Voyage into the Sea - A 15 Day Watercolor Series

1. Introduction: Painting waters has always been challenging and painting water, sea ocean waves, et cetera. With water colors is even more challenging. Hence, I have designed a class g into the sea, where we get to paint 15, beautiful, water color seascape paintings. Ganan dicaran an artist instructor, mother, a beach and brad owner of iron puzzles, where we manufacture handmade sketchbook, artist grade paints and much more. In case you are joining me for the first time, I go by the name watercolor dot Illustration dot letter on Instagram, as well as on YouTube. Most of my artworks are displayed over there. We start from the basics like knowing your colors, then understanding the mixes, which you do in your colors, mixing your person art from Marin to create darker values, or maybe just going ahead with washes like flatwhvargated, wash etcetera. Once fall of the system, we start out with our first part. First part has got eight paintings in it, and each of these paintings are bingo level. I have specifically designed it on an A five size paper so that you guys do not get intimidated with the size of the paper and can easily finish each of the paintings within the next 20 to 30 minutes. All the videos are real time and hence you can faint along with me. The second part is all about painting from your ninth day till the 15th day. Each of these paintings are done on bigger size paper, four or a bit smaller size, depending on what we are going to paint as a subject. There will be a alternate upload so that none of us have the pressure of completing it quickly. In case you are an intermediate level artist or an advanced level artist, you can directly start from your ninth day. Welcome to a Brand new Skillshare class where you paint C with Quotas. 2. Flow of the Class: Let us understand a bit about the flow of the class. The flow of the class is simple and easy. The first part has about eight paintings that are A five size and each of these paintings is unique and different from each other. You can either start from the first day or start from the fourth, fifth, seventh eighth, any of the days as per your liking. But the order of the lessons are always in an increasing order of difficulty level. As we start out with the Part two, it's more to do with paintings on bigger size paper and there is more complexity, which has been included. The first part will be uploaded on a daily basis, and once we move to the second part, it would be an alternate day upload. Okay. All the videos which I have given is real time so you can follow along with me and paint along with me. In case you are someone who loves to first, go ahead and watch the video and then paint along with me. I think that's one of the best ways to work around with your watercolor paintings. Do watch all these videos on a bigger size screen like your laptop or an iPad so that you can even see all the minute details as we work along on each and every painting. None of the projects is difficult. Painting water with watercolors is any ways a bit more trickier than any of the other subjects that you might have attempted to date. Go with a lot of confidence and that's all you need with some amount of patience for each of these paintings. Once you are done with all the projects, I would request you guys to upload it on the project call. 3. Materials Required: Let us discuss all the products that I'm going to use for completing all these paintings. The first is the people. It is arches 300 100% cotton people. There are various sizes which I'm going to use, starting from A five A four, and there is another size which I'm going to use. This is approximately 15 into 30 centimeter, that is six inch into 11.8 inch. Okay. So you can see that the size is almost similar to the one that you see over here. And hence this particular size is needed when you are doing any advanced level or intermediate level pending starting from day eight. Another one that I did tell you is the A four size paper, and this is the particular size, which we are going to use for completing the final both the last painting, and this is a pretty complex painting that way. Hence I have added it as the last one. I will need a bit of masking fluid in one of my paintings. One part is just to add the borders over here so that I do not take any colors into this boat because the boat is of the lightest value, and hence it's good to use a bit of masking fluid. I have kept two kinds of tapes. One is a bit larger in size. I would say that is because it has more broader compared to the one that I have over here and it is more thinner. Variety of brushes, which we are going to use. But before that, I will tell you. The first is the pencil, then is the eras. You don't need both of these. This is for applying your masking pi zero brush from Winsor and Newton. I will keep a wash brush of 1 " pretty handy for completing my paintings. Size six and size four silver black velvet brushes. Then I have my three by zero file aqua soft brush, and the vinci zero brush. All of these four brushes play a major role in our paintings. Okay. Now, this is basically to remove any extra pains, just the way you see over here for creating the wave like structure in the water. Hence this is Ruby satin, silver size ten brush, which I'm going to use. These are for adding any thinner lines. You can go ahead with a zero, zero brush like this or a one brush like this, whichever is available with you. There are a variety of brushes, do not get into the complete whatever is available with you is good to go. As well as it all depends like the size of the paper pretty much rules the kind of brushes you use and hence whatever is available, you can use that Bleed proof PH Martin white paints. Now this is again, important when we are making some kind of waves, et. At that particular time, it becomes really important. I will keep tissue very handy for myself. This is most important thing that you are going to use in all your watercolor paintings. I have colors. All the colors that I use are artist grade paints. Though I have a variety of paints from various brands. Some of them are art philosophy, then some of them are senalo, Winsor Newton, Daniel Smith, et cetera. I use a variety of paints from various paints manufacturer, whatever I like I use from them. Hence, a list of all of these paints one after another will be given at the beginning of your paintings. As well as I do suggest alternate colors that can be used when you are working on your paintings. For removing the masking fluid, you need a kind of eraser. Now, this is the masking fluid eraser, which I use. If you don't have it, that's also fine. You can go ahead with any other eraser that's available with you. Two jars of water, one for removing the colors from your brushes and another fresh supply. That's all. From all the products perspective. You know that I have a ceramic palette over here. This is equally important for knowing your colors. Why I keep a white ceramic palette as it can be cleaned very easily, as well as I can see through the colors. Water colors are transparent in nature, and when it works on a ceramic palette, it's even better. Now we can move on to our next lesson. 4. Tips for Color Mixing: I know you all might have learned a lot about color mixing, but right over here, today we are going to see how we can make a few shades that are not readily available in our palette. The first color, which I'm taking is Indian yellow from the brands inlier, you can go ahead with gambos yellow or any other yellow that's available with you. Then I'm going to use my tail blue. Now tail blue is again from the same brand that is senor. So I will mix both of these color in definite proportion. Of course, my yellow blue will be higher and my Indian yellow, of course, would be lower so that I can get a teal green. The teal green that I get over here might become a bit lighter compared to what you observed me using during my paintings because that tailor green is from the brand, Daniel Smith, and I have readily available with me. But if you are someone who doesn't have a color like this available on their palette, this is a particular way which you can always go ahead and make it. If you vary the amount of tailor blue in your mix, you will be in a position to get vary or you may vary the shades of tailor green that you get. When I mix some amount of white into my yellow green, I will get a color that looks more like p bar gray. Of course, it might not be exactly the same as what I am using from various brands like my yellow Mission gold or you can say even from the brand whole bean, but it is somewhere closer to the ones that we are using. Do make sure that you do not add a lot of white in it or else the color will become pretty opaque in nature, and water colors is not about opacity. It's all about transparency and vibrancy. I would like to keep that as such. Going ahead with my next shade, which is burn sienna. If I add some amount of ultramarine into my burn sienna, you will see that how these two colors give me a darker value that usually we do not use in our paintings. I love to add both of these colors together to create my rocks. That's one of the reasons. I wanted to show this experimentation to you, rather than using the ndiK brown, you can also go ahead with ultramarine. To create the darker values. Now, if I say that is this the only way to create cobar green or any other tailor green? No. You can always experiment more. You can change the intensity of the color or the amount of any particular pigment that you are using and you can see various different shades appearing. It's always good to always try new and I would say different colors, which you prepare on your palette rather than using readily available colors. Though in my particular painting, I know that I have used a lot of amount of tto cream and a good amount of cbaren for which I have used it as it is readily available in cubes rather than always going ahead and preparing. But if you are suffer who doesn't have it available, do not worry. I have you covered. I'm going ahead and adding some amount of my ultramarine into the burnt sienna to create the darker value of brown. And you can see how this granulating effect has actually changed the whole look and feel of the darker brown value. The colors that you observed right now will become way more lighter as the whole paper dries off. There are usually two ways of mixing your colors, one on the palette, like we created the tail green and bar green, and another one is how we mix it on the paper, exactly the way you have created the darker value of brown. I would request you all to create your own sheets and colors in case you do not have a trady available for your sir, and then go ahead with your creativity. 5. Practice Exercise 1: Let me start by knowing all the colors. The first color that I'm going to use is tocream CobalGreen or horizon blue, ultra meery John number two, burn Siena and Wendi K brown. The top part is the flat wash and the bottom part, which is majorly your ocean is your barricated wash. I'm going to first make a horizon line. This is around three to 4 centimeters from the top. I have taken a small size paper. It's a bit bigger than your A six size that we usually use. So you can say it's a bit longer in terms of the A six size that you use. I will go ahead with a flat wash and this is with the color that is ultramarine. Now, what is a flatwh? Flatwh that single kind or a single color wash that you apply on top of your paper, which has equal amount of pigments in all area. Therefore, what I would say is that the flat wash is going to be your absolute basic that you are going to apply on any kind of painting that you do. I always love to use flat wash for my sky and you will see that most of our skis are very simple as we progress to our paintings. The first seven to eight days are more bigger friendly exercises and paintings that we are doing and post that, it would be more of intermediate to advanced level. And hence we are going to complete the total number of days for the seascape that way. Go ahead with my John Brilliant two, this is one of my favorite colors from the brand whole pain. If you don't have this, a similar color is yellow occur that's available with you and just blend it with the burn Ciena, which you observe over here. I go ahead and add this to the entire bottom part and then blend it with clear water. I need some of the amount of this particular shade of brown that is on brilliant, as well as a bit of my Bersana even towards the top area. Now, why I say this? Because when your ocean meets the water, there is some amount of sand that's also seen from the bottom part, and we want to show that and keep it absolutely just the way you observe on any kind of a beach or ocean. We're not going to do much of I would say difficulty or add a lot of difficulty in this painting and many of you might have already attempted these paintings earlier. Having said that, it is important to give a quick start to your painting exercises, and this particular painting is a good way to do it. I will go ahead with clear water while I go towards the top area, and then let this paper dry off before we go with the ocean part. I have absolute dry paper now, and I'm going ahead with my many. You can see near the horizon line I go about very slowly. As I don't want to mess up my horizon line at this stage, though the horizon lines, as you progress, you will understand that I love to add a small hill or a small mountain or whatever small green patch maybe. Just to show that the horizon line is is seen in a good way and you can clearly distinguish between the horizon line. That is your sky and the ocean area. Most of the sky, as I have told you, will be more of a flat wash or a gradient wash, where you are going to go ahead from the darker valley towards the top towards the lightest value as we go towards the bottom area. Okay I'm using either you can use Goba green orals, you can go ahead with horizon blue. Now, these are the two shades orals. You can also go ahead with any kind of blue that's available on your palette. Tail green is a beautiful color. The other options of teal green is turquoise. I love to use the turquoise if you don't have this tal green. Now, the tylogreen is from the brand Daniel Smith. I ever you want to invest on a good color, I think this is one of the shades that you can think about. Since my brown or the color that I've applied, has already dried off, so it is not much of a difficulty for me to get the darker and lighter values over here. While I go towards the absolute bottom area where my sand meets the ocean, I would keep it way more lighter. Towards the top, it is more of your ultramarine in between, it would be a bit more of the greener shape that is taloocs whichever is available with you, and then just blend it with some clear water. Once this part is done, we will go ahead and use our white. Though I'm not a person who loves to use white or not, but over here in one of the paintings, we are going to use our white, and that is our first painting altogether. We are going to do a few things in a similar way. Yes, I think I have to be in line and it is good to practice at this stage. Go with our darkest value just to draw a few of the birds towards the top area of the sky. I have kept it on the right side. You can keep it wherever you want. I've just concentrated four to five of them over here. Once this part is done, we will again get back to the bottom part. Why I did leave the bottom part, I wanted it to dry off a bit. It is the hot peak summer season that we see over here Eastern part of India and hence my paper is drying off very very quickly. I'm only using 300 GSM at this stage, and this is Arches paper. I will use my PH Martin white bleed proof color. This is more opaque in nature. And hence, I love to use this color for most of my exercises, which I do for showing the white. Though most of my other paintings or the earlier classes, you would have seen. I have not used white almost, but this is more winner friendly, and many of you have white bh available. So go ahead, use that boh and let's just create a beautiful wave. I'm going to occupy the whole of the bottom area and then do a bit of this dry brush technique over here. You take off all the pains from your brush into the tissue and then apply it on the paper exactly the way I am doing over here. We have to also show one more thing and that is the shadow of the wave. It is a clear blue sky or a very summer kind of a day. Hence, it is important at this stage to go ahead and show that well. So let's go ahead and do that. This part of the paper, what I'm doing right now was wet enough and I could retouch some of the areas with the john brilliant color. It doesn't react with the blue or give me any kind of green. So I have already tested that part, and I'm very happy with how the patches are coming up. Having said that, some of the areas are again drying up and I might have to go ahead with some clear water to blend it. That's absolutely okay. These kind of things do keep happening if your paper is very dry or the climate where you are working becomes really awful in terms of the heat that you are observing. I don't usually use a fan or a conditioner when I'm painting with steel. It becomes really tough to work on small size paper even like this one. Going ahead and creating my shadow of the wave, and then blending it with clear water. Now, I love this process of blending where you just blend your colors with some clear water and applying some clear water even as I go towards the bottom area. This is a very, very simple wave. You can see we have just created the variegated wash technique, use the variegated wash technique towards the top. Apply some ultramarine and as we go towards the bottom, we have just blended our two to three shapes to create a ocean structure. Believe me or not, this is the basic for all our paintings. Even as we progress to our more difficult ones, you will see that this learning comes very handy in most of the paintings that you do. There are going to be a four size paintings also. So be around. You would love the whole of the series. There are easy tuff mediocre, every kind of painting you can think of, and the whole of the glass is leveled up. We are going to paint one painting every day so that there is no pressure on any one of you. I would just apply some more of my whites, and this is again the dry brush technique that you see me working on over here. This is more of the whites and the white is more white, I would say. I wanted to show the waves that are just there touching it, the white foam. A bit better. Though you can also leave it at this stage. I would not say you have to do this technique, but we'll give a bit more edge to the painting. Let's go ahead, add a bit more of these dry brush techniques. Some of the places you have seen, I've also added some more of the darker value of brown into the sand earlio while we were continuously talking about other things as we progress, how the class is going to shape up, et cetera. Okay. Now, let your paper dry off and have a final look at this painting. I'm pretty sure you would be really proud of yourself. Okay. 6. Practice Exercise 2: Colors are Copartrin teal green tramarin paints gray, burn sienna. This particular practice exercise is going to help you learn a very important technique, and that is all about painting waves. Now, what do you mean by waves, water, et cetera. Now, when you have moving water, it creates waves, and that's what we are going to also add Tavo painting. The waves which are closer to to our eyes basically are thicker and bigger in size and shape, that is towards the bottom. As we go towards the top, they will become more thinner and hence you can see it almost flat. Okay. Let's go ahead and start up with a basic wash of the cobalt green. You can also go ahead with horizon blue or any of the other lighter shades blue like royal blue, et cetera, that's available um. In case you do not want to add the greens that you have, you can have alternate colors like simple colors of your ultramarine, then some amount of Persian blue. Those can also help you to get a similar kind of final outcome. I was not very sure that I want to actually go ahead and paint till the top area. That's one of the reasons. I just went ahead and erased my horizon line. I would go in and around the top area as you will see, we progress and we'll add some blue over them. Right now we're concentrating on the bottom part, and this is majorly my tell grain from the brand ail Smith, which I am using mixing it with some amount of cobalt grain. As I did tell you, I love the ultramarine color always in and around my horizon line, I would like to go ahead and add some of this ultramarine color. It's a beautiful shade, always granulating, something that you would love to use in most of your paintings, and all my watercolor paintings, which has water scape or seascape in it, this is a part of it. We will be using some amount of white quash, as you have seen in the last painting, and even in our future paintings, we will be doing it. As this particular part is more to do with bigner friendly exercises, except one of the crashing waves that we are going to do last at the end. Okay. But before that, let's continue to work on it. I have mixed some amount of my paints gray to it. You can also go ahead with any of your dgotates to get a darker value of this talo green. I'm going very random at this stage. Believe me or not. I haven't thought much about it. It's a wet on wet technique that we are going ahead with. I know in my mind that the waves that are closer to my eyes, as I did tell you earlier, towards the bottom, needs to be more thicker. That's the only thing which I mean that keeps me in my thought process and I continue to follow that same pattern, which I have thought about. This has got a very, very important work in one of your future paintings that we are going to do. It is a day two from the series where you will see a boat getting into the ocean and ocean or sea because it's voyage into the sea, so it has to be the sea. I think my colors have just moved into each other a lot more, and hence I might have to go ahead and apply it a bit more or add a bit more of the darker values as we progress. We will do that. Right now, I'm using the tip of my brush. Believe me, these kind of problems do keep happening, and I have intentionally done it so that you guys can observe that these are the problems that everyone goes through. And that's absolutely fine. Go through these issues, solve it on your own, use a damp brush to clear out some of the spaces where you think that you have actually added more colors than needed. You can mix some more amount of your indigo or paints gray and apply it on the waves where you think that we need to go ahead and make it a bit more darker. So these things continue to work out for you and you will get a final painting that is as per what you want. This particular part is simple, interesting, and it finds a lot of usage even in your future paintings. Go ahead and adding a few more lines here and there as you see me adding over here. It's simple, easy, interesting, may not be that perfect wave that you have created, but absolutely okay. Embrace whatever you have created. Creativity is most important. Believe me or not, it takes a lot of courage to pick up your brushes, paints, paper, and start painting after a difficult day. And that's one of the reasons I always say. The people who can be creative or who have the power to create are someone whom I always always admire the most. Go ahead and adding a few more of our waves. You can see that my paper is still wet at this stage towards the bottom area. It is almost five to 6 minutes that I can work maximum on a 300 GSM paper. Believe me or not, the last class which I gave was all about clouds and I worked on a 1805 GSM paper, which did stay wet for about 8 minutes or seven or 8 minutes. Whereas now the climate has changed to such an extent that it is so so hot over here, the paper is becoming dry within minutes and. Frankly, it's becoming very, very tough to work on any water related paintings for sure. And here, there is a lot more of wet on wet that we are exploring. Hence the difficulty level is a bit more. You know, even if I have some wetness towards the bottom area, the top part is absolutely dry, and I can really work on the small hill kind of thing that I want to create in this painting in and around my horizon line to make it look more differentiating. That is it helps you to differentiate between the sky and the water in a better way. I'm going ahead with my burn Ciena from the brand PWC. You can also go ahead with Mjo Mission gold. PC is one of my favorite brands. Again, add has, I am using it in this particular series the most. I'm using again, the tip of my brush to work this out. I can see that this brush has a beautiful tip compared to all my other brushes till date, which I have used. Of course, it's Devins, and one more is Rafael. So both of them are really amazing to work around with, and I am now going ahead and adding my glue. Now, what is this blue? It's ultramarine blue. I can create the darker value of brown when I add this blue. I have used this technique very often, even in my future paintings and hence it's important to go ahead and continue to add some of the amount of blue over the bottom area. It is the ultramarine blue, as I have said, and I will go ahead and add the darkest value. We always don't need colors like entice brown or CPA to create the darkest value. You can always explore your own colors. One of the good ways to do is just to mix a bit of blue with your brown and you will get beautiful shades of the darker value or brown that you need. Another thing that I need to tell you, I love the granulating effect that happens on any kind of a rocky mountain, or you can say any kind of rocks, and this particular hill is also a rocky one, and hence I'm going ahead with the blue shade to get that kind of granulation. Though if you are someone who doesn't like granulation much, you can go ahead with any other darker value of pure blue or else, go ahead with your paint screen, neutral tint, black, whatever you think is best can be worked out. Once this part is done, we have to create a few waves towards the bottom area. I'm using my size for brash from the brand server. Now, this is a brush that's making its comeback in my water scape again. Now, watercolor ocean waves is one of the classes that I gave when I started out in 2019. Now again in 2024, you can see that this brush is making its comeback and adding a few smaller lines here and there. Believe me or not, but this has got an amazing tip. Though the tip seems to be a bit spoiled, as there has been a regular use over these last few years, and that's one of the reasons that the tip seems to be a bit more smiled than what I thought that it would be. Go with my flat brush now, this is a beautiful brush again from the brand silver. It is Ruby satin brush and it gives a beautiful, nice thin lines. I will use it to my advantage to create these kind of waves. As I did tell you as you go further away, these waves will become thinner and shorter compared to the longer ones, which we did add towards the bottom. The best part about this painting or if you can say about the hot season is that you do not need to wait for your paper to dry off. It automatically dries off. Okay. So mine was drying off completely, and that's one of the reasons. I just could paint on anything that I wanted. I did not wait any particular time. Now is going ahead with my finish brush to add one or two more lines. You did see that I did blend a few of my smaller waves that I did create as I was really not happy with it. Hence, I just blended with the clear water. So it's so easy to just get away with your mistakes in water colors. Yes, guys. It is really easy. Just that we don't know how to actually overcome many of our shortcomings in the pains. Initially, when I started out, it was very difficult to do it. But now I know the h tips and tricks, and I love to share it with all of you because I know many of you are big nurse and you might be struggling at this stage. So it's time to now paint the sky. Sky will be almost the same color that I have on my brush. I would be using that color or pick up some color from your palette and then use it for the top part of the sky, blended as you come to words to. Bottom area like above the horizon line below the horizon. So continue to paint it and just blend it. You will see that there's some color in my brush because of which there will be a small gradient that can be absorbed well in this painting. Okay, Blending my color and then just taking it away though I can see that a bit of brown actually got over to my sky and I'm using my flare brush to take away the extra paints. Let it dry and your painting is done. I'm so happy with both of these paintings now. Let's go ahead with our first day. 7. Day 1 The Starfish: Let us know all our colors. It's Altra Mari, Kobalre, John Brilliant number two, Burnseno and Vanda Kira. I have always been in love with the colors of the sea, and that's all you're going to see on the palette. I did not wash it because it had colors, and I really did not want to take it away or waste my colors. But first, let's just draw our horizon line. I am choosing a par 5 centimeters from the top. This is an five size paper, and I'm drawing that line. Once I have added the line, I would do a quick sketch of the weight and a stofish that's present on the shore. It's going to be a simple and easy painting. It's not going to take you more than 15 to twentye minutes. Believe me or not. This was a very, very quick painting for me as this part of India is very hot right now because of which the paper is drying up too fast. Even switching on the AC and then working was not a great idea. The complete paper was getting dried up very quickly. Anyways, you cannot work directly under the fan. The bits and parts of your paper will keep drying up and rewetting will be the only option once your paper is completely dried up. And again, you will keep working in layers, which might make your painting way more dark. Okay. For all my starfish, I did actually divide it into five small lines. You can see it. And now I'm going in and around those lines to make the curve like structures. That's how I always love to actually break any kind of structure into smaller lines, shapes, circles, et cetera. So it's going to be a very, very easy way of how you approach, I would say, shape size structure of animal board or even any kind of buildings, et cetera For buildings, it's easier because it's more street and slanting lines, whereas for birds than any kind of animals, it becomes a bit tough. I would be covering up the area of the starfish with the help of my masking fluid. It is from the Brand Winsor and Newton. Added a small hill to depict my horizon line in a better way. Once you have covered the starfish with the masking fluid, let it dry completely or else once you apply water on top of this area, the masking fluid will stick to your brush, and it may spoil your brush, as well as that whole area will be also touched with the colors, status of the s. Now, why I did mask out only a small area like this and not the waves, et cetera. Now, there is a huge chance that I would actually touch the starfish while I have to paint my sad. The whole of the painting I told you is being done very quickly. So it leaves me with less opportunity to wait and then just go in and around the starfish and come back to it. It's a great idea. You can go ahead with it. But for me, I just wanted to avoid that situation. I'm using my ultra marine for the top part of the sky and then blending it with more water as we go towards the horizon line. I have been end up with water colors from the beginning, but more so with ultramarine. In any of my other paintings, too, you can see that this is a color that I have been using very often. Right now, I have mixed some amount of cobalt green with my existing color that is talogreen and quarter color, which is more lighter cooise then I would blend it with more water and lighter value of cobard green as we progress. With the cobaren, I would be also adding some amount of my ultramarine as we continue to progress towards the bottom area. These are darker and lighter value play, which you will see very often in the paintings to create the tonal values of the waves, et cetera. It would give you structure like effect and it's kind of an illusion that is created well, but it's not exactly how you would see actual actual seascape or an actual ocean. This is more like an illusion that we create for our painting. I am going ahead with some of microbalt green and then adding some ultramarine to the darker parts that is going towards the bottom area. Now, there is another sheat which I'm going to use, which is from the brand whole brain, John Brillant number two. Now, if you do not have the shade, please go ahead and apply some amount of your naples yellow into the burn sienna and get a color that looks similar. Orals, you can also use yellow cor. But you have to test the color of yellow occor so that it doesn't give any kind of a green when it mixes with the tra meerin. Artramarin has got a beautiful granulating effect and some of the spaces in white, I'm leaving over here so that I can show the white wave or the crashing wave, which usually you will see some amount of foam that appears in around the beach area when, of course, a wave is coming towards the shoreline. This is easy one. Just that we have to add some more drama to our C. We will add a few lines. I would be working both with wet on wet and wet on ry for this painting. There will be paintings where it's more to do with wet on wet, but these are the main techniques, which I have been using in many of my paintings. Another one that is often said is the wet moist, maybe, I would say, or more of a damp kind of a surface. Now, this kind of thing is not used very often and it's often considered as wet on wet only. Yes, let's just continue to mix some of our ultramarine with John Brilliant number two from the brand whole page, but if you don't have, you already know the options that I have used. I'm going with some more of my burnt sienna and you can see that my starfish is completely dry. If you don't have this masking fluid, you can always go ahead with any kind of masking tape, 1 ", draw this particular starfish on top of that, and then cut out the edges to just paste it on top of the paper and get a similar outcome. This was a bit more easier for me as I had the masking fluid available, but that's another way which or that's another way of approach that you can always take. There are a lot of hacks, tips, et cetera that can be followed. It's only the intention of creativity. As I say, the more creative you are, the better would be your outcome, and, you know, the intention matters the most. Over here, you can see some of the areas will get dried up very quickly. The area near the middle part of the sand is drying up and I'm just trying to add some more water to keep it wet for a longer period of time. Adding some of my darker value of brown as we go towards the site of this ocean part and then blending it. I love to add some amount of my ultramarine into the burn sienna that I have and then blend it to get that effect of granulation. Granulation looks great when it is a sand like effect that you are trying to achieve. Okay. I guess this looks well. We will go ahead and just apply some of our ultramarine into the area, which is majorly in and around the horizon line to depict the horizon line in a better way. Now, this is a small hill. You may add it, you may not add it, but it helps to actually show that there is a distance or a difference, I would say, between the sky area and the water area. Though many people even love to blur it out, but for me, I love to keep it intact and constant. Okay. I have mixed some amount of burn sienna into the ultramarine and you can see how the granulating effect is even covering our small hill space. I'm going with some of my ultramarine lines and back with the silver velvet brush. This brush you would have seen me using even in many of my other classes. There was watercolor ocean waves one and watercolor ocean waves two. But white into the sea is something that I always always wanted to make where various subjects from the sea can be covered in our paintings. Continuing to add some of the lines of ultramarine into the water. Now, this is a semi dry kind of situation which I have over here. I'm not stopping myself to add these lines. I'm using the tip of my brush to add these smaller lines. As we go towards the middle part, our lines will become more broader compared to the ones that we have added towards the top. Once this is done, I would add a few more lines even on the left. Continue to show that these are basically the ripples. It is a wet on dry effect for the ripple. In the other painting where there's a boat and there is a sunset, you will see that we will go wet on wet method for showing the ripples. But there is no best way, I would say, where you can show the ripples in a wet on wet wet on everything is great. Whatever you can create is good to go. I'm adding some old lines as you see me progressing towards the middle area. It would become a bit more broader compared to what we have added earlier, and be ready for some white foam. Now, this white foam will be created with the help of an opaque white water color. I have a PH Martin white, and that's pretty opaque in nature. We'll be using that for creating the white, as well as we'll pick up the extra colors from the brush into the tissue to get the effect of the dry brush technique. This is a very, very important technique that can be used very often for creating any kind of crashing waves or for creating any waves even in your future paintings. D or do try this out in your other projects to that you'd want to attend in your future, it should be very helpful for your bottom area of the sand. Just pick up the extra colors on the tissue and then apply it to show the texture. Now, the texture of the paper is automatically helping this brush stroke to create some of the spaces that has the brown like effect from the base paper and leave some of the spaces in white. So most of the work is being done on its own. That's one of the reasons I always say please use cold pressed paper. Cold pressed paper has these structures in it, which can give you nice texture. Using a rough paper is also great, but rough is way more textured than what we will be using. Though I will not say that you cannot use it. If you don't have any other option, please go ahead with your rough textured paper too. But make sure that it is 100% cotton. It is very, very important in the hot season to go with 100% cotton 300 GSM paper. Try to use only cotton paper orals. It will become very, very tough even in your future paintings to continue working on it. I'm adding the shadows in the darker value of prom which I did create with the help of a mix that I did on my own, mixing your ultramarine into the burn Ciena will give a color that looks similar. Creating the shadow of this small starfish and then adding a few more shadows on the other legs too. I love how this whole paintings comes together in a very quick and easy manner. First, I was trying to draw the small dots lines, et cetera. But then I thought that this is just not how I want the structure of my beautiful sand area. I would love to have it more textured and I took out the extra paints from my brush and started creating these kind of effects that really helped me to make the sand look more realistic. That's what I would be doing throughout the left as well as the right side. I never place my subject in the middle of the painting, as you always know. I try to place it in the left right. Basically the focus points, and hence it is as for the rule of thirds, if you divide the paper into nine equal halves, the only intersecting points would be the focus areas of your painting. I'm adding some amount of burn Siena into the area of my beautiful starfish. This is the last thing that we are left out with and I'm going to do that now. I've already picked up the application applied masking fluid. Yes. And now I'm adding the colors. I think this is one of the best ways to go about it. Having said that, you might have your own way. I just love to add some lighter value and then go a bit deeper into it, meet the lines that we added in the beginning. While we were trying to create the starfish, I will add some whites to over here along with the dark value, a bit to show the shadow in a better way. Continue to add it. Now, why the shadows, it's a hot summer day and the sun is shining because of which the color of the sky is less of blue. Yes, putting everything together, you can see there will be shadows. I'm adding a bit of darker line stretching from the middle towards the end. This is a very small paper and we can get it done very quickly. I think I'm pretty happy with it a bit of white for the highlight of my starfish will be added. Then I guess it's great. Let's just finish it off and have a final look at this beautiful outcome that you guys have created along with me. I am super excited to even move on to our next painting where we are going to learn more about seascapes. Let's just add the white and let it dry off. Once it is done, I would add a bit of brown on the sides. That's it. Just blend it and keep it ready. Okay, we have to just cover the left side to continue working on the right side of the paper. Okay. 8. Day 2 Evening Sunset: The colors yellow quad coral opera, trad three indico cena, and you can always create darker values b with tram. I've already created water wet method. It's time to work wet on wet. Of course, many of you feel that wet on wet is more challenging, but do not worry, we are going to go ahead, make a small boat. You can see I've already marked the middle line and taken around five centimeter on left as well as on the right. And then going in a triangular motion, you will see how I just joined the dots. Everything that I make, whether it be a boat, whether it be building, whether it be starfish, I go with the basic size and shape and then we can modify it to get the final outcome. This is the way you should also approach a subject. Easier modifying rather than just trying to go with all the curves, et cetera. If you break it into simple lines, it becomes easier to make the curves later on and get done with the final painting in a quick manner. Now, I know that there is even side on the left as well as on the right. I will go ahead and just make it a bit more curve on the top, and then add two curved lines on the left as well as on the right. Of course, it was not easy. Believe me, I was also struggling a bit while I was trying to add the curved lines. None of us get it very easy and it's absolutely fine. You can take your time. Go ahead with a graphite pencil, which is two edge. Now, it is very light, and that's one of the reasons you will see that once you apply the watercolors on top of it, the graphite marks will not stay. Or, you might have to use an eraser to just take off I think it is the needable eraser that you need to take to take off all the graphite marks before you apply your final colors. Always remember water colors are transparent because of its transparency, the graphite marks can be seen very easily. We must take off any extra graphite marks just the way you see me over here, taking off the extragraphite marks on the left. The boat structure, which we have kept is very simple, except a few lines that we are trying to draw to depict this boat in a better way. You will see how we are going to mix only two shades, that is your burnt sienna and some amount of ultramarine to create the darker values within the boat area. It's the evening time and we will have a beautiful evening sky. The sky area is small and hence the blue shade, which I usually see towards the top area of the sky cannot be seen over here, but it is going to be reflected in the water. It is deemed accepted that we have some blue in the sky though we cannot depict all of it in a five size paper. You guys know that everything can't be done in a A five size paper. I've applied some naples yellow. This is one of my favorite shades and now I'm going ahead with quin acrodone coral. If you don't have this quin acrodon coral, you can mix any of the orange with a bit of pink to get the shade or else, if you have your opera color, mix with some amount of yellow to get a shade that's closer to the one which you are observing right now. I did apply a very light sheet of blue towards the top, but it would not be helpful, believe me. The yellow is going to dominate at this stage, and I don't want to take away the beauty for sure. I'm using my largest brush at this stage. This is a small size paper and hence I can cover up very quickly the area of the sky. Never feel scared of water colors. You have to cover a smaller area with a larger brush. That's absolutely fine. If there are no complexity, you may not find it tough to actually cover up the area. The colors were really light in values, which I did apply earlier, and hence I have gone ahead with my round brush to apply some of the darker values in few of the areas as you can observe. Now it's time for water. Water is something that all of you have dreaded for a lot of years. Believe me, I also dread it. I dread it like anything in the past when I started out with watercolors, maybe about five or six years back. I was so