cadmium red color from this palette. You can use a darker orange color as well if you'd like. I'm just going to add in at the bottom just for a different variation. And also make this look like certain darker clouds in the sky. You're gonna be doing this while the paper is still wet. So that using the wet-on-wet technique is sort of just blends into, into the background that you have to see. I'm just adding these little strokes like this. Different variations of the color. Can add it up towards the yellow as well. And when you move towards the yellow, you can actually take the orange color and add a little bit of red in it so that it's not to read for the yellow part of the sky. In some strokes like this. Right? I really liked the way this looks right now. So I'm going to let this dry. And then we shall move on to the next step, which is adding our series of mountains. I'm just going to let this dry for now. Alright, now that this section is dried, it's time for us to paint the first set of mountain. Okay? So I'm going to be using a smaller size brush itself. So I'm using my size four brush. And the color that I'm using is actually burnt umber. And I'm going to add a little bit of my cadmium red color to it just to almost make it warmer. You can also use burnt sienna here if you'd like directly. But I'm mixing burnt umber with a little bit of red to get a warmer shade like this. And you're going to start applying this color. So I'm going to apply the shade mostly towards the ends like this. Alright? So I'm adding this mostly towards the ends like this. And as I come closer towards the sun, I'm going to take a little bit of the red color directly. Just add it here. Just at this base. I'm going to add it right where the sun is, then blended with the previous color to add in warmth into that area to show the glowing light through that. Alright, now that I have all the colors in place, I'm going to just take what good amount of water actually endanger? Just going to apply this all the way towards the end where the next mountain starts. So be careful that you don't go beyond that point. You're just going to use water to blend everything right into one another. The method that we're going here, if you notice very well, is not wet on wet, right? It is wet on dry. And that is the way in which we are going to be moving. For the next set of mountains. You're going to use the wet on dry method. Instead of the wet on wet. I've just added the colors here. I'm just going to make this red bit a little bit more prominent. I'm just going to wet the surface again so that you can really see that that is a lighter color here. Let's compare to the other bits. Alright, so I've added this in, I'm going to let this section dry. And then we will move on to the next step, which is the next set of mountains. You can also make the top bit sort of really prominent by adding a little bit more pigment at the top so that it's nice and sharp. And the bottom bit is a little bit more blended. So you can add a little bit more pigment at the top so that when it dries, it dries out in that way and you can add some more water at the base so that the base section is a little bit more blended outwards. But yeah, this is pretty much it for the first set of mountains. So let's just let, that is just let this dry and we'll move on to the next one. Alright, so this is completely dry. Now, we're gonna move on to the next one again using the same brush, the color that I'm using is going to be burnt umber as 0s. You can add in a little bit of sepia and add to give it a darker color just a little bit. But this is the sheet that I'm using. You can add in a little bit of stuff here too that if you'd like, so that it gets slightly deepened down. Alright, so this is the color that I'm using. I'm going to go ahead and start applying this at the top like this. Alright. Apply it carefully around the edges of the previous one. Like I said, we're using the wet on dry method. I'm just going to disrupt me at the bottom before we go ahead and just use water for the blending process. Alright, so now you're just going to draw up some water and just move the colors around. Alright, so you're just going to carefully go about the edges. Remember to not go way beyond the next set of mountains that you have. Keep that in mind. And then just go ahead and use water to just move the colors around. Alright, so see how the water makes it lighter. And add the top. You can just add in some more pigment so that the top part is a lot more darker and prominent. And as you reach the bottom part, it's a lot more. Just blend it out and it's creating that misty effect. So I'm just adding some more pigment at the top so that it's darker. Like I said earlier, that I would do this step. Yeah. This is pretty much what it looks like. You're going to let this dry now. And then we will do the next mountain. Alright, so this one is dry. We're going to go onto the next one. So you remember there was another set of mountain that was here that got covered. So you're just going to draw it out again and bring it in again using a mix of sepia and burnt umber. I'm going to just use a slightly darker variation of the previous shade. Just slightly darker. It's not too dark, just, just a needle. And you're just going to add this