Watercolor Christmas Greetings: 7 Polaroid-Inspired Designs

1. About The Class: It's that time of the year? Again? Yes. It's beginning to look a lot like Christmas. Christmas is the season of spreading love, kindness, and joy all around us. Christmas is just around the corner and the preparations have begun. It is that time of the year where we big, buys our cookies back, give attach que tan may norms for our loved ones to make them fill extra special. Hello friends. I'm a watercolor artist based out of Bangalore, India. You could find me on Instagram under the handle name at the Niels artsy underscore cove, where all my artworks displayed. You could also find me on YouTube, Pinterest, and Facebook, the link to which is given on my Skillshare profile. Welcome back to my Skillshare class on seven holiday inspired polarized greetings. I guess by now, you would have guessed what the glasses all about. Yes, we are going to create this seven full holiday inspired season Polaroid paintings, which could be just the perfect handmade gift for your loved ones. So this class will go on about for seven days and seven days, we are going to learn and explore seven different subjects and techniques that we will be using to create this beautiful, cute illustrations which are perfect fall season greetings. Watercolor is said to have God, a mind of its own, because of the v, it behaves when you use them on a red background and when you use them on a dry surface. So because of this unpredictable behavior of watercolors, sometimes you get such beautiful and stunning results with just little tips and tricks when you start getting to know this medium or understanding this medium. In this class, we will be exploring this little tips and tricks, such as flattering water on your wet surface. How you can create this beautiful bloom effect, which will represent the snowy kind of soft snowy field that you can have forests new ED. And just using the salt, you can create beautiful, stunning textures on your people. So come join me in this journey and let Spain together the seven beautiful holiday inspired Polaroid paintings, which will totally blow your mind and you will be just in time for Christmas to send this as greetings to your loved ones. 2. Materials Required : Before we begin with our greetings, let's quickly take a look at all the materials that we are going to need before we Kickstarter projects. First coming to our people. So this is watercolor people from R2, which is a 100 percent garden and decides to 15 into 15 centimeter reduce off. R-squared says, like you could see. So this is 100 percent cotton paper and has a thickness of 300 GSM. And this is one of the best, whatever. We're now moving to colors. Your eye. Just to include the color swatches because I use colors from both the brands of Magellan mission as well as white names. So your are all the color sheets we will be using for our class project. Do not ready. I will be listing down all the color swatches before we begin with each of our class projects. Next item that we are going to talk about is our brushes. So here are the brushes that we are going to use for our projects. Mainly this flat brush which I'll be using to lay flat or even coat of water on people for wet-on-wet. And these are the round brushes from silver black velvet, CVs, Three, 3000 as Cs. And these are one of the best watercolor brushes I have used so far. And I absolutely love it. And this is the Princeton had indeed CVs liner brush. This is a synthetic brush. This is another synthetic brush, size number 4 from Velveeta CDs. And here is the Princeton Neptune villages. And we'll imitation brush. What two colors to all over the world prefer, you know, silver black velvet series because it's a blend of both natural and synthetic hair brushes. I like this Princeton Neptune series, which is made up of squid and hair. And these are PR listened to dig brushes, which is the heritage and the velvet does CDs from Princeton and Neptune see reasons also, you know, squirrel hair brushes. So that was all about the brushes now moving on to our pallets. So your Alvin using a ceramic palette. Next would be some tissue damage, our napkin. So keep them handy whenever you are dealing with watercolors, they are your best friends. Now we would again need two jars of clean water. This is mandatory to have at least one clean jar of freshwater Neo4j. And next would be our masking tape. Your m using Wash U DIV to tape down, maybe a burn all four sides and a board to fix the people. That's it. So grab your supplies for diverse of liberal redu, and let's get started with our project. See you in the next lesson. 3. Color Palette: Day 1: Hello guys. Let's quickly take a look at the color palette that we are going to be using for our D1 class project. I am now going to quickly swatch out all the colors that we are going to need for our class project one. The first color that I'm going to swatch is my Prussian blue. Now this is from Magellan Mission Gold Class watercolors, but feel free to use any brand of watercolors that you have guard if you are not having this Prussian blue shade, you can also go ahead and use some of your ultramarine blue and mix little bit of maybe red or a little bit of Payne's gray or black to create much more darker looking shade. If you want to have a darker shade or a darker blue. Now the next color is raw sienna. Now if you do not have raw sienna, do not worry. You can always go ahead and use your yellow ocher color, which is a very basic color, which will be available in all the basic watercolor palette. Now the next is the sap green. Now sap green is also prepared by mixing your green shade with that of lemon yellow. So you could always prevail sap green in that way. And the next color, that is what shout is the greenish yellow color. Now this color, when you use more or fewer, golden yellow or mustard yellow with dark green, you get this shader greenish-yellow. Even if you use your lemon yellow and little bit of your golden yellow deep, which should be like two is to one ratio, yellow should be more than the green. You would be getting this yellowish green color. The next deck in green color, when you mix little bit darker shades of blues into your green, you would automatically be getting this Van Dyke green. And now next color is the beans gray, okay. Now instead of Payne's gray, you can easily go ahead and use your black. Now when you use three primary colors, red, yellow, and blue, mix them in equal proportions. You can also create your own black, okay? And last but not least, we will be using some whitewash. So that's it. Let's jump set our project one. 4. Day 1: First Snow: Hey, guys, welcome. And let's get started with our very first greeting. So for that, I'm dipping down my people, which is of a square size