terrified to paint water. Water was something that I never attempted. It is because of the nature in which we have to paint water. The only thing that you need to keep in mind is water color of painting waters also is all about mindset. Mindset is something that you need to understand and you need to keep building up for yourself. I will go ahead and apply some quin acrodon coral towards the bottom area as well as apply some of my ultramarine. You will see that the quin acrodon coral turns this ultramarine, a bit pop color, which we will go over it to apply some more of the absolute blue ultramarine and that is going to be the sense of the painting. The base layer of ultramarine really helps to actually showcase the darker values which we are going to apply over it. Now, the darker values, either you can use Prussian blue, ontrne blue or paints gray. For me, I love to use paints gray or dico to a great extent. First, going ahead and applying some of my ultramarine as I was very not happy with how the purplish shape took over completely. I always say that the water is an exact reflection of the sky. Near the horizon line, you can see more of your reds, et cetera, or you can say the orange. Now, whereas when you come down towards the bottom area for the water, just in and around the horizon line, it's more yellow. We are going to use wet on dry method to de pic that red kind of situation or the orange kind of situation into the water. Do not worry. I have this mirror image always in my mind when I think about water. So, you will see the exact colors and we are going to just apply some wall lines. I'm going to apply these lines again with a pretty broad brush and then just go ahead with some of my quinacodon coral again. So that I can get a complete blend. I was really not happy with how the blues were turning up. I might have to go over it once more and create the final outcome. It's absolutely fine. Sometimes we have to go over a few areas, one or two times if we are not happy with the outcome. If you're happy with that outcome, please do not again try to attempt it. It's absolutely okay. I was really not happy and insighted it, but you do not need to do that thing. Okay, applying some of my Naples yellow towards the top area of the sky. Then now it's time for the darkest value of blue. Yeah. What is the darkest value of blue as I did tell you. It would be more of an ultramarine mixed with donne blue, as well as pains gray. You can also go ahead with only ultramarine and pinsray. Both the colors go very well with each other and they give a fantastic panel outcome. I'm going ahead with my size one brush from the brand coda. There are a variety of brushes which we have used in this painting, but believe me, whichever brushes you're more comfortable with. Use those brushes. I feel it very strongly throughout my entire journey. I end up using only a few of these brushes. Sometimes a few more depending on what kind of paintings I'm attempting. If I'm attempting bigger size paper paintings, then there will be more of product brushes. This particular series has all kind of paintings in it, and hence there is a large aria of brushes that I'm going to use. Go ahead with some more of my darker values and then applying it on the water area, you can see how beautifully it is blending with the ultramarine. I'm super happy. The paper is still wet. Believe me, if you're working under the fan, you will not be in a position to do this and your paper will already be dried up by this time. Similarly, in case you're working under an EC, then again, you might not be able to get this as the final come. Though I would leave that decision up to you. My place is really hot and hence I had to be out of both of this to get the final effect. That you see over here. Climate always has a huge role to play in our paintings, and hence knowing the people is very important, always use the paper that you are most comfortable with. For me, Archers has been always the go to kind of paper. But other papers like Saunders, Papriano are equally good. If you are someone who wants to paint water, it has to be 100% cotton paper, 300 GSM orals, 1805 GSM is also good in case you are living in conditions which are more Gut or you have more moisture in the air maybe where it's more colder and more moist, you may be in a position to even use vanity ens. I'm mixing some amount of my quinadon coral into the blue mix, and we are creating some finer lines now. This brush really helps me to get those thin lines that I need. I would not add more lines towards the top. I would go ahead and just apply some more amount of nacidn coral. You will see how I create that and Naples yellow to get a color that looks more orangeish and apply it towards the horizon line into the water. Part. You can see on the left bottom side, I would be again picking up the same color to showcase the sets of the quinacrodon coral, which you see in the sky areum. Currently, going a bit slow. At this stage, I know my painting is mostly covered. To be frank, my water is done, my sky is done. I'm just finishing it off or topping it off with a few smaller ripples towards the horizon line. You all know that towards the horizon line, when you add the ripples, they need to be smaller in shape and size as they are far away from us and hence it is as per the rule of perspective. Continue to work through it and add more and more smaller lines towards the top. Use the brush, use the tip of the brush. I would say don't press your brush more at this stage, or else you will get more broader strokes which we don't want. Absolutely working on a few more thinner lines and then it would be done. If the place in and around your boat is already dry enough, we will start off with the boat. But before the boat, you can also check around the horizon line in case you can paint the small hill. Both the paintings that you see on the left and the right had a very similar sky. That is, we kept very small space for the sky and more space was given to the water. This class is not to be on the side of the water, and we will be discussing water more in this class. Hence, most of my skies are kept very simple. They are just a gradient wash or they are gradient wash of two shades. Something like that, so that there is not much confusion or we are not concentrated on skies, et. We can work through the water part or the boat part as you are doing now. I'm going ahead with a flat wash of burn Ciena right now to cover the entire boat. Once you have covered the entire bot, we will start out with darker value. Now, how you can create darker value of this particular shade. I usually use some amount of ultramarine to do that. I will go ahead with my ultramarine blue and apply it on the darker sides wherever it can be added. It is still wet and hence I'm working more wet on wet workings over here. Go over the top area also again. Now, having said that, is it a lot wet? No, I will not say it's more to do with damp or it being moist so that I get the correct amount of moisture and my colors are not flowing from top to bottom. You will see or observe that the colors don't move a lot. They are more concentrated. Only two a few areas where I'm applying. I'm using my size four brush from the brand silver, and it is one of the favorite brushes of mine for painting waters. You will see more of this brush coming up even in my future paintings. Yes, if you are ever planning to invest on a good brush, this might be the one. I always observe my paper. Now, the paper that I have towards the bottom area is more wet because of the boat and hence I have moved on to my hill near the horizon line. I'm first adding some amount of beautiful burncana that I have, and then I would be going over it in few of the areas with ultramarine or the broche that you already have on your palette. Okay. I'm a strong believer that you should not be wasting any of your colors. Hence, whatever color is available either on the palette, please go ahead with it to create the final shades of this hill. It's not very important to actually mix your colors, but believe me when you start mixing your colors, you get to understand how each of these sheets can be also done with very simple shades of just two mixes, maybe blue and brown. Hence you don't need to own a lot of shades. Though, I would be using various shades and I would be giving you a strong reference to all the colors that I have used in my paintings, but it's not a necessity is all I'm trying to tell you. Going with one of the darkest value of brown, and then I would be applying some more burn sienna to it. Blending it with some of my art marine. You can see how this tra meerin creates the beauty of the boat. It's reflecting the light in some of these places with the lighter value of burn sienna and the darker spaces is well created with the help of the blue and burn cien mix. I will now use the burn sienna to blend the colors which I have already applied towards the top part of the board. You can see it's a simple process. Though it's simple but blending the colors correctly and having the correct amount of poo is something that I would like each one of you to understand while we are working through this painting. Though the main idea of the painting was to create water and simple water where we had a bit of our ripples towards the bottom, as well as towards the top. Along with it, a boat is always a great addition. Continue to work a bit more and blend your colors. The whole of the video is real time. That's one of the reasons. You can just watch it once maybe at two x speed and then follow along with me to paint it. You will be in a position to get almost the exact shapes, colors, et cetera. Once you start following along with it. One thing that I know about watercolors, it's that it's a medium which anyone can pick up. I have picked it up a few years ago. So I think if you have the correct paper brushes and colors, you will be in a position to paint well and there is no way you will not be in a position to get a good outcome. I think this is one of my favorite paintings till now from the entire series, and I will show you a few more. Of course, they are a mix of tough and easy paintings that you are going to follow. But none of them are like it cannot be attempted or you are intimidated with it. All of them if followed along in a stepwise manner can be achieved. Only final condition is the climate and the wetness of the paper. If your paper can hold more water, it becomes easier for you to work along with it. In case your paper cannot hold a lot of water, then it becomes tough and it leaves you with really less time to work on your wet on wet part. Hence, choose your paper very carefully. It's something that I have been telling always and I say it very often in most of my classes. Right now, the paper is wet enough or moist enough so that I can draw a line like structure. I will just add a bit of blue even on the bottom part of the left. You can also do it on the right. I would leave that decision up to you and add some more darker values. Remove the tape and have a look at both the paintings. 9. Day 3 The Small Island: Colors ultra medal green, yellow green, Vanda green generally number two, Burns and Vendi K brown. Today is day three of our voyage into the sea, and I'm super excited to start out. This is again going to be an easy painting. Just that you have to be a bit vigilant about how you do it. I'm going to first divide my paper into two halves. One is my sky area and another would be the water area. Water has a small island in it and we are going to add that for sure. But before that, let's add a background here. It's at a distance and hence when you are adding it, make sure that you make it smaller in size and shape rather than making it too big. It is far away from our eyes, and we are going to also depict it through the sketching. Let's go ahead and start adding our middle point of the island. It is going to be around small part, not exactly around its oval practically and it's a really, really small part. You can go ahead mask this area if you are someone who is not very confident about going ahead and painting it without the masking flod as you may think that the colors can go into this island and all. But I did not mask it out. So it was easy for me to go ahead. The far away waters doesn't have much of movement in it, and hence I really did not want to play much around this part as of now. I just added a few colors for the water and that's all and I protected this area. I did not go into this area with my brush. That's the only thing which I kept in mind while I was working through the silent part. I'm adding some darker values and few of the areas because those are the rocky terrains that I want to add over here into this island part. In the first two and three or even the fourth painting, you will see, there is very less amount of sketching that I've included. We are more focusing on any kind of waves, painting, water, and not focusing on the sky either. The main idea of this is to just work on the water area and understand how we are going to have directional wave. Directional wave is something that I have not taught much in any of my earlier parts or any of my earlier sections of whatever I did teach on Skillshare. This is one of the paintings where you are going to understand more about direction and how you will have wet on wet direction for your waves. We do have watercolor water scape plus where you're painting two different kinds of water scapes, and there was a directional wave over there. But that was more to do with wet on dry method, and here it is more on wet on wet method. It might sound really difficult to you initially, but believe me, it is not. Right now, let's just focus on the sky. I'm going ahead with ultramarine and then just adding some amount of water to create a gradient wash. Rdient wash is all we are looking forward to in sky area. I'm not going to complicate it much. We will add some colors. For the top part, it is going to be darker, and as we move towards the horizon line, it's going to be lighter. That's all you need to keep in mind while you work on your sky area and then let it dry before you go to the water area. Now, since right now in the eastern part of India, it has become very hot. That's one of the reasons even if I don't wait much, I'm okay to go ahead and start painting immediately. The paper is drying up very, very quickly. I'm working on a 300 GSM archers paper as you all know, and it's pretty thick, but still it cannot hold a lot of water for a longer period of time. Whereas the last class where we did see on 1805 GSM, we could work for about eight to 9 minutes or 10 minutes, and now it's absolutely different even on a 300 GSM paper. I do not get more than four to 5 minutes or 7 minutes to work on. So keeping all of this in mind, you have to always understand that climate has a great role to play in your painting and how you paint. So be a bit more kinder towards yourself. If your climatic conditions are not great, the people might dry up early and you might not get the softer, I would say waves, et, which you might have thought initially that you would be creating. Go ahead with my co batr This is one of my favorite colors and you can go ahead with any kind of blue like horizon blue if you don't have this bar train. I've already explained in the color mixing section, how you can prepare this bartrn. Please go ahead and check that out in case you are someone who has just started out. I think that section has a lot of information which can really help you to only stick to few colors rather than having a lot of colors in this kind of series. Okay. Now I'm going ahead and adding some water. But as I progress towards the bottom area, I would switch my brush and move on to a thicker brush. Ticker brush helps you to work very quickly through the whole of the area. As well as it gives me a lot more opportunity to just add colors and even add the waves, et cetera, which we want to do in a particular direction. I'm mixing some amount of my teal green in it. Yellow green is again a beautiful color. If you are someone who doesn't know how to prepare this teal green, please go ahead and check out my section where I have tips of color mixing. It's very important. I cannot tell you how important that particular section is. Along with it, if you are still struggling with how to paint waves, go ahead and check out my second exercise. It has a lot of information about how you can paint straight waves. I would be breaking the waves in this particular painting and doing it in a direction. But if you actually know how to make waves in a straight wave, it would be easier for you to understand this kind of painting. Going ahead and adding some more of my call green, and then I added some of my ultramarine. You might have to go ahead and add some green into your painting. This green is majorly my yellow green from the brand yellow mission goal. I have been using this green in many of my other paintings too, and you will observe that this green has got a lot more beauty as we progress through more of our paintings and come to a space where we will be doing even ose. The next painting, of course, also has this greenish yellow shade that I would be adding into the water, and some amount of direction or wave is also present in that though that has more to do with wet on wet and wet on dry waves, both of them together. We are going to include a bit more complexity in the next painting compared to what we have done till now. Keep adding some more of the green and the paper is lot wet. I am actually in a good condition to play with my colors rather than thinking much about how to go about it. I continue to work through the bottom area and add some of my darker colors soon. Do not worry. I'm just mixing some amount of my don frame. If you don't have this color, you can also go ahead with a few other shades like your indico, or else you can also go ahead with chand. These are two alternate shades that can be used, and this is the darker value, which I'm going ahead and adding towards the bottom side. Bottom area, of course, needs to be more darker, as I've told you, it's closer to the ice, and you can always go ahead and see more of intensity into the places, as well as a lot more detailing. In the areas where it is closer to your eyes. It is as p perspective. If you have something far away from your eyes, it would not be as clear as whatever you see close to your eyes. That's what we are also going to include in this painting. I am adding some of my darker values and trying to create my directional wave. As I did add earlier, I'm adding even some of my lighter values, but I feel that the lines are becoming not exactly how I would have liked it, so I'm blending it with my flat brush more. A flat brush comes to a help in all the areas when it's about blending. That's one of the reasons keeping a flat brush and a thicker flat brush or a broader flat brush becomes very, very important at this stage. Adding some lines, this is my size four silver black velvet brush, and I've added the darkest value of blue into it. I'm breaking the lines and adding it so that I can get the directional wave, which I want for this painting. Some more of the lines as you see, and I'm adding some of my darker values just near The island area. Now, why I add the sky of a darker value, you will usually see wherever there is island, there will be some amount of shadows of that underneath or there will be some amount of coral reef in and around it. So just to make it a bit more realistic and it is somewhat realism. It prevails in that case. And hence we are also working on the same lines. I am good at this stage. I've just blended it a bit more with my flat brush, adding some of the lines again, you will see that my paper is still wet and I will continue to work on it. As the paper stays wet or as I see that the paper is still wet, I can work on it and it gives me a lot more opportunities to play with my colors. The paper is not very wet, that we will not be in a position to work on it at all. Whereas, it is not like that it doesn't have any kind of wetness in it, that I will get any kind of patches or dry marks. This is something that I always say in every class. If you have to work wet on wet, it has to be real Okay. In case you can work quickly. You will get the desired outcome. If you are watching this particular place where we are creating the waves, I would request you to first watch it and then attempt it, then it would be easier for you to work through the detailing part, majorly how to create this space orals. If you stop and again, do it, listen to me and then again, come back and do it. You will lose out a lot of time and hence your paper will dry up, which would lead to patch patches. That's what I don't want any of your paintings. This is a method, which can be applied even in your other projects too. It has got a great edge if you are planning to paint any of your watercolor water scapes, like earlier later, you want to attempt water. This is one of the paintings which can really help you to get direction or wave wet on wet. I continue to work on the bottom part a bit more in darker values. And as I go towards the top, you can see that my colors will become lighter in tonal values. Again, the perspective plays a great role in it, and I have already explained the same. So continue to work on few of the smaller lines, and then we will add one or two shorter, smaller and lighter lines as we progress. These waves have the tendency of meeting to one single point known as your vanishing point. You have already done these kind of paintings and you already know this concept, but it can be also applied to water scapes. I've applied the same concept to water scapes, and this is what we have landed at creating waves in a particular direction. I know at this moment, you frankly can't imagine how the total painting is going to look. Like, and believe me till you are done with 75% to 80% in a watercolor painting, you really don't understand how the total painting is going to turn out. That's what I have seen and I have understood. And even in few of my paintings, I have seen that it is almost 90% done, I'm never convinced with the final painting. Watercolors is a medium where you can't actually get a final outcome known or you can understand where it is going to you are done with 80 to 90% and frankly speaking, if you're done with 80 to 90%, go ahead and finish off the painting. Believe me or not, there's a lot of learning when you finish off painting. I never keep any of my paintings undone. I always go ahead and finish off a painting. Even if it is overdone, let it be overdone. There is some amount of learning that I have in an overdone painting. I needed to stop earlier rather than what I did in this particular part. Okay. Time to create some of the same concept that we applied in our initial exercises exercise one and two. I have added some light green color and then towards the bottom of the same. Here, I have added the darker values to create that beautiful look of lighter and darker tonal values that create the patchy effect of greens, which are not like a flat wash. They look more like variegated wash even in smaller spaces. Variegated wash looks much better if you see. And they look amazing when done even on smaller spaces like this. I love to do it, and I have been doing it. Many of my earlier exercises too. And this is one of the space that I would suggest you to work on even to understand how variegated wash works for smaller areas rather than only working on larger areas. You all know how to work on larger area. On smaller areas, also, they look amazing. I think I have taken the colors way more down than I would have liked it to. So I might have to go ahead with a flat brush and clear off a bit of this darker value. Here you can always use a flat brush and pick up extra colors wherever it is necessary. Keep a thin brush like this available for yourself whenever you are doing this kind of an exercise. Add some more of the darker values, if needed, be. Once your paper is in a semi dry kind of a condition, and the colors will not move a lot. I'm done with this particular part. Now it's time to go ahead with my beautiful island area. Now this island area is majorly done in shade like John brilliant number two, which is a very, very light shade of brown only. It looks more like brown, but of course, it's not brown. It has some amount of white in it and it's a bit opaque in nature. Use a very transparent color it. If you plan to use it or else you can also go ahead with yellow c or burns and mix. That also looks absolutely fine. Watercolors is all about transparency, as I always say, and the idea is never to make it look paque. You can use very light amount or really light values, as I understand, and then go ahead with this part of the painting, which is majorly your island area. I'm just taking off the blue that went into this particular part. It happens. Whenever you are going ahead and painting, these kind of smaller things can happen. Do not take it to the heart. Try to fix it as much as possible. If you cannot fix it, let it be as is and it will not look bad overall once we add some greeneries into it and some darker and lighter values, it will improve. Initially, I'm adding burn Ciena, and then I would go ahead with darker brown color. You can also prepare this darker brown color mixing some burn sienna and blue in it. I would show that to you in this painting also, as well as you can go ahead and check out the tips as I always say tips of water color mixing. That is a great place where I have mixed my ultra meanin and burn seiner to create the darker values. I always refer back to these smaller ideas because they play a huge role in our paintings. Time for making the tree trunk, and this is basically a coconut tree. Usually, coconut trees are found in a lot. Quantities. I would say a lot more of quantities in the beach area, and I want to also do the same. Again, realism There's a lot of role in this. It has to be more realistic in nature and going with a lighter value of green, and then adding some amount of darker value of green to make it like, of course, there has to be a change of tonal values. You have to make lighter green and then darker green. Add a bit of darker green into it. That's absolutely fine. The tonal values will change. Some of the areas will be in shadows and some of the areas will be more litted the darker values, I would add more towards the lower half, and the lighter values will be seen that way. Always make sure that whenever you are adding the lighter and darker values add the darker value on top of the I mean, on top of the lighter value in a way that lighter value is also seen. The idea of lighter value is not to create any kind of undertone. It is more to do with, it has to be seen. It is seen in the lightest of the areas of my I would say, the greens that I'm adding, and the darker value is seen in the darker values are more into the shadows area. So that's what the whole concept is all about. Last few minutes of the painting, and then we are done. At this stage, you should be the least stress because most of the difficult work has been done. It's only a bit of details of paints or some browns that we are going to add, and then whole of the painting has come to life. Something that I always say the last three to film 4 minutes is to step back, see what is needed and what you want to just do to let this painting see the light of the day. The light of the day is going up as one of your favorite paintings on your wall or it being as one of the most good or beautiful paintings that you have done till date. So all of these are emotions, and it plays a lot of role in every painting, you know, whenever you are watercolor artist. There will be a lot of failed attempts. Be not this particular painting. I did two times, which means that I did attempt it once in my sketchbook, and then I did go ahead and attempted on this particular sheet, and AI size so that you guys exactly know how to go ahead and paint this one. So, even experienced artists and people who are more or have been painting for many years, also do practice a lot and then only get a painting that they can present in a class or make a final painting that is of their choice. It needs a lot of practice and a lot of dedication. It's absolutely fine. If you are not getting the exact outcome, be happy with it, you will get it maybe today, maybe tomorrow, but it will be a very, very good outcome. Adding some of the greener and the darker values of brown, and smaller dots here and there, and I would go ahead and paint rock like structures. These are mostly done with the darkest value of brown and adding some lines. With my thinnest brush size one or size zero, whatever is available with you, you can go ahead with that and just finish it off adding some darker values in the areas, which looks more like your rocky parts. And then adding one or two dots here and there for the detailing. Okay, great. I think this looks absolutely fine to me except a few greener dots that I want to add towards the middle part. Just observe what I'm doing, make one or two dots. If you are left out with smaller space or you're working on a smaller paper, this island will also be smaller and you might not be left with this much space to work on. That way you can also leave it and just see what's the outcome that you are getting It's not necessary that you have to always follow all the steps. What works best for you? Just follow that, and you are done. Let this dry off and then have a final look at both the paintings. Tomorrow, we would be going ahead and learning the left one where it is more about painting your caves and how the reflection will fall into the water. 10. Day 4 The caves: Colors are Bond brown, ultramarine, bar green in Dre, Painkre or in the yellow green ndikGreen John ant number two. Let's start by doing a rough sketching of what we have to cohad and paint. It's always good to do a rough sketch before we head with the final one. I have just gone ahead and added a line. This is basically my horizon line, but I'm really not fine with it not being straight, and hence I'm using my ruler just to make it a bit more straight. To this step you can also avoid as it's fine. It's nature that we are drawing and it's okay to not letting it be absolutely straight. That's absolutely okay. If you want to do a free hand line drawing, please go ahead and I would encourage you to do the same. I'm going ahead and adding cave like structure. How I do it, you can follow simple aspect. Just draw some curvy lines as I work on it, and then you will see that I will add some semicircular round structures. Now, the middle part, of course, would be in more lighter value as it is more lited whereas as we go towards the inside of the cave, it would be more darker in value. I will continue to add more graphy marks for creating the cave. You will see that the cave is more in layers, which means that my cave is going to have more of darker colors in some places and more of lighter colors in some places. Right now, this is secondary. What I want to achieve at this moment is a framework of the cave and just understanding how and where I would be exactly placing my darker lighter values. You can always do another thing that is shading. We will see how we do that part of shading also as we progress in few of our other paintings. But right now, it's important to exactly know how much would be the darkest value where you are going to apply. So just the inside of the cape would be the darkest in value and the rest of the parts would be more of the lighter and the dark browns that we are going to apply. Okay, continue to work on this part and almost we are done. It usually takes three to 4 minutes to create the cave. Believe me or not. I'm also not that experienced in terms of creating an exact sketch in the first code. That's absolutely fine. Use your eraser, but do use a lighter graphite pencil. That is, again, very important. If you don't use a lighter graphite pencil, what happens in the processes that you will get a lot of darker values, which is really not required in the painting. Go ahead and adding my ultramarine, as usual, this is my favorite color, and I am using it towards the top part just above the cave area. To practically show the sky, you can also use any other blue that's available with you. It can be bar blue, cellum blue. These are also great options. Again, I'm using my ultramarine and then using some amount of my cobalt green and adding it as I progress towards the top area. The lower part would be more darker in value. And as we go towards the top, it would become more lighter and lighter in value. The reflection of the cave will also come onto the water area. We'll see how we do that. But let's first work on our water creating the water. This is more like a gradient wash, which you can see, and now I'm adding my yellow grain as I progress towards the top. I am using my mob brush, which is zero by three from the brand refile. It's amazing as it has a great tip, which I can use to my advantage, more and more of liquid colors. You can see watercolors is always transparent and nature and the white of the paper practically reflects back. You can see the white of the paper, the vibrancy looks amazing, and something that I have been falling in love with more and more as I continue to progress on this journey of watercolors. Adding some of my blue into it and creating a tal kind of a color, or you can say this is a cobaGreen color. Some of the areas are more darker. You can also use tailor green if you don't have any of the other greens like bar green mix a bit of white in it and you will get the exact shades. I always love to continue blending my colors as I progress towards the top. Something that I've learned over tins, the more colors you create by actually mixing your colors, the better is usually your outcome. And hence I do follow this part completely. Go ahead and adding the darker values towards the bottom area. Initially, I did add my ultramarine. Now I'm mixing some amount of my don frame blue and some amount of any darker value, it can be putian blue or it can be indico or even it can be your pain screen. Depending on the pain scray should not be more on the gray side, it should be more on the blue side. Adding a bit of darker values just near the cave ending area. Why I do this, because these parts are going to be way more darker and because when a water hits a rock, you will see that some of the portion will become darker in value as there is either some deposit or there are cuts because of water, there are some kind of algae growing or all of these usually happens, and that's what we are going to show even in this painting. The middle part, of course, I'm clearing it out so that the reflection of the lighter value of the cave area can fall into it. And now I am just blending the colors a bit more. Blending is very important, and I am frankly, highly struggling with the amount of water and the moisture of the paper, et cetera. Believe me or not, it is close to 40 degrees. And I'm struggling with the wetness of the paper. It's drying up very, very quickly compared to what I have faced during my winter season, the summers are very bad, and climate has a lot of impact on the kind of paintings, the water that stays on the paper, et cetera, in a great extent. Going ahead and creating the directional waves. The directional waves is something that I've explained even in my last painting, and I did leave this out for this particular painting. You can see that I'm making more curved like waves from left to right from left to towards the right. And on the bottom corner, it's more darker. I'm adding some of my darker values of blue as I create the spot and then keep adding the darker values towards the bottom area. Yeah, the paper is still wet and I can work on this paper. I would request you guys to first watch this and then only go ahead and paint it. If you are staying in the summer parts, believe me or not. Even using a 300 GSM or a 400 GSM paper might not be enough and you may face the difficulty of challenges keeping your paper wet for a longer period of time. So that's one of the reasons when you do this kind of thing, make sure that you watch it and then start painting along with me so that you know your colors, you know your mixes. It will not take you much time to finish off the painting and you can practically work well with the wetness. For waters, you have to work really fast. For sky, you have to work really fast. For what is also, you have to work very fast. Yeah. I know that I have always told that water colors you can keep about seven to 8 minutes or 9 minutes. But depending on the climate, I'm getting max six 7 minutes right now to work on my paper, rather than it being eight 9 minutes during the winter season and I was working on 1805 GSM paper. I would have got it ten to 12 minutes on a 300 GSM paper. So even after switching on my AC or working not under an AC and not under a fan, still the paper is drying up absolutely quick. I'm going ahead with a mix of my John brilliant number two and then blending it with clear water. The water is not absolutely clear, so you already see that I'm adding some amount of green as I go towards the top area and then blended with some brown as I go towards the bottom, I feel that this can be lighter and lighter as you were going initially with the pains, and then it can go way more darker as we progress. This particular part is going to take some time, as well as your reflection of the cave into the water is going to take some time. The paper is not very wet, so I can go ahead and work with the wetness of or you can say the moisture of the paper well and add the darker values wherever it is necessary. Currently, all my values are lighter than what it would finally be on the painting. I go a bit slow with the whole of the painting as I don't want to overdo it at any point in time. And if you overdo it at the initial, then what happens as you progress, it becomes more difficult. Cleaning up the space in the middle area, you can see, and the paper was still with. So it was easier for me to work around with it. I'm using some of my brown and adding it over there. Believe it or not, this will be fine when we are working finally on the paper as we are going to add more of our waves which are going to be a reflection of the cave into the water. And that reflection is also on a moving water, which means you will see more of dancing colors coming up later on. Don't need to worry. Just follow the steps, and that's it. Let your paper dry off before we go ahead and add more of the darker values. Now, I've started out with my Burn Sienna slowly adding some amount of darker value of brown. This is vendi K Brown, or you can go ahead with Any of your other dark browns that's available on your palette. I'm not a person who really thinks about the colors. It's more about what we are trying to create. You can always mix your colors and create something nice. You can see that I'm now going ahead and adding the darker values as the rock meets the water. You know that those areas are usually dark, and I wanted to also keep it dark as such, using the tip of my brush to my advantage. Washing it, and then again, adding burnt CNA, blending it with the colors that I've already added, you can see that my paper is becoming dry and dry as we keep progressing, and I'm frankly struggling with watercolors at this moment. I don't know. The best way I think to create this would have been to apply your water on the back side of the people rather than taping it down, but I really like the nice tape that usually is there on the sides. If you are someone who is struggling with watercolors, go ahead and try the strip, apply water on the back side of the paper and stick it to your acrylic board, then start with all your painting part. But before you do that, make sure that you are done with the graphite marks or the sketching part and then do this part. I guess that would really help you to ace through the dryness that appears on the paper. I have to continuously work on the parts where I really don't want to touch, but I have to add water there and then again blend it and just add it with the background bottom area. It's not very nice to do this process, but if you have struggles with your watercolors, you ought to do something about it, and this is what came to my mind as best possible solution. Go with my lightest value of green, that is my yellow green and applying it towards the top part of the cave. Please pardon my voice. I know that it's been very difficult. My voice, of course, is a bit cracked up because of viral infection, and now I am recovering. So maybe by tomorrow you will have a better voice coming up. But let's go ahead and add some of the darker values of green here and there. I will just add a few dots and then add some of the greeneries. I'm using again, the wetness of the paper, that is the lightest value of green, which I have added. To the paper and then using my thinnest brush to add the darkest value in this way, I can control the water on my brush. Only a few places will become more darker and some of the places will still remain light that way. It's easy. Is all I can say. Just you need to follow the instruction. We all are struggling with the summer season, and you might also struggle with the summer season. So it's absolutely fine. Do not switch on your fan or AC if possible because both of them is going to actually make your paper more and more dry. If you are working with watercolors, they are not a great source to continue working with watercolors in this kind of a season. Going ahead and adding some of my darkest value again, putting a few dots over and there. You can see how I continue adding these dots. These dots are basically my greeneries. I don't want to add a lot of details at this stage. It's pretty far away, and only a few lines that is basically your craters or the caves, how the formation is. That is only going to be seen much grasses in the background you frankly can't identify, and hence we will keep it more on the loose end. I will check the paper once that if it is dry enough to keep working with the darker value that right now we are adding. It's my darker value of brown and then it's my ultramarine. Yes, I have been working with ultramarine. I have shown you how exactly the colors work when it is ultramarine and burn Ciena. You can go ahead and check out the mixing of color tips. There are a few important ones over there because that really helps you to understand the mixes, et cetera. Even the blue, the cobalt, all the mixes are given over there. Okay. Adding some darkest value. You can see that I have already added the lighter value and now it's time for the darkest value. Go ahead and picking up the colors from where I think it is not necessary. I do this exercise very often because sometimes I don't like a particular shade color, et cetera, and I will just pick up that shade with my damp brush. Time to add some of my darkest value. As you can see, I am going ahead and adding my darkest of the colors with the help of my thinnest brush and creating some rock like structure. You haven't done rocks much as of now, and I will teach you in more detail as we progress how to create rocks. We have a full A four size painting where we are going to create waves as well as rocks along with Ireland. Be ready. There are more paintings coming up when we are going ahead and working post day eight. So till day eight, it would remain more of a five size paper. Easier paintings compared to when we reach the line. It would be more of bigger size paper, et cetera. Adding more lines here and there, you can see how I progress. These are just few lines, which I continue to add and then create the craters wherever it is necessary. Add value at the value and then blend it with the help of the colors or with the help of my blending bruh. This is a continuous process, and there is nothing much to explain at this stage. So you just follow how I continue to create or add these smaller and thinner lines. Always altering the values of your color is a great idea when it's all about working on any rock like structure or adding some smaller details here and there. I do work on darker values in some areas, and some of the areas, I still think how I should progress. Something that I've learned over time is you should always step back, relax, understand how you want to progress, and then only progress with your final painting. There is still a lot of time left. About one third of the time, we are going to work on the next set of a part, which is majorly about the reflection and some amount about creating the rocks. In a similar way, you have done the left side. We would be working, of course, in the same way and creating the darker and lighter values of the cave even on the right side. You might find it a bit longer and tedious process at this stage, but believe me as we progress. You will find it more and more easier in your future paintings. Rocks, yes, we are going to paint quite a lot of them even as we progress with our other paintings. But this is going to be some few lines, and you will see how I just add a bit of darker value in some of the area and lighter value in others. I have two more paintings to go where you are going to work some of the rocky terrains, et cetera, and one of them is going to be very, very interesting. Again, I told you about a size structure, a paper, et cetera. But having said all of it, I have been enjoying by painting throughout this whole of the series because water is somewhat very challenging when we start