here. And then you're just going to use water to lighten this bit. And then use some more pigment at the top to make the edges appear more prominent in darker. And see how my edges are very uneven. That's where the beauty of these shapes like as you don't want the surface to be really flat, you want it to have a little bit of variation so that it looks nice and uneven because the mountains are uneven, right? They're not playing surfaces. Alright, so I really like the way this looks. So now we're going to let this dry and then we'll move on to the next one. 12. Day 5 Part 2 : Hilly Sunsets: Alright, so this one is dried as well. Let's move on to the next one. In this one we will be using more of the sepia color and little bit of the burnt umber. Obviously, if you're going for a very, very lighter version of this, you can also add in a little bit of the Payne's gray to the shade. Just a tiny bit of it. Alright, let's, let's begin. So in this one you will be adding these uneven shapes like this. The top instead of just going over in a flatter, flatter, irregularly, irregular manner, you're going to be going into these vertical ships like this. So this will show that this one has a few trees and this area. We're just adding variations like that. All right, so we're just going to bring this down a little bit. And then obviously using the water, we will rewrite the surface and bring the remaining colors. The end of the next set of mountain. We really have just a dark or dark part of it. And then we just bring out the colors to reach towards the bottom and it gets lighter. And that's how we're able to add that uneven, misty effect into our series of mountains. I feel like over here the color is not really reactivating and moving around. Just brush over a couple of times and that should do the job. Or you can just add in some more pigment if you'd like. So right now I'm just going to go back and just to darken the tip or the edges and embed. Going to darken it a little bit and just move the colors around. The beauty of this entire section lies in the rapid, repetitive process, obviously. And how you're going darker and also having the patience to let the layer dry before you move on to the next one. It's really just working in little bits and pieces. In this piece. This one is all about that. We're going to let this dry and then we'll move on to the next one. Alright, now that we're moving onto the next one, that is go ahead and just use our setback color. Can it's nice. Darker format. I wouldn't say the darkest, but yeah, slightly darker. Then you're going to go ahead and apply it in a little bit of burnt umber to this that it's not too dark, right? So you're going to start applying this at the edges again in a similar manner like this. Even brushstrokes just bring it down a little bit as well. Some color down. Switching back to the color down. All right, Now that we have it in just using water, we're going to deactivate the remaining segments and bring it down. Just water. Moving the water and bringing it down. This way. You can just fix your brush movements to match the top so that it's nice and even you remember that it has to look connected so you can load up a little bit more pigment and go over the surface again and just make everything blend into one another. And you're gonna do that by using either paint or water. Rights. So here is this layer. Again. You're going to let this one dry before we move on to the next one. Alright, so we're almost reaching towards the end of our series of mountains. So we've just got two more to do. Now. In this one I'm going to be making a mix of sepia along with a little bit of Payne's gray. Alright, so by now you're getting a hang of it. How we are darkening the colors, right? We started off with burnt umber and read at the top. And then as we slightly move down, we are adding in the dark colors. That's pretty much how we work. You're going to dark in each bit as you move towards the end of your mountains. So again, repeat the process, repeat the same step. So this is where the therapeutic part of this is, you know, like I mentioned earlier, is just about repeating the steps. I'm going to do This really like process where you're thinking so much about the outcome and thinking so much about making it look perfect. It all goes away. It should go away. Because you don't want to create an exact copy. Like if it's noticed from the command painting, this looks different. And that's okay. Yours can look different from mine. And there is no right and wrong in that. So this, again, would have some light in this bit using water even in the lighter color here. And add in some more pigment. Because it shouldn't mean that light as well. Alright, this is how it is. Now we're going to let this dry. And then we'll paint our last mountain. All right, so now in the last one, we're going to use a nice dark mix of PR and Payne's gray together. So really nice dark mix because you're not going to add in a lot of water here. So nice dark color. And you're just going to go ahead and make the same type of brush strokes that you did in the previous one. Venue and similar brushstroke. I'm just going to use a little bit of water and bringing down, again, I'm not adding a lot of water and a lot of variation of the lighter