of 15 centimeters into 15, sending me dough and I'm fixing the beeper on all four sides with the help of my masking tape on this board. Since we will be creating a Polaroid greeting, so just at the bottom of the people, I have left around one centimeter of the space and leave the masking tape accordingly on that area. So far, this greeting, we will be starting with the convert, and I'm just loading the colors on my mixing salad. I have squeezed out some of that Prussian blue raw sienna and we will be using our SAP green for creating the tree foliage. Now, starting on that on red now if you are new, are an absolute beginner. I would recommend you to go back and check out my other water colored glasses, your Skillshare. I have to worn glasses like Water Galore, Sunset Beach Caves and underwater CDs, and recently I had done 15 days of water skis. So there I have explained all the techniques and great details about the watercolor technique so you can go and check it out out there. Now we're done red means when you leave your wet paint on a wet surface. So that is the reason I have laid our laid flat wash of water before starting with our layering of colors. Now you're on this wet sofas. When I'm layering the colors, you can see right how smoothly the color is. You're not blending in. The people are into the background, right? So we're done. Red method always gives you that soft and clean finish, which looks very soothing to your eyes. If you so have observed, I'm just loosely or very gently layering the colors and using some darker tones at the corner. Most sides of my people and towards the center and retaining some of the light sheets. Now I'll be going ahead and filling the same kind of layering, but the top portion I am gently dragging the colors down here at the corner. I have used my concentrated raw sienna and as I'm, you know, progressing towards the center, I'm using lighter tones and then when I'm going towards the rightmost corner, I am again feeding it out. And again at the right from the right most corner. I'm starting with Baynes Gray and as we approach towards the center and fading it out. So this is how we are going to create this softer looking background. A background is still red, so I can still, you know, drag or move around the colors on the paper, as you can see him gently lifting the colors up. And this is why your paper should be red. Now here I'm going ahead and doing the lifting technique. Now what is lifting technique using a damp brush? When your paper is still wet, you can retain your people white. So that is what is known as lifting technique. Now you're the most important technique is this bloom effect, which we will get by splattering this water on our wet surface or on the wet background. So this gives us a very, very beautiful look. And now, once your paper has completely dried out, now we will be going ahead and creating this branch and creating the foliage. So here we are going to create a buying three or four pine tree where, you know, we discovered the foliage is half covered with snow. I'm just using my silver black velvet size number to brush and creating this very soft and gentle strokes in strokes to create this foliage like structure. So keep observing and noticing my brush movements. You're I'm using two different color tones of greens to indicate the depth in the foliage. First, I would be going with the lighter shade and then I'll be going with the darker shade, which is my Van Dyke green for the lighter shade. You could also make a lemon yellow and you're green, so any green that you have? Mix it with your lemon yellow and you would get some green color the more yellow that you mix in your green. It will tend to sway towards more of the yellowish green side, so it's up to you. So the first layer is always lighter. We are going with the light to dark approach. So layering first with light, and then we will be layering over this lighter tones with the darker tone in order to get the darker, greenish mix. Once you're done, you know, layering your lighter ones, you could always mix a little bit of your Prussian blue into your lighter green mix and you would be obtaining the darker green mix. So it is always not necessary to own all the colors that you see me using here. If you're forming your own color, I would always advise or recommend you do that before you start on with your painting, always mixing colors beforehand and keep it ready before you jump. Start your painting because, you know, mixing the color and getting the same kind of shade shade that you have mentally prepared may not be possible when you are just in between the painting and you run out of that color. So this is the reason why most of us prefer to have water watercolor tubes in hand ready. But it is always great, you know, to begin out when you are just beginning out your journey with water colors to always try and learn to paint with the very limited color palette because you will have a vast knowledge about color mixing and water, and you should be avoiding which complement colors you should be avoiding too, so that you do not have any mawkish or greenish kind of mixture. The main focus of our this painting is the background, the soft looking background and the fine foliage that we are going to create, which will be snowcapped. So this is what our overall painting is. The beauty of the painting lies in that soft transition of light to the darkest colors and the snowy kind of background that we have rendered toward using the technique of water splattering and creating this beautiful blooms into our red background. Alpine foliage is already taking its shape, and it is looking so very pretty, and realistically creating this foliage is indeed going to take some time, but I would suggest you not to lose out on your patience because the end result will really leave you feeling very satisfied about it. Keep on creating this short strokes. Using your liner brush all year round brush off site is no to your I'm using, though the round brush from Silver Black Velvet, which is of science number two. It has a very fine pointy tip and is just eye for making this kind of fine line detailing. But if you are more comfortable with using of fine detailing brush, you can always go ahead and switch to your liner detailing brushes. I will go on creating this foliage until I am satisfied and until the tree looks kind of covered with the pine stems protruding out. OK, so in the meantime, you keep creating this foliage or grab a cup of coffee, feel relaxed and keep on doing this step. First, snowfall always seems very magical, so have I heard from many of my friends who have been into the snowy places or who have witnessed snow fall? I in that matter have not experienced this magical feeling, but I hope that someday I will also get a chance