out. But if you have the steps laid out or if you just know how to progress with it, I think it becomes way more simpler. And most of the process over here is wet on wet or wet on dry. Those, any ways are the basic two important ways to work on your watercolor painting service. No other technique that works compared to wet on wet or wet on dry. Yes, a more sophisticated technique that many of us to approach is the water control, and water control is your paper measuring the moistness of the paper or the amount of water on the paper. If it is not watery, then of course you can control your colors to a great extent. If it is more watery, then you really can't control it. So those are the only concepts that come to your use. There's nothing much of concept, which I would say that you need to know for any of your paintings. Continuously going ahead and adding a few more lines here and there, darkest value, as always, It is some more of rocky areas that you see, I will add. Once this part is done, I'm going to go ahead and work on my reflections. Reflection is a very, very important concept, and I have not touched upon it much. Until now, we will work upon it as we progress. But yes, over here, what we will be doing is a very simple way of reflection of this cave into the water with the same kind of colors that we already have in the water. We are not going to go ahead and add any browns, et cetera. We are only going to go ahead and add a bit more of the darker value of green and mixing it with a bit of blue to get the final results. Adding some of my darker values and making the cave that is there in the front, moving a bit I mean towards us, I would say. Blending it with the help of my flat brush. Then again, I'm using the tip of my flat brush to blend it a bit more. This is how I continue to work on my rocky areas, but now I'm pretty satisfied with how the hood of the caves look and the feel I think is great. I'm trying to make a bit of green and blue kind of mix. This is more of a tailor green, but a bit more lighter than tail green tailor green is very dark and hence you can go ahead and make some amount of lighter value of green. I'm going ahead and making some lines. It's the similar way like we have done our waves in the boat painting. I will go and add some of my lines more. I'm using my size four or size six brush. Both are good to go. If you are doing this kind of a painting and add more and more lines. Progress with it, make some of the broken lines as you progress a bit towards the bottom of it and continue to add some of the lines even on the left. You can make it a bit broader, and as you come on the right, just make it a bit more thin. Add it, continue to work on it. It's something it's like meditation for me. Believe me or not. I never think about the final outcome. It's never about the final outcome. It's mostly about how I add these lines, how I add just thinner and smaller lines as we progress, using the tip of my brush, learning more techniques. That's what I think about, and that's one of the ways I have learned way more than I've thought about perfection. Perfection is not there. No one is perfect. And I would say none of the paintings are absolutely perfect. We don't need a final perfect painting. We just need good learning and progress, progress is most important, as I always say. You just think about the progress and rest. I think everything will fall in line automatically. Adding some of the blues into the wet areas, but you can see already the wet areas are no more there. Even I have added these lines just a few seconds back, you can see, but the paper has already dried up. I'm using arches 300 GSM paper, and that's one of the best that you have in the market. Still there's so much of struggle. Yeah, we continue to struggle, but that's okay. All of us struggle. Some of the other way we will be struggling with water or people. It's watercolor, right? We have to struggle a bit or else, what's the fun of working with watercolors. The whole fun is all about learning how to keep your paper for a longer period of time, or how to keep working on your paper, even when it is dry, how to overwork a bit also, right? Many of us have overworked in the past, and I have overworked in so many paintings of mine. But now, sometimes, you know, I just under work It's like I don't go ahead and work more. I've just thought to leave it like that. Maybe it's more loose and keeping it like that makes it look better. That's it, and adding some more of thinner lines as we progress towards the bottom. I'm very happy with how this has turned out. There is a medium part where you can see that I can see the reflection of the rock into the water, and I'm extremely happy with that part, adding some of my darker values over there, just near the cave and keeping it like that washing your brush and then again, blending it a bit. To show that darker value as we did on the left and on the right, extremely amazing how this painting has turned out and let's remove the tape and have a final look. 11. Day 5 Gazing at the Sea: All the colors are same, so let's have a look at it balin Kalo Green Ultramarine John Brilliant number two, Burn Cena and DK Brown. I must say that this is one of my favorite painting from the series because you are watching out of the window and you can see the beautiful seascape. I think this is my favorite, one of my favorites from the entire series, and let's see how we are going to do it. It's going to be a very simple process. I'm going to make a horizon line, and then we are going to mark a middle point. Now, this middle point is basically where exactly I would be drawing my window. The window is absolutely straight line that I did at this moment, but I would go ahead and make it a bit more rectangle. You will see that I have to take equal halves on the left, as well as on the right. And I need to also make a window like structure, which means that it would be more rocky. And that means there will be some amount of mixture of John in number two, Bncena as well as my favorite that is ultramarine. I love to see the granulating colors of ultramarine on the wall, and it gives the picture of how a wall is ruined over time, which means that there is a lot of wear and air which it goes through. If it is made out of stones, still it will go through a lot of wear and air, and that's what we're also going to show through this painting. I use a very lightrified pencil, which is two H. It's more like a drafting pencil. That's one of the reasons if you're watching on a smaller screen like a mobile, it might be difficult for you to watch these lines. I would highly recommend you to watch it on big screen like a laptop or an iPad that would really help you to understand where exactly I'm drawing these lines. I will draw two parallel lines. You will see how on the left, as well as on the right, we continue to draw these two parallel lines, make sure that it is equal on the left, as well as on the right. This is something that I must tell you the windows are manmade, and that's one of the reasons the proportions should be equal. We cannot go really off in terms of proportion when we are talking about windows or buildings, et cetera. If you are working on nature, that is plants, your ocean and some kind of rocks and all, you can for sure, go ahead and do as much as you like. But for buildings, et cetera, there is less way you can go in terms of going random or adding more randomness into it. It has to be in a particular way only as per the rule of perspective. I'm taking the help of a ruler. As I know, many of you might be bigner or intermediate level artist. In case you are an intermediate level artist and you are well versed with how you should draw straight lines. I would highly recommend you to use that technique. In case you are starting out, it's good to use a roller and understand how you can go ahead and make lines and then only start off with your painting. Once I have erased my middle line, I would go ahead and mark a horizon line, as I did tell you initially, for separating the sky as well as the land area, and then I would go ahead and start by marking my land area on the right inside. Along with it, make sure that you have a good amount of space which denotes your water. Of course, I did not cover the entire part with my sketching, et cetera. I tried to keep it as simple as possible. Always simplicity is the key in any painting that you are doing, the more complex is your sketch. The difficult it might be for completing or understanding your painting, try to keep your sketches more simpler. In case you are going with a line and wash in those cases, I would highly recommend you to go for more complex sketches and add a bit of light washes on top of it to create the final painting. But for the paintings where we are doing heavy washes and working on a 300 GSM paper, It's important to keep your graphite marks really light. Watercolor is a very, very transparent medium, and we are using the transparency of this medium to create some beautiful and vibrant paintings. You will not see that I will take more than four to 5 minutes to sketch the entire part. And then I would go ahead with my John brilliant number two from the brand leban this is one of my favorite colors, and this particular painting is done in two parts. One part, where we will be painting the window, and another part will be where we are going ahead and watching the sea. Now, the C, of course, is a very, very simple part that I have kept as we are working in a more complex not exactly complex, but more I would say, lines perspective, et cetera that we have added to the window compared to what we are going to do in our seascape part. Most of the seascapes that you have done till now, this is, I think one of the easiest of it. It might take a bit of time for making your window or sketching your window, rest, everything is really simple. Once you have added this color, please go ahead and add some of your burn Ciena. Now, the burn Ciena that I have is on my palette. I have been using this burn Ciena from the brand PWC for quite some years now. I have mix of colors from various brands as most of you asked me. I mostly use brands like majo Mission Gold ener, then incur Newton PC, Shinhan watercolors, and all of these are the major brands, which I have been using for many years now, and they're all artist grade. What positive that you get with an artist grade watercolor is if you apply one layer of it and wait for it to try off, the shade will be only one or two shade lighter rather than it being three to four shades as it has only binder and pigment in it. Rather than when you are using any kind of student red paint, it has also fillers in it. Adding some of the other colors here and there and blending it with the help of my thickest brush. I have been working with this thick brush for many years now. It is 1 " brush. Covering the entire space becomes very easy with this. Some of the spaces, I have kept it lighter with my burn sienna and some of the spaces are more darker in value. As you progress with the painting, you will understand that the darker values, which we have added for the window area are more to do with the shadows. And the areas which are more darker, that is on the top, it is kept in a lighter shade and value. I'm right now mixing two colors, which is my Burnsiana and dik brown. Tough you can also mix your blue. And this is my ultramarine, which you can see. The paper is wet currently where I am painting and hence it's more of wet on wet technique that we are exploring. Let your colors flow, let I would say, pigments dance, let your brush move around. This is something that I always love to see and I always love to create. I can only tell you the more you allow your brushes to dance and the more you allow the paints to move around, the better would be your painting. Mix your colors on the people, which means that once you have applied the burnt sienna, apply your ultramarine on top of the burnt sienna, which you have already applied, exactly the way I'm doing right now. And that way, what you can make sure is that some of the areas are really darker in values and some of the areas are lighter in values. The blue will be also seen as well as many other colors will also form in the process. This really helps you to show the worn out or the wear and tear over the years, which has happened for any kind of a stone like structure or the walls that that you believe is there or standing for many years now. Going ahead and adding some of my darker values. And this is my size four brush from the brand silver black velvet. It has been with me for almost five years now, and I have been enjoying painting with this brush. I think that the tip is now not that great as it was about four years or five years back, but my size six brush is still the same. I might have to go ahead and purchase one more size four, but usually these brushes actually last very very long. Adding some of my Bersana even on the top area. And then I did also apply some of my ultramarine towards the bottom part. You can watch very well that I continue to use my size for brush in few of the areas where I want to add some of my darker value. The paper is still wet, and that's a great news to be Frank. The paper is not staying wet for a longer period of time, and I have been struggling with watercolors. But when you are occupying or when you are working on smaller spaces, This is never an issue. If you're working on really, really small paper, even a 1805 GSM, 100% cotton paper is good to go. Time to mark the area of the hill where I would be adding the greener part, and some of the areas, of course, would be in the rocky terrain. The rocky parts are majorly with your darker values and lighter values altering. You can also go ahead and just mark some of these areas where you want to add the darker sheets and just shade it a bit. As you will I mean, no one will be in a position to see that through once you apply the darker value on top of it. That way, it becomes easier for you to frankly understand where exactly you want to add the darker value and where exactly, you want to add the lighter value. When I usually do my own sketches, there are times where I do these exercises for a better understanding of my color shade value, stones, et cetera. I really wanted you guys to also explore it a bit, and that's one of the reasons I did show it to you on a smaller space like this. Continue to add a few more lines with the help of your pencil shading and then taking it towards the bottom area where exactly the rocks will meet your water. Where exactly the rock meets your water. That particular part is, of course, dark, and you can continue to add some of your darker parts there. I think I'm good with the pencil sketch now, and I would let it be as though there is always a tendency even with me to overwork sometimes. But it's good. I mean, if you don't overwork, then you really don't get to know what are the learnings or what you did as a mistake, correct. So nothing is bad in watercolors. Earlier, I used to think this is gone wrong, this is bad, but now I appreciate everything that happens in watercolor. Go ahead with my burn sienna and then just blending it with some water towards the top area, I did add it and then adding some water again to low it down in the tonal values. Finally, I guess it's important to continue painting with your darker value of brown as you see over here and then add some more of your burncena towards the bottom area. As I did tell you, that would be way more darker, correct. So keep all those things in mind and keep a real picture of it in your mind when you start painting it. Just fill up the area, which is white, and then start adding some amount of your blue. The paper is still very wet. At this moment, at night might not be the best time to continue adding all your colors. But some of the spaces which look a bit more like done, or it is a bit drier than what you usually see in terms of the water being there. You can add the darker value of blue there or the brown as you want it. I will not say that you have to really use the blue, but you can always try it, you know. It's great to try out shades. It's great to see how the water is being done or how these whole rocky terrains are being done. I'm using my size one brush at the moment to create these darker shadow areas of my rocks. Paper is wet, as you know, and this is a really, really small area. So everything might not be seen in the best possible way, but that's absolutely okay. You do not need to have a lot of detailing at this stage, a bit of detailing and that's good to go for us. It's time to work on the greens next. I would go ahead with a very light value of green. It is my yellow green that I'm applying right now on top of the brown rocky terrain that I did add earlier. And then I can go ahead and add some of my darker value of green in some of the spaces just to show light and shadow as this looks really flat and I don't want to have an absolute flat color. In each and every space. I'm using again, the ultramarine, but you can, of course, blend it with some of the darker values of green. Keep it simple, keep it easy. It's not that you cannot cover it with some more of your yellow green. I'm again adding some more of my yellow green and then covering the spaces where I need it's necessary. Go ahead with a smaller brush or that way, you can really control your darker and the lighter value of green. This bigger brush is difficult to control if you are new to watercolors, and that's one of the reasons I would like to suggest you to go with a smaller brush. Adding some yellow, and you can see I continue to even pick up the colors wherever I think it is necessary. Okay, great, let's just blend it a bit and then leave it. We will start out with our water after this. Water again, would be either in compose blue or cobard grain or any of the lighter value of green shade that you can see. Go very easy towards the top. I'm adding this cobalt green color. And then as we come towards the bottom, we can go ahead and add some of our darker values. At this stage, you can do one more very simple trick in and around this window where there is a square like structure. You can add a masking tape, and that way, it is way more easier to cover the entire wide space of the water. You can do it. You can avoid it. I would leave that up to you, but it's a good way to use the white space. And that way, what happens is, you can also control the colors and the final outcome. It will not move into the rocky area, or it will basically move into the rocks as well as the walls, which we have added for the window part. Blending with some of my darker value near my rocky terrain of the beautiful seascape that I'm painting right now. Super excited and happy. Believe it or not, this is a very, very exciting and amazing painting that you are going to attempt. You are looking out of the window, and if you can see such a peaceful, meditative and nice serene seascape, who will not be drawn towards it. I think I can only imagine it and be happy about it. It's already very hot in this part of India. And I'm really waiting to go to any of the places, which has beach, and I can just enjoy some good time over there. Blending it with some of my tromin as I go towards the bottom area, and then keep blending. You can see that I'm using the vinci size zero brush for doing whole of this exercise. It's good to use your bigger brushes if you are comfortable with it. Believe me or not, these are few of the brushes that I have been using for years now and they are great, even after years of use and regular use day in day out. Okay, let's wash our brush and just finish off by adding some more colors in the white of the area for the water. Adding a bit of teal blue towards the top area of the water, and then I will just blend it a bit with my clear brush. I mean, with clear water, of course, which is there in the brush. Add a bit more of blending into the space that we have created for our seascape area, and then let this part dry off. I would like to let this part dry off rather than continue working on the sea right now. We can work on our window as of now, and add the shadows, as well as some cracks, et cetera, which would make it look like as if there is a lot of wear and tear, which has happened over the years, which means that rainfall has happened, snow has happened. Son the sun rays would fall on it. And overall, yes, you can see a lot of changes in the color. Some of the spaces are darker. Some of the spaces are lighter. I'm really not comfortable using a thin brush. I might have to go ahead and switch to a bit more ticker brush. Of course, it has to be the wise or some kind of silver black velvet. Size six brush. Both are good to go at this stage, and I'm using the same colors that you always find on my palette. These are the shades. These are the common shades you have been observing me using for all my paintings, and they would remain same for all the paintings that we are going to do except one or two even in our paintings from day nine onwards. Believe me or not. All the days you can attempt. There is no difficulty in attempting any of the days. We start from sketching and go till the end, which is the final painting. I explain each step in absolute detail and every video is real time video. You can paint along with me. So continue to add more and more cracks, ridges or I would say, darker, lighter values. It's a wall, and we have to make it look more like a wall. Adding some more of my darker cracks and then blending it with the background, which we have already added. This background is dried off completely. So there are less chances that the colors will mix up at this stage. You will only get the colors that you are adding right now in the shadow or the cracked up areas. Adding some more lines with the help of my thinnest brush, that is size zero, and then again, adding some more of these crack like structures on the left. I would continue to again repeat this process in a few more areas and then make some of the parts more darker as we have already done this. I know it's a very, very iterative process. It's not that something new we are doing. And one thing that you have to always keep in mind is try to just blend the darker values a bit with the background. That way, it would look more organic in nature, and it doesn't look any way artificial. I am using my dry brush technique to add some dry brush stroke in few of the areas, but with a very, very light value of the darker value of brow. Continue adding some more lines as you see me adding towards the top part. The bottom part is done, but we have to also work on the top part of these walls. So let's go ahead and add it. I'm using my size one brush as of now, but I have to go ahead and use my blinding brush for sure. So I will also do that using my free hand line at this stage to go ahead and add a few lines over here and there. I guess this is something that I can appreciate as I understand most of the painting is close to being done. Whatever we are doing right now, believe me or not these are more of detail. If you see in totality some of your painting is already I would say 70 to 75% of your painting is done. It's only the last 20, 25%, which is left. Some of the area near the rock, I know it is way more lighter than it should have been in terms of the sea. So I will just add a bit of green and then just blend it with the background color. We will work on making some lines and into the water. After this, it's a very, very interesting process, we on method. That I will use for this particular excise or this particular part of the painting. You have already done it in our day one, and we are going to use the same technique in our day five. Yeah, we are already on Day five. I'm super excited. The one third of our class is d done, and we will be working on the next two thirds as we progress. Adding a few more lines towards the bottom, as well as I would take it as we go towards the horizon line. When we are at the bottom, you all know that the waves would be thicker. And as we progress towards the top, the waves that come up are more thinner as it is far away from our eyes, and we cannot see it very clearly. That was. We will just keep the area near the rocks or near the land, basically, which we did paint a bit more darker and rest would be lighter and lighter waves. As we continue to paint with our size one coda Pol sis. Pool is, again, a very beautiful series that I have come across. It has got a very nice tip, and I use that tip to my advantage in most of my paintings. At this stage, all I can say is less is more. Do not try to cover the entire paper or the page where you are painting the sscape with as many waves as you want, it's not required. You can just add a few and that can really do the job of showing the waves in a better way. Why to actually go ahead and cover the whole of the paper or the whole of this blue area with more and more waves. When you can work with lesser number of strokes, do that, if you still need, then of course, go ahead and add some more. Adding a few more lines and then breaking it, adding the cracks and making a few more cracks with my lighter. I would say the tonal value is lighter, but it is of a darker pigment. I'm mixing some amount of my blue into the burn Cena, and then now just adding the crack, darkening it in few areas and letting it dry off after this. There's not much to be done. As I did tell you. It is more of refinement, and it is more of detailing that we continue to work on at this stage. Now, since the more detailing, as more and more detailing you are going to do, the better would be the outcome for sure. I can say that as we have a lot more space, which is left. Which can be really covered for showing this particular area of the window in a better way. There are two stages of this painting, as I did tell you initially on. One would be this window part, and another would be the C scape part. The C scape part is way more easier, and the window part is again easy, but you have to mix your colors or at some darker and lighter values wherever it is necessary. So all those things you need to continue working on till it is done. I will go ahead with a gradient wash for the sky area, which is still in white as of now. We will also work on that area and create the gradient wash at the end. Almost done with whole of this part, some more darker value and then touching my brush and making it a bit more I would say nicer in look and feel and touch. So all of it makes it look way more interesting. Using my size four brush and adding more shadows, blending it, you can blend it with any brush of your choice or wash this brush. Then again, blend the colors as I continue to do it over here. This is a great way of progress. Believe it or not, it in sense steps, but we get to learn so much in the whole of this part as there are more elements that we have added on rather than only getting fixated on sea or ocean, which we have done earlier. At this time, you need to step back, relax and think what is exactly left. Do we really want to retouch all the areas or do we really want to leave it as such? Those are the decisions you need to take at this stage. Continue to only work if it's needed or else don't work on it. You have to make a gradient wash for the sky. Do remember that. We are going to work on that particular part for sure, but are we going to work on all the areas? Exactly, no. Why? Because we are done. We have to always think with a mindset that less is more, and I'm not going to touch all the areas even if need be. Using my flat brush to add the ultramarine. Right now I'm adding the ultramarine towards the top part. Slowly, you will see that I will blend it with clear water as we come towards the horizon line. I will continue to work on it, bring it towards the horizon line, a more water, and then again, bring it towards the horizon line. This way, we continue to work on the important aspects or the parts of our sky area and keep blending it as we work slowly towards the bottom part. I think it's good we should let our sky dry off, and then some of the areas if need be. You know that there is some shadow which we have to create. So I'm going with my flat brush to only do that. I'm not going to touch all the areas anymore. Let it dry off, have a final look at it, and I'm pretty sure about it, you would be very, very proud of yourself with what you have created. Believe me or not, creativity is not easy. And you have done a very, very difficult job at this stage. So tap on your back, be proud of yourself and know that we have completed day five from the series. Super excited to share the day six. It's an amazing painting with lots of reflection into the water, which we are going to create, and it's a lighthouse that you're going to paint with some rocks, et cetera. Okay. I can't wait to again, see you tomorrow, and once you are done with this, do upload the project and the project section. Do not wait. I am eagerly waiting for each one of you to submit your projects. Let's meet again tomorrow then and I will finish this for sure before I leave you guys. 12. Day 6 The Lighthouse: Colors are tram, bar, green, Burna in number two, red and paints gray. Excited to paint the lighthouse, but before we paint the lighthouse, it's important to do a rough sketch of what we are going to paint. Let's go ahead and mark our horizon line. Once we have marked a horizon line, it's important to go ahead and then start out by marking the rocky area on top of which there is the small lighthouse, which we are going to paint. Okay. I was not very happy with how the light turned out, free hand drawing. So yes, I have gone ahead and make it a bit more even. This is a choice that you have for yourself. You may do that, you may not do that. I would leave that decision up to you. But going ahead and making this whole structure is something that I am very, very excited to show you. As I know that there is a lot of learning which we are going to have in this particular painting. Why so we haven't approached a lot of your reflection of a particular object into the water till now, and this painting is going to do that for us. Making a few lines that would actually help us to detail the rock in a better way. I'm making easy details on my rocks. You will understand that we will just mix a few colors and create the rock. Along with it, only these lines are going to denote the formation of the rock. Make a middle line and then you will go ahead and start adding the structure of our smallest I would say, the lighthouse that you want to make. Of course, you are looking it at a distance. It's not just in front of you, absolutely, and that's one of the reasons you see it a bit smaller than what you would have observed, it would have been just in front of you. Adding a bit of I mean, thicker lines and few of the places and thinner lines and e of the places. Some of the place. I like to detail it a bit more. I can see it even if there are darker values applied on top of that particular space. This particular space would be having more of maroon kind of a shade and hence it's important to just mark out these areas in a better way. Adding one more line towards the top area and then making the top area. It's a small structure. So don't be lot carried away with the structure. I would say it's not an overwhelming feeling at all. The structure is easy. You can go ahead and make a simple structure like this, whatsoever it be and then just add a bit of a triangular top. As you observed me doing over here, add a small line towards the top and break your top part of from this particular lighthouse into 223 parts. I would say not exactly the top part. I mean, the bottom part into two two areas where one part would be darker. The front part would be a bit white, and then again, it would be darker. Exactly how you have seen in the initial when we were discussing the colors, adding my line, and then I would just let it be as is. I'm not going to change a lot as of here. It's a simple and easy painting. So let's do it now. I will go ahead and make my sky again, very simple. But for denoting the horizon line, I will add a small hill even for my background. Now, for my background, I do like to keep it simple, but adding a hill really helps me to denote all of this in a better way. That's one of the reasons you would have seen in many of my paintings now, as well as which the projects that we are going to do in the future is going to have this kind of denoion of line. Adding the reflection into the water. I don't have a very, very dark graphite mark pencil. I usually don't keep it as I did tell you even in the initial parts while we were discussing. You know, watercolor is a very transparent medium, and because of its transparency, if you have a very, very dark pencil, it becomes difficult for you to have a outcome that will not show off the graphite marks from the bottom, and that's one of the reasons I like to keep my pencil marks pretty light. In this case. You can also go ahead and erase it with the help of a needle eraser. For me, I keep it very simple and easy this way. Okay, adding some of your darkest value for this particular part, and then I'm trying to actually make the reflection on top of the waves. There are waves. The waves are similar to the ones that you have done in the cave area. Of course, none of them are absolutely straight that we have done till now. There has been directional wave in most of them or there have been curve kind of waves. We're going to do more of them as we progress. But yes, at this stage, you can see that we are going ahead and trying to make more curve like structures. Everywhere, whenever you try to paint waters, waters will not give you straight waves or one single directional wave multi directional waves that you would getting or sometimes even round, semicircular, et cetera. So all of that, let's try to add it even over here. Add some of my tram for the top area of the sky and then creating a gradient wash. You all by now know how to create the gradient wash. It's easy simple add some water as you progress towards the bottom area or above the horizon line. Then go ahead and start out with either your rocks or water. I'm going ahead with my water. This is either the cobalt tring you can take horizon, blue composed, blue. These are few of the colors which are great option. You can also mix your tailor green with any of your sorry, I mean, your tailor blue with any of your dark greens or yellow to create this kind of tailor green and mix a bit of white to get a color that is similar to this one. It's all your choice, what you want to create the colors that you want to have and the final outcome that you would love to actually progress or have in your progress thing. I am in love with the color called cobaltrin and I have been using this color for a few years now. Most of my waters, if you see, do have this color a lot, and the usage is pretty high in that case. I have used some amount of ultramarine in the middle. As I go towards the bottom, I'm trying to make it more and more darker with the help of the tailor green. Now, either you can create this darker value of tailor green or else I have the tailor green from the brand Daniel Smith watercolors. You can also have any tailor green from a particular brand, but make sure that it doesn't move a lot. Now, what do I mean by it doesn't move a lot, that it should not spread a lot and that way, frankly controlling the watercolor becomes very tough when you are planning to make waves, et cetera. For me, this turquoise or tail green from the brand, Daniel Smith is an amazing shade, and I have been using this color for a few years now. I know how good you can control this color, and that's one of the reasons I have even told you that you can go ahead and purchase this tallo turquoise, teal green from this particular brand. Okay. Adding a few more lines, you can see that they are a wet on wet kind of technique, which we are doing. So in this particular reflection, we will go wet on dry. But at this stage where you're creating the waves, it's wet on wet. Wet on wet and wet on dry goes hand in hand. I must mention it to you that usually when it is in layers, layer one may be your wet on wet. Layer two may be also wet on wet, but layer three, as you go may go to a wet on dry method and you can frankly complete most of your paintings within the first two to three layers. You frankly do not need anything more than that for completing your paintings. Adding a few more lines. And once we are done with these lines, we will start out by adding some of our thinnest details or thinnest waves as we go towards the top. You will see that whatever you observe from a close, whether it'd be water, sun or any kind of rock, whatever you're observing, maybe a sunset that you're observing, very close close. I mean, on the beach you're observing a good sunset and it's absolutely nearest to the beach and observing it bears If you are observing it from a deck, it might just appear a bit more far away. And that way you will have more details of reflection into the water, et cetera that you can see Very well for the sun when you are just on the beach rather than being on any kind of restaurant deck, et cetera, which is a bit far off at least if I see and what I have seen from my eyes. Most of you know that I do visit on any kind of ocean sea. I need the spite from the sea for sure. Yeah. It really attracts me to a great extent and I do go every year in one of the beach locations for sure. Okay, adding one or two smaller lines as we go towards the top, I use the tip of my brush for doing this. The tip of velvet brushes are amazing black velvet brushes, and I can get exactly the outcome which I do think of Okay, great. Let's go ahead and just add the brown. The top area is day dried off, and this is practically painting in and around your horizon line. The horizon line is day denoted, and we are going with our Burnsena at this stage. Next step is to just first complete this hole of the white patch, which you see over here, and then mixing some amount of trimery towards the bottom area, which is basically my horizon line. I have been doing this mixes, as you can see even in my previous paintings. I would say that start out with your first painting and then go to the six 30. It's not like you can always, of course, jump if you are an immediate artist, but the preference is to go step by step, as it is very bigofriendly and initially, and as we progress, it stays at the same level till the eight day almost. Then we will again level up from day nine til the end which is basically D 15. Now time to switch my brushes, to size one and then just mix it with my ultramarine to create this beautiful shade which you can observe over here. It's a mix of your darker value of brown, some blue, burniena, whatnot. I guess, one of my favorite combinations always to work on. I would do the same process even towards the right part. Um, nothing different that we are going to do for most of the rocky areas. I'm going with the same similar kind of work or the similar kind of mixes, either on the palette or on the paper. Yes. If I have a larger space, I love to work on the paper. In case I feel that it's better to just mix it on the palette and put a few lines on the paper, then I do it that way. Overall, the mix remains the same. It's just the palette or the paper where you are mixing your colors changes to a great extent. This looks fantastic to me at this stage. Excited to just complete the water area even on the right side. Let this part dry off and then use any of your brush to just fill up this particular area. Once it is done, again, let it dry off orals, you can also start out with your reflection. I prefer going with my reflection at this stage so that I'm done with my reflection. I know how this reflection has turned out in case I need to go ahead with one more layer over my reflection. I can do that. That's my reason for making the reflection first and then going with the top part. Adding some lines, I go very slow at this stage. It's a very, very important part of our painting, and I do not want to fast forward this process. Having said that, many paintings, yes, I have done very quick easy and all, but this painting is really my heart, believe it or not. All the reflection, all the water paintings is something that I have always always fallen in love with. Painting waters is not that I do it daily or I paint every day water. But whenever I'm painting waters, I take a lot of interest in it. I sit, I understand and then only progress. There is a stepwise approach, which I always do, and that's one of the reasons all of these paintings are real time videos so that you exactly know that all these paintings can be done within the stipulated the that you also over here. A bit here and there because of the drying time and all that, of course, will happen, but rest, everything remains same. I'm using my mob brush to add these smaller lines. As you can see, we did even add it with the help of our pencil, and I'm breaking up these waves a bit and going with basically filling up all the graphite marks that we did add initially for our wave structure. Breaking the waves, adding a few lines here and there, and that's it, we are not going to add a lot of them. Always know that lot doesn't work, less is always good. That's one of the reasons I always say less is more. Believe me or not, it has been my Ma for so many years now. I have realized that if you actually work with less colors or you actually work with less strokes, not filling up the entire space, you get an outcome which is up to your liking, which you fall in love. Adding some of the darkest value towards the bottom part or exactly where the rock meets the water. This is usually seen and that's what I'm also going ahead and adding over here. This is my darkest value. You can go with any mix of ramen and your paints gray or maybe a bit of your you go into it to create this. Finally, it's my lighthouse. I'm super excited about it. What I did, I mixed a bit of my paints gray into the pink or the red which I had, and now I'm going ahead and extending it a bit below. If you have any kind of maroon already existing with you, you can use that maroon and the color would be something similar to the one which you observe. All the colors, I don't have it available with me. Believe me or not, I keep creating the sheds a lot as you observe me either mixing the colors on the paper or on the palette, there is a lot of mixing matching which I continue to make and work around with. Okay. Great. Let's go ahead and even fill up the bottom part of this lighthouse, and then we will work on the smallest of the details. I love to go ahead and just remove the extra colors from any space there. I think it is not necessary even with my fingers, that's okay. Everything can work for you. Anything and everything can work for you is what I would say. Okay. Adding some of my darkest value lines just to outline a bit and then adding a bit of blue for the door area of this lighthouse. We can go ahead with some lines, a few more of them. This is just an absolute detail. You don't need to have a perfect outcome and nor I am looking for that even in my painting a bit of darker and lighter values added to create lighthouse that looks more realistic and original. That's the whole approach. I mean, not I would say it's not 100% realism that I am trying to approach, but what I'm trying to get is lose yet captivating kind of artwork where there is realism to an extent that we add on it, but in our own way. In a way where you can actually show your artistic voice at how you proceed to see the things. Continue to add some of the darker values again. Then once this part is done, we will work on our rocky terrain. Rocky terrain is not going to be simple. Believe me or not, you have to work around with your burn. John Brilliant number two is again a shade that I have been working very regularly with, and I would be even using it over here. If you don't have the shade, you can mix any amount of your Naples yellow into the Barca and get shape that looks similar to this one. Even yellow occur is great. This one is a bit more pale in color, and that's one of the reasons I love this shade more compared to mixing the colors. The idea is to get a shade that looks similar, nothing else. Blaming it with my burncena a bit, and then we will add some amount of our ultra meine. You will see how we continue to add some amount of our tramearne into the major rocky area that we have wanted to actually add into this painting. You'll see that ultra meine creates a beautiful, I would say. This is one of the most I mean, most amazing experiences and post captivating experiences that I have with so many colors that if you have a ultramarine into the burn Ciena, it ends up not only creating granulation, but also so many colors within a small part when this mix happens on the paper, and that's what we are also going to achieve through this particular part of the painting. Just blending my blue again into the sana and then creating the darkest value. Let your paper dry off after this once you have mixed this area, and then we are going to create some lines to actually show the rock formation in a better way. This is not a better way, but yes, a bit more detailing is all I can think about when we work through the rock formation. Blending some of my darker values for the water area, and then just adding it on top of the colors that we have already added, not going over different area anymore. It's just making it a bit more dark. That's all. We are left out with the final 4 minutes. And at this moment, you shod know that we are just going to add few details and. All the painting is in place. What we are going to do is to make a few lines for basically showing the rocks. You can see these kind of structures where there is usually a bit of shadows or there are some cracks. None of the rocks are a single rock without any wear and tear. There would be some kind of wear and tear because of the weather conditions, because of the water coming over and over again to the same place, meeting the rock. All of this is nature, and we are also going to go ahead and do the same in our painting. I'm going with my smallest brush and it is pretty meditative along with it. It is just pretty iterate. So there is not much in terms of addition that I can tell you except a few curvy lines that you need to add. Some of the spaces, we will meet up with the rock. And while you go to wit the bottom part, the lines would be a bit more tickle and broader as the cracks originate from that particular part. So, that's how we are going to continue to add a few more lines here and there. Complete it. Just follow how I work in and air down it and then let your painting dry off. If you have been painting along with me and you have reached the six, believe me or not, you have done a lot in terms of watercolor sea skates and you are already eling each part of it. This really needs a tap on your back. And I'm super excited about the next two paintings which would actually make we will be completing our Part one. Moving on to Part two post Part one has been very exciting for me. I am so glad that all of you are joining in and actually considering to watch this class. It makes a lot of difference always. Continue to add a few more lines as you see over here, and then of course, you need to let your paper dry off before removing the tape pattern angle. That's something not to be forgotten at any point in time. Most of the paper is actually dry now. It's just these few lines, which we are adding towards the end, which needs to get dried off. See you again tomorrow with another new painting. 