colors here. If you want this one to be almost very solid and dark, pretty obviously a lighter consistency would add in a little bit of variation in the color, and that's good. If you think you added too much solid colors, you can always lift the sheet a little bit around as well, moving around so that there are some lighter parts that you can see. Alright, so this one is pretty much done here. We're done with the mountains, almost reached the end of our painting. We just have a little bit off the foliage to do at the top and they will be completely done with it. So we're going to let this dry or you know what, let's just leave it here too dry and we'll move on to the next bit at the top. I'm going to use a nice dark mix of just Scipio. Then we will just paint that bit. Alright, so I'm going to start off by just making a few branches if you just put this aside. So you can either sketch this out first or if you want to do it freehand, you can do it free hand as well. I am just going to go freehand. Because, why not? Then I'm just going to add these little strokes that are my leaves. I'll want you to just pay attention to how I'm moving my brush here. From outside. I'm coming inside. And they're very randomly placed like this. Very randomly placed together. So from outside I'm coming inside like this. Obviously you can make this in whatever way feels more comfortable and sort of naturally occurring to you. Whatever brush stroke is more, more sort of like coming into your head. You know, a lot of people that some people are comfortable with a particular kind of brushstrokes and that's okay. There's nothing right or wrong in that. Alright, so just, just let your mind take you on this journey of adding the leaves. There's no right and wrong here. Some more different shapes, different sizes, just adding some variation into it. You can see how it's different from our sample painting, but that's how it's supposed to be. It's not supposed to look the exact same. In these little branches coming out from the job. The sky of gifts, this view that you are standing probably under a tree, right? And you're looking at this beautiful, gorgeous sunset. And just seeing how the colors are hitting and how the mountains, they are the same element, but because of how the light is hitting on them, they appear darker or lighter, right? So we're just enjoying the view together and tainting the view together. Letting the colors sort of helium mind. This one's a very warm painting, right? There are no cool colors. It's all a mixes of browns and oranges, reds. It's a very, very warm sort of thing. There are a lot of people who are attracted to particular sets of colors. What I mean by that there are a lot of people that, there are a lot of people who are attracted to cool colors. There are a lot of people who love different oranges and reds in that color is something that attracts them the most. So this one is a very warm color palette. So I'm pretty much done adding the branches. We're not going to go all the way towards the end. We're just going to stop somewhere around here. I'm just going to add in some more strokes, smaller strokes wherever I feel. Like it's necessary to do it. I'm just going to do it. Landed. Right. That's pretty much it. We are going to let this entire section dry now. And then we will feel the tape off together and see our final outcome. Alright, so painting has dried completely, so we are going to feel the tape off carefully away from the paper. Make sure that you don't have any. You're not tearing the paper with you. So a little bit careful around this time. I look at these beautiful edges that we're getting in this one. And this is it. This is our final painting. You can see how the border is really just enhance the painting, right? Makes it pop up really well. Let's have a closer look at our piece. So here's the final outcome and bring it in focus. Alright, here we go. You can see the sun. I love how the lifting technique creates this nice, vibrant, vibrant, bright sun looks really nice site and especially around with the darker orange and red colors in the background, it just shines a lot more. I really like the way this turned out with a series of mountains and it was so much fun to paint along. And obviously the branches and leaves, if you know me, you know that I love, I love painting cheese the most. But yeah, this was our class project for today. And this is it. I hope you enjoyed painting with me. 13. See You in the Next Class!: This is a two guys. We've reached the end of the class. I hope you enjoyed painting along with me on this therapeutic watercolor painting journey. If you did, please leave a review down for me because I love listening to all the things that you have to say. And it also motivates me to work harder and bring out better classes for you in the future. If you've painted along with me, then don't forget to upload your class projects under the projects and resources section of the class. I would love to see your paintings as well. If you have any questions you can reach out to me on Skillshare or on my Instagram profile at the simply aesthetic. And feel free to reach out because I will always be there to help you guys. That is it. I am going to take leave now and I shall see you in the next class. Bye bye.