of witnessing or experiencing this magical feeling. So keeping that thought in mind, I have created this season greetings where we are painting some beautiful and magical snowing landscape with that of the pine, which is a symbolic representation that, yes, Christmas is approaching. So it will be a very special feeling for your loved ones to receive handmade greetings from your side. If you are a person who is a little impatient, then I would suggest that instead of going ahead and creating such a detailed kind of pine tree, what you could do is, you know, when the background is still wet enough, you could let your greens using your liner brush all year round rush of sites. No two are for anything which you are comfortable and create this sort of blurry background of a pine tree. And then on top of that. Go ahead with the darker tones of green and read this outlining fog. So that is one more method where you can easily create your own that kind of appearance of a pine tree, but it will not be as detailed as this one is looking right here. It will be more of a very loose style. So if you are a person who likes to go for such kind of loose, you know, landscaping things, then maybe you could try that out. Here you can see I'm going ahead and using some of my darker tones and darkening out the main stock or the main STEM Ridge. OK, so that it looks more of that realistic side. Now it's time to paint snow. For that, I'll be using my white. I'll be mixing this white glass shall make the game a little take. It's not too runny or watery so that the effect is much more pronounced. The snowy effect if you used to water requires, you might have to add on a second layer in order to make this nor pop out, you know, because generally, whether it's gua sha colors when you're used to water paint, it will fade out eventually when the paper is dried out completely. So that is the reason you need to use this gua sha not to take one consistency. If you do not have white wash available with you, do not worry you could go ahead and and use your white galloping or even acrylic paint would also do. But you need to be a little mindful when you are going with acrylic because once you layer your acrylic on it, there will be no going back. You will not be able to rectify your mistake, so be a little mindful of that. Now you're this no pattern that I'm doing here is just on the upper layers or the upper surface of the leaves, because that is how this law is deposited on these leaves. Are the trees, right? So just on that leaving some of the greens exposed because if you cover it entirely, it will not give that realistic feel. Once you are satisfied, creating the snowy deposits on the upper surface of the leaves and you start with the lower twigs or the lower shrubs of the pine, so you're one thing just go ahead with the wide gorge and create the shard looking like shapes of the ice deposits that will be formed on the tips of the pines. OK, the leaf foliage there, though you're not due to lower temperatures, the leaves tend to freeze out, so that effect you can create only by, you know, using the shape of your brush. Just go along the direction of those pine foliage. Keep creating those structures. Now, to give it a much more realistic look, I'll go grab some of that Van Dyke green and I will create this spiky foliage like pattern in between the snowy areas so that the colors will not go dark, but it will just look like some of the leaves are standing out from those snowy deposit. OK, so that would give a more realistic touch to your painting. To make this painting a little more realistic, what you can do is do not make this snowy deposit formations, missions slide and in one stroke use some, you know, coves and breaks in between make it uneven because the snowy deposit is on the settled on the foliage of the tree, which is not in a cemetery or in perfect shape. OK, so do in order to redeem that. Just go with, you know, coves and breaks in between the snow to give it a more realistic feel. And now I'm splattering your white wash to represent more of that snowy field. The snowy effect and in between with diluted right water, I'll go and try to create this little bouquet kind of effect, which will look like that. You know, it is the snow which has got soft focused. So that is that they use in photography. When they create or capture such moments, they blur the background, go do it in soft focus. And the mean element is into the focus where the rest of the other subjects in the picture is in do the background, which is almost blurred. While creating this annoying book. Always remember that you need to have this little watery, not exactly too watery mix that I have got, it's neither to take not to do watery is just apt because once the people and the layer dries off, it will look very soft and blended, almost blended in to the background blooms that we have got using the splattering effect, right? Create this snowy boogie effect using various shapes like not shapes, I would say sizes some smaller, some bigger, some medium sized and we're just the tip of your brush. You need not, you know, switch your brushes with the tip. If your brush has a point to dip, you are good to go with that brush for doing this. I have not changed my brush. I'm using the same long brown brush from piston velvet does crease like you see. I think I am satisfied with how this is looking right now, and I'll create one or two more, and then I think I'll stop creating this annoying book. I have let my people dry completely. Now it's time to remove Artie from all the four sides. If you are somebody who has calligraphy skills or you want to inscribe some message on this greeting, you could, you know, write that short phrases or short words and to this section, the white section that we had left. And yes, you are done. I hope you have enjoyed creating this glass project with me. I can't wait to see or see you again tomorrow. 