13. Day 7 Sea Beach: Okay. Colors are composed blue tra maarin grain in number two, burn Siena pain creen indthree blue, royal blue, vendi K brown, yellow, green, dark green. Okay. It's our seventh day, and I'm really excited to teach you this lesson. First, let's go ahead and just do a basic drawing, or you can say it's a simple sketch of the final painting that we are going to do. This helps me to bring together the framework, and I have a rough idea in my mind how I want to progress. The first goes as my horizon line, and once I have added the horizon line, I will go with my waves. All the waves are kind of layered waves over here. You can see one of the waves is a bit far away. Then there is a second wave, and then they goes for third wave. This is as for the rule of perspective, they all go and merge to one single point towards the right. While we go towards the bottom area, you will find more of rocky structures and a bit of greenery, which I'm going to add. The whole of the painting, which is majorly my C, et cetera, is pretty simple. Only a bit of rocks, and the greens which we add is going to take some time. Let me just leave you at this stage to understand how I add microphyte lines and how I draw my rocks. Rest, we are going to start out with all the colors, et cetera, as we progress. You already know the colors, but what colors exactly you say, you are seeing my palette on the left, and almost the same colors we are going to do even on the right side. Only different shade that is coming in this time is compose blue. Now, compose blue is very much a color that looks more like the royal blue and a bit of green in it in between the cobalt green and the royal blue. Something is what I can understand. That would be one of my basic colors, which I would be going ahead with for my sea. Continuing with our sketch. Now, there are few of these greens as I did tell you. Now these are small plants and there is a sea breeze because of which these waves are coming. Now, when there is a sea breeze, you will see that the leaves will fly from one single direction to another direction. And mostly all the leaves that you're going to see is going towards the right. That's it, what we are going to show over here, and going ahead with our John Brilliant number two. This is one of my favorite shades from the brand hole beam. Though you can get similar shade in many of the other brands all yellow occur might be a shade that is quite closer to what I'm using right now. Whatever is available on your palette, as I did tell you always, even in all the other different exercises as well as days that we have done that whatever is in your palette, you start and start with your painting. Only make sure the water colors that you are using is hardest great because then there is a lot of transparency in your colors and you may not have to go ahead with two to three layers for your painting. I continue to cover this whole of the area and then take some of my compose blue as I did tell you earlier and then blend it with my John brilliant number two. Now, these are the sheets which I primarily use for all my beach paintings. You will see that all the sheets which I'm using even right now are the ones that we have used previously in all our paintings. Nothing extra or nothing new I add in any of these paintings, except the fact that all the ways or different kind of ways in which we paint the beaches or the subject, et cetera. The left one that you see over here is a crashing wave. And we are going to attempt that as our day eight. Once we are done with our day cell. So something that I have learned over time is that you need to continue to understand and continue to develop your skill set. Even if you are attempting only one single subject that is painting beaches or painting the sea, you can always just go ahead and see whether you want to paint simple waves, whether you want to paint some crashing waves. You want to paint reflections, rocks, island, et cetera. Whatever will be the best you can go ahead and do that. Towards the top, I have added the arumery And if you don't have this color, you can also go ahead with don free blue to don free blue might become a bit more darker, but that's also always a good substitute. You can see that my paper is still wet and I'm going ahead with my darkest value of brown to some of the spaces and basically to cover some of the spaces which are still in the lighter value of the John brilliant number two or the brown sheet, which we have added. It's always a mix that you go ahead with. It's never or in the first go where you add your first layer, you can never see how this whole painting is going to turn out, and that's one of the reasons. If you're not happy even in your first or second layers, do give it a full fry. Go ahead with the floor, understand it, law, unlaw, whatever you want to do, please do that because the first painting that you are doing might come up with challenges, but as you progress, and as you continue to paint the same subject, you get to understand what's the best. What's not working out for you? What's working out for you? Yes, there are a lot of things that you continue to develop. Adding some of my blue colors in the darker values. That is majorly a mix of my teal green and ultramarine. I will add it on the wet paper. Now, this is a 300 GSM 100% cotton paper. You can see that only three to 4 minutes or 5 minutes have gone by, and if the paper is still wet, that's one of the reasons I can continue to work on it. I'm mixing some of my darker value, which is my paints gray to wet to continue adding some thinner lines. This is my size one brush from the brand coda. You can go ahead and always purchase a brush like this. Believe me or not, this is one of the finest and good brushes in an affordable range. If you are looking out for something like this where you get a great outcome, as well as in a good range. I think coda Polar series is one of them. While I let you know all this, I have added a bit of blue towards the bottom area, and now I am going ahead with my green. Now, this green is majorly my yellow green from the brand majo Mission gold again. You can go ahead with any green that's available with you. Now, I'm going over the brown. Which I have already added. So this green will have an underlying, you can say brown, and that's one of the reasons it may appear a bit more darker than what you usually observe in my o paintings, going with some of the darker values, I have mixed my alto meery with burn Ciena as we have done this exercise even earlier, and there is a color mixing part where you might have also seen it. But this is one of the most amazing techniques that I have learned over years. Believe it or not. This did not come to me very arly and it is one of the best ways to mix your color and get the darker values of brown whenever you need it. Blending it with the help of my flat brush, and then again, lifting up some of the darker values of the color, pre applying it in the areas, wherever I feel that the colors have gone a bit more lighter than what I did expect. I will go on top of the rocks with a blend of my darker and lighter value of brown and then again mix that color towards the base area of the left as well as on the right, along with the green. It's time to paint the sky, and I will go ahead with my royal blue. This is one of my favorite shades. That is anything where I want to paint lighter skies, et cetera. This is one of the colors that is my co two shade. You can also go ahead with celium blue if you are not having this particular shade in your palette or else go with some amount of ultramarine on top and then bring it towards the bottom with the help of water, that is making a gradient like structure. I'm also going ahead and adding some of my ultramarine towards the top and creating the gradient. You can always create the gradient with one single color or with multiple shades that I will always leave the decision up to you. There is one great use of my flat brush. I have done that earlier, and I'm repeating it again. I use it to just pick up my colors. In few of the spots where I think it is not necessary or it was not required. It has gone above the horizon line, et cetera. It's a great way to work it out. Now it's time to add some more lines and create some waves. I'm going ahead with my brush. This is from the brand silver velvet. I have already told you about this brand and all and it's an amazing brush. It has got a great tip. You can make smaller lines, thicker lines. You can add a bit more pressure and make it a bit more thick. If you use the tip by adding only a little pressure, you will get the thinner lines that you see me adding over here. We continue to do the same exercise. There's not much. The blend of colors, of course, is ultramarine and the existing shape that I had on the palette, which is some amount of compose blue and you can add either do three blue or some amount of tail green. That also works. The Taylor green many of you are inquiring is from which brand. It's basically Taylor turquoise green or you can also see as tail green from the brand, Daniel Smith. Daniel Smith is again a brand from US. You will get many colors from them, and they're all artist great colors. Go ahead and check them out. If you want to really try. This is a beautiful shade that I've been using for a while. Going with my PH Martin white shape now to apply some of my white over here for creating the wave structure or just adding the white form of the wave. Do make sure that you are going with the tip of your brush, rather than with a lot of pressure initially only to create thicker waves and This is a simple easy. Yes, we are done with most of the part within the first ten to 12 minutes. What are we going to do next is something that you all will be thinking about. There is a lot of fine tuning that we do in this painting. Why I say this, it's not only about creating wet on wet or wet on troy adding just one layer and getting done with that one single layer. There is mot and that's what we are going to explore through this painting. Continue to add this white gash, or you can also go ahead with Gash if you don't have this particular shade available with you. That's an amazing color to go with. I mean, the titanium white is also opaque in nature. As I told you, that's an amazing color to go with. Or else, you can also try the PH Martin white that I'm using. You can also go ahead with white oh, but do not go with acrylics. Acrylics and water color don't wear together as I am not doing any mixed media kind of fart, we want to stick to only the mediums that has water in common, and all of these have water in common. Working with rocks and the structure of the rocks is something that I have been thinking about, and I really want to work through it entirely always in most of my paintings. Some of the darker values and few areas and some lighter values in some of the areas, making sure that we are altering the values to a great extent. Okay. Why values is so important. Now, values usually create the light and shadow effect that we need in any kind of painting, as well as the values play an important role when you are defining perspective. Now, why do we have maybe something that is far away from our eyes may become way more lighter and it is not at all detailed compared to the ones that are way more closer to us, and it is more detailed as you have darker lighter value and a lot of shadow and light play in it. It is more impressive to our eyes, and that's one of the reasons I have always stressed upon the different values of the same shade that we have been using. You have seen me mixing the same color that is ramain into the brown, whereas going with it in different values in various layers that we continue to add on our painting. I guess this is a very small trick that you can use in all your paintings and create very impressive final outcome. I continue to work with some more of the darker values for our rocks and give a final finish to this part. Once this part is done, we will work on our grains. There is very less at this moment that I need to tell you because of our water, sky and land, which is the major portion in our painting and that we are already done with. I'm going with my John Brilliant number two to add some of the darker values in few of the areas where I think it is necessary. For last four years, I would say, I have struggled to paint rocks. It's not pain and easy journey. Believe me or not. Creating rocks was a nightmare for me. Slowly all I realized for rocks is that you need to only play with the values. That's all. It was a very easy concept, but I really could not get it As I progressed in my watercolor journey, everything I could manage to do, but rocks used to be a nightmare and I never used to paint rocks in any of my paintings. You can see all my earlier classes too, and this is a kind of point that I'm making over here. Many of us have some other things that we don't like to paint, or we just don't want to paint but making or continuously working towards it, understanding the concept and trying it all over and over again, really helps us to develop our skill set and also helps us to manage our learnings. Now, earnings is a continuous process, whether you are a teacher, student or even you are doing a side ssle. Learning is a very, very constant aspect that we continue to work on as we continue to progress in our journey. Okay, adding some more of our greens and a few of the places and then making it more dark. You can see that I'm not making it very dark, whereas I'm not making it lighter too. Some of the areas are a bit darker and some of the areas are less darker. Okay. Though I would say that this is very, very thin space and there is not much to play. So go as you would like to its size one or size zero brush you can pick up to do this exercise. I am just applying a bit of pressure as you see, and then again, lifting the pressure. I will do the same process here and every leaf is done with the same process. There's nothing. I mean, no difference that I try to create in this space. Some more leaves are being added and some small small dots or grass like structure are coming up in the background area. I love to leave some of the spaces in the background color that we have applied. Everything that we have applied, I don't like to cover up. This is something that I have always always followed throughout my journey of water colors. Never cover up the entire space. Leave a bit of space, which is needed. And whenever it is needed, you should leave that space and then only continue to add more lines or structures wherever it is, or whenever it is needed. Smaller lines, smaller glass grasses, and I guess almost a painting is done. I will add only a few birds in the empty sky. It just looks too empty, though. The vastness of the sea always always attracts me, and it is something that I have wondered how beautiful nature is and it has so much in itself. Okay. The darker values that I did add for my leaves. I have also added some dots in the background. This I usually do in most of my paintings. You will see that I like to use the same color in the background as well as the leaves or the trees. It's a great thing that you should continuously work on, always always use whatever is there on the brush rather than washing it away, and it helps to create a color scheme that is very pleasing and soothing to your eyes. I've added some dot, and with my hands, I'm just blending it with the background. You can add some more dots and do the same process. We will even go with a dry brush technique like this. I'm adding over here. I have already picked up all the extra paints from my brushes. Again, taking it off on the tissue and then doing this dry brush technique. This can be done with any brush, but yes, round brushes are best to go ahead with. Many of you might feel that I've been rough with this brush. Believe me or not. This is one of my favorite brushes and it stays the same, even if I'm being rough at some point in time. It's one of my comfort brushes to go to. I am now just letting this look as is taking a step back, realize what more I should add. I think it's only the birds that's left and rest, everything is the same. I will add I think two, three, four, five birds maybe, or five to seven birds is all we need. It's a fleet of birds that we can go ahead and add in the sky. Remove the date and have a final look at the painting once you are done. Let it dry off before that. 14. Day 8 Crashing Waves: Let me walk you through the colors at StrameGcia bar green or composed blue, tail green purple Bandke brown, in number two. I have kept this painting for the last because this is one of my absolute favorites, which is crashing waves. Watercolor ocean waves I have given two classes on it. You can go ahead and check them out. They are having a variety of ocean waves in it and you can always refer back to it if you want to paint more ocean waves or crashing waves, et cetera. This particular painting is more to do with crashing waves, and that's one of the reasons we have to first mark a horizon line and then go ahead and add some of the stones. How do I add the stones? I start with a few curved lines, and then I would be adding some of the spaces where there will be darker values. You will see how I use the blue burn Ciena as well as John Billing Tamper two to create all the shades values, et cetera within this small part of the rocks. The waves are coming and crashing over these rocks. We will be using some amount of masking fluid along with it, some of the white sh. Though if you are someone who is very confident about masking out the spaces, not masking out the spaces and just going ahead and creating the colors wherever it is needed, you can do that. But I would highly recommend you to mask out the areas before you go ahead and paint crashing waves. I'm Simmon who is in love with the mastic part at least for the crashing days for quite some years now, and it works out best that way. Go and adding some of my other rocks, and then we'll just add the darker values in the areas where there is a shading of the graphite mark. It becomes very easy that way just to track back and rely on the fact wherever you have added the graphite mark, you need to add the darker values there rather than adding it on the entire space. We do have to keep this in mind that all the rocks, et cetera. It's usually a bright sunny day, and then there would be darker values in the areas, which are in the shadows and lighter values for the areas which are in the light. Creating a rough outline of the wave, you can see how it is going towards the top area and it is flushing over there. Once it comes down, it secles a bit. There are various parts of a wave, and I'm just trying to mark that. So that post this, I can add my masking fluid in the areas where I think it is necessary rather than adding it on the entire part of this way. You will see that I don't add it on the entire space. I add it on the spaces wherever it is needed. Some of the areas will be in the white of the paper, and only a few of the areas will be with the masking fluid. Let's go ahead. I'm using my Winsor and Newton masking fluid. I have been using it for quite some many years now. And this is one of the good masking fluid that's available in the market, along with enlia masking fluid. If you are someone who wants to try out masking fluid, I think inelia and Vincent and tin are too good go to brands. This has got a bit of yellow in it, which helps me to actually see through the hole of the white and the muscin fluid separately. I'm not applying it on the entire space. Some of the spaces I'm keeping in white. You can observe it over here. I'm in love with my watercolor paper, and I love to use the white of the watercolor paper, most of the time. Now, watercolor is a transparent medium as you all know, and it is very vibrant. So these are the two major qualities which we need to use in our paintings. Adding some more of it towards the bottom area as you see over here. I'm using a very thin brush for this exercise. It's from the brand incer and Newton. You can go ahead with a size two brush or a size one brush. It's an A five size paper in case you are using a smaller paper. Accordingly, your brushes, et cetera, will also change. Make sure that your masking fluid is completely dried before you go over it with your water. This is a very, very important process and you need to follow it in all your major future paintings. Towards the top area of my sky, I would be going ahead and adding some of my ultramarine. This is not only the top area. I think even the bottom area, I would go ahead with the ultramarine leaving the part where actually the water is flashing. That thing you need to keep in mind, it's a wet on wet technique right now, which we are using for defining our waves. I'm using ultramarine to actually paint this sky and leave out the areas where I have to paint the splashing waves. This is wet on wet as I did tell you earlier, and I'm going to add some darker values in few of the areas to show the clouds in a better way and some of the areas, I would be leaving it as such. There have been a lot of discussion around values around the colors, depth, et cetera. All I can tell you in simple words is that some of the areas need to be in darker values, and some of the areas will be in lighter values. This actually helps to distinguish between the darker values of the sky or where exactly the clouds are and some of the other parts where actually the clouds are not concentrated. If we look from a clouds perspective, that's how we go about it. More to do with the water as we progress, I will let you know. M. Blending is the key for most of our work, and that's one of the reasons why I was going towards the top part of the sky. I did blend it with my flat brush. Now going with a very light wash of the blue and adding it in few of the areas in and around my smaller rocks where exactly the whole of the watercolor ocean waves is concentrated. And then slowly, you will see how I develop on the values depth of these spaces too. Some of the areas would be bit more darker. Some of the areas would be a bit more lighter, how we build on. Each smaller things will be also covered. So just hold on and continue to paint along with me. The whole video is real time. Therefore, you do not need to worry at all. My recommendation would be to watch this video at a two x speed first and then paint along with me as the video is real time. Hence, always always you guys are welcome to paint with me. Watching the video actually helps you to understand exactly and how you can work on smaller details. Adding some darker values of tra maarin and a bit of violet in it, the violet is hardly seen, might be around five to 7% in the whole mix, and then adding some amount of composed to orals you can also go ahead with Copart green, whatever color you like and is of your choice. You can go around with that. There are always two ways of mixing. As I did tell you earlier, one is mixing on your palette and one is mixing on your paper. Here, we are going to mix on our palette, where I have taken some amount of my purple and then mixing it with my to get a darker value shape as you observe over here, and then just adding it a bit of it here and there. I'm using the tip of my aquas off brush from file. It has got an amazing tip. It's great for doing any kind of clouds painting as well as you can do your lifting technique. You can work on a whole painting with one single brush. I have realized it very recently that one single brush is pretty enough for a small A size or a bit smaller than a five size kind of a paper if you're using this brush. And to add some of my darkest value. And this is basically a bit of brown, which I'm going ahead and adding. It's exceptionally nice brown, and then it gets mixed with blue. You will get the black kind of a shade, which you absorb over here. It's basically brown and you can see how it is. It's a drty brown black kind of a color which you get, and we really wanted that even in our painting. I have to go ahead and blend the color that appears on the top with some clear water. You always see that I have two jars of water on the top. On once a brush is dirty, I wash it in one of the jars, and the other jar is always kept clean for the supply of water. Pick up your John Willian number two and start adding it in all the area. That is clean and a round the beach. I am going ahead and adding it with the help of my round brush. That is the one which I have used even for painting my waves. Over here, we are just adding some burn Ciena now, and even on the top area where we have the rocks, I would be going ahead and adding the same mix. I love to use this mix of ultramarine and brown and you would have seen me using it in all the spaces. I'm going ahead and again, using it over here and creating different values as you see. The John number two is hardly seen anymore. I know and then around the beach, but that's okay. It was surfaced and when you are not sure about a color, go ahead with the lightest value, then go over it with the darker values or the colors you have about which you want to add to your painting. Adding some of the lighter values, which is John Brilliant number two. Now, this is a bit opaque in nature. So when you add it, you may feel that it is giving you a bit of white or opaque kind of color, which is absolutely fine. Do not worry on that and just add more of your blue. This is traian blue, which I'm adding into the beach area to create the parts. I'm picking up some Tatro blue and adding it towards the top area. I will blend a seam color and add some water to treat it as I reach towards the bottom. That's how I go about into any of my paintings, and this is what I'm doing with my beautiful shade of cobalt green. I know many of you might have earlier also seen me using cobar and this is one of the most beautiful cobaltrings that I have used to date. Or else, you can also go ahead with composed blue. Both are great colors, as I always say. Both can serve the same purpose and then work on some of your tad green towards the top area from Daniels as you guys day have seen me using it in view of the paintings. Blended planet as you go towards the bottom area in and around the waves. While you reach the bottom, you have to apply some darker values to show the marked areas of the white in a better way. I'm picking some darker values of the blue and working towards the top area above the rock and then blending it. It's a very simple and easy process, as I always say, Do not complicate your process. It might take a bit longer, but that's absolutely fine. But try to keep your color simple. Do not go with a lot of shades, water you can decide your shades and for the rocks, we will keep it as you observe over here. Making a few lines with my tdo green and then even reaching towards the right side to make the similar kind of lines, which actually shows the kind of current that you have in the water, Majorly the waves which usually is seen in any kind of sea ocean or Crashing waves beach side area. I usually use a big blending brush. I would always recommend each one of you to have a bigger 1 " or two inch brush by a side always always because this really helps not only to cover smaller spaces, but also it works great as a blending brush in many of our paintings. It's so that you always paint on an five size paper. You also paint on an four or a three size paper, and that's where it comes to the greatest of the use. Going ahead and adding a few of my lines for the wave like structure as we did earlier, and then again using the same technique till we come towards the bottom area. I'm using my size one brush to do this part of the exercise. Now it's time to remove the masking fluid. I will go ahead and use an eraser, which is mostly used for picking up the masking fluid. And then I would go ahead and keep taking off this masking fluid. Of course, this fluid is always dry and it's always great to clean up the spaces on top of the masking fluid before you go ahead and just remove it from the white parts. Though I did not do that, but I'm suggesting you the best way possible. In other paintings of mine, I did it where there's a white span et cetera. But here, it's not that I would be painting the whole of the waves in the white and hence I just left it as this going ahead and adding a few lines as you see over here while we go above the rock area, and then this is basically the shadow part, and I want to show it in a better way. That's one of the reasons shadows are always darker compared to the lighter values, which are basically the areas in light. So light and shadow plays a great role in any kind of watercolor painting. You can use it for waves. You can use it for buildings. You can use it for fields, animals, anything that you want to paint, it can be used, and it can help you to really create the depth to a great extent. And it also shows the majority of an artist, which really helps you to ace through any watercolor painting in a better way. I would like to tell you a bit about my mixes. Some of the areas, of course, are in ultramarine. Some of the areas are a mix of your brown and ultramarine, which gives me a bit of a dirty brown shade sometimes, and some of the dots because of my whole approach of this crashing waves has to come over. Some of them will be in darker, some of them will be in white. We will be working that out. We do not need to right away, do it. But yes, we are going to do it as we progress. I would again blend this area a bit as I go towards the bottom. I'm using any round brush to do this part. It can be size four, size, two sides, whatever round brush you have. It's better to have size four or above as it is going to work as your blending brush. I will then allow your entire painting to practically just go dry off and then remove the rest of the masking fluid from all over this part. Add some of the blue that you see on the right, and this is majorly the ultramarine blue, adding it with the help of my size one brush from coda. It has got a very nice tip again. And anyway, whenever you're using a smaller brush, you can use it to better control your pins, et cetera. Blending it with my 1 " bruh. Though I'm using the tip of this brush, which can really help you to only contain your strokes to the areas, which is more in white. This painting is all about detailing and a lot about laying. You will see each and every part that I'm adding. I'm slowly retailing each and every part, step back relax and then only start adding all these details. Why? Maybe because I would say that I want to take it slow in this painting. Crashing waves are not a very easy subject to paint, and it takes you a bit of understanding of how we do it, the shadows of the crashing waves and how they are just moving into the air and also all of it. Put together is not so simple to just understand it very, very simply. And this exercise is, believe me, not even like 1% of what you can in reality, paint if you are exploring waves or crashing waves. This is going to help you to get an understanding or a basic basic understanding of the crashing waves. If you are someone who is interested in crashing waves, as I did tell you earlier also, I have watercolor ocean waves so one where we are majorly painting crashing waves only. There are two smaller paintings and two larger paintings, which can help you to ace through that like through that particular subject of yours, which you have been thinking. And I know this is not a very, very simple subject to explore, or it's not a simple subject to understand also. All of us do struggle initially, but as we progress, I can tell you it will make you fall in love with it. I'm only in love with this subject, and I can't tell you how much. I adore to paint water ocean waves, then the kind of reflection. I think Lighthouse was another painting of mine, which I loved it completely because of the reflection that we had, the waves that we had everything put together really helped me to depict the painting in such a great way that I was super happy with the final outcome. And to add some blue as well as some dark value of brown as you go towards the shadow area of the rocks. I will keep the rocks very simple. I'm not going to add any texture into it. Just the darker and lighter values to show the light and shadow. As we have been discussing light and shadow, we've discussed so much through this entire painting, and I know that there is so much stress that I've added in other paintings about light and shadow so you guys are already you have already, I guess, completely. I'm so still holding onto this pack that it might be tough for many of you to understand this light and shadow. It is. I mean, I think that it requires an entire class altogether, just to understand light and shadow in some of the important subjects that we want to explore ever in water colors. Okay, I guess this is great. Let's continue, and let's continue to add more of colors, more of paints, wherever it is needed and continue to add more of our darker brown lighter brown, et cetera sheets. There is no much difference in the process. We continue to do the same process as earlier. Some of the values have just changed. Some of the areas are in blue and some of the areas are in that's the only difference which has come over. And a few of the lighter spaces, I did apply a bit of my dry brush kind of technique in some of the colors of light brown or some of the darker value of brown. But in a really, really light tonal I mean, with very, very less pigments in my brush. That's how we go about it. Some of the even the shadows, I'm adding a bit more darker and some of the areas, I'm ing a bit lighter. Since the layer that I added for the darker parts has already dried up. Frankly, speaking at this moment, I'm pretty happy with how this painting has turned out, and we don't need to actually do much. If you are confident enough, you can just leave it at this stage and have a look at it. I think you will be super of yourself. All the things that I'm doing now is just detailing. Detailing detailing and detailing, you may leave it or you may do it that all depends up to you. Four or 5 minutes is nothing but just some of the detailing in terms of smaller lines, then we will add a bit of white quash. That's all we are going to do for the platters which we are going to add in our crashing data. There's a lot of excitement. Actually, it's high energy, I would say. Now, if my wave is high energy, then we also need to actually reciprocate the same kind of energy for painting any watercolor ocean moves. Hence it is going to take for time. Believe me or not, whatever is high energy, where you see a lot of crashing, moving, et cetera. All those things have to be depicted a bit more detailed way and hence it takes more time. Splattering some of the white wash or this is opaque white watercolor from PH Martin. I have been using it for many years, as you guys know, and now there are a few drops, which fire adding towards the top area. Some of the drops are good to go always add it, and I think that's it. This is all we want to create in this painting. There is a slow process at this stage. I am processing every bit of it. Some of the areas, of course, I'm adding the plateaus and some of the areas have leave as a few lines to show the form of the ocean when a wave crashes into the these rocks. Of course, there's some ocean foam that's also seen and hence I want to show that with the help of my white wash. If you are someone who is end up with the white of the paper, you can always go ahead and mask out this area, but I really do not want to do it for this painting. So just let it be. I worked with my white ah all the way through this so that I get a final outcome. That's easy easy to work around with. Okay. Continue and just mask out the area of these rocks as I could see that there are a lot of splatters that we're getting into the rocks, and we really don't want this along with it, my plant is also becoming white splattered, which is okay because I can clean it up later on. Yeah. But yeah, there's no intention of adding those platters on the plants. It's just getting added because of my white quash splatter, which I'm adding right now into the painting. From tomorrow onwards, we are going to move on to a bigger size painting is all I can say. I'm not saying that it will not be an A five size for sure. So it is going to become a bit bigger than A five size. The dimensions are going to change, and I will let you know in detail as we progress. So be there and you will get to know more coming up. These are not much advanced. It's again around 40 minutes of time for the initial two, three exercises, and then we will be progressing into a bit more difficult ones or more detailed ones. I would say on bigger paper. And bigger paper, of course, will take a bit more time. See you again tomorrow. 15. Day 9 The Sunset: Okay. Colors are Naples yellow, Indian yellow, pin acadoncoral, opera purple, don the blue, Ultramarine, and paint spray. Let us draw a horizon line first, and this is basically towards the top area. I would be adding more of water and less of your sky or any kind of other elements into the painting. This whole part is majorly to actually help you understand how we can make curved waves. So I know you all have learned it during your lighthouse painting low with the reflection, but we will go a bit in depth while we do it over here. This is a larger paper, which is 29 centimeter by 15 centimeter. It's not really small. And I wanted to actually show you the movements of the water in a better way and how the curved waves actually turn into more of your lines as you approach towards the horizon line. But before that, let's go ahead and draw a hill around the hill on the right side. There is a small sun and the reflection of the hill would be fall Uh, I mean, we'll be forming on this water. We are going to also go ahead and do that. I'm just making a very, very rough sketch for it so that these graphite parks, I can see once I even apply water or colors on top of the paper. I have myself kept this drawing pretty simple because simplicity has always been the key, and you guys have done a lot till the crashing waves. So let's keep it simple for the next two to three exercises, and then we would be moving to a bit more interesting area. You will be in a position to nail all your paintings just that you have to follow very few simple instructions. Everything is real time, which makes our work even more eso. Continue to work on these graphite marks, lines, et cetera that I'm trying to create. It's basically the reflection of the hill into the water and it is sunset because of which this would be a whole lot more darker in value. You will see how we go about it. I am trying to actually add some curved ways as of now. This is more to do with your semicircular kind of structure. I'm going with a free hand. You can also do it this way or else even add it directly. When we are doing a wet on wet method. Go ahead and adding some of the lines on the right, as well as on the left. I continue to work on this as we progress. But let's first go ahead and just wet our sky area. Or do you want to work on the water? We can also work on the water, you know, because water has a lot of movement and water gives me so much more I would say there is so much more excitement when I have to paint water. Let's go ahead and paint water first, and then we will move to the sky area. Adding some clear water on top of the paper initially is what we keep in our mind, but we are going ahead and adding some of our orange. Now, this orange is practically a mix of your Naples yellow and some amount of the exact scenarier orange, which I have on my palette. You can see on the left, I have made that mixture and adding some of my opera on the top left hand corner. I continue to just blend it with some clear water as we progress towards the bottom. You will see less of my palette, but do not worry. I'm here to help you out with all the colors, et cetera that I'm using in this painting. With a very light wash of traman, you have to end it while you go towards the bottom and then blend it with the colors that you have added towards the middle. Now, color in the middle will remain very, very light as it is a transition from the darker value of blue towards the bottom to the lighter value of orange. I will just take some amount of my paints gray and some of my dontry blue and then create a shade that looks really, really amazing. I'm playing with the values of the blue, as well as the colors of the blue, so just keep that in mind that some of the areas would be lighter in value, and some of the areas would be darker in value to show this movement in a better way. I have added a real dark line, and you can see that right now I'm trying to blend it. Believe me or not, it is really hot in this part of India and keeping your paper wet for a longer period of time, it's becoming very, very tough. That's one of the reasons you will see less of I mean, time that I get in terms of the painting or in terms of adding wet on wet strokes. So you will continue to see a lot more struggle. Your climatic conditions are very important when it is all about a wet on wet kind of a journey in water colors. Or else, you can do one more thing. Just go ahead, apply water on the back side of this paper and then start painting on the top side. That way, you can keep your paper wet for a really long time. I will use my blending brush very often to make all these areas look more smoother and it will make it not so dry. I am using my 1 " brush, as you know, that this is a pretty large paper. So a 1 " brush is good. If you are working on a smaller paper, you need to take the brushes accordingly as I always say. I will go slow at this stage. I have already added the major two to three wave structure that we have thought of adding. And again, going with the mix of my don frame blue, as well as some amount of my paints gray into it, you will get a shade that looks similar to the shade which I'm using. Go with my lightest value as I progress towards the top, and this is more of orange, as you observe me rather than it being any other shade. Of darker values that we have added towards the top area, blending it with some more of my blue, and I continue to add some of my thinner lines over here. I've changed my brush because of the same reasons. I do not want a lot of color being added in the middle part at this stage, and just a few lines, few strokes here and there, make sure that your paper remains wet. That is very, very important in case you are doing any exercise like this. Watercolor is a slow built up process. I would say, even if you are someone who has a lot of experience in watercolor, you would like to go ahead with the lighter values first, and then slowly add more and more darker values with the progress that you continue to make with watercolors. Now, progress in a way that your painting is a layer one, then layer two, layer three, like that, you progress or else you are going wet on wet. Your first layer of wet on wet is done, you might go ahead with another layer of wet on wet or slowly you start adding darker values. Initially, you add the lighter values. So, this also helps to build a lot of confidence like we are doing right now. I'm someone who always likes to build up slowly and steadily our painting. It doesn't come up. At this stage, you really don't know how the painting would turn up. Believe me or not, there are so many times that I have thought, Okay, so the painting doesn't look great. Do I still go ahead and work it out? But I do that in most of my cases, as I know that that painting is going to work for me and it would look amazing once we completed. Adding a few more lines. And this is very, very light value lines that I'm going ahead and adding towards the top, mixing it up with a bit of orange. As you can see that my paper is going to dry up very soon. Even if I'm using my arches paper, I know that some of the areas are going to dry very soon. If I need to progress, I have to progress right away. I mix more amount of my naples yellow, as well as some of my orange to create a shade that looks similar to what you serve on the left hand side. You need to also add some amount of quinac coral into it or opera. Whatever color is available with you add it and get a color that looks more orangish over here. We continue to add it mostly below the sun and then take it towards the left as well as towards the right. You have really less color in water, and this is a great way to progress. You do not need a lot of colors to be added into the water to show that, of course, it is water. Water doesn't have any color of its own, as I always say, it is basically the reflection of the sky into the water, and this is all we are doing over here. It is a sunset sky. The colors of the sky are getting reflected. And this is all we are going to even add it in any of our future paintings, where you see the blue, the sky will be also blue almost. And if you are seeing something green and blue, it might be because of the corals, algae, et cetera, that's usually seen in any of your ocean paintings or any of your ocean photography, also, you can go and also see that's why they are darker, lighter patches here and there because of the coral reef. Okay. I guess I'm good at this stage. I will continue to add a few more lines and then let it rest. We will come back for our top area. That is major any of the areas of your sky, as well as the mountain. Pick up any of the colors where you think it is not necessary with the help of a flat brush. I'm using my Ruby saddle size ten brush for picking up these colors. Let's start with our sky. The lightest value will go in and around our sun, and this is majorly the yellow color, which I'm going ahead and adding. The yellow shade is from my brand send, and it is my in yellow. You can mix it with a bit of your Naples yellow and get a shade like the one which I'm using over here. Blend it with some of your Naples yellow as well as opera and then get a shape that looks in value, exactly the way we are using over here. You can always go ahead with another layer. No need to worry on that. Go with a lighter value as of now. Using my flat brush to apply my colors, and then we will go slowly towards the top with some more of our darker colors. Yellow, opera, purple and orange are usually the shades that I use for my sky. Now, the orange that I create is with the Naples yellow and the opera orals, you can also go ahead with some of your Indian yellow and opera to create the orange. If you want more of your darker value orange, then use your Indian yellow as well as some of your opera to create that. Color mixing is a very, very important point, and you should continue to always do it in each of your painting rather than going ahead with the colors that you already have. More colors you use from a mixed one that you have created, it's easier for you to actually see how beautifully the whole painting turns up. But along with that, to keep in mind, if you have a pigment that is made up of a lot of pigments in itself, which means that you have a particular blue, which has four different varieties of blue in it and not a mono pigment kind of a color, then when it mixes with any kind of other pigment that might also have one single shade of pigment in it or two, three different pigments in it, it might produce you dark colors, and they can be really bad. So be sure whenever you are using any kind of colors, they should not have a lot of pigments in it. And usually if you use artists great paints, they don't have so many pigments being used, except a few shades like paints gray or any of the other ones in blues, et cetera. You will see shades that are darker, lighter and having less of your pigments in it. There can be one single pigment or two pigments. It should not exceed three, four, five, then you might get when you mix the colors, you might get all those dot mixes anyways. It's time to add the blue to with the top area. We will use the ultramarine blue with some of my purple. I'm also going ahead and adding some more purple on the left. As I want my sky to be a bit more darker, though you can also leave it at the stage. We have it over here, but I wanted it, of course, a bit more darker. That adds so much drama to the sky and it looks so much more attractive. I will take a dark mix of my shades like your besana then paints gray and add it towards the bottom part of this hill. Continue to take it towards the bottom where there are curved waves. You will see that towards the top just near the hill area where it usually ends. You will see broader strokes and larger strokes, and they would be way more thicker. And as we approach towards the middle part of the water area or as we progress towards the bottom, they will become smaller and really a few of them will be left by them. Okay. This part is a real meditative process. I will continue to add the thinner waves on the right of few dots. Small lines using the tip of my brush. I go slow at this stage. It's a very, very important aspect that we should keep in mind. You use the brush on the tip as well as you sometimes use it. At an angle to create some of the broader strokes. You see that I have started leaving some gaps now. These gaps will become larger and they will become more and more I would say smaller also as we progress towards the bottom. I haven't thought anything about it while I was creating it. It's just that I had this in mind that my reflections do become smaller as we progress towards the bottom, and they will be a fewer compared to what we usually see ne any object. Always consider your reflections as your mirror image. If you can consider it as mirror image, it would be easier for you to frankly deal with your reflections Most of our paintings from here on will have reflection or some kind of you will say waves structure, et cetera. You will see lots and lots of different kind of aspect of reflection that we have covered, sometimes with the boat, sometimes with the hill, and sometimes with some of the other ways in which you can paint your waves. There is a lot that is covered in your future practice exercises, as we progress in the days, you will see that there are more concepts that I'm going to cover. It's on the go, so you make a project, you get to learn a lot of concepts, and then again, it goes that way. In this I mean, if we move this way, it becomes really easy for you to understand and retain all the concepts. You can also use it even in your future exercises. That's one of the reasons I love to use the concept in our final day projects. Final day projects means all the projects that we are doing. Every project has got a different concept, and we are covering each and every concept in a greater detail. Starting out with more easier ones, and as we progress, they will become a bit more tougher. I'm mixing all the same colors that we had on our palette, and you can create any kind of a mountain. You can also make it black or paints gray. You can go ahead with any of your darkest shade to create this. I would leave that decision up to you. I'm mixing the same colors that I had on the palette and now creating my hillside. I will add some orange just near the sun area and then extend it with the blue as we go towards the right. I guess this is great, and I'm happy with how this has turned out. There is some more blue and then blending it with water, water. You can also use your burnt sienna with the blue to create the darker values. I don't have much in mind while I am adding this color or the darkest value, lightest value, the oranges, et cetera. It's just a mix, which I'm applying and trying to just ache all in all the beauty that I see in nature. I want to go ahead and create that for myself. This looks super amazing to me. I continue to just blend and make it more even. Adding some more colors of orange as I was not very happy with how it has turned out. I guess this is it. Or Naples yellow so you can add, but Naples yellow will become more opaque in nature, so it's great to add more of orange. Some lines here and there, and then let's go ahead and just let the paper dry off to a good extent or I would say let it dry off completely before we go ahead and create the reflection of the sun into the water area. Picking up some of the colors from a few of the spaces is a flat brush. My paper is still very wet. That's one of the reasons picking up the colors is really tough at this stage. So let it be as is and just blending some of my orange or your opera into the shades near my sun area. I always love to use the same shade as we come on the left as well as on the right. I continue to use the same colors of the sky also into this particular hillside, maybe more of blues. That's the only difference which we are creating. Okay. I guess now you can see that I have lifted some of the colors well from this hill. Remove the tape at an angle and have a final look at how this is appearing. The one on the left side, we would be also attempting, so be ready, there is a lot to learn, and there is a lot to explore. I'm just removing the tape for both of these, and I will teach you this on the left next, so be ready with something more interesting. I am using some of my white quash to create now the reflection as I wanted to let my paper dry off completely before I had any kind of reflection into the water. Continue to add one or two more lines. These are smaller lines. I'm using my size one rush to actually do this. Some of the places, it's dots and lines, that's it and have a fan look at it. I'm already mesmerized with the beauty. See you again tomorrow with a new lesson. 16. Day 10 Sailing Boat: Colors are barren composed, blue Donrne blue, paints gray, ultramarine neutral tent. You can also use any of the other sheets of blue that is available on your palette. I will start out by creeping down my paper and then marking the horizon line. It's one third of the paper that I'm marking horizon line. You already know the size of the paper. It's 15 centimeter in breadth and the 29 centimeter in length. If you are planning to go for a smaller paper, make sure that the dimensions are also accordingly. So if you are taking a ten centimeter, take by 20 centimeter in length and ten centimeter in breadth. So that was at least you are keeping the size almost equal. Let's go ahead and just add the boat. You can zoom in a bit and see how I continue to work on my boat. Okay. The whole painting will come together with only one single boat which we are making in the foreground and rest of the things remain as usual. Again, we are not going to complicate this painting at all. It's just a few lines for our boat. It is at a distance if you see and the reflection of the boat will fall into the water. I am adding two of my lines towards the top as well as the bottom area and then easing out the extra lines, which I feel is quite unnecessary at this stage. This boat will have the colors of blue and white. White means the white of the paper that we are going to use in this painting. I am a true believer of using white of the paper, though we have used a bit of quash during the initial paintings, but believe me or not, I would not like to use any quash in my paintings. If on a regular basis, you see my paintings, they are more to do with masking out that area or going ahead and just leaving out some spaces in white and then coming back over it to paint something if needed, be. Adding a few more lines, and then you can see that these are more to do with the structure of the boat. The top area or this is a really, really small cruise kind of boat, whatever you really want to say, and it is at a distance, which we observe. Because of which I don't want to add lots and lots of details into it. Having said that there has to be some details that we add onto it so that it looks more like a wood and the reflections are also to the point. If you have already taken day six where we have painted the tower or you can say the lighthouse, you exactly know how I paint my reflections and it's easy. It's a mirror image, which we usually do. So go ahead and take that lesson. If you are jumping onto this lesson, that lesson is going to help you out a lot in the understanding of this particular lesson for sure. And secondly, if you are someone who has not seen the other parts of the painting, the last one where it was ten nine, and we did go ahead and add more of curved ways. We will be using the same concept in this painting too, just that we are going to add the reflection and the boat into it, making it a bit more complicated compared to what we did in the last one. Adding a few lines and then you can go ahead and make more of a slanting line. Then I will just make the middle line a bit more thicker. I'm really not happy with how it has turned out, so I will take the help of my scale to make it more straight, but that's okay. I mean, it's a decision that I would leave it up to you. Most of the parts of this painting, I'm not done with any kind of scale, et cetera. You will see more and more. I will avoid using scale as we progress. I know as big nurse, it is tough to maybe avoid scale. But as we progress, you have to go ahead and make things more with your free hand line drawing. I do that very often. I try to do it in most of my paintings. Yes, maybe some kind of finishing, et cetera, where I want to add some straight lines and all. You can still do that with it. But rest of the parts, I would request you guys to try on your own, try the free hand line drawing, et cetera for it. Adding two smaller lines, as you observed over here for basically the sailing part of the boat we have to add in this case. Then a few lines here and there, you do not need to actually think much while you add so many lines, there are a lot of ropes, et cetera in a boat, and we are going to also do that kind of work in this space. I think I'm pretty happy with how this boat has turned up, and I did get back to my original ratio, which I actually started off with. And then added a bit of a mountain on top of my horizon line. You know that I like to add a bit of a mountain or a hill for a better definition of my horizon line. This really helps me to understand that the defining part of the sky, as well as the defining part of the land and something that I have realized on my own is when a land needs water and sky together. I think that's one of the most beautiful painting that I can ever see in my life or I am so much in love with that painting that I can't tell you. Using my flat 1 " brush to apply the ultramarine on the top part of the sky, we are going to go ahead and just apply one single color that is ultramarine and take towards the horizon line over which you have added the mountain. Again, a very, very simple process not to do much. I think I have just pulled it way below above my boat, and I'm even covering a few parts of the boat. That's absolutely okay. Go ahead and just keep applying the color. Make sure that your paints are not dried off. That's the only thing you have to keep in mind. Initially, I had this in mind that I would be going ahead with only the sky and then the water, but All of a sudden, this is an artist's mind, maybe. We sometimes just think something and then go ahead and apply colors on the whole part. I will continue to apply more of this color. While I take it towards the bottom, I will add colors like bald green or you can also go ahead with any of your other shade, like horizon blue, et cetera, or even sereniu blue is ok if you don't have these greenish shades of the blues available with you. I am right now painting in and around my board, and it is taking a bit of a time. Some of the places I want to ep in white. Now going with some more of the ultramarine and then blending it while we go towards the bottom. You can see that even a 300 GSM paper is trying up so quickly and this whole thing can leave a few marks, which may look a bit patchy. But that's absolutely fine. You cannot fight with the weather. We cannot fight with the climate if it's dry, it's dry. Or you can do one more thing and apply water on the back side of the paper, that would give you more time to paint on top of it. Mixing some amount of cobaltrine while I go towards the middle area. I'm just blending it with my cobaltrine as you observe over here. I will not be touching all the places of my water area, blending it as a cross swatch kind thing. You can see, I don't just keep or go ahead and add the colors at one single place. I'm trying to cross it on the entire water area. Slowly, steadily, we are going to build it up, so do not worry in and around the horizon line. It should be lighter and that's what I'm going to pick up the colors from there and keep it a bit more light. As we progress towards the bottom area, it will become more darker. Trying to blend my sky in a bit more better way and making it look more organic and less patchy. I told you because of the climate, I'm pretty much struggling at this stage to just have a clear wash or just to have a simple flat wash in many of the spaces. But that's okay. It's part and parcel of a watercolor paint. You can't always have the best of the conditions at your disposal. The idea is to paint and that's what I'm going to do. I will make sure that the bottom area is still wet to a great extent and then pick up extra water if there is any and start adding the value. This is majorly the don threin blue or you can also go ahead with a bit of your paints gray into it to create darker values and then start adding the circular kind of waves which we did in our last painting. Now it's time to add the wave like structure. You can see that as we progress towards the top area, these waves will become more and more thinner and that is as for the rule of perspective. You have already done it in previous all the exercises. I mean, majority of the exercises had something like that. Over here, also, we will be using the same concept and painting the waves. Some of the areas of these waves will be more darker and some of the areas will be lighter. That's all you need to keep in mind while you paint any of your waves with water colors. I'm going ahead and waiting some parts of my paper again as the paper has already dried up, and I will not be in a position to add waves into it. You can see that the paper has dried up. This continues to get this way only. I had to just apply more water and take it towards the horizon line. That's all we can do, frankly speaking. I continue to create the movement that is semicircular with my brush, and this is my size four brush from the brand silver valvet you already know that, okay, so the brush is server, black velvet, whereas the company server brush company. So you can also go ahead and have a brush like this or A four size brush can also help. Continue airing and breaking the waves as you progress towards the top. Now, breaking the waves is again very important as the waves will not be in a continuous movement or way as we progress towards the ship or towards the horizon line. Those things, just keep in mind and work with all the paintings. That way, you will be much more at ease. You just know the concept, and you need to build in and around that concept. I will continue to add more round waves and towards the just below the boat, almost, they will end and then they will become more flatter. For painting the waves, it's not only about the concept. I would say it's also about the fact that what's the water control of the paper, the amount of water that you have on top of the paper, it should not be a lot and it should not be a less for the best of the outcome. That's something which I have learned over the years, is that your water control is the main thing in any watercolor painting. While we continue to mitch our ind blue, as well as some amount of cobre the major part that still is important is to understand that the paper is wet when you're applying any colors. Do not apply the colors if your paper is not wet or else you might have to go ahead and again, blend in and that blending and blending and blending with the blending brush actually creates lines or patches, which we don't want. Even cauliflower effect can be created that way. So be aware of these smaller nuances, which we have in water colors, and they can really help you to at any of your future paintings too. You can see that I've applied the color that is the darkest value, and now I'm trying to blend it now. This is something that I do very often when my paper is not wet, but believe me or not, you may create patches with this kind of a technique sometimes. But to experiment. Something that I always say is experiment, experiment, and experiment. If you don't experiment, you don't get to realize what works best for you for me. I never thought that retting can work great for me. But over the years, after painting, I have been retting a lot of places when it is very hot during the summer season. I can't do much with the climate, but all I can do is to work with the paper, which I have in my hand. And rewetting is the only option that I had if I did not apply any water on the backside of the paper. Let us continue to add a few more lines as we go towards the top, and I'm using right now the tip of my brush to add these kind of lines. I would even add it below the boat, which I have to paint. I'm pretty happy with how this is turning up altogether, and now it has a better look and feel of the water compared to where we started off with. Slowly and steadily, every painting develops, and you have to also keep that in mind to not give up at any moment. This is the very truth of watercolors, a mindset that you have to develop for your watercolors is very, very important. If you are just going ahead and painting, maybe that may work for you or may not work for you, but that intention of creativity. And always thinking from your heart that you can actually nail this painting can help you to a through any of your future projects, even whatever you want to paint, I think it can help you. It has really helped me in my past journey. I think it will also help you in yours. I will continue to add lines only where the water is still there or you can see the moisture is still there. I'm not going to add any further lines on the spaces where I don't see any kind of water or moisture being available. Water control is a very, very important mechanism, as I've told you earlier, and I continue to follow that as we continue to progress with this painting. It's been tough, believe me or not working in this hot weather. I would always refer you to go ahead and just apply one at of wash on the back side of the 100% quarter 300 GSM paper. And then paint on the top side of it. Use more made papers. They are way better and try to avoid cells paper because loose paper will not allow you a lot of time to work on top of it. It would dry off very, very quickly compared to what we want in our paintings. I think that I'm happy with how this is turning up at this stage. So let's continue to work on smaller and bigger strokes. You can just follow me over here, and then we will move on to painting the boat, as well as the small hill or mountain. Let's not try to complicate this painting much over here. Whatever we have done, we will be going over it with a bit of our darker values, and that's it. The painting process of the waves is always very slow. That's one of the reasons. You need to keep the patients at the stage. It's going to end very very soon. Then we will move on to our boats. So hold on, work with shade or this particular color that we have created. It's basically a horizon blue kind of color, and then adding some train into it to add the darker values of it. Adding one or two lines here and there, using the tip of my brush. The top of the paper you can see is already dried off, and it might not be a great idea to add a lot of lines over there. We might have to go ahead and again, just wet the paper if you want a wet on wet kind of lines or else, let it be as is, and just add whatever shades or the darker values. You will always see that there is a gradient kind of a wash. Now, gradient wash even in water is darker values are towards the bottom, and as we go towards the horizon line, it will become lighter. That's what you have to keep in mind when you are painting with any of your water paintings for sure. That way, you can frankly just feel that all the water paintings are coming together very quickly. I'm using a thin flat brush now to just pick up some of the colors from a few of the areas. I have done this previously also, but this painting, of course, is very special to me. Believe me or not, there are only Shades of blue, which I have applied, and I'm super happy with how the blue will look at the final stage. So continue with it, and there is so much fun that we are going to have in this painting. I think all of us have this habit of retouching. I continue to retouch in many of the areas and you might also have to continue to retouch in many of your areas. But this habit of retouching can also lead us to a lot of difficult final outcomes. One is the patches that appeared. The second is we might have to go ahead and get lines which are more dry and they are more maybe than if it is better on wet, your lines are way more lighter and they are softer compared to here, they would be more of the harder lines. And finally, the last one, which is a cauliflower effect. That is movement of your water from the more wet kind of a surface into more drier surface, which will give you cauliflower like effect, and we have seen it in many of our paintings. You will have also seen it in many of your paintings, if you have been a pretty regular person at painting, or even if you have started out, you are experimenting, you get to understand, yes, there are a bit of cauliflower effect that you may get. I'm using my thinnest brush as such and creating a few lines as we go towards the top. You can see that some of the areas I have removed with the help of my flat brush. This is Ruby Satin brush size ten flat brush, and it is an amazing brush. I'm so much in love with this flat brush that I frankly can't tell you. It is such a relief to actually go ahead and just remove or take out a few of the areas where I want to lift out the paints. This lifting out technique we will be using even in our future paintings. So it's kind of just an introduction in this painting. We will create more and more beautiful paintings as we progress. Now it's time to paint the boat. I have picked up the color, which is majorly my ultramarine and some of the darkest value that we have applied for our bottom area of this part. I will go ahead and keep applying the color. If required, you can also wash your brush at any stage required. So don't think much while you just continue to wash your brush, adding some of my darker values on the left, and let's in. I think it's time to zoom in and continue to work on this board. Having a closer look at it, you can understand that some of the areas are more darker in values or they look a bit more dark compared to the few of the areas, which are more lighter. I continue to work with my size six silver black velvet brush and add some of my darker kind of values. If you add some amount of brown into the blue, you will get a set that looks similar to the one, which I'm using for my painting. I will pick up some more of the darker value shade and then use it on the bottom part of the board to create the reflection. Now, reflection is something that I always love to create in any painting. Now, since this particular painting has some amount of you can say movement in it. Hence the reflection will also be as such. Though while you go towards the middle or towards the horizon line, you can see that the movement has decreased to a great extent and we will also show the same into our painting. Mm. Let's work with our darkest value, and this is a neutral tint that I'm going ahead with. I would add the mountain or the hill in the background with this. You can see that I am using a lot of pressure right now while I'm applying the line towards the horizon, just above the horizon, and then I would even add it towards the right side. Some of the places, of course, I would be adding the ridges, as well as some amount of crooked lines so that it looks more natural as well as it can give the image of a hill in the in the background and all. So continue to do that. And once this is done, we can go ahead and add somewhat darker values as the paints on the paper is still wet and going ahead with darker value can really help at this stage to let the colors move in a good place. Continue to work on it, and then I have even added some amount of ultramarine towards the middle part. While I start working on my board, it has to be the darkest value. I'm going ahead with my darkest value. That is the neutral tint and creating a few windows. Now, the other part, of course, will be in the white that we have left and we have not touched it at all. I love to always keep the white of the paper and use it to my advantage whenever I need it. Continue to work on the window part, and then we will move on to the other parts of this fading, that is the sailing of the ship. And a few lines that you need to add for this boat, a ship boat. I mean, small crews, whatever you want to say, you can name it. I will add a bit of my ceenliar orange and create a color, which looks more brownish, add it towards the right side, as you observed me adding over here, and then we are going to go ahead with one more smaller piece in the just just below it. So keep adding this and then add a straight line. I am going to use the graphite mark that I did add during the initial phase of the sketching. The sketching is not a very prolonged process on this one. Only part that is important in this particular space is to understand how you continue to actually work on with the values. And they can be less colors, which is absolutely fine, but working on the values and a few lines is something which is very, very important. I'm zooming and again to get a few lines as you observed over here. And then these are basically the detailing part that I always say. It doesn't need to be very, very precise, just a few dots and shorter lines here and there, which you need to add for this painting. Go ahead and working on a few more lines towards the top. I have used my brush, which is zero, zero for adding these lines. Continue to add it till the bottom area and then work a bit on the right side for adding the darkest value of the sailing part of the Of course, this is a sailing boat, and we have to show that boat rows, whatever you want to say, small ship. I always say that I leave that decision up to you, but the major part is adding a small subject into the painting and then creating the reflection of that boat into the water area. I will add a bit more darker value for my windows to. I continue to work on this smaller piece a bit more in detailed part, and you can see that my brush is now zero, zero. Hence there is not much scope, I mean, in terms of the boat, which I am painting, there is not much scope, which is left for moving to a really, really small paper, even for you guys. Believe me or not, you can just go ahead with a bit smaller than this, but not much. But you need to keep the ratio same that is one to two. If you're length has to be twice off your breadth. So that's how you have to keep it. I will make a few twisted lines, dots, et cetera, for the reflection into the water area. I really like how this painting has turned out. It's not complex. It's just that you might feel a bit overwhelmed when you are working on the waves part. It is overwhelming. Water is overwhelming. Believe me or not. It has taken me years, and I have tried to practically break down everything into really, really small pieces. While you continue to add a few more lines, I would love to add it to you that whatever water you paint is great. It is one of the toughest subjects that you might have ever attempted. What we are doing is taking it a step forward where there is some more amount of reflections boats, sailing boat or even stagnant boat, everything is going to add on. There is a lot more projects that you will see, which is a bit more complex than you have attempted in the last eight of them. Hence, Just be with me is all I can say. I think that you will enjoy this journey of watercolors where you are going to paint something fantastic, amazing. I'm thoroughly in love with it till now. How much water I paint I still fall in love with waters, springs, florals, et cetera, every time. Once your paper is dry, it's not of much use in terms of we cannot lift the color as much at this stage, compared to what we could have left. I mean, lift it out when it was semi dry kind of a condition, and it had some amount of moisture on top of it. Rest. I guess I am y. I will still try to lift out some of my colors, but I'm pretty sure about it. I will not be capable in doing it. However, hard I try at this moment. Let's remove the tape now and have a final look at it. I'm pretty sure about it that you are already in love with both of these paintings. Yes, it is a bit advanced, but I hope that you are liking it. Do let me know either review or feedback section. 17. Day 11 By the Sea Part 1: Okay. Let us go through the colors. It's Atraar Naples yellow, orange, opera Pains green neutro tent. You can keep any of the other colors that's available with you in your poet. I'm using the same size of paper that we used at the last two exercises. It is 15 by 29 centimeter, only the differences, the way it is used. Right now, it is in a landscape size rather than it being in in like a portrait size. So that's the only thing. Dropping in two dots first and then joining the lines. I will make two pattern lines to start drawing my boat. It helps me to just give a rough idea how I want to place the boat on top of the water aium. This particular video is divided into two parts. One is basically the drawing of the boat and then how to paint your sky. The next part is all about the water boat reflections, et cetera. As the paintings are becoming a bit more longer than all the lio paintings, hence I just thought that from now on, we can divide our paintings in either two or three parts. That way, it would be easier for you to follow along with me. Okay. Let's continue to add more lines on the boat area. And I will just give you a bit of Zoom in part so that you exactly know how I am going ahead and adding these lines, as many of you still do follow my classes on smaller screen, though I have been always iterating that follow the class on a bigger screen like an iPad or a laptop. That way, it's easier for you to actually look into it and follow along more easily. At least for the drawing parts and the boats are usually smaller than what you may observe in many of your other paintings. Initially, we just want to create the structure of the boat, so there will be only a few lines, later on, we will keep adding more and more details into it. That way, it becomes easier for you to not only place the boat well on the water. It gives you a lot more confidence to how you want to develop this particular painting. Go ahead and adding the sailing part of this boat, basically the cloth area, which you usually observe. I'm going ahead and dropping in a few lines. Go slow with the process because this is basically the base of our painting. In case you can nail the drawing. I can tell you that you would be in a much, much better space and you will be much more confident when you approach any watercolor painting. I have realized it. I know you have heard me speaking about it for a lot of times in various videos earlier. But all of these small tipsentrics, I did learn later in my journey, and it took me a lot of years to learn it. But over time, I really want to impart all that knowledge to you very quickly so that Even if you are starting out with this journey, you should always try to sketch a bit and then go ahead with the paintings. Adding some more lines on the right, as well as few more lines will also be added on the left. This is just to balance out basically the sailing cloth that you have added in the boat area. It's not that we are going to completely go ahead and just replicate a boat altogether. What we are trying to do over here is allow yourself to add the structure and the look and field of a bot. Few of the nuances may be different and that's absolutely okay. Somewhere or other we all can just go ahead and not have a similar both that we thought we will. Adding a small human figure towards the left side, I'm pretty happy with how I have added this. Believe me or not. Is it is actually a great way to balance out your paintings when you are adding figures into your paintings. Great. I guess this is good. Let's just go ahead and keep adding some more lines. The hand is on the left, and I'm just trying to add that hand for this small figure. You can also make it a bit gray as this would be the darker value for the figure. It's a sunset. At the end of the day, if it's a sunset, you will have darker and lighter values dropping in. I'm just trying to add the boat which is sailing in the water. Of course, it would leave a bit of your foam or something on the water area. I mean, it has passed it, correct? So that's why I'm adding it on the left and a few more lines on the sailing boat area. There's a sunset sky, as I did tell you earlier, so the sunset has to be near the boat area. It's not exactly in the middle, a bit on the right if you see. So not placing the entire subject of mine in the middle. You all know that I don't do that, and I have made it pretty much conscious in my mind that I don't want to do it that way. Continue adding any more lines if you feel it's necessary like the one I'm adding right now. Believe me or not, this is a bit different sunset. We will be having some of the darker values towards the bottom, and then the middle area will be more in the yellow and the top area will be in the blue. That's how I want to add it compared to what we have done to date. Let's chump onto it. I'm starting out with my opera color. You know that I am very much a person who is in love with opera shed of mine, and I'm just blending it with my Naples yellow. Now, this Naples yellow, of course, is from Cinlio and this is Naples yellow deep. It's not Maples yellow light. Naples ellowlight is much more opaque in nature, and I don't like so much of opacity. Hence, I love to just add it this way. So more of my compose opera. Cos opera is practically something like Carmine. If you are not having compose opera, you can go ahead and use carmine in that case, and then adding some of my most beautiful shade that is ultramin. Of course, I'm in love with this color. You guys know by now that one of my secret ingredient to very painting that I do is ultramarine. Yes, I think this is a beautiful shade. It's great for sky, it's great for water, and it's great for most of our paintings. I'm just blending it. But on the right, you can see that my paints are becoming more dry. Hence I have to go ahead on the right and also add the colors. This is my sy zero brush from the brand, the Vinci going ahead and adding the opera shade compost opera shade on the right, and then blending it with the maple yellow that we have already added. More of ultra man towards the right side, I am happy with how this painting has turned out. Middle area, I did tell you I would be using more of my Naples yellow, and I will now bring in my flat brush, which is basically kind of my blending brush that really helps me to any of my paintings. And the paints I can also see moving a bit up because of more water that it has seen towards the top area. I will wash my brush, take off all the extra paints or just go ahead with one more flat brush to blend the colors as you observe over here. No greens will be seen in our painting. One thing that I have observed in most of my paintings is Naples yellow doesn't go ahead and blend with the ultramarine to create the green shades that we usually see. For that, you need to only see one thing that in Naples yellow is not reacting every time. So yes, use it on another piece of paper. I have been using this Naples yellow for years. Now, it's been, I think four or five years that I've used it, for doing all my sky paintings, and this is one of them. And hence, it's easier for me to see this, but finally how you actually go ahead and paint it is something that you need to observe when the kind of Naples yellow. That you have right now in your palette is what I can say is important to understand. It will react with the colors that you've added or not. Okay. I guess I'm good adding a few more details, and then we will be shifting to let this paper dry off completely and then go ahead with the bottom area as well as the ship area or the boat area, whatever you want to say, that's up to you. Now comes one of my favorite color that is quin acrodn coral, and I'm using it just towards the bottom left side to blend the shades, even on the right side, I can use it. My paper is still wet. Now, until your paper is wet, you can work on it. Once your paper has dried up completely, you cannot work on it any further. So make sure if your paper is drying up, leave it at that stage. Do not try to go ahead and keep touching it. I would like to just remove the colors from the area of this ceiling boat part, and then we will go ahead with some more of the colors. We will go ahead and add on top of it. That's okay. But right now, we need to just remove the shades. I will use my flat brush. The paper is still wet. I always told you that at this stage, you can go ahead and remove the colors if you want. I think by mistake, I did also remove the colors from the right in side, where I should not usually, but I did remove from that side now adding a bit of shades or colors that I mean, basically in this part. Though there will be more of lines, et cetera, I mean, this kind of I mean goof up everyone can do. I can also do it a few times, so let it be I'm just adding some more and let it dry off before you actually go head and add more lines or any more colors on top of it. If the paper is already dried up, do not try this technique. Only try it if your paper is not dried up. Go ahead and adding a few more lines just to show basically the way you have to add your waves. This is a very, very important part. Let's just zoom in and understand. I will add gray shade in the areas where it is basically the darker values of my waves is going to hit and leave the other parts of ***. This is a great way to distinguish between the darker and lighter values and it's easier as a guideline for anyone who is starting out. Though this painting has come, I mean, you can just do it within 30 to 35 minutes, so it should not be a problem. Just adding it will work or serve as a framework for us, and it would be easier for us to work through the entire I will see you in the next lesson where we are going to discuss how to paint the water and the ship. 18. Day 11 By the Sea Part 2: Let's start with the bottom area as well as the boat. It's going to be very interesting. Believe me or not, but this is my favorite out of this painting. Go ahead and mixing some amount of my maples yellow and my opera. This is a very important step as we are going to add the water in the lighter values of the sky. Though I am not using exactly the same colors that you observe in the sky. It would be a bit different than what we have used there. Though this is a sunset and there might be an exact reflection. But what I observe from my end is the darker values of my neutritin and some amount of the orange that falls into it. Now, it's all about observation and it's all about how you actually see the painting working up and how you actually develop your painting. For me, right now, it's important to use the same colors, which is orange and the yellow into my water area, and that's the only thing which will be constant for the sky as well as for the water. The rest of the part will be in the neutrtin as I did tell you earlier. I did already mark out the areas where I have to add the lighter values as well as the areas where I would be going ahead and adding the darker value. Darker value is basically the neutral tent. I'm using a bit of my pains gray into it. You may even avoid the step that I will leave it up to you as there is a bit of blue also in the sky and hence I just thought that it would be good to use my paints gray. My paints gray has a touch of blue in it and hence this is always a great option to go ahead. Some of my darker values, which I am adding in the darkest of the spaces that we did already mark during the initial sketching part and then adding some of the thinnest waves as we go near the boat. There will be the reflection of the boat into the water area, which we are also going to paint as we progress. But the idea is to keep wet on wet as of now. All the painting that is done is mostly in wet on wet clearing out some of the places where I think that the colors are moving too much between each other as my these waves are not at a lot of distance, and hence I need to keep it in mind that they do not touch each other