5. Color Palette : Day 2: Guys, welcome back to day 2 project. And before I kick-start our D2 project, I want to brief you about the colors. So I'm using my lunar blue color, which is granulating color from Daniel Smith I have described in this project, warped is granulating color and how beautiful is it to create textures and all about it in the main class project. So please do give a watch your, I'll be giving you some other alternatives to this granulating lunar blue. So instead of this granulating Lunar New, you could also go ahead and use some of your other shapes like French ultramarine blue or Prussian blue, Arduino cobalt blue. So any of these blue shades will have some amount of granulation. But, you know, the mostly used granulating color is French Ultramarine Blue. Ocean Blue also has some granulating effect, but it is not that much. It always differs from brand to brand. And also if you are using a student grade watercolor paint or artist grade watercolor painting. Okay, so that was all about those granulating blues that we would be using. The other colors that we are swatching out here is the Payne's gray and CPR. Now you already know how you can prepare CPR. I have already describe the way that you can meet CPR in my previous watercolor classes. When you mix the burnt sienna with little bit of Payne's gray or a little bit of Indie goal, so you get this muted or darkest tone of brown. The other column would be the reds. I'll be here going ahead with red light and carmine, both of these colors, one unlike orangeish red and the other a little darker shade. So when you mix both of this red with little touch of blue or Payne's gray, you get darker mix. Last but not the least, to create this new effect, we will be using white quash. So Elvis watching the white worse. So these are the colors that we are going to require for our class project. It is more working towards and limited color palette. I guess you all would be having these colors. I have given some alternative colors also. So get your colors ready. And let's take stat class project. 7. Color Palatte Day 3: Hey guys, welcome to day 3, and we are going to be in this beautiful, little cute illustration. So I'll walk you through with all the colors that we are going to be using for creating our class project. The first and the foremost color will be a lunar blue. Now, do not worry if you do not have this lunar blue color, you can always substitute this color with indigo or brushing blue. So basically any granulating color or any darker shade of blue would do. So I am yours watching or the other alternative shades of blue as well. So you're as watchdog, Prussian blue. So next, Elvis watching out my beans, Greek alert instance, Europeans, gray color. You can go ahead and use your black as well. Now the next color that I'll be swatching out will be my red. So the first color is the crimson. So instead of crimson, you can also go ahead and use carmine. Are Alizarin crimson if you have, that's well and good are Berlin maroon or for Lynn read so any darker shades Read that you have guard would do for it. And also I'll be using some of that orangeish red. So I've got my red light color. So now next will be my sap green for painting that Christmas tree loaded in the car. And now the other darker shade of green will be my Van Dyke green. Do not worry if you do not have this darker shade of green, you can always mix yard green with blue and get this darker mix. And last but not the least, is the whitewash. So get your colors ready and let's kickstart our project three. 8. Day 3: Christmas Gifts Coming Home Part 1: Hello. Hello, welcome to day three, and today we are going to paint a very cute and super fun illustration, so as usual, I have deep down my beeper on all four sites will be taping it out. And let's quickly get started with the pencil sketch. So today our composition will be a background road. And on that, we will have our car. So I'm going freehand for this car illustration. Now, if you are a beginner and you have difficulty, what you can do is you cannot refer to this final painting picture. I'll be uploading this final painted picture in the projects and the resources section, so you could use that as your reference and start painting your car. And I will also try to provide you a greater the way where you can design your car. It is not a very detailed car that we are going to do over here. Just a basic outline of the car. You need not to be worrying too much or bothering too much about making this car look very realistic. It's a very cute illustration, so I thought to include it. I'm now outlining the B section of the car and have outlined the tires as well. So and now I'll be going ahead and doing the background elements that is our one point prospective road on which this car is heading. So that's how we are going to do it. And background to that road will be some of those trees. So yeah, that I'm not painting that up, Ansel, but you can directly been to those trees if you're confident enough or if you are not that confident, you can always get used lightly with your pencil. Just the basic outline of the trees would do. Now that we are done with the sketch, let's get started, so for the background, I'll go, but I don't read because here I'll be creating that point of prospective where the trees are far behind the car would be a little blurred and faded out at a distance. So for that reason, I'm going with red on red. And that is how we are going to first be in the background with my, you know, blue card. You could use your darkest mix of indigo. Use different tonal values of indigo. The ones which are towards the sides of the cars will be a little darker. And as you go to the center of the people that will go lighter, so use the lighter values or what you can do is once you load the pigments onto your damn brush, go with the darker shade along the side corners and RNZI of Russian water and come back and, you know, drag the colors to the center. So in that way, you will be getting that lighter shade like this. Try using a granulated shade of blue for this, because it will give that musty or the foggy effect so beautifully that you will be really happy with that the overall effect when the painting is completed, you know, so that's why I have chosen this lunar blue color. Now, if you do not have blue, it's not necessary that you need to get this color for this project. No, it's absolutely not. You can always use the other blues like Indigo or, you know, your Prussian blue as well, or your cobalt blue. So when you mix a little bit of beans grain to your ultramarine blue, also, you would get a darker shade of blue, which will be granule leading as well. Now I'll be painting some tree outlines here. I'm using my indigo with a little bit of beans. Grey makes your bear in mind. You should be doing this trees when the background is still wet. So I want the initial layer of this trees to become, you know, faded to once the paper dries out. That's why we are going with wet red now. Just like how we created that soft for blurry background in our project to remember so that we painted some branches. Here we are painting the tree outlines. Now for outlining this trees, your I'm using my long run process, no fall from Princeton Velvet does series. Now this is a synthetic brush because I want to have better water control when it comes to painting wet on wet. Because if this being to make sure it's too watery, the beans gray and indigo paint makes. Then what will happen? The colors will start uncontrollably spreading on the red surface, which I do not want. That's why you need to have very minimum water just with the damp brush and use a