altogether. Though you can see that my paper has actually some crest and troughs into it. Yes, a bit here and there will always be possible. Do not worry much about all those things. Some of it will be not so great and there will be some of the best of the moments that you will also get in watercolors. Watercolors is never about perfection. It's just about being happy in the moment. The colors of the water will remain same. You can see that I have opera tin bnples yellow and some amount of the orange color, given over here, and the bottom area or the darker values of the bottom area are basically the colors, which is neutral tint, as well as some amount of my paints gray. So those are the only things which are going to be added into the painting part. All I can tell you is that the intensity or the way in which you would be adding the colors is all that matters in the painting. Some of the parts will be darker in values and some of the parts will be lighter in values. Another thing that I should tell you is this is only going to work when your paper is wet. If your paper has dried up, then these kind of strokes might not work. You may have to go ahead and apply the colors once more or apply some water once more before you go ahead with the next year. It's always a great idea. To let your paper dry off completely, then apply a clear coat of water and over it, you should go ahead and paint. That's really simple way, as well as it will not give you any patches or anything. To be frank, if you see the middle area of this painting, there are some kind of patches which I can observe, but at the end of the day, I don't need to think much I will be coming up with some lines over there and all and hence it would be fixed in totality. I'm even blending it with my clear flat brush. That is really a huge help. The flat brushes can actually add a bit of mushre into your painting, that gives your paper a certain amount of water on top of it so that you can still continue to paint over it. I'll just add a few more lines as you observe over here, and there will be some lines that would be added even on the right. And just below the boat area. The darker values will be coming up there, and then I will come up with a beautiful mountain in the background. You can do this or else even just go ahead and let it be as. If you are not very confident about it. I don't know. I am not very sure of it to be Frank and I might just go ahead and blend it with the background. Yeah. These kind of things do keep happening and you may not be very happy with the final outcome. At that point in time, you should go ahead and just blend it with the background. I did the same technique of adding mountains on the right side and they're blending it by flat brush. I would go ahead with some smaller strokes now as we are coming closer to the boat area. When we are closer to the boat area, it means that there will be smaller and smaller lines that are going to come up. It is further away from our eyes, and that's one of the reasons that it is not going to be bigger in size and shape, it will be small. Adding some of the lines on the right, and even just below the boat. Again, just to make it more darker. I'm going very slow at this moment. Believe me or not. I don't have any particular idea in mind. It's just that I have to create a reflection off the boat into the water and that's only there in my mind, but how I should go ahead and make my smaller and thinner waves. I'm just going with the flow and adding it. This is my neutrotan adding it on the boat area and then just covering the entire boat bottom area with it. Blending the colors and blending with the bottom part, you can see how pufly the colors are getting blended. It's almost dry the bottom area and hence there will be some lines that will come up, but that's absolutely okay. We are not thinking much into all those small smaller aspects of painting. I mean, don't beat yourself up with smaller aspects of painting. Just enjoy. Go with the floor. Whatever be the final outcome, just tap on your back and say, you have created it, and it's amazing. Creativity is a gift. It's a time that you have taken out for yourself and you are doing seriously amazing. Going ahead with a lighter value of my orange that I had on my palette and some amount of the neutral tint and creating the ceiling so there's a sailing boat. Then there's a cloth. I'm covering that area with this particular light mix. There's a small person who is sitting over there and I'm covering that up even with the lightest value for now. Once this part is done, we will create the area or basically the ocean foam, which usually comes up when any kind of boat travels faster or any cruise smaller cruises, anything. Travels on the water, you will get this kind of ocean foam, and I'm just trying to imitate the sceam with my watercolors. Time to have a closer look at everything that we have painted till now. Believe me or not, I'm super excited. We are zooming in and understanding what we have done till now, it's super pretty this boat painting. I'm always in love with. There is so much to be done in any kind of boat painting that you do. Over here, we are also creating a few lines, and then we will be going with the darker, lighter, all kinds of values to create some lines. Just follow the kind of strokes that I'm adding, and I guess you would be good to actually go ahead and sail on your own. We are just zooming in and then going ahead and creating the smaller lines that is important for this boat area. This is more of detailing to be frank. At this stage, we are majorly done with all the important rights that we had to do and the waves are also time. It's just the boat and the smaller important things like a fuel lines, darker and lighter values. The area, which we did paint in the orange part, which is majorly the cloth area is still a bit of it, and that's one of the reasons I did not go ahead and make a full line. Orals, it would have moved a lot. I mean, the paints would have moved a lot. Adding a few more lines, as you see on the right side. This is great, you know, I just feel so much happier when a painting is almost coming to life. I have such less work at this moment. But if you overwork at this stage, believe me or not, your painting is not going to come together very well. Last four to 5 minutes is the time to step back, relax, have a cup of coffee. Just step out for a while, come back and see that is there something else that you really want to add or is it that you're just adding something extra. So for me, I really need to add some reflections into the water area, and that's one of the reasons I have to continue working on it. I did add a bit of doc value even on the person who is sitting over there. I'm going with a simple color wash, which is majorly the same colors that we have added for the waves, orange, as well as our neutral tint and creating these beautiful and amazing lines. Oh, my God. I think it has my heart. I can't tell you how much I am touched every time I create. Any kind of lines or any kind of beautiful reflections into the water area. Every, of course, the reflections will not be seen and that's one of the reasons I'm not going to add it everywhere. Just in few of the areas where I think it is necessary and some of the lines, which we did add, those lines need to be added even in this case. We are going ahead and using the tip of our size for brush to do this exercise. Oh. At this stage, my only advice to each one of you would be to go slow and be on it, be on top of the painting. But not beating yourself up just to think that, is it complete? Do I need to work more or do I need to work less, what I need to do? Think that it is a painting that you have already done and it turned out already beautiful, just a few more touches and it's going to be super amazing. Using some white and adding it in a few spaces where it is necessary. It's just for a bit of highlight into the darker colors that we have added for the boat area. A few more strokes and we are good to go. This one is the whites, and then I would go ahead and add some more darker values into the area of the reflection of the boat. Now, that is something which I always always say it's important few of the areas will be a bit more highlighted than the other areas that we have already added into the paint. I will go ahead and add a few more lines and using my size zero brush for doing this exercise. At this moment, I would just let you work and see how I paint my strokes, how I go about with my thin brush. That's all. Enjoy the moment. Finally, I'm almost done it's few more lines as I did tell you earlier. I would go ahead with that and create some of my lines. Just below the boat. You will see how I created, and then final at this painting. There's not much to explain from here on, as I always say. But these darker lines are not going to cover up the entire space. It's only going to work on a few of the areas and those are basically the highlights and rest of the areas would remain. I will meet you again with another ship or boat painting very soon. 19. Day 12 Waves Part1: I SOA colors in a bit different way. I'm going ahead with either you can go ahead with your compose blue or you can go ahead with your horizon blue. So both the colors are good. To be taken. I can go ahead with even tail green. You can prepare the tail green if you don't have it. Then your lightest value of green or yellow green, along with it, keep your paints gray or co. Both of them are good to go ahead with John brilliant number two. This is the lightest value which we are going to apply on our sand area. Then our pca K brown and last is dk green for our painting. The size of the paper is a bit smaller than your Ao size, not much smaller, so you can also go ahead with the Aosize paper or a bit smaller than that. Actually, the board is around a four size, and this paper is a bit smaller from the size if you see. Go ahead and just marking about 10 centimeters, and then I would go ahead and draw a line. Now, 10 centimeters, there's no particular idea about it. I initially wanted 8 centimeters, but then I thought ten centimeter would be a better idea to draw the horizon line. I would go ahead and just make a bit of an island over here. Island means that I would just add some sand, some rocks, et cetera, and then create a bit of greenery to make it look very organic that you can see from a distance the beautiful island and the bottom part would be more of waves, et cetera. Very excited to create this with you guys. Believe me or not. This is one of my favorite paintings from the entire series, and we are moving on to now bigger paintings. There will be a mix of bigger and smaller paintings. Do not worry on that part, but mostly what you will see at least three paintings that are coming in the following days are more bigger in size. I'm adding some line curved lines across these curved lines are majorly for the areas of the rocks, and then I will even add some more darker lines towards the bottom area when you go towards the bottom. Going ahead and adding a few more lines for creating the rocks and then again shading it. You will see me shading up a lot of this area. As it is the darker values, and it makes my work way more easier as I progress with watercolors, the darker areas will be in darker colors, and the lighter areas will be in lighter values. That way, it provides me with a better guidance, and I continue to work on few more lines. There is not much that I can explain over here. It's only few lines, entries, et cetera that we continue to build on. Of course, the sketch is always a framework, and if you create the framework, we your final outcome of course is going to be even more interesting. Having said that if you are not very well versed with sketching, it's absolutely okay. You can make your rocks in your own style. You do not need to follow the style over here. We have all de painted rocks do in this series. So you can refer back to those and this all will be done in a similar way. I go very slow at this stage, as I want you to get everything that I'm doing right now in this painting. It's easy. It's not difficult at all, and there's a mindset, which I always say is prevails in watercolor. If you go with a positive mindset, your final outcome will also be positive. But if you are not going with a very positive mindset, what usually happens is that your final outcome somewhere or the other, at the back of your mind, it's always working that no the outcome may not be good. I may not be in a position to create the correct painting, and I might not be very happy with how it turns out, et cetera. But we always recognize the fact that the positive mindset is very, very important in watercolor. W is a watercolors anyways is very tricky. If you are then moving on to a medium, which is so much tricky with not so great kind of a mindset or a doubtful mindset, then the final outcome may be a bit difficult to attain. And that's what I say that go with a very, very positive mindset, and I think that you would be in a position to nail your painting. Now, let me add my trees over here. I would go ahead and create a few lines where basically I would be marking the whole of the leaves. This is coconut tree. Of course, it's an island and it's in the middle of the sea. There has to be coconut trees, right? Let's make one of the coconut trees, and on the right, I'm even adding some more of my rocks. M. Even while you sketch, you can do a bit of detailing. You can see that some of the areas you can mark in a bit of darker value of the pencil. Though I'm going ahead and using my two Etch pencil that is very, very light. But on paper in few of the areas where I want a darker graphite marks, I do shade those areas well. We are going to have a lot of blue into the water area. I'm going ahead with my beautiful This is a horizon blue from the brand mago Mision gold, but you can go ahead with any of your other blues that's available with you. I'm pretty sure that you have even a cobalt green, though we are going to add some green into it and create our own beautiful cobalt green, mixing some amount of Mello green into it and getting a darker shade. These things, you know, you can always continue to add on your own and just mix up your colors to get the final outcome. You really don't need to have the colors, which I am using right away. You have also seen in the color mixing part, how we have created tail green or the colors that are pretty much used in this painting. I will add some more of the colors towards the bottom area and then go ahead towards my top area. The top of the area, of course, is becoming more and more drier and we might have to go and add some of our blue colors even over there so that it doesn't become absolutely dry and that will lead to lines, which we don't want. That would be the talker or the patches and lines, et, which usually happens in a dry kind of space. Okay, great. L let's go ahead with some more ultramarine while we go towards the bottom area. You can see that right now my water looks pretty flat. Is this what we are going to paint? No, really not. I'm going ahead and adding a bit of my darker green into this water. You can also see that the lower bottom part is more of greens that we are going to add. Either you can take the yellow green right now or go ahead with even any of your other greens that is a bit yellish in color over here to create this kind of a hue that you observe in my painting. I am going with my flat brush so that I can go ahead and cover a larger area compared to what we have done earlier. Now, larger area coverage is very, very important in the painting. I would say that is basically the whole of the water. And going with some of my greens more towards the bottom area and then blending it to make it look very, very organic. Now, what do I mean by making it look very organic so that there is a clear transition from the green to the blues that you observe in the water area. I'm going pretty slow at this stage. You don't need to worry. Just observe that how we are creating some of the waves. Believe me or not, this is a very simple exercise. While you create the waves, it might be a bit difficult or look a bit difficult. But overall, when you continue to add these lines on a wet surface and continue to control your water, you will exactly know that this process is very simple. You've already created waves and you know how creating waves is easy on a wet surface. We are just taking it a bit up. We are not going with as route straight waves throughout some of them are at a gap with each other as it is a larger paper. Only thing that you need to keep in mind is that there is Good amount of water on your paper or else. There should not be puddles. Now, if there are puddles, your colors will move a lot. If there is less water, then your paper will dry up fast. There has to be an optimum amount of water. That's what I am always always trying to tell you it's a hot. Summer season in India. So it might be difficult for many of us to keep our paper. You should know your climate and then accordingly work. That's a very, very important tip, which I want to give you that climate has played a great role in my choice of paper, the kind of paintings that I do and the layers that I can apply on my paper. For the darker values of blue, you can make some amount of your go or paints gray. You can also go ahead with some of your onrene blue. That's a beautiful blue which you have from the branch senala. Actually, I own of one of the onre blues from them. I really love the color that they have. It doesn't move a lot and you can really control it well. I haven't tried onrene blue from any of my other brands. This is one of the brands which I have fallen in love with, and I still really like to go ahead with it. Continuing to add some more lines, and you can see that these lines look so much more organic. While you go towards the top, they will become lighter in values and they will become smaller or shorter. You will see how you continue to use the tip of your brush as you go towards the top area. I am just washing my brush and picking up some more of the darker values to apply towards the bottom area. The underlying water is of course green, but the waves that we are creating is in darker values, and that's what matters at this stage. Believe me or not, right now, I was not sure how the whole painting is going to turn out. And it took me a lot of time to really realize that the whole painting is going to turn out well. So never never give up in between, always continue to work on your painting. The colors are the same. Some of the areas, I'm extending a bit. You can see I'm mostly using my brush at an angle so that I am not using the tip entirely and not even the bottom part of the brush area, which is way more thicker and it will give me bigger lines. Going ahead and using some more of the tip area of this brush to create some of my lighter lines. I have washed my brush and whatever be the color that's left on my brush. I'm using that color to create the waves when I go towards the top area. This part is already pretty much dry. Only a few lines is what I can add at this moment. Now we are touching on a very important concept that is lifting of colors. We will go ahead and take wet or you can say a brush that is damp and clean. We will wash that brush and then again pick up some of the areas with the same brush. I'm using a round brush at this stage, but we can also go ahead and use a flat brush that really helps you to pick up the colors even more quickly. That decision, I would leave it up to you. I continue with this process and I will continue cleaning the brush at regular intervals when I think it has become more green or blue like that. I'm not going to pick up at every place. There will be only a few places where I'm going to pick up my colors. And that's how we are going to create our ways at the beautiful light shade just underneath. I have seen her in many paintings, but this was the first where I wanted to try it with you all and hope you were going to like it. Once we have made these lines. I will go ahead and start working on the top area. Now, you can only do this exercise till your paper is semi wet. So it's not absolutely wet and it's a condition where your paper is damp rather than being wet. So do keep that in mind when you do this exercise. If your paper has dried up completely, then it might be a thing that you will not get these lines correctly. Going over to the sky area, I'm going ahead with my royal blue, and then I will mix it with some amount of my ultramarine to create the darker value towards the top side. But as we move towards the bottom area, it would be lighter in value. Now, that's how we will continue to add the gradient wash. Now, gradient wash is something where you can work with one color two color. But as you progress towards the bottom area or around the horizon line, it will become lighter and lighter. Exactly the way you observe on my paper right now. You can make it a bit more darker if required, that I would leave it up to you. But this kind of a gradient wash is very often seen in many of our patas. It is easy to create as well as it doesn't need much of much of a thought process altogether. When we are working more on the waves and water, I would try to keep my sky more easy. That's how I look into it. I don't want my sky to have a lot of drama into it and all And there is another thing that I want to tell you the color of the sky always gets reflected into the water. That's one of the reasons I love to keep it simple blue so that I can get usually the same color into my water area. Met you again in the next lesson. 20. Day 12 The Waves Part 2 : Let's work on the island part. Now, this is very interesting. I will go ahead with my John variant number two and start out with my area where I have major the island. I will go ahead and make some amount of brown into my John variant number two and start applying this color. I will apply first a bit of a concentrated mix and then again tone it down with the help of some water as well as John in number two. Both of these colors, I have been using pretty alternatively, and I will even apply some darker and lighter values on the rocks that we are going to paint. Okay. If I'm not satisfied with my blend, I always use a flat brush with clear water to apply so that I get an absolute clear, nice finish on top of my paper. Let's cover up the entire area where it is rocky with the same color mixes. It's majorly your this brilliant number two, as well as the other browns, et cetera. So, keep covering up the areas, and then we will add some darker values in some areas and lighter values in some areas. So that will, of course, continue to work the way it is. Because till you actually change your values or add darker and lighter values, you will not be in a position to basically distinguish between the light and shadow, which is falling on this particular rocky areas. And that's what will distinguish your painting being more aesthetically beautiful compared to all the other paintings that we might have done till now. No, I think I will just continue to work on it a bit more and always always do understand at this stage also. You frankly can't think how the whole painting is going to turn up. Continue working on it, continue to develop your painting, take small steps, sit back, relax, enjoy and then jump out. I can tell you you are going to just enjoy the whole process. You can see that I will lift out some of the colors and few of the places and I will actually add darker values and few of the places right now. I'm going ahead and adding some of my light brown in the tree trunk. So, that's how it is going on. Let's have a look at it. I'm in now. And going with my lightest value of green. It is my beautiful yellow green that I'm going ahead with and adding on the tree leaves. I know that usually coconut trees are common, and that actually makes up your painting so beautiful with the greens, then the browns, the blue sea, blue sky. I think everything just comes in together in such an amazing way. What I usually do is I will draw a line and then just extend smaller lines in and around it. I continue to do it in all the leaves that I add, as well as once I'm done with the greener parts. I will also add a few of the darker value of green in some of the areas for the highlights. Now, this is a very, very good highlight that we continue to add into our coconut tree painting, and it really makes the painting stand out and not look flat absolutely. There are places where it is more into the shadow and there are places, which is more into the lighter areas. Let's add a few dots here and there to end it. Once this is done, you know that already the brown areas of the rocks are dried off. And some of the areas, I want to add in green. You can see there are lines, lanting lines, et cetera, which I have added. I will go ahead with my yellow green in this area and then add or make some amount of my darker value of green. It can be even hookers green or it can be even Panik green. Whatever you want to add, you can also go ahead with some of the colors of green, mix a bit of brown into your green and then add it. I would leave that decision up to you see. Color mixing is an art. The more and better, you can actually mix your colors and come up with your own shades. I think the painting looks even more. Beautiful and aesthetically pleasing in that way. We continue to use the same process even for the left side of the greens and add a bit of dots here and there. This is just my edition of where you're going around it. Yeah. It's like the smaller dots add so much of beauty to these paintings. I just leave it like that. I mean, few few drops here and there. That's all. And you automatically get a beautiful outcome. Darker value of brown that we are going ahead and adding in some of the areas of our rocks, you can see it over here, and I will also add the same colors in the similar process on the right side. So it's pretty iterated from this place to be flat. There is not much that we are going to do except a few color shades that we are going to prepare. You already know that if you use ultramarine and your burncena you will get taker values of brown. You can create taker values of brown like that. Corals use K brown exactly the way I use it in my painting. I always like to first go ahead with my lighter values because then I can play a lot with my darks and the lights and that really marks the shadows as well as the lights in our painting. One more that I can always give you while you create these lighter and shadow areas is the area, which is already in your I mean, the graphite marks which are already dark and you have shaded the areas. Those are the areas, that would be way more darker. And the areas, which you have not shaded, would be lighter. So whenever you are applying the colors on it, just blend it with a bit more water in those areas and then apply some darker value required B. Or if need be, that's a great way to actually use it in any kind of your watercolor painting. This is not the final project that you guys are going to create. You going to use all the knowledge from here in your future paintings, and I'm really waiting for all those paintings. You can connect with me over here in the discussion section, upload your projects. I would be more than happy to go through each one of them and give my feedback. This is one of the classes, which is tense, and there is a lot of learnings as well as I'm trying to actually add as much knowledge as possible into it. So hopefully, you are going to take away some bits and parts of it that can be very helpful in the long journey of watercolors. Finally, I think we are in the last four to 5 minutes of our painting where practically, you are just going to go ahead and sit back and only work on the lines that you have added initially. We are not going to work more than that as most of the areas are already done, we have added all the details that was needed. Some of the areas even the short line, I'm defining a bit. That's it reset be. We are not going to touch every area. Believe me, I have this tendency to overwork, and I know all of you Do try to overwork in many of the areas. I do mix out my colors, that is blue and this Berciana to create the starker value. You can see it on my palette on the top right hand corner. I have intentionally actually shown you the palette so that you can also go ahead and create your own shades with the help of this. The coconut tree also will have two shades in it, and I continue to work on it. Sometimes it's good to do even two layers. So two layers or three layers. So two layers is what we have done for our rocks, and in some of the places we have also done three layers. We are also doing the same kind of process even in the green spaces that we have added. I will use my size one brush to actually apply some of the tarker values in some of the areas, as you observed, and some lighter values from the palette, whatever colors and now they're on the palette, I would be using the same colors. I'm not going to change my colors, et cetera, for the whole of the excises. Whatever is available, use that to just get the final outcome done. By this time, you all might be actually feeling a bit more impatient. I know it's been a bit long, but this is what is the best. I think it can be done within 30 minutes and that's something that I really enjoy. You can just clock in and then see that it's usually 30 minutes. You can watch this first and then go ahead with your painting. I think that would be the best way to progress. Do use a 300 S 100% cotton paper or more. Otherwise, it would be difficult for you to keep the paper wet for a longer period of time. For these heavy washers and Aize paper or bigger paper, it's always suggested to go ahead with thicker paper. Knowing that everywhere in India, it's warm and hot even in the places outside India, there would be more of summer season. I mean, that's how it's going, and hence the climate has changed to a great extent. According to that, the paper should also change. I know that I did already see all of this, but still, I think, every time we need to always continue to add this point everywhere so that we are pretty much aware and we are thinking from it's just there in our subconscious mind what to use, how to use, and that really makes a lot of change into your painting as a big nope I just started out. I wanted to use much cheaper paper and all. But all I realized was the expensive paper made a lot of difference to my painting. Believe me or not, even if you are wasting the paper, it's going to help you learn exactly, you know where you have gone wrong, and all the difficulties that you have faced with the paper, you can overcome on the back side of the same paper. Use both sides of the paper. That's one of the reasons you have taped down this paper, and I have used backsides of so many papers because always you cannot create an exceptional painting in the first row. It takes a while. It takes a while for everyone. So I continue to always, breach whatever I have been doing as a practice, and it's a great practice that you can also build in. Okay, I guess it's time to let your paper dry off and then just remove the tape at an angle and have a final look at this painting. I'm pretty sure about it, you will be already in love with it. See you again tomorrow. 21. Project 13 Coastal Lines Part 1: Let's understand all the colors. I'm going ahead with my first shade, which is my composed blue or horizon blue, whichever you have. Then you can go ahead with Cobalt green. Now, these are the two options which you have. You can use any of the options of your choice. Next, going ahead with my TadoGreen. If you want to exercise this, you can of course, go ahead and exercise this. Then we will be going ahead with some of our ultramarine. This is a beautiful shade, as always, and then some of our donne blue. You can see I have used the mix of this ultramarine and donrein for many of the shadow areas in the water. John brilliant number two for the basic shade of the rocks, burn Siena again, to create the darker and the lighter values of the rocks, dk brown or you can go ahead with CPA last but not the least either an indigo or you can go ahead with pains gray yellow green, and the darkest value of ken, which is dike green. Let's first start out with our sketch. I would take any pencil of my choice. You can also go ahead with any pencil. Just make sure that it is Edge B. For me, it is more of a drafting pencil. It is to wedge. I have done all the sketching with this pencil, so go ahead and just mark a line. It can be around eight to ten centimeter, whatever you want to select. Go ahead with that, and that's our horizon line, which is going to separate the water from the sky. Going ahead and making small hill like structure on the right side. These are basically rocks, and you have to add these kind of rocks even on the left side. That's one of the reasons you would see that I did not actually go ahead and add the line even on the left to a greater extent because I know the rock on the left is larger in size compared to what we have added on the right side. It's more of easing and then again, drawing. It's an iterative process. So just follow how I go ahead and add it. The paper size of course is huge and it is around A four. So if you are someone who is not very much into a bigger size paper, you can also make this painting on an A five size paper as there are not very large number of, I would say that you don't actually add a lot of nuances or lot of detailing into it. These are just a few detailing which we are going to do, and even an A five size paper is good to go. Though the main idea of this painting is to paint bigger, as well as gain all the confidence that we need for painting on bigger size paper. I have about three to four paintings in this whole of the series where we are going ahead and making bigger paintings. So this is one of them, and I'm going ahead and making the rock on the left side, even more bigger, as you can see, It is going to have a bit of shadows as well as light into it. You are going to see how we add those light and shadow areas. Mostly everything what we paint during the initial part would be of lighter value. And as we progress, I would be adding more darker values into it. I would like to add the shadow area in a bit of darker value of my pencil, which means that I would be shading those area. Though, this is not a necessity. I like to do it as those are darker areas, and it really doesn't matter if I even shade it. You will see that the darker areas will automatically become more darker when you enter darkest value of colors. Like your Vinike brown CPR or any of your darker values when you mix blue with Burnsena, you will get those darker shades that you are going to add in total these shadow areas of the rocks. I would leave that decision up to you. You can go ahead and make it more shadowed or do it later on, that's up to you, absolutely. Once we are done with these shadows as well as the far away rocks, we would go ahead and add some of the rocks which are more closer to our eyes. Now, this is something that would help you to develop perspective. And perspective is all about the closer the rocks are to our eyes, the greater detail it would have on it. So yes, that's what we are going to do even on the left side of the paper, if you see. I would add some more rocks towards the bottom mea, It's a simple process. Just go ahead and follow it. So, some bigger because everything cannot be big in terms of rocks and everything, of course, cannot be small. So yes, we are going to blend it in terms of small, big, shape, size, et cetera. It's nature, and nature is absolutely random. I would use that randomness of the nature to work into this part of the project. Once I'm done with the rocks that is towards my front area, I would go here and start out with the lightest value of colors. Now, why the lightest value of the colors initially? Now, initially, when you work with the lightest value of colors in watercolor, you always have the chance to go back to the darker values. If you start with darker values and you want to go back to the lighter values, there's no way you can go back. So always develop your painting in layers, and if you go one layer over another, it is also known as clazing Though this technique has been used very often in most of the paintings, but I would say that it has not been named always. Hence, you might not be in a position to always understand what we are doing, how step is it's moving. But every layer on layer as you keep developing your painting, you will see that the darker, lighter shadows, depth, et cetera, everything gets created very easily. I would go ahead with my framearin and start out with the top side of the paper. Before that, I would just add a breath of pressure with my fingers to keep down the paper well because otherwise, what happens is, this colors will move into the specific areas of the paper, and I will not get the exact crisp edges which I look forward to every time. I will go ahead and use a gradient wash technique in this case, starting with the darkest value towards the top. And as I go towards the bottom, I will add some water to make it more lighter and lighter as we approach the middle part, or you can say towards the horizon line. Then going ahead with my John brilliant number two. This is one of my favorite shades from the entire series. You right now know it. It's from the brand in if you don't have this, you can also go ahead with your Naples yellow. Mix a bit of burns and into it and you will get a shade that looks closer to the one which I'm using. I am adding the same color on the right side and on the other parts of the rocky areas. This is a great start, as I would say, it's one of the lightest value that you can add to your painting and slowly steadily, you can build up on it. I will also add it on the left side of the rocky areas as well as towards the bottom part. It's a step pise process, so you have to keep a lot of patience as we work through this entire painting. Though it might look a bit long. This part is almost close to 20 minutes, and the next part is also close to 20 minutes. That's one of the reasons is that we are working on a bigger size paper and bigger size paper, you have to cover a larger part of the paper rather than only working through the smaller parts as we have done earlier. Though you have already done the last painting, which is pretty huge and I know that all of you have nailed it. I think that you would be also in a position to nail this particular painting there. There's no difficulty in overall sense. It's just a mix of color shades, darker, lighter values, wet on wet, we roy techniques which we are going to cover. I manage some amount of green. This is majorly the yellow green and the green that's available on the right side or on the palette. Again, you can use any green that's available. For yourself. I am using a very, very light tonal value and adding on the top part of the rocky areas. I will again load my brush and just add some of the areas and this green value, whatever is required, and then mix it with some of my en brilliant number two. As I think I was not very happy with how it turned out. These things do always happen. I sometimes keep experimenting with my colors, and if I'm not happy, I would go ahead and just cover it up again with the help of my other shade that I did apply initially. Once this part of the painting is dried up, we will go ahead and start with our water. Now, you can use either compose blue to start it out or any blue that's available on your palette. Now, there are composed blue, horizon blue, then other shades of blue that are there. You can also go ahead with turquoise, mixes a bit of whiting to it to get a shade that looks similar to the one which we are using. I will just towards the right side because you can see that there is a small rock over there, and I don't want to go over the rock. I will start working towards the entire part very slowly. So just be along or just follow love with me because it's going to be a bit longer compared to what you might have thought earlier. Let's go ahead and just add some of our dark values of blue and ether, it can be in Dn three blue or else you can also go ahead with any of the other blues that's available like Crucian blue, et cetera, in your palette. I'm always a person who loves to go ahead with whatever is available on your palete. You really don't need to go ahead and buy any colors. I think everything that we have is good to go. Though the season has changed and it is very hot because of which my colors are drying up very quickly. I'm using my mob brush, though to just add a lot more water than what you could have thought about, as well as my brush also holds a lot more water still. This painting is drying up in a few places, and you will see me regularly going ahead and just struggling a bit in few of the areas wherever the colors are drying up quickly. Now a few of the colors also do have a property of drying up very quickly. I've seen that with some of my shades like Arlene, I have seen it dries up way more faster, and it also spreads a lot more because of which that particular space where I've applied Alene gets dried up very quickly. So yes, all these experiments I keep doing on my own, and I see which colors are drying up faster and which colors are drying up later. The smaller aspects of watercolors, but these are very important aspects of watercolor, and that's why I say that you have to continue working on the smaller, smaller things and smaller, smaller details. So if your colors, know your color that you are using, know your brushes, know your paper. I have been using Arch's paper for many years now, and that's one of the papers that I've fallen in love with. So I like to use this paper in most of my paintings, whether it be 1805 GSM or whether it'd be 300 GSM. The GSM to an extent matters when it is different and different climatic conditions. And also depends on the size of the paper. If I have a larger size, I always love to use 300 GSM. If I have a smaller size, I always go ahead with 1805 GSM because at that point in time, it really doesn't matter much. So overall, if we are going with heavy washes, again, 300 GSM is important, by the way, I have used some amount of my green into the painting, and this is major my yellow green from the brand majo Mision gold. Yes, it is a beautiful green that I have. And I have been using this screen for many years now. You have seen me using it in many of my eudio paintings too, and I have this set for a lot of years. I have long, long years now. I have a lot of sets now, and still I feel that this is one of the shades colors that I love to use often into my paintings. Go ahead and adding some of the other blue. This is a mix of my ultramarine and some amount of dontrne to add the darker values wherever I want to add some of the shadows into the water area. This is majorly the shadow of the rocky areas that we have added earlier. Do keep in mind you can only add the shadows till the paper is wet enough. If the paper is drying up, then we can't go and add these shadows anymore. Adding a few lines wherever the paper is again wet. The paper will remain wet if you are using a 300 GSM. In case you are using a smaller size paper, then it will not stay wet for longer. So yes, do keep that in mind where you work through your palings and I would go ahead and just add some more of the shadows on the left side as you observe over here and then blend it with another brush with the green stat you observe. Okay, I can see that towards the bottom are, I have left a white space and that white space. I am really not thinking much about at this stage. I have to think about that white space too because it is not the rocks that is there, so we have to blend it and add colors over there too. Okay, great. I guess this is good to go. We have to now go ahead and some blue and then figure it out how we are going to cover the area before the papers or Detroit. Now, these are some challenges that I to always face in my paintings. I would cover it up by using some of the colors and then tending it with a larger brush. Applying some more lines, and this is just almost complete, I would say, I'm not going to touch more over here and a few lines using the tip of my brush. This brush has a beautiful tip. It is an aqua soft, I guess it's aqua soft brush and it's from the brand rap one of my favorites nowadays, I can use it for all my paintings. Mostly small bake. It really doesn't matter. Okay, great. I guess this is good and I can observe that there is a space which is left, which we need to go ahead and also cover up. Some of the areas on the top also needs to have a bit more shadows. So yes, applying the shadows even over there and blending it with some of my green. You can see that I'm just blending it with the colors that's code there. I will add some of the darker values again and blended blended because it's sin wet kind of a situation where it becomes tough if you are not blending well, and you will get a few lines, which we really don't want at this stage of the painting. It happens in many of my paintings, believe me, I just fix it. Yes, we fix all our mistakes. That's most important. Even Watercolors has got a lot of mistakes that we continue to do. Fixing it is very, very important. Continue to fix it at various stages, the way I'm fixing now my mistake. Yeah. I do make a lot of mistakes. It's just that you may not see it because many of my paintings are done twice or thrice. If I do a mistake on the first, I