little bit pigmented color or the medium toned value of the color of indigo or beans green. And you can create this background. The trees now use the tip of your brush and create this toner outlining branches for this trees. OK, so use just a tip. So for this, you will have to use a brush which has a sharp, pointed tip. So grab your may need to tailor liner brush or in Iran brush, which has a fine, pointy, sharp dip. So that will do the job. I'm just trying to retouch up some of the areas and trying to clean out some of the outlining that I have done. OK, so that's pretty much it. And uh, yeah, that's pretty much it. But the brunching and everything that we do and just rested out your. Now we will start on with the road, so in the meantime, our background will drive for the road. I'm going here with CPR. Now if you do not have CPR, you can go ahead and use your bone tumble, mix a little bit of beans and you would get your color similar to that of CPR. Now for the road, I'm going your red white on dry technique. So what is on road technique? When you apply your wet paint on a dry surface like this? Such cured the surfaces of people and the one where we are painting is this road. So yeah, though well done right technique. We are following for the road because I do not want some colors to go and bleed into the car outlining because then we will be painted with red. So that is why I'm going with Burton Andre since I'll have a better control of water when I go and been distraught and also because the road area is quite, you know, smaller as compared to the other area. So your red on red technique might be a little problematic since we do not have much negative spaces around. That way, it's safer to go red, but on red, red, on dry techniques, sorry. Now I'm being a little careful with the brushstrokes that I'm going and applying here because I do not want to ruin my background since a background has already dried, so you need to be really having some control when doing this. Brush strokes so that your colors do not go and bleed into the background or you stay in your background somehow. OK, so when you are doing this corner edges of the road go a little slow. Be patient. I'm not really happy with how the background has dragged out and is looking so, so very light, dawn. So for this reason, I'm going with the medium, don't the value of my Prussian blue and starting along the corner edges, I'll be just dragging the colors to the center using the vertical motion of my brush. But make sure that you do not reload the colors when you are painting going with the center. Just drag the colors and create it out to the center so that the center area is still the lightest area of the painting. Using similar method. I'll be going ahead with my right hand side as well, so using the same vertical strokes of the brush. I'll be feeding out the colors now. The corners will be darker and you will just be dragging the colors to the center and making them look or appear as if they are fading out into the distance. OK, so that's the mean composition of this painting. I am happy with how this is looking right now, so I'll stop with the background. It's time to get started painting our car, so let's grab our red and I'll first outline the areas, mark out the boundary or the outlines, and then we will be starting to fill out the car. We are not going to being told me this look very realistic because that's not our main intention. It's more like a very cute kind of illustration, which is very bright. So basically, it's the car that is carrying your Christmas tree and Doug Gimps to haul. So that's the overall fun and cheerful vibes that we want to create. So it need not be realistic to not bother about the car being very realistic. Even the basic outlining was not too realistic. We have just outlined the car with this basic model or shapes the, you know, so that's it. So start filling out the areas. We will be going with some lighter values, as well as applying some darker values to indicate the shadow of the, you know, light and shadow. We will be playing around with this to color the car. So right now I'm outlining the cars and this one will be a little darker now. Lightening it out near to the base. But right now I'm using going and coloring the top part where the windshield is that I have, you know, started out with the darker shade of red. OK, so that is how I'm going to fill out the rest of the car painting. So keep observing my brush movements and the shades that I'm choosing to create this darker value. So for the darker red value you're, I'll be using my Grimsson Carmine mixed with a little bit of beans. So I'll be getting a darker shade of gray red, which will be closer to the heart of Berlin maroon apelin red. So feel free to use any darker shade of red that you have got. And if you have just got the basic red, what you can do is you can add a little bit of beans green to it and create your own make darker mix of red. Now I'm going ahead and filling out the bumper areas of the car, so I'll be filling it out here. You can redeem the negative spaces around in order to create, you know, no board for the car, but I'm not really inclined of going with the no board right in this painting of the car. I'll just create the grills, maybe. And that decorative direct city? That's it. Now you're in order to make the white look more appealing because we are painting with the darker shades. Here, I'm using the lightest to tonal value of Prussian blue and just around the corner. So I have just dragged the entire, you know, wind cover of the car with that color. And that's it. Now I'm painting the grills for that grills. I'm using my beans gray. If you do not have beans gray, you can use your black as well. So go with the medium. Don't value. And now I'm outlining the ridges of these areas, the hoods basically so that, you know there is that play of light and shadow over your. And also, it looks a bit little towards realistic touch. Not exactly too much, but yeah, kind of. And I'm outlining the other lines for the greens. Now, at some places, I'm trying to redeem the negative space that is the white spaces of the people, and I'm just outlining the places with my brain's gray color, your I'm using this long run brush size done before. If you do not have this brush, do not worry. Use any brush which has a fine pointed tip or any brush that you are comfortable doing this step. Now I'll be painting the steering wheel, so just it's just a half. So it's a semi-circle and then you paint the structures. That's all. And then I'm now creating the wheels for the car. So you're I'm using my beans gray for the same. Now, it's time to bring this gift, since my background that we had created has already dried. I'm going with my, you know, like this donor medium value dawn of my burned