cover up and the second go or the third go that you usually observe me paintings. So that's one of the reasons there is less mistakes that you might have seen. With the artists who are painting or you're observing the instructor particular instructor. Mistakes are normal, continue to make them because if you don't make these mistakes, you will never get to learn. If you don't apply your brush paints to your paper, you don't get to learn. And if you don't continue to actually go ahead and add more paint brush to your paper, you don't continue to learn. I can say that I took a quick break in between as I was unwell, and when I started painting the after a week. Oh, my God, how bad the first set of paintings were. It is all I would say the kind of work that you continue to do, and it's all hands. If you are not working on something for quite some time, I know that you will not be satisfied the next day with your painting. So these kind of things do happen. And whenever they do happen, there's a lot of learning that I get in terms of that, I need to continue working on my paintings has and when it comes, or else I might not get the exact outcome. I might not be happy with the final outcome. And the more you paint, the better your outcomes are the better is your finishing, you get to realize the mistakes, you get to learn more. You even discover a few techniques on the goal, which which you may not know all. It's just by some accident thing that you get to understand and continue to work on it. I am great, and I know that we are progressing well on this painting, so let's continue to progress and have a final outcome that looks even better. So just blend it with some of the greens and the blues as you observe over here, and then let's move on to the next part where exactly we would be furnishing it off. 22. Project 13 Coastal Lines Part 2: Here goes our Pato Pato is just adding more of depth into the rock areas. A as pas finishing it off with more layers. So you will see me adding more layers with more I would say pigmented colors. That's all we are going to do. I'm going ahead with my Bonsiana mixed with a bit of brilliant number two, and then just blending it with my background color that I did already add initially. I will go ahead and add this kind of a mixture in all the rocks, and as well as go ahead with some darker values as we progress. This is something that you must know as you are working through your watercolors. Everything can't be done eaton wet. Some of the areas needs to be done in ton dry, and this particular area, what we are working on is more wet on dry. Some of the areas I'm adding in the darker values and leaving a few spaces in the original color of John brilliant number two. Now, this is just to show the contrast, or you can say the light and shadow of the sticular rocky areas and the rocky terrain. Everything cannot be in light and everything also cannot be in shadow. So to differentiate that, it's important to darken out a few of the areas and to keep some of the areas as absolutely light. I think the whole painting is turning out as I want. The water has come out beautiful, and that's one of the most important aspects, I think when you are painting S. The lighter values are towards the top area or near the horizon. And as you progress towards the bottom, you will see a lot of shadows coming in from these rocky terrain into the water area, but they plan so nicely into the background that hardly you can see something that goes out of the order or there is less of wet on dry method, which we have applied into the water. Mostly every time we are painting water, we are going wet on wet technique rather than going with the wet on dry technique, I really love them whole process of working with wet on wet mostly in the water area, and I love to use it for most of my water techniques. Having said that, I do even like to do that for most of the other paintings, whether it be landscape or any of the other areas. But here, right now, what we are going to do is work on the rocks. I have mixed some amount of blue or dark colored which whichever you want to use if you are more fine with using CPA or vendik brown, please go ahead and start adding it to these rocks. Okay. I always keep blending my colors a bit in few places, and in few places, I leave it as this. This is a technique that I've been using for many years now, and you have seen me using it even in earlier few exercises. So just follow it. There's nothing to explain in some of the areas. You just blend it with the background so that it doesn't look off completely. And some of the areas, we just leave it as when it goes towards the top. Now, why the top area is like that because we are covering lesser area over there, whereas when it is towards the bottom or near the water area, there is a lot of water that hits into these rocky terrain. And because of that hit, there is a lot of algae deposit or there is a lot of darker values of shades of these rocks. They usually. There are lots of terrains, et cetera, that works into it or you will see a lot of holes, small, smaller holes, and snails, et everything attaching to it because of which these areas needs to be way more darker than other areas that is towards the top. I would use the same technique of using the darker values and add it in few of the places even in this rocky area. By seeing this, you will not be in a position to actually guess how the whole painting is going to turn out, so never leave a painting, as I always say. Do not give up at this moment because the final painting is going to look amazing, and you are going to nail it absolutely. So do continue to work on it, and working is something that I always say. You need to do in layers. This is a bigger painting, and that's one of the reasons you might have to work for around 30 to 14 minutes to complete it. But this particular painting can also be done on a smaller size paper as there are not much complexity in it, which I usually see in the other paintings which are coming up though there is a smaller size painting also, and then there is a final large boat which we are going to paint. That's one of my favorites till date, and I have kept that for the last because it's going to be a longer one compared to what we are attempting right now. There are patches that I have added onto these rocky terrains, and you can also do the same a few lines with the help of the thinnest bh, which we are going to add on the far away mountain or the rocky areas, as well as the ones which are closer to our eye level. Watercolors is pretty accidental or I would say that everything cannot be planned in advance. Over here, also, whatever I'm explaining, it came over time, and I have painted these kind of rocks earlier too, but maybe this is a technique that we are learning fresh in the last painting and this particular painting. It's not that every painting, we have used the similar kind of technique or similar kind of lines, blending, et cetera when the painting goes a bit bigger. Of course, the techniques also changes with that, and it comes up with beautiful and amazing outcome. Okay, I guess now adding some water towards the top area so that I can make those loose forest parts that I really aim to nail completely. Though it is darker and lighter values, but it adds so much more beauty into the painting when you add a bit of greens here and there. Even in my urban sketching, I love to add somewhere or the other, a bit of green that really adds so much more beauty and light, as well as life into this painting. I can always say that this is what I want to do. Towards the top area, I have added the lighter values, and as we go towards the bottom or near the rocky terrain, we will be adding the darker values of the cream. You can go ahead with any green For me, I have gone ahead with the yellow green and added it with some of my darkest value of green. It can be your entakeGreen or hookers green or any green mikes a bit of blue into the green that you already have, maybe sa green and all, and you will get a darkest valume. Don't think much when it's about green, browns, et. Every color can be created and mix your shades, and you will see that the final outcome looks very different than what you usually get with the shades that's already available on your palette. Mixing your colors is not only about creating various shades, but it also gives you a lot more understanding about your own colors, part pigment, then what is the final outcome that you get. Sometimes, you know, you get all of a sudden some granulating colors because you have added a bit of ultramarine into the burn Ciena that was already existing. And that particular outcome may look very interesting to you. So these kind of accidents which happen in water colors only happen when you start experimenting, and that's one of the reasons I have al always asked you guys to experiment with your colors, to experiment with your pigments, mixing up of colors, et cetera. Everything which is given absolutely is given, and we are using those shades for getting an outcome. But if you mix some of the shades, like the greens that we have added into the compost blue that was already present with us, or the horizon blue, whatever blue you have, you will see that these greens create a beautiful shade of greenish blue color that looks more like tailor shade, and that tailor brings much more beauty into the painting and much more life altogether. Okay, continue to work on these smaller green areas. And this is not much to explain as we have done the right hand side, we have done the left hand side, and we will continue to work on it in a similar way. But there's less of greens anymore that we are going to add into this painting and more of the browns and darker value of browns to create the shade and I mean the lighten shade into your rocky areas. I'm using my size ford brush from the brand silver. It has got a very nice tip. That's one of the reasons I've been using it. I have also used the Vinci brushes in the past, and they also have a very good tip. So yes, I think these are two of the one of the most recommended brands that I can tell you when you are going to invest in good brushes. These are the brands that you can look forward to. Over the years of use, yes, a brush might get spoiled, but it can last you about five to six years or maybe a bit more. So it really makes sense when you are investing. It can yield you great results, as well as it's one of your favorite brushes in future, which has given you some beautiful and amazing paintings. I think I have explained these lines and all even in the other rocks that we have painted. I'm going with an absolute I mean, I mean, very random way of drawing these lines. It's just the areas where I see that there's a ridge or there is a curve. I start a line from there and take it towards the top. That's all I keep in my mind when I'm making this. And while I go towards the bottom, I would like to make it a bit more darker. So that will be the thing that's going to come up. And I guess if you keep this particular thing in mind, the whole painting will fall in place. There is less complexity, as I say, in this painting. It's more simple steps that you need to take to paint each and every outcome of this painting. Use the same technique that you have done on the left side of the painting, that is near the greens, which is just blending with the rocky areas. I've just blended it with some of my brown. You can use any brown of your choice. Now I'm using the darkest brown, as I did tell you even earlier that I would be making the bottom area a bit. That's what is being done in this case too. Flat pressures are great when you are thinking about blending and you can blend it even with the blues that you have added earlier. It's basically the train or the in blue. I love these two shades and I've been using it a lot for my water. I'm using the tip of this flat to create a few lines. This is more wet corn dry technique that we are using at this stage. So yes, you might have to also do the same to create a few lines. That's it. I guess this is it. I'm not going to exaggerate it a lot more than what we have finally in this as an outcome. I am to work on another rock, making it again darker towards the bottom area as we did it for the leftop side. We will do the same thing over here. I mix some amount of blue into my burn Ciena and got color that. This is again a very, very simple process, which I continue to work with. I usually like to repeat my process. I don't go ahead and change my process in every step that I take because this then creates a lot more harmony into the painting if you continue to work with the same process, if you are changing your process again, and again, what happens is, we don't know what would be the outcome. And Predicting watercolors is very difficult compared to if you are working with any of the other medium where there is a chance of going back whereas in watercolors, there's chance to go back to what you had earlier. So be aware of how you take the steps and how you work through your paintings. Repeating the same step again. So there is very less to explain over here. Please continue to paint, and I will just add some music for you guys to enjoy this part of the painting. I will work on the last rocky area now. This is majorly the rocks that is there in the front. I am using the tip of my brush again to add one or two lines. It's great when I see how we are constructing this whole ping, there is no h. Something that I have learned over time. Do not rush with your watercolors. Given the time it needs. If you want to take a break, take a break, you can work through this painting in various settings. You do not need to complete it at one go, like we completed the water in the first, and you can work on these individual rocks separately. So there is less, I would say, in terms of stopping you from completing this painting, like you have to sit and complete and then only you don't need to do that. So that is a great, great I would say final outcome, which you can look forward to in a painting like this. Go ahead and adding one or two more lines in this area and making it bit. I will blend it a bit more with my blending brush. You can use any blending brush of your choice. I basically use a round brush. I think it is size four or size six, whatever you have, go ahead and use it. Add some more lines. And as we progress with these lines, they will add the shadow area, which we have pain looking forward to. Now it's time to just go ahead and add any further detail that's needed because most of our painting is done. I'm not going to touch the sky and add any birds or anything. I would leave it empty. The whole focus of this painting is in the water, and we have added a lot of depth into our water area. The colors you can see at the bottom, and in the beginning also I have already told you, adding of the value and then have a final look at it. 23. Day 14 Cruise Part 1: We are starting out with our horizon line. I'm really not happy with the first one as I was not sure of how I want to mark it. I think it is just a bit lower than what I want to actually add to this painting. So I'm going ahead and marking a line that is a bit above what we did mark earlier. The water area would be larger than the sky area, why I see this because over here, we are going to actually add a big boat and even multiple boats in the background. The multiple boats in the background will not be a lot more detailed compared to the boats that we are going to do over here. I'm constantly going ahead and marking the line exactly how it should be. If I'm not happy with what I have done as a free hand line drawing, I sometimes go ahead and just mark again these areas with the help of my scale, and then you get a line like this. It's absolutely okay to use the resources that is available with you rather than just thinking that, okay, I'm supposed to always mark with a free hand line drawing, et cetera. These are part and parcel of our learning, and it's okay to use your resources rather than just depending on your self for a good outcome. I guess I would go ahead and just mark a line to understand where exactly I want to place my biggest boat. Biggest boat, of course, cannot be in the middle of the painting altogether. It has to be bit on the right side or on the left side. That way, your whole painting will be much more balanced, and the outcome that you would get will be of better quality, and it will look really nice to anyone who is seeing it. I'm just marking a rectangular kind of a structure, and later on, we can think of how we want to add it to the final painting or how the exact structure of the boat would be. When you're starting out, just break any kind of a subject or any kind of thing that you want to add into a simple part that is square, rectangle, circle, triangle, whatsoever it is. We do not want to initially only start out by complicating the thing or maybe a rubs. So parocram. Anything can work. These are basic shapes and sizes that all of us have learned when we were young, when we were small, and hence we are going to apply the same knowledge to our painting too. I did not discuss the colors at this stage because it is really not important. Right now, the most important part is to go ahead and just add the smaller boats. The bigger boats go into more detailing of that. When we start out with the next lesson, where it's all about painting, you would be in a position to understand and what are the sheets, colors, et cetera that I have the entire painting. Let's concentrate a bit more on the cruise or the smaller boats kind of structure that you want to I'm not going to complicate it much. I will just add a bit of you can see that there is a small area on top of the boat, where basically the windows are, and there is a small area where you are going to I mean, the control panel, et cetera, the whole boat is there. It's not like a boat which you are going to control with your hands or we are not going to go ahead and use only a simple motor to just move it around. We are also going to go ahead and add some of the poles into this painting, as well as some amount of you can say these are basically the long, long cloths that usually is seen to actually help the boat to sail in and around sea ocean, whatsoever you want to go ahead and name it. It can be also used in big sized, rivers, lakes, et cetera, Whatsoever you want to go ahead. And all the knowledge that you gain over here. Again, we used any of future painting, so yes, everything is kind of reusable. But let's go ahead and just mark the bottom part of our boat. And then I will tell you exactly how my water I'm going to draw. Now, this is something that I'm going to do as per the rule of perspective. You have already learned earlier that all the lines move to one single point, and that is called as invisible point. We are going to do the same for this painting, too. It's time to make some smaller boats, Let's have a closer look at it. I would go ahead and just zoom it a bit more so that it's easier for each one of you to have a look at what I'm doing right now as there are more detailed lines, and some of them are really close, which I want you to see it in more detail. I would request you to please go ahead and see it on a bigger screen that would help you to understand e small detail, which I have added onto this painting. M. Starting with a few more lines on the right, as well as on the left. By the way, you might have some sound at the background because it's raining over here. So I really can't help this. You might have to go along with that, and I will continue to explain it to you how I'm adding a few lines one after another. These are more curved lines that I'm going ahead and adding onto my cruise boat. You can say, this is not exactly a cruise and not exactly a body somewhere in between, where, like, three to four people may sit and just enjoy. By the way, let's just go ahead and make some more of the cloth area that usually helps every boat to sail through. Initially, when I'm working on I would say, any kind of these compositions. I usually go with a very gray light profite mark. And as I progress, I make it a bit more darker just to understand where exactly I should apply my colors and where exactly I should leave it. So yes, you can also go ahead with that kind of thing in your mind when you are starting out. Add some light refite marks and stow you can continue to build upon the whole of the painting. Adding some windows on the top part and we can go ahead and add some more lines, some more details. There will be railing to this boat, which we are going to paint later on. I'm going very slow at this stage, just to ex you each and every bit of it. There is not M in terms of smallest of the explanations, all you have to do is follow along with me. The basic explanation was to actually divide any kind of a subject into simple, I mean, shapes and sizes, which we have already done. It's simply going ahead and refining all of those shapes and sizes into some of our lines, windows, et cetera, whatever you can think of. See, a broader outline is very important, and then you can build upon it slowly steadily to get a final outcome. O. Keep your eraser by your side. But whenever you are drawing, do not always always keep in mind that you cannot draw on a watercolor paper say about 100 times. That will not be a possibility, or else you will get some graphite marks, which will stick to it, and it might be difficult for you to actually release it later on or take it off with the help of your eraser. So every time you go ahead with any kind of drawing, make sure that you are not going to go at any area or just only think about the fact that you have to make an outline. It's not about making it as a final sketch or making it as the final painting at that point in time. You can slowly build upon it and have a good outcome. Please continue to work up on this simple simple paths, which I'm adding right now. And then I would say, I would like to add some music over here. I don't have much to explain as I have already told you. I would like to explain the waves part for sure. So once we are done with the boat, we will go ahead and see how we are going to add our waves. Finally, we are here on the waves, and I'm very excited to teach you this. One thing that I've always learned is the invisible point, and I have taught you in a lot of my earlier classes about this single point. All of these lines are going to merge to one single point outside of the plane of the people right now, like outside on the left side somewhere. And they will all merge to one single point, and that point is called as an invisible point, which has got a lot of relation to any kind of painting that you are going to do. We are not talking about any of the other points right now. It's just the simple invisible point that we're going to talk about. The whole of the painting or you can say the whole of the waves. And the reflection on top of the waves is based on this whole thing. So some of the areas of this would be lighter in value, and some of the areas would be darker in value, and that darker light value is based on the fact that where I want to paint these waves. You might all be feeling at this stage that there is a lot of details, which I've added for this painting. But believe me, this is a very, very easy sketch, which we have gone through the sketch. Really, really complex. I always try to keep all my sketches really simple, and you all can easily understand how to work upon each one of them. Having said that, there are a few nuances, which is important as per perspective. And as you can say any kind of sketches that you do. One of them is to understand your vanishing point. Another point would be your horizon line, how you want to place it, whether you want to place it on the top one third part or the bottom one third part, because we usually don't place the horizon line in the middle of the painting, how you want to paint your subject. Usually don't paint our or add our subjects just in the middle. Here, you will even find my subject bit tilted towards the right. The left side I kept absolutely empty. And the right hand side, most of my boats or cruises or whatever it is, it's all there rather than being on the left. So if you're occupying the complete of the space, then it's not a well balanced composition, and that's what is very important for each one of you to understand. All of us can do painting. There's no I would say there's not much of rocket science, but what is important to learn at the stages, how to do a correct sketch. The sketch can help you as a guideline to approach any of your future paintings. And believe me, it has helped me a lot during all these years. I have frankly refined my sketch to a greater extent. I have learned a lot more in terms of how I should sketch, how I should usually work upon my vanishing points, or how can there be multiple vanishing points, invisible points. And are a lot of things that you can learn in perspective. Each and everything is important, whether it be urban sketching or whether it be any kind of water scapes. Met you in the next lesson where we will talk about the colors and the final painting. 24. Day 14 Cruise Part 2: Let's have a look at all our colors. It's tram pains, green, maples yellow. When Acrodon Coral burns Ciena Don three blue. If you don't have done blue, you can also go ahead with Brucian blue. We are starting out with the basic background for our sky. It is basically Maples yellow, mixed with some amount of another yellow like Indian yellow, and then I would go ahead with some amount of Just to make the sky look really nice, and it gives that vibrancy to my painting. So going ahead and applying the colors towards the top part of the sky. You can use any shades that's available with you don't think much while you apply these shades. I'm going ahead with a bit of ultramarine towards the top part of the sky, and you can see I'm using my flat brush to cover a larger area. Now, we have already done this size painting earlier, so you can go ahead and use the same size. For this part of the painting, too, we have already done the sketching as in the last video, and this is all about painting this beautiful and amazing vote along with the reflection in the water area. I am going a bit slow at this stage and using some more amount of Naples yellow, but I just feel that the Naples yellow is too deep, mixing it with some of my composed opera and just applying it in and around the boat area. I will not go ahead and apply it on the boat. That's something which I will keep in my mind as I want more of blues to get into that particular area. Okay. Again, working with my flat brush. Flat brush gives me the edge to cover up the entire space very quickly compared to what we can do with a smaller brush. Go ahead and applying the colors even on the right side, leaving the middle part in white. I would ask you to do this painting on a bigger size paper only. Please do not select a smaller size paper or else, lots and lots of detailing that we are going to do will get missed. I'm going ahead and applying some amount of my ultramarine into the water area. And all you will see over here is a lot of perspective that we are going to work around with. It would be more of wet on wet game initially, and then we will work wet on roy. Wet on Wet Wet on oy has a great role to play in this painting, though, for mostly waters, I haven't used it much till now, but this is the place where I'm going to work around with it a lot. I have taken some amount of my endo in blue, and now I am going ahead and adding these darker values over here as you can observe. I will go ahead and paint some b lines. I have even some amount of, my green, which is basically the tail green that was available on the palette. A bit of it. I have mixed, though that's not necessary, but you can also go ahead and mix it and trying to add some lines which looks like waves. Now, waves can be of various nature, size, et cetera. Over here, we are trying to just go ahead and choose the waves like we usually do they're all going to one single point, and that is called as a vanishing point, which is outside the plane of the paper. So that's what I have used in terms of my perspective. And then I will go ahead and clear out some of the spaces where I think it's necessary as the water was pretty high at this stage. I mean, the mature on the paper was pretty high at this stage. So we might have to go ahead and again work on some of the parts of the water to make it look the way we really wanted to. Again, adding some of my naples yellow towards the top and my hair is making all the de. In this painting, believe me, I do not want to show the of my hair, but it just comes in because there's a larger space, and sometimes I want to have a closer look before I apply the colors on the people. I'm going ahead and applying some more of my darker values as you can observe. The lines are becoming more and more dark. You can also take prucian blue. If you don't have dontne blue, that's a great option which you can exercise. Okay, adding some more of the darkest value, and then now adding the lines as you see, it looks more organic and the colors are moving, colors are flowing, and I'm so happy to see this happening. The first layer, I think was great because we could get the lighter values that we wanted. And slowly steady now we are building up. You can go ahead and use a six size or a four size bruh. I'm using size four brush from the brand silver velvet. You can use any brush that has got a nice tip to work around it. Do not use a mob brush. Otherwise, it can hold a lot of water, which might not give you the exact wave like structure that we are building over here. Waves a pretty iterative process. You can see that we are making the similar kind of waves as we go towards the horizon line. I'm just adding a bit of blue here and there and just blending it with the background. The paper is still wet, and I have this to my advantage that I can use it to paint all the beautiful aspects in water colors. Wet on wet has all my heart was, and that's one of the reasons you will see me working a wet on wet in mo of my paintings. It's more just fine tuning it. And once the fine tuning is done, I think we will let this paper, then start working on the boat or even work on the shadows. Which you will see coming up in an round or over this, basically overlapping this area of the waves. There is lots to do, and believe me, this is one of my favorite paintings from the entire series. I haven't taught any painting like this. It is way more detailed, and that's one of the reasons it's being broken into two parts. One part is all about the sketching that we have already done, and one part is all about the painting. There is a lot to be done. So just hear your surf up. I know you guys have already nailed the earlier paintings, and you would be in a position to even nail this one. So be around, and then don't lose your patience. That's the only thing which I would say. Break it up into two sessions, one for your sketching, and one for your painting because it's not so easy when you want to do both of them together, but it becomes way more easier when you break it up into two different sessions. Now I'm taking some brown and blues to create a darker value of my brown. Now, this you can either do it on your own, mixing some blue, paints, et cetera. Or else go ahead with the CPR that you have on your palette and start adding lines for the areas of, areas of like the boat, et cetera. You need all of it as there are a lot of big, big poles that you need to paint. And for that, we have to also apply the rule of perspective. Some of it would be smaller, some of it would be larger, as well as the reflection of those has to fall into the water. Keep all of this in mind while you actually do this complete exercise. I think this has become way more thicker than I would have really liked it. So I would go ahead and just take off the extra paints that I see over here with the help of my flat bruh and then start painting over it. I am sometimes not very happy with how it turns out, and I use my flat brush to pick up the colors wherever it is necessary. I have done it in the past and all the paintings that we have done til now, and we would be also repeating the same process over here. I will use my thinnest brush to apply the colors and then just complete this particular part over here so that you can see very well the distinctive areas. We will have a closer look at it very soon, so do not worry. We will go ahead and see how we are painting the smallest of the areas and how each and every detailing works in this painting altogether. Going ahead and again adding the seam lying that we did earlier, which I did not like. Now I am adding it again with the help of my smallest 00 brush. There is a lot of work that you would be doing with the help of your smallest brush. Keep a very thin brush by your side. There are a lot of boats that we are painting in the background as well as in the foreground. All of that cannot be done simply with one single brush. And that's one of the reasons. This whole of the series has a lot of brush, which I am exploring throughout the whole series. We cannot just go ahead and work with one brush, as I did tell you earlier also. Okay, adding some more of these blue values, you can use in three in blue or mix it with a bit of brown as you already have on your palette, and then add the darkest value towards the bottom area. The place which is just touching your water. Usually that is way, and we are going to also work the same. Again, my hair is stewing a lot of def over here. So around, I know that you might feel a bit irritated at this stage, but we will have a closer look at it as I did promise Audio. This lot of paints gray, which I'm going to use and blend it with the browns that we already have on the palette. I usually use a ceramic palette so that I can see through the colors that I'm making as such. Now going ahead and adding one more line on the top area, as you can observe. And then again, pulling it towards the bottom part. I would do the same as we continue to work on it towards the right and pulling some of the other lines too. We will add a few more lines just on the basis of intuition as there are a lot of boats even on the background. So keeping that in mind, we work through this part. For the background boat, I would go ahead and use again any blue of your choice and just add it. There is not much in terms of blue that you want to choose, use the blues and add it on the boat. Usually, they are white color, but because of the water reflection, et cetera, they turn a bit darker, as well as it is the evening time, so it cannot be very white or you will not be in a position to see the exact white. Of the boat, there would be more of the darker values also dropping in, adding some more lines, as per the basis of intuition, you can see that I'm adding some lines, and this is all going as per I want it. Slowly, steadily, this whole painting will come together. Believe me at this stage, you might not be in a position to actually look through what we will be getting as a final outcome. But while you keep progressing on this painting, you will understand that smallest of the things have a lot of, I would say value when you look forward to wanting to paint anything or wanting to add some of the reflection. Over here, you can see that I'm going ahead and sketching a bit of reflection as I want some guidelines of exactly how I will go ahead and add my reflection. This might be I would say this can only happen once your paper is dried off, as well as it might not come naturally initially, but as you progress, you will understand that the reflections are a very important part in water. And if you can create reflections, it gives a lot more beauty depth and understanding to your painting. You understand water in a much better way. Continuing to add some more detailing into our painting with the help of the graphite mark of the pencil, and then we will go ahead with our paints. I'm starting with a lighter value of my blue, and this blue is basically my any kind of paints gray blue, which has more of blue in it or go. You can see I mix my colors and just blend it with some water. Now, this is how I go about it. One of my u Water is usually clean. And another supply of water is where I go ahead and just take off all the colors from my bruh. I always have two supplies of water readily available with myself. I will go ahead and cover the entire place and then just blend the colors into each other so that it doesn't look odd or it looks more organic in nature rather than some of the places being very dark and some of the places being very light. So that's it. You need to keep in mind. Adding the darkest value of brown to make these windows. I'm going ahead and using my size fold brush just to mark the entire area. And once this is done, we will go ahead with some of our blue, blend it with what we have, and then apply the darkest value towards the bottom part of the boat. I think this has become way more darker than I would have wanted it, and it's moving a lot, so we have to just control it with the help of our flat brush. I will take out all the extra paints into my tissue and then again, go ahead and paint over the bottom part of the boat. Blending it with my flat brush so that if there are any extra colors also, it can move with the help of my flat brush. If smallest flat brush can't do the job, let's go ahead with a bigger flat brush, which can do the job. So these kind of smaller, smaller aspects, and these kind of accidents do keep happening in any painting that you do. So be aware of these accidents and just accept it and move on. There will be few which you cannot edit or which you cannot really have chance to get back to, and few of them, of course, we can change. There is more of water and more of moisture that's on the surface of the paper. I will also go ahead with a lighter value of blue towards the top or the roof area of my boat. You can see some of the areas I do keep in white. And some of the areas I continue to work through the blues. There is less to explain over here, frankly, because we will just go ahead and keep applying the colors till we reach a position where we are working on our reflections, which is a very, very important part and how we work on the reflection is something that I want to really tell you. So continue to work with some darker and lighter values and continue to apply your colors with the smallest of the brush that is size zeros blow. I'm going ahead with my darker value of brown and then creating a line, which looks more like a steel rod that we usually see, and then there would be railings that we are also going to paint next. So be around and I think small things we are going to cover at this stage. So continue to work on the smaller aspects. These are also very important compared to what we have done in the past. Oh. Now is the time to pick up some blue or any darker value of blue and start out with our reflection? Yes, we are starting out with our first reflection of the boat, which is just on the right side. Why I go ahead with a smaller reflection at this stage. I want to gain all the confidence initially, and then go ahead with other reflection of the larger boat. So always keep this in mind that you can gain a lot of confidence and then move around with other boats rather than going ahead and just starting out with the toughest reflection that you want to paint. So keep that in mind when you are working through the reflection, let's go ahead and work on the easiest one initially. Gain all the confidence and then go ahead with the others. U If I'm adding any line on the top area, I would also add that in the reflection. This is basically a mirror image that we usually see on the water. Water doesn't have any color of its own. It will reflect the color of the sky into the water, as well as whatever object is placed on top of it, it would be a mirror image of it. When you are creating the reflection, keep that in mind. It's a very, very important aspect. In any reflections that you create and continue to add some more of these lines. They will not be exactly straight lines. Some of the places would be broken, and some of the places would be a bit moving because there is motion in the water, and we also want to show that motion through the reflection that you are creating over here. Now we have all the confidence to go with the largest reflection of the boat area. I'm using my paints gray and then starting out with the reflection towards the bottom area and even covering the entire bottom area to a greater extent. I will blend with the help of some water and colors and continue to add the reflection as you see me doing over here, though, I am very, very cautious at this stage, how to go about it. You can see that I am first drawing it, and then again going over it. This is something that I've learnt. Your drawing always works as a framework. If you go over it, there is no chance that you can go wrong, but if you directly go ahead and paint, then there is less chance to come back, though, I will not say if you are a more experienced artist and if you are advanced level artist, you can always go ahead directly. But for me, I love to cover up myself before I go ahead with the final reflection. And this is the largest of the reflection that we are going to create in the water area. Let's continue to create these reflections. You can see that I'm using one of my darkest values as it is paints gray, and goo, whatever color is available with you. We continue to work with that. And I've already told you that this is one of my largest reflection. What I usually do is you can see that there are different that are coming in. So not all the places I would be occupying, only on of some of the areas I would be working on, and some of the areas will be a bit more I would say, not so aligned. So it cannot be straight, right. There are waves, and hence, the lines would be more crooked. And that's all we need to also apply over here. I'm using the tip of my brush to create the same effect. Just make sure when you are creating the reflection not to occupy the complete space, and the reflection is all about you going ahead and reflecting what you see on top of the water. Water doesn't have any color of its own. It's usually reflects the color of the sky and the boat of which is sailing on top of it. Hence, make sure that you exactly go ahead and do the same in this part of the painting, too. I would go ahead and start making a few more lines as we progress. Water is always moving, and hence it is really difficult to capture these kind of views and come with an exact reflection of the boat into the water. Hence, what you can do is you can always, if you want to really paint from real paintings or like real photos or real videos, you can take a video and then get snapshots out of it to understand how exactly a boat travels on top of the water and how exactly the reflection is. I took a recent trip to Sundavan, where we had to actually travel over the water, and it was a boat on which we traveled from one part to another part. I really observed how the whole of the reflection works out in water. And it also depends on the time of the day where you are traveling. Sometimes it's high tide, sometimes it's low tide. Sometimes the water is way more calmer, so there are different kind of reflections that also happens on top of the water. So you cannot frankly generalize as such the reflections. Hence, it is a very, very tricky subject. All I can say is it's a mirror image. And you always need to actually go ahead and understand how you can create that mirror image. Nothing else I think stands important at this stage, except that mirror Image part. Rest, I guess, everything will fall on line. We have gone ahead and moved on to the top part of the water area, which is maturely the boat. I'm covering it up with the lighter value of blue. I will continue to alternate the values to a greater extent at this stage. Even for the reflection, you have seen that some of the areas I have added more of the darker values. Some of the areas I've worked with the lighter values. I always do this for most of my paintings, and it really adds a lot more depth into my painting, and visually it's very pleasing to anybody's eye. I will continue to work on the railings of the boat as well as the smaller details. Frankly speaking, at this stage, there is in of what we have to do. We have already covered the majority of the area. But lot and lot of periods needs to be added in to this painting, and hence, we will go ahead and continue to work with that. Most of the colors are blue that I'm using. I am smitten by the blue always, as you know. And one of my favorite blues is tra Marine, though I could not use it for a longer period of time in this particular painting, but believe me, I have been using that particular paint for so long for creating skies for creating water. For creating whatnot possibility, and it has always given me great results. I am so happy every time I use the ultramarine and I am stunned with the colors and the gradient that it comes up with It might be a very, very simple color, but it has a lot of role to play in any or every painting. And it's one of my favorites and I must have for each one of you. I usually use Winsor and Newton professional grade ultramarine color, French ultramarine. That's one of my favorites. Though there are other options also available in the market. But this I is tried and tested, and I have used it for many many paintings of mine, and it has given me