sienna or burnt umber color. If you do not have these colors, you can also substitute it with yellow A. makes a little bit of your red in it, and you would get this kind of little dirty looking mud kind of color. So this is what we are going to create as a base color for our gifts. And once this Laird dries off, we will be painting some ribbons, red ribbons on top of it. Now we will be painting our Christmas tree that is being carried home. So, yeah, that's the half portion will be inside the car and the other half will be through the window. So first I'm doing light handedly free and handedly the outline of the tree. Do not worry, if you are going over this red area, we will come back and fix this area once we are painted the tree. So the Christmas tree will be a pine tree, which is often a triangle shape, so it will be broader at the base and tapering towards the top head. So similar way, I'm creating this tree. Make sure that when you are painting the best, you should not, you know, use drugs which are too long and you are, you know, going out of the white portion of the wind cover. OK, so the windshield cover, so you should retain the stroke so little that area and use a lighter and a darker mix of green. So you're the first layer that I'm going ahead is with my sap green. I use the medium tonal value of SAP Green and then over this stone in some areas, I'll be going ahead with the darker mix of green, which is my Van Dyke green. Now I'm fixing the area where we had painted the tree. I just went with the red and then laid the red. Gosh, I'm blending into a new family so that the green stalk portion is not visible anymore. And that's it. 9. Day 3: Christmas Gifts Coming Home Part 2: Okay, so now we have let our people dry out and this EDI has dried out tens. I'm going there and you're outlining the red ribbons which wrapped around our gifts. So this is the dealing that we would be doing for this gift boxes, which are just loaded overheard the car. And that's pretty much it. So I'm just being very careful when you're painting this Rubens, it should not goal, you know, and spread into the background, hence, your people or that particular area should dry out completely. Since the color has faded out a little bit new, this Hood section of the car. I'm going ahead with a little bit more pigment and dread and I'm just filling it out, spreading it out evenly. Your m going on wet on dry, but my paint is watery so that it easily spreads around the paper and I'm evil to completely fill these areas now, it should not be too runny, watery or else you might, you know, ruin the painting because the paint will start spreading into the other areas. And now it's time to darken our background trees. So the ones which are closer to the car, I'm darkening the color. Now as I move farther from the car, the trees will be painted with one-to-one lighter value than what we have initially being did because that is what will give us the depth and distance that the car has covered. So the gardens moving ahead, leaving behind this other trees behind. So those trees which are at a distance will be little blurred and also it will be faded out. So this is that perspective point that we are talking about. And here we are talking about one-point perspective. And our perspective is right at the center of the people. And that's how we have been did the road rate. So yes, that's how we're going to do now I'm filling out the head length. Oops, looking too bright. So I have here used yellow deep, but you could feel free and use cadmium yellow for it. Now, I'm lifting out that color and painting this lightest yellow shade for the same. So now it's looking better. So, yeah, you could directly go ahead and use your cadmium yellow for this. Now go with the lightest value. Now it's time to paint our snow. So your, I'm using my white quash and now first I'll be doing those law for the sidewalks, so the pavements of the road. Now here also my brush movements, I'm just creating heaps of snow. And similarly I will go and create the similar heaps of snow around this right-hand corner. So this is basically, you know, the snow which was deposited on the roles they have been put back on the site, pavements where the streets. And it adds different BUT also right to do Scandal rules. I love, I wish I could visit some places like this, but I think this kind of weather is just not suitable for me because I do not like dark and gloomy weathers, but the places where there is such heavy snowfall, it is always dark and gloomy, isn't it? Anyhow. So now I'm going and layering my branches of the trees with this node, just like how we have done it in our second project. So for doing this step, always go ahead and use a brush which has a fine pointed tip. Your, as you can see, I'm working with my Princeton velvet long round brush, which has a pointed tip. So I would advise you to go for any round brushes of size number two or four. Are you can also switch to your mini detailing brushes or your liner brushes, anything which you are comfortable with. I'm going to repeat the same kind of steps like how we have been entered the snow on the left-hand side of the tree branches. Similar way I'm doing it. You're on the right-hand side as well. So that's pretty much it after us are dissuade filling in the snow over your, it's time to splatter some snow. So use a little watery white quash, not too watery. It should be medium consistency. And you will get this small splatters. And if you want bigger splatters, you can go ahead and do like this, like how I'm doing, just using the tip of my brush. Just lay some dots in areas that you want the bigger snowfall. So I'll be adding some most known. So keep adding the snow until you are satisfied. And that's it. We'll stop here maybe. And then let the paper dry. Now it's time to remove our apes from all the four sides to make sure that you're painting has dried out thoroughly before you peel out your masking tapes? Yes. And here it is. Our painting is almost done and ready and I'm quite loving it with how the entire painting has come to be, isn't it? See you tomorrow again with another beautiful painting. 10. Color Palate of Day 4: Hello guys, welcome to the fore. And today we are going to create this simple and very subtle and beautiful painting with the Christmas tree. So let's quickly take a look at the colors. So I'm basically just watching the color for the sky, which is my Prussian blue color. And the next album swatching out my colors for the Christmas tree, which is your greenish yellow now instead of greenish yellow, you can always go ahead and use a sap green mix, little bit of lemon yellow, like in the ratio of two is 212 parts of lemon yellow and one part of green. And you would be getting a color similar to that of this greenish yellow color. Now the next will be our darker shade of green Your am using when Jackie Greene from Magellan mission. But if you have a darker shade of any other greens are just hookers, green are viridian. You can go ahead with dark cheeks as well. Artists just make it a little bit of Prussian blue into your greenish yellow that you have prepared and you would be getting dirt darker green, the more of the darker blue shade you wouldn't add, the more a Docker, though green would be. The next colors would be my red light and then followed by yellow deep and cadmium yellow. So these are the colors that we will be using for creating the Christmas tree bubbles that will be hanging. And next we will be adding little bit of carmine. So this would also be for them bubble color. And next would be a little bit of white quash, but that's optional. So these are our colors for this project. So grab your colors and little bit of salt from your kitchen and we will be starting out with that project. 11. Day 4: Christmass Tree Home: Welcome back. So let's kick start the D4 project with a very simple but yet really very beautiful because we will be using the sol technique and we will create some beautiful snow like textures on a people. So like always, I have to done maybe on all fours right now. I will go right on red, as I have already told all your classes, as well as on the previous lessons. Still wet on red means applying red paint on your wet surface. That is your people. So this is what red on red means, and red dawn red will always give you a soft looking background, and it's the preferred techniques for painting larger surfaces as well that especially when you are painting, lose landscapes. So I have generously applied water all over the people and ensure that there are no lumps of water or bottles of water standing. OK, so now let's start with dark color. So I'm going with from corner of the left hand side and at an angle, I'm dropping the colors in the slanted motion. So you're I'm using brushes. No. Now, if you do not have pollution, no, you could use any other darker shades of blue bead, cobalt blue or your ultramarine blue. Or you can use even your indigo, so it's up to you. You feel free to use any darker shade of blue because we will be using the salt and this dextrose will really look good on this darker background sky. Now you're a little bit off my burnt umber with that of my blue and created a darker shade of blue just around the right hand side where I led the colors. And now, with the help of just my down brush, which is loaded with little bit of water, I'm just trying to lighten out the shades out here as you can see your arm trying to create my foreground the ground where the Christmas tree will stand. OK, and I'm slowly fading out the colors while retaining the darker shades and towards the right. I'm creating the light sheets. OK, now with dust, with the damp brush, I'll try to soften out the hard edges that I feel have developed near the ground, so I've just lifted it off. Now I'll be splattering some of that water with the help of my brush to create this beautiful soft blooms. And on top of this, now I'll be going ahead and layering it with salt. Your the texture of the paper will really come out beautifully because I have used table salt on my wet people. Now there are some factors on which this soil texture effect depends on like what type of people have you use, whether it's hard pressed paper or cold pressed paper, the grain, the type of solid grain that you've used, the larger are the smaller one and also the pigment that is used when you are creating this solid texture. Like here I have used brush in blue, which is almost semi opaque paint. Now, because it's a darker background, it will be easier for the soil to disperse the color out and bring out the underneath texture of the people. OK, so this is how it will look once the soil has completely dried out. So wait for the soil to completely dry out the paper to completely dry out and then remove it with the help of your brush gently brushing it. Now we will be adding the Christmas tree. So let's go and add with some of that greens. For adding the Christmas tree, we will be going with wet Andre technique, and for that I have chosen my silver. Well, you know, Princeton Velvet does say no fool brush. You can also use us and the big brush, which has a long pointed tip like this kind of brush or any ground brush, which has a sharp pointed tip, would also do so. You're the Christmas tree. I'll be just going very loose. The entire Christmas tree will come to life only with just the play of colors. The base of the Christmas tree will always be broader, and as you can see, I am going ahead with the lightest shade first. So this is the greenish yellow shade that I'm using. But you can also go ahead and use a medium dawn the value of your sap green and create this shape. You know, just add the edges, create those sharp strokes of leaves, and that is how you can create the Christmas tree later on. In between those little areas, we will be going ahead and adding our darker shades of green while you are doing this step. Make sure that you leave out some of the wide gaps that we have got using our soil texture. So in there we can go ahead and paint our baubles. You know, art is what you can do is you can cover them before painting. Starting out to paint, you can cover them out with the help of a little wax from the candles or something and then order masking fluid. If you have a masking fluid, then go ahead and use that, or you may use wax and cover those areas. So in that way, you will be able to create that masking fluid lake effect. But on wax, you will not be. Once you rub the facts on the paper, you will not be able to paint over those wax or fill it out, because if you try to scrape out the wax, you will be ruining the people's surface. OK, so bear that in mind. So it is a safer option to go and leave those negative spaces that you have got with the help of the soil texture. OK, so now once you add the darker tones leaving some of those gaps in between and on those gaps, go ahead and fill out those baubles and circular shapes with different colors. Here I'll be using the colors like we have watched earlier the reds and the greens, yellows, sorry yellows and reds that are a darker shade of red because that will pop out against this green color. Go in with your babus only when you feel that you're layering of green has dried out. So make sure that when you are going with the tree with wet and dry technique, your paint, the green beams should not be too watery. It should just be the right consistency like medium consistency so that you can work smoothly. So I am going ahead and dropping in some of the local polls in between where I have some of that white spaces. And that is how I'm