the best of the results. So let's go ahead and add some more depth, some of the area, I'm keeping in lighter value and some of the area. You can see that I'm adding some more lines to show the to part of the boat area. We will also go ahead and add some of the darker values to these poles that are there on top of my boat, and then add few more lines, which are connecting them to the boat. Oh. Frankly, speaking at this stage, I have less to explain, and it's more about you to just continue painting along with me. It is going to be a slow process. We have to think a lot more before we apply any colors on our painting. I will go ahead and start adding the lighter value over here, and then maybe go ahead with some more darker value to create the depth reflection and all. It's a very, very slow process when you develop a painting, I say, but it becomes very important as we progress. This kind of a painting that you create with watercolors is something which I have learned, I mean, really requires time in the beginning. But towards the end, when it's only about detailing a few touches, we should be aware of where to stop. Sometimes we get carried away, and the whole painting that we have done may not come out exactly the way we wanted. I have come across this kind of a problem so many times. Before I have achieved these kind of paintings. Believe me, I have failed a lot of time beforehand. And every time I fail, I'm like, Okay, I'm not going to do this particular mistake again. So failing is a part and parcel of watercolors, and there are lots and lots of failures. That's one of the reasons I love to keep sketch books for myself. Sketch books give me a lot of freedom in terms of how I want to paint, what I want to paint. I just go ahead and paint whatever I like rather than just thinking about, okay, I should paint this or I should paying that. And am I going correct or not? So all of these thought process, I leave behind, and I just go ahead and paint my heart out every time I'm even traveling, I love to carry a sketchbook of mine. Maybe I'm sometimes capturing something or sometimes I don't, but Yeah, I do love to sit on the location, have a look at the outside area and just paint. That's all we continue to do. Okay, great. I think I will just switch my brush to a smaller brush. As you know, this can be size pan brush, size zero brush, to continue painting the railing of the boats. You can go ahead and also add this. Don't add all the lines, or it's okay to just the one or two here and there. So many of you have asked me that how I make these straight lines or sometimes they're not straight too. So it's okay. Go with all the confidence. If you can create the straight lines well and good, if you cannot read the state lines, that is also great enough. You do not need to worry for water colors. All you want is either it be loose or either be whatever kind of painting you want to pro, we are just going to learn new. Every day wherever you are painting. So that's the basic intent in watercolors. You should learn something new on a regular basis and feel the energy of watercolors. I think watercolors is one of the mediums, which is pretty challenging, but as you get a grasp of it, it starts rewarding you as I did tell you even earlier about it. Not only it's a great rewarding medium, but more than that, it's a very satisfying and stress rely kind of a medium when you see the colors flowing into the water, the kind of effects that it creates with salt or maybe lifting out of colors. Everything is so interesting. And sometimes you cannot get back to maybe the original, shade that you want it, but you create a new shade. Even simple, simple, and small, small learnings have such a big role to play in watercolors that I'm super impressed with how it really really works or helps me to grow, also as an artist, and learning something new is always always in my mind when I work with watercolors. Okay, great. I guess this is it. Let's continue to work with some more of our lines on the top. And exact reflection needs to be also painted towards the bottom part. Make that sure that you do the same for this painting. Oh. The color did dry off very light an what I would have really wanted my reflections to be. And now I'm going ahead and making some more of my darker value lines over here just to show that the reflections have the lines, which we have created on the top for the ropes being reflected into the water area. And some of the areas I am making it more darker as usually what I see in the water or I have seen is some of the areas because of the water and reflection, there are shadows and reflection both in the water. And these shadows and reflection, some of the areas are being more darker, and some of the areas are being a bit more lighter, but with the reflection, few of the areas will be a bit different than what you usually observe only with the reflex so all I want to say is shadow plus reflection is more darker and only reflection may be a lot lighter or only shadow may be a lot lighter. So that's it. I guess I am great with how this has turned out. We will go ahead and even add a very light colored background hill or mountain, whatever you want to create, just to define the horizon line in a better way. Oh. I'm to work with my white ash. This is majorly from the Brand PH Martin. It has got a white opaque watercolor, and I'm using it to mark a few areas. And even I will write some number on top of this sport. Usually, I see that these smaller cruisers also have some numbers on top of it. I would like to add any number to it. That's it. I mean, no particular number name in my mind. It's just that, I wanted to add some more reality into the painting. Ohh. You're almost done with this painting, and the last few stages are only left. All I can say is I have enjoyed this painting to a great extent. Tomorrow would be a bit more easier than what we have done today. Believe me, it is easier. Having said that, it is also going to take you around an hour or so as it is done on an e size. So be ready to create a beautiful boat painting. It's a reflection on top of the water and how the I would say, beautiful sea looks like it's voyage into the sea, and I wanted to have a final amazing painting to be done with you guys. I have kept it for the last, and I'm waiting to work along with all of you on this painting. They then continue to enjoy this painting and have a final look at it. If there is anything left, like a bit of detaining, which I'm doing now, do that and enjoy happy painting and meet you very soon with the next and final lesson. Then we will move on to a new class after that. 25. Day 15 Reflection Part 1: Let us see all the colors for the last painting. The first is my cobalt green, or you can also take compose blue or any blue that has bit of green in it. I would go ahead with paints gray, ultramarine, prucian blue, or rico. You have yellow, green, yellow, some amount of burn Ciena, CPA, or ndake brown. This is part one of our last painting. It's going to be very interesting. Believe me, it is being divided into two parts. One part is going to tell you everything about the sketching, like we're doing over here. And the second part has to do everything with our painting. And that is more about finalizing your water, your boat, et cetera. And in the first part, we're also going to paint the water. You will see how easily we can paint good and beautiful waters. This is a top view, and hence I will go ahead to draw a boat. Now, the boat is in the top part of this particular painting. The bottom part will be a small rock and only water. We're not going to complicate it much. You might not be in a position to see a lot over here. It's okay. We are going to zoom in, and then you can have an absolute look at how I progress. Okay. I'm just marking a bit of a line over here, though this might not be as important as it is right now. It's just to understand where exactly and how exactly I want to place my boat. I will tell you that if there is slanting line that I'm going to draw from left to the right. Not exactly in the middle, a bit towards the right side, you will see that the boat is placed, and then I will mark the boundary of the boat and then easily go along with it. But first, let's mark that line, and let's divide our boat into a few parts. Now, this division is very important to understand where exactly is the top part of the boat, where exactly is the middle part of the boat, and how we want to go ahead with it. Towards the top part of the boat, we will drop in a triangular kind of a shape. That is basically I mean, the way the front side of the boat is, and the back side of the boat would be more flatter. You will see how we approach in a very easy and simple way. Basically, I have divided the boat into three parts. One of the part is really small. That is around 2.5, you can see is how the division is altogether. And this is a slanting way. As I did tell you, the boat is tilted a bit towards the right and starts somewhere from the middle, and you will see that mostly, whenever I'm placing my subjects, either it has to be towards the top area or either it would be towards the bottom area. Let's have a closer look at it, as I always say. I am going ahead and going with a very, very light pencil. My usually the pencil is either an HP you can take or a two edge pencil. Why I always suggest a very light graphite mark. Because on watercolor paper, it becomes tough otherwise to take out these marks. And hence, you may get the graphite marks being showing up from the bottom part of the paper rather than using only the colors. The whole idea of watercolors is to have a great u outcome of colors, et cetera, and not showing up all the graphite masks that all of us usually try to add in when there is any kind of water color that we are working ahead with. Go ahead and marking some more lines. You can see I am quickly connecting all these lines with the already existing three parts that we did draw in issuing. Then there will be a small marking that we are going ahead with. The boat we are having a top view of this boat. And hence, there is a bit of a change. You can see how I continue to mark the sides of the boat and how I extend it. Go slow in this process, as I always say, drawing the boat is the first, most important aspect of the whole watercolor that you're going to set. It's basic framework of your painting and hence going slow can really help you to a through this painting completely. Sketching initially, when I started out, as I always say, I was not very happy to do all of them. And usually I went ahead with free flowing watercolor paintings. But slowly steadily, I realized that there's a lot of importance that you have with every sketching that you continue to do. And hence, it's important to sketch well. And it only comes with lots and lots of sketching practice that you continue to work on as you explore your watercolors. For me, I still sketch for at least 15 to 20 minutes every day or maybe half an hour every day. It's never about the only final painting which I get. I may not actually get a great final outcome. I am absolutely okay with it. It's just the importance which I always associate with the sketching part, and that sketching part really gives me a lot more confidence and boosts my confidence to a greater extent. Whenever I need to even go ahead and do a final painting. I have something very ready for myself as a sketch. Sometimes it works, sometimes it doesn't work, and that's absolutely okay. There are my good days. There are my bad days. I accept it with a lot of ease, and that's what makes watercolors a very wonderful and beautiful medium. There is so much of uncertainty, it attaches itself There is a time where I was very stressed about why my form is not changing, why I'm not progressing and all. But watercolors comes with a really slow progress too. You cannot say you were going to improve on the first day, but as you continue to paint on a regular and daily basis, you will see a lot of improvement in your watercolor journey. I am going ahead and finalizing this boat, though I am very chatty today, because I know this is my last painting video with all of you, so you might go ahead and avoid it. If you want to have a good music, go ahead and listen to it, I just want to tell a lot of tips and tricks through this particular video for sure, and hence. Many of you might have already listened to all of it that I did tell you earlier in many of my other videos classes, et cetera, but to all of them who have joined me today. I think this painting has got a lot of lots and lots of, I would say, learning. It's easy, beautiful, and it has it has a learning even of how to use your watercolor masking fluid. Masking fluid is a very beautiful thing. Till you have started using it, you don't get to understand that how you can preserve the white of the paper. Though we are going to use a very, very small amount. So you may even avoid it. It's just that I did not want this boat to get ruined at any point in time as it is completely white, which I wanted to show and hence, I think I just had watercolor masking fluid in my mind to really, really mask out the sides of the sport. And that's all I'm going to do in this painting part. Okay, let's continue to draw our boat. It's kind of a long process. Yes, it's not been very, very easy. I know. I have not taught everything very easy, but at least the last paintings that I have kept is a bit tough than what we have done initially. The idea is to learn as much as possible and this might be a better class. If you have practiced all the other videos earlier in this class, you know that day 15 is going to be very easy for each one of you. Okay, great. Let's continue to draw some more of this boat area, and then we will go ahead and paint our water. One thing that I have learned with watercolors is to have a of enthusiasm. Now, enthusiasm is all about the fact that I can nail this painting, and if you go with a lot of happiness, enthusiasm, you are going to frankly have a beautiful outcome. Either you can nail the painting, you may not nail the painting, but the happiness that we get from the progress which we have made in a single day is something that really helps me to satisfy my inner goal of being creative. Creativity is the key, as I always say, rest, everything is okay. While you can see that I have finalized the boat to a greater extent, and now all the lines that I'm making is frankly going to define your shadows. It's amazing the way we are going to define our shadows and lines of the middle of the boat, et cetera. It's okay to think and draw, as I always always say, Thinking and drawing gives you a lot more space to understand that whether you should go ahead with that line or not. If you are okay to work on anything else, you really want some lines, or you will do that later on. All of it gets defined at this stage. Okay, great. I guess I will just add a bit of line. More. Everything that I'm doing is not so dark. So again, as I say, that graphite marks is what I don't like in watercolors, as it is a very, very transparent medium, and hence, keeping it light is great. Going ahead and dropping in the shadows, which we usually see in a painting for the boat. You can see that the shadows are coming on the left, and we are going to also paint the shadows as we progress. O. What are reflection boats or you can say even the shadows, how to paint all of this has been a pretty daunting task for many of us. It has been a daunting task, even for me in many of my paintings, and that's one of the reasons when I was actually going ahead and trying to draw this class. It was important to even include a few intermediate hand, I would say advanced level parts into it. Now, these are one or two days which are more advanced that I have included, as I really wanted you guys to get a taste of how every thing can be even easy when you think that it's complex. So breaking a complex thing into an easy outcome is something or you can say into easy step wise, final outcome is something that I look forward to. Adding my masking fluid as you observe it, and I'm going ahead and adding it just on the side. You will see that I will draw a very croped rock towards the bottom part on the left side. Now, this rock is intentionally being done because my boat is tied to this rock altogether. That's the reason I made this rock. I will start out with my compose blue or you can also go ahead with cobalt green. These two colors are pretty close to what you get over here. I have already told you initially in the color mixing part, how you can create these kind of shades. Just go ahead and start adding it on the sides. But before this, make sure that your paper is completely dried with the masking fluid that you have added onto it. What I have usually seen over the years of using the masking fluid is that for some time, maybe five, six months, the masking fluid remains well, and then as we progress, it just starts accumulating and becomes harder or stickier, and I don't know the particular reason for it, but that's what I have observed. So whenever you are using a masking fluid, make sure that it's in good shape and order. Rather than it being not so great and it's sticking to the paper. You might find it really difficult to take it off. In those cases. I would ask you to just go ahead and start painting in and around the board with a smaller brush compared to what you might have used like a bigger brush as we did here. This is a AO sized paper, and that's one of the reasons I have used bigger brushes. I have masked out this area. I need to work fast. It's already the summer season, and my paper doesn't stay wet for a longer period of time. It's being very, very hard for me to keep the paper wet. Believe me, it's a 300 GSM paper and still me getting so much less time to work on top of it. I am going ahead and applying some more color on the right as well as or towards the top part and blending it. The blending you can see is becoming harder, and that's one of the reasons I always see that when it's summer season, it becomes very tough to draw paintings like these, and you might have to approach it more like breaking it and then approaching it. But I don't know how exactly you can break up something which has a continuous flow. Like this watercolor part has a continuous flow, and we are going to add more and more colors. I will go ahead and start applying some amount of ultramarine, or else, you can also go ahead with your very light color of donne, blue, or yellow, blue, whatever is available with you to just change a bit of shades over here. We are going to introduce a bit of blue shade. You can see that I'm just trying to keep my people wet for a longer period of time by applying more and more colors or more of your fluid on top of the paper. And for this, the fluid, of course, it's water and colors. So continue to do that. And then we might have to go ahead and switch to a smaller brush to make some lines. And those lines are basically the waves that we add into the water area. I will go with a darker value. And this darker value, either can be your prucan blue or nthm blue. These are two of the most beautiful shades that I love to add. Along with it, you can also just add a bit of tealow green. Now, Tello green really adds so much beauty to any painting that I really can't tell you how I have been using it so much in all my watercolor seascapes. It gives that greenish color, which we usually see in seaside or in areas like molds, et cetera, the green blue shade of the water. That really takes away my heart. Introducing some of my yellow green, and this is basically some dots, lines, et c that I have added into this part of the painting. You can see that slowly we are adding or introducing colors. We did not introduce in the first. I always add a simple layer and slowly build upon it. We have done this in the past. We are doing it. Now it gives you a happiness, and more than happiness, it's all about at control. Control really helps you to put your painting in order and understand that really you are going to need all the shades, or is this lighter shade and darker shade is needed or not? Or maybe this is what you wanted throughout your painting. So everything comes together. You can see that all the dots that I added have now blended well into my painting. I'm adding some darker value in and around my rocks and then trying to add some of my waves. Now, these waves, of course, the paper has to be wet for painting these kind of waves, all lines. I'm going ahead with my size four brush, taking off all the extra color on the tissue, and then I have started to add these lines. You can also use a mix of your ultramarine and dont in blue for these lines. They look nice, and I really go slow at this stage. I'm introducing the darkest of the value in my water area. I will continue to paint this line till the paper is wet. Now, when the paper remains wet is something that we all have to understand. You cannot paint on top of the paper when your paper has become semi wet or moist. Now, why I say the semi wet and moist? Because if your paper has turned out semi wet or moist, you might get the hard edges, and we don't want hard edges in any of our paints at for the water area. Yeah, we have worked wet on wet and wet on both you are going to experience through all these paintings because every painting that you do needs to have wet on wet and wet on dry. Those are the basic two techniques that all the watercolor artists have worked with. And hence, introducing that in your painting is so important. I will not deny that yes, you can work only wet on dry also and only wet on wet also. But mostly, I have a mix, which is great, I feel. This mix really helps you to balance your painting altogether and get a final outcome that is up to your liking. Okay, adding some more dots and some more of the darker values of our cobalt green. You can see that I'm introducing some wave structure even with the cobalt green in and around the board towards the top side. This is at a very, very initial stage where we aren't developing the painting. Some places I might keep dots, some places. I'm just occupying with some darker color. Till the time your paper is wet, you can work upon this. My paper remains wet for a longer period of time because I'm going to introduce fluid at regular intervals on top of the paper and keep it wet for longer. Or else, I really can't work on our A four size. If you were someone who is not very comfortable with the A four size. You can go for A five size. Though it might be a bit difficult to draw the boat and the detailing that we are going to do on it. But having said that, your water would be done pretty quickly and you can actually go ahead and use this boat later on. Of course, you can continue to paint the boat, but with smaller brushes compared to what I have used. I keep on detailing the water. Just see how I detail. I've already told you the mixes of blue, it's ultra maine end on three and some amount of your paints gray. Ultra maine is one of my favorite shades always, and I introduce it in most of my paintings. I've worked through the skies, water, et cetera. Everything I have worked with the ultra man and I have literally fallen in love with this particular color. I will add some more dots towards the top left hand side, and these are more lighter value, or you can say more less pigmented and more water in it. So yes, we will add some of these even on the right side and on the left side. I can switch to a smaller brush that would be more easier for us to work through. Though you may not see my palette, but I'm continue to see telling you about the sheates and the colors which I have used, and these are the sheetes that you have even used in other many paintings. Of course, there's a bigger paper, and it might be a bit difficult to observe everything at this stage. Okay, great. Get some of your flood brush to blend and add some colors. Your paper must be drying up. That's one of the reasons I love to introduce this shade again and add on top of my paper. I did blend a bit, and now I'm going ahead and adding some more dots, introducing some dots here. This painting is still not done with the first layer. We have to work a bit more with our first layer, and it's going to take some time. So the layer one gets continued even in part two. If you are someone who is done with this part of the painting, that is water part and getting dry patches, I would ask you to go ahead and let it dry completely apply a very, very light wash of water on top of your paper and then start painting over it. That way, you can really help in terms of not getting any kind of alflower effect or displacing your pigments that is existing on top of your paper. Everything put together no hard edges too. So yes, that's a great way to rewet your paper at regular interval. Once your paper gets dried off, again, rewet it, work on it, your paper becomes semi dry or moist kind of a shape where you are again getting some qualiflower kind of colors. Some of the paper has become dried off, some of the paper is still wet, so all of that can be controlled this way. I have introduced some more greens on the top left corner. I think greens is a very important part of this whole painting and introducing this light yellow green really improves my painting to a greater extent, and it makes the painting. So I love to introduce this color on theft as well as on the right. I will just blend it some more on the right bottom part and then introduce some more waves or smaller dots as we did earlier. Sometimes even after introducing dots and this, I might go ahead and blend it. Those things happen as we continue to progress in our watercolor journey. We may not like something and we may blend it. Again, make it more simpler or difficult like whatever it is, like. We keep introducing newer things into the water or keep experimenting with our watercolors. Okay, some more lines, some more darker values. This is more of your paints gray and less of the other colors that we have. You can see that my paper has become really dry at this moment, and I continue to make it a bit more wet. I continue to work on the dry patches with water, clean water. Though this is not I would say this is not the ideal way, Bulli me. I have worked this way for a really, really long period of time, and that's one of the reasons I like to experiment it by continuing to work on it. But for you, I would ask you guys to just let it dry wherever you have started getting the dry patches and then apply a light wash as I did tell you earlier, and then go with the next set of layers of water color that you want to introduce on top of your painting. Many of you might get bored with the water itself. Yes. But once you have the final painting with you, I'm pretty sure about it, you are going to fall in love with this painting. This is one of my best outcomes in the whole of the series, and I have tried to, like, break it as I would say, easy as possible throughout the entire painting, the idea is not to make it, but having said that, the painting itself is very, very easy or very, very simple. So It might need. It is a bit more challenging altogether. But having said that, it is broken up into very, very easy parts or simple things, like introducing some darker values, introducing some lighter values, blending it, introducing a few green shades, or yellow green, any kind of shade of green that you want to introduce in your painting. Let's continue in the next part. 26. Day 15 Reflection Part 2: Part two is all about all the details. And you have already applied a lot of colors. T though you have seen that this painting has turned a bit patchy on the right side. I will go ahead with my flat brush and just apply some of the colors with a very, very light wash of cobalt green. This has just hardly any cobalt in it and more of water in it. To make the whole part look seamlessly beautiful, and no one can actually get the fact that, yes, there are any patches or I was not getting the smooth lines, which I really wanted. All of you have been painting along with me, but have you ever wondered the kind of painting that we are doing right now? If you are not painting inside the object and if you are painting in and around the object, it is called a negative painting. I have not introduced negative painting in the whole of the series, but in this particular part, I really want to tell you that sometimes unintentionally, too, we keep doing many of our paintings or keep introducing, I mean, different kind of techniques in a painting, which you may not know exactly by the name. But yes, when you do not paint inside the object and start painting in and around it to create, the background or just to create the outline of that particular flower or that particular boat, et cetera. Usually, these are done when your object is a lighter color or values. And hence, negative painting has got a lot of importance, even in all your florals or in your various other paintings. Throughout this painting, I have not tried to achieve any kind of realism. Now, if you are someone who wants to record every window or every window pane, every part of the board, and not leaving any part as loose, You are practically going to make a very realistic painting, which is great. I will not say that it is not great. But when we're starting out, we look more into realism. But as we progress with watercolors, I think the lose approach really helps you to nail the painting, and it really tells you or focuses you as a painter rather than you being or you only recording what you see or observe. So that's something which I can tell out of my own, um experience that, yes. Initially, when I started out, I was doing a lot of detailing, and slowly, steadily, I am trying to make it as loose as possible for most of my paintings, and that really adds a lot it really says a lot when we are u thinking to develop ourselves as one of the, et cetera. I guess this is it. I'm pretty happy with how it has turned out. Maybe a bit more of colors here and there. Then we are going to create a reflection of the boat into the water or the shadow of the boat into the water on the left hand side. It's very interesting. I have loved the whole process, so let's continue to work on it. One thing, before we introduce any shadows, I would like to add some whites into the paper. Now, how do I introduce whites into the paper? Is it t h? No. Not exactly. I usually lift up my colors. If I can't lift out my colors with the help of my round brush, I will use a sharp I not sharp. What I want to say is a brush which has synthetic bristles that can really pick up my colors. I am going to pick up some of the colors when the paper is semi dry. It cannot be dry. It has to be moist to really pick it up so that I can create these kind of lines that you were observing right now on my paper. You can see how beautifully the lifting out will create a few areas in white, which will look more like the waves, and the lighter parts of the waves that we usually see in water because of the shining of the sun. Uh, by the time, by the time you see the painting right now, it might appear a bit dark as I was painting I was with the flu and the timing of the day changed. It's almost sunset now. So yes, there can be a bit of shadows, but if you can adjust to it, I think this is going to be a super painting. Let's continue to just pick up our colors in the other areas, too, and then we will create the reflection. But the reflection can be only created once your paper is completely dry, it cannot be created beforehand, so keep that in mind when you are painting this. We have introduced these lines in most of the places, and you can see that how I have lifted out the colors. But in some of the other places in and around the boat, I want to lift out some more of the colors, and I'm using my ruby sat flat brush to do the same. Now, this is a great for lifting out any colors of your che. From your paper. But all I've seen is that your paper needs to be semi tried to do this technique. You will not be in a position to actually pick it up. If your color has got a lot of staining miss, then also, what happens is that picking up the colors and making it white becomes stuff. And for many blue colors, that has been the case, what I have observed. So always always check your colors on a separate cotton paper to see that whether you can actually lift it up or not. That's one of the very, very important techniques that you must see whenever you are buying your colors. For me, I usually buy colors from Mijello Mission Gold, senalo and brands like Vincent and Newton Professional Great. These are all artist rate colors because of which the stainingness is not so high. As well as, I always see the kind of opacity, transparency, et cetera that's written on top of each of these shades. So every shade comes with its own set of characteristics on top of it. And whenever you are buying the colors, it's very important to be informed about the colors and then only buy those colors. Though I haven't covered much about the colors or stainingness, and the basic properties of it in this, um, particular video or any of the other videos that we have done til now, but there are many other courses in the initial part, like the Polaroid series and all there. They have lots where I have covered about the basics of the colors that you must know. Okay, let's continue, and you can only work on this part of the painting, which is majorly about adding your shadows, only when your paper is dry. Otherwise, you cannot frankly add the shadow. So I would go ahead and add this shadow of the boat into the water area. And then go ahead with a bit of these lines. And you see how beautifully they have they look now. Now, when you're working on reflection, your water is moving towards the bottom part, and when your water is moving towards the bottom part, the reflection of the boat will also move towards the bottom area where we are covering it right now. We'll see that there would be a few more extra lines over there compared to what you have actually done earlier. I usually go very slow when it It is about reflection into the water, and then I'm like, Okay, fine, let's continue to work upon it, et cetera. Though the reflection could have, you can argue why it is on the left side, why it is on the right I mean, this is usually in water, you see two different things. One is reflection, and one is shadows. So this is usually the reflection that you can see, and the shadow or the darker part would be actually on the right side. Now, why I say that the darker part is supposed to be on the right hand side? Because you can see that the boat you can say, the shadows also come on the right side. And in particular, this painting, I have only concentrated on reflection. We are not focusing on shadows, et cetera, so we have just left it out. But there are usually two concepts, spanish shadows. Another is your reflection. So yes, sometimes I have seen they falling on the same place. Sometimes I've seen that they're falling on two different or separate places. It's all about learning, and it's all about in depth learning when you keep working with waters, you get to understand it more. Believe me, at this moment, we do not need to do it. So I'm not introducing all those concepts. Let's focus on how to just work this out in an easy way and move it. So something that I have learned over time, it's amazing to see how you can just progress with watercolors or keep going through water colors only with very simple steps. You don't need to always go ahead and complicate it much. Just follow these steps, and we are done. Okay, continuing with a few more lines towards the top area you have seen and now is the bottom area. Where I'm going to paint my rock. Now I'm going with my burn Ciena, and then I will add some amount of blue into it. You will see how I introduce the darker value patches into it with some dots of blue. I'm not going to go ahead with a lot of colors at this moment, but that blue when you introduce, it will have various shades coming up on the rock. And that's the beauty of mixing on top of the paper. So there are two types of mixing. One is that is you do on the palette and another mixing, which you do on the paper. This is the mixing which I really love a lot as it comes up with many different sheets and colors compared to when we do it on the palette. Because on the palette, you are mixing the color and just introducing it on the paper, so it comes up with a single shade. Whereas when you introduce more shades and colors in your paper itself, that you get to see a lot more shades coming up than what you observe elsewhere. You can use done blue or tomy my favorite to go ahead and add the darker values of these rocks. I will not be adding the darkest of the values everywhere wherever we go only in few places, and that's it. Et's just blend it with as you can observe. And we will add some lines on top of it to show that the rocks has some dest of the values and some lightest of the values. Everywhere the lock can't be in a single value, et cetera. So you can also pick up the colors in view of the places if you want. Once the bottom part is done, we will just pick up our masking fluid and then start out with our boat. I'm going ahead with my Burn Siena. No Burn Siena is the lightest value or the value which I'm going to add for my boat. I'm going ahead with a very, very light shed of it and adding it on the sides. I would go ahead with kind of a flat wash on the side and add it on overall part of the boat. So you don't need to be when you work around on the boat part. Even if it is a simple wash like just adding your brown color somewhere. I frankly haven't done, I haven't actually fast forward the video. I have kept it real time, as it takes time for every development or progress which you make. And hence, keeping it real time gives you a better idea of how I have worked through the process. And if I can work through the process, re sure about it. You guys can also work through the process and make it simpler for yourself. Okay, adding some more of the lighter values towards the top part of this boat area, because you can see that some of the area where the boat is, I mean, few of the areas can be seen, that is, exactly the bottom part or the middle part of the boat, and some of the areas are a bit on the right side. And the bottom part is also seen that way. Okay, great. I guess I'm cool and happy with how this is turning up. Slow and steady, as I always say, Windsor is at least for watercolors. Watercolors doesn't need to be fast. Watercolors has to do everything with a lot of love, I would say, It is one of the mediums that's very rewarding only when you start falling in love with it. Okay, great. Let's continue to work on it. And I will get back to you wherever I think it is necessary at this moment. It's just going with the flue, and I would like your guests to listen to the music and continue to paint along with me. You will see right now that I have started adding a bit of shadows here and there. It's not that a lot of shadow, which I'm going to add only the shadow of this middle part of the boat where we have painted it in a very, very light color of burn Siena. That only I'm going to, like, see how the shadow works over there. Rest, I think everything is going to be very, very simple and easy. Okay, I am actually mixing some colors, which is basically your ultramarine plus some amount of your burn Cena to get the darker values. As you observe. It might look a bit greenish in shade because it's all the evening. As I tell you, so don't follow the colors that you see right now on the palette because of the change of the light. It might appear a bit greenish, but let it be, we can continue to work with the burn Cena and the other shades to show this. Okay, I guess I would add some more of the shadows over here. Then let it dry off After that, only you will be in a position to observe how beautifully this boat has turned out with only such less chokes. You don't need to go ahead and color everything that we observe. Only a few places if you color that's good to go. Sometimes it's great to loosen up, and this particular boat is not so loose. Though I do love to paint loose paintings, and I really fall in love with loose paintings. As you keep developing your water colors, the more lose you paint, the better artist you can be, and the better outcome you can have. So that is something which we will work on in future date. Till then. Let's work through what we have in our hand. Believe me, this is something that I love to do keeping the white of the paper. That is not working through everything that we observe, just keeping the white of the paper to show the boat and leaving everything as is. Few strokes of brown and some darker values can actually define your boat in a better way rather than going ahead and working through everything that you observe. Yes, I guess this is all I have learned through my time in watercolors, and all I can say is that you guys can also learn a lot if you continue to approach watercolors with this mindset. Watercolor is all about a mindset to just go ahead, go with the flow, enjoy the moment, enjoy the progress. Every day, you will not make a masterpiece. And most of the days we don't make a masterpiece. There are only a few times where we go ahead and make a masterpiece. So never thinking about the fact that you cannot do it. It's all about the fact that you can do it, and you can really make something very beautiful on a regular basis. Okay, great. I guess, that is it. Let me continue to paint with watercolors more. And let's just finalize this painting at this moment, what we haven't had, as I'm still working through a bit of a smaller part at this moment. I will add some more lines. If it not necessary, it's just, you know, that mental satisfaction that we get out of adding a few lines here and there. Okay. So of the places, you can see I don't mark, and some of the places I only mark. Now you can see a great shadow coming up on this boat. And this is what I always say is something that I have fallen in love with. Okay. I am happy with how the whole part is turning up. I'm going with a very, very light wash at this moment, and I have introduced blue, which did act very dark, and I am now adding more water to make it lighter. These things do keep happening in water colors, and you will see that some of the area you have covered more ta, some of the area lighter. So, yes, mistakes are a part of water colors, and we can add more water to make it look less to actually make it less In terms of the mistakes that you've done less vented, is all I want to say. Okay. Great. Let's have a final look at it. At this moment. You don't need to continue to work on it. It's important to see how it has turned out. Do you need to add any further lines or any further colors, or do we go ahead and just work on very simple aspect of the rocks now? I know I did take a lot more time on painting this boat compared to what you would have loved. But it it is what it is, right. And we have to give it the time it needs for this painting. So I think I am happy with how this painting has turned out, except the bottom part where we need to work on. Rest everything looks fine to me, and I don't want to touch upon all the parts and areas of this boat, except a few lines here and there that I continue to add to make it look more organic. And you can see that, yes, there are parts of the boat which are darker, and there are parts of the boat, which are lighter. It's basically the sun. And the sun adds those shadows. The shadows really completes the painting. Shadows and reflection. Shadows the potent reflection of this boat into the water. Time to add some lines onto the port area. You can see that again, I am adding some darkest of the lines and some lighter parts, too, I will be also adding a bit of white quash at the end. So just continue painting with me. It is size one brush from the brand Escoda, and I am day in love with this brush. Continue painting some of the areas where it is needed and some of the darker areas. I'm just adding water and making it a bit more lighter. This part is dry before we add these lines. So your paper also needs to be dry before you go ahead and add all of these lines. I. And I wanted to show you the mistakes that I do. Yeah. I am also not happy and many times, man, I paint something. And I just pick up those colors with the help of my tissue. Tissue is one of your best friends, as I always say in the beginning of any class. If you have tissue, you can pick up most of the colors that you add onto your painting, and wherever you think you have made any mistake, that can be corrected very easily. Time to add some white quash as I want to make some ropes into the water as it is holding this boat for us, and adding that rope really really adds so much life to this painting. The first rope, he can't see properly, but the second rope, yes, I am only in love with it. We can see it well. And even on the top part, I would be adding a small line to show another rope. You cannot hold a boat so easily, right? So continue to add a few of them and remove the T pattern angle to have a fine look at it. I hope you have enjoyed this painting. If you have liked anything about this class, do drop me a comment or just put a comment in the discussion section. Drop me a feedback. A constructive feedback is what I'm looking forward to and see you again in the next class where we are going to paint something new and something more exciting. I hope you continue to fall in love with watercolors and happy painting to each one of you who is exploring this beautiful medium.