going to create some more bubbles right at the sides of the tree leaves also. So it is already looking so beautiful. And once we are done with the bubbles, we will fix a little bit of that foreground that we have where the tree has been standing. Keep adding those bubbles until you're satisfied, and now if you feel that that's it, I'm not going to add any more bubbles for you. Feel free to literally stop right there. And yeah, that's it. You will be done adding the bubbles, but I'm going to add a little bit more of varying sizes of these bubbles. And also, if you want to created a bit of more decorative way, you can go around the tree like in the spiral way following the shape of the tree. And you can create the, you know, string of fairy lights using your golden shimmer. If you have orders, you can just skip that part as well. Now, I added, I'll start using my car indigo beam. So if you do not have that, not very. You can just use your yellow to do that. Now I'm doing the grant part and you can see I'm going with the light on red. So you're it's looking too dark, but I spread out the colors and then maybe I'll come and lift out the colors and make sure that it doesn't form that hard edge. I want to give this painting a smooth look. So I'm just, you know, gently lifting of this color because this is still bright red. So I'll be able to do that with the help of my down brush. So you're I created this heap or a mount like structure of snow, as you can see. So this will this is looking almost better, right? Soft and subtle with that of the sky and the background, right? So now I will be creating a little bit more of textures in here. So this will be very light to your eyes. If you're happy and you do not want to add this salt on the foreground, you can skip that part. I am now adding splatters of white glass, but if you feel you are satisfied with how does knowing effect that you have got with the salt is fine by you, then totally skip this part. You need not splatter the whitewash. I just felt like flattering. OK, now my paper has dried. It's time to dissolve the masking tapes from all the four sides. Okay. Always wait out for your paper to dry completely and then do this step. So we are done with the Defour project, I hope you have loved it because it was very simple and easy, and yet it is looking so very beautiful right after the the trees overwhelming task, this is easier one. 12. Color Palette of Day 5: Hey guys, Welcome to Day 5 and we are going to create letters to Santa. So yes, in this composition we are going to paint a letterbox and a background of blurry, forest background and Ohh, middle ground which is no covered. Okay, So for that, the colors that I'm going to use is violet, little bit of violet, blue bone tambor, followed by raw sienna, red light, Carmine, beans, green, and so on for creating the letterbox as well as the snowy of middle ground and background. So if you do not have any sludge colors, you can go ahead and substitute this colors with any of closer or similar looking shames. It's not hard and fast to go by with these colors now instead of this red light, which is known by the name Red Light in White Nights, it mean it may be known as Princeton or Scarlett in, in any other brand. So, you know, do not go by the means always. Luke by the color shapes that I'm swatching out your and you will be able to get hold of fjord. Similar colors, shapes. For adding some more highlights and details, we will be using some darker shapes, like Payne's gray and burnt sienna. And for creating that fine branch, we are going to use our yellowish green now you can substitute it for a sap green color that you have or make your own sap green by mixing your lemon yellow and any of your greens that you have. And further darker shade of green. I'm using the oven directly green, but you can always make your own negotiate by mixing black or darker blue. So your colors are ready. Now grab your colors. Get it set in a palette, and let's jump start a project. 14. Color Palette of Day 6: Welcome to D6 and let's quickly walk you through about the colors that we are going to use for this project. So your first swatching out my Prussian blue color. Now, if you do not have Prussian blue, you can substitute it with any other blue, such as ultramarine blue, like I have been telling in the earlier lessons also. Now, you can also use violet or any other darker shade of blue. Here I have sought start indigo over there now. Again, the another color is red light. Now if you do not have red light, go ahead with scarlet or any other similar looking shade, and next will be carmine. Now what I will do is I'll show you when a mix my red light and my carmine red, I will get medium to one bright red color. Okay, So if you do not have the shade of bright red, you can easily go ahead and mix two of your lens and to create this brighter and little darker looking red. Last but not the list, I would also be needing some of that Payne's gray. Now instead of Payne's gray, you can always go ahead and use your black T2. So that's it and little bit of whitewash to do that snowing effect. Okay, So that's all with the color palette for this project that we will be painting. So let's get started with the final painting. 15. Day 6: Gift from Snowman: Hey, guys. Hi, welcome back to day six, and today we are going to paint a very good snowman. So let's get started with our pencil sketch, so we will be going ahead and doing a very basic pencil skirt. First, I'll be painting the snowy highland. OK, so which is in the foreground and we will be painting those norman out here. So first snowman, I need any circular object. So your I'm using my tea light candles, bees, and I'm just outlining the shape over your. Now you could use your compass, your masking tapes. You know, the washi DBS circular dials anything which is in round circular shape. Now, for the upper portion, the upper head of the Snowman, I'm going freehand. But if you wish, you can go ahead with any smaller size circular objects or you may even use a compass. Now I have painted a Santa hat or Santa cap. Do now does snowman shape will not be exactly very circular. We will be changing a little bit of a shape. You can see the head and the body portion. I erase some of it and there at the intersection, I am going ahead and creating a muffler, you know, outlining a muffler. So it's very simple. Basically, I'm not doing any knotted structured muffler. I just kept a very loose muffler wrapped around the neck of the snowman. Few buttons, and there I'm creating now the hand of the snowman bearing the gift. So this is a very, very simple pencil sketch. Nothing more details is here. So what you could do is you can use this as your reference. You could pass the screen over here and you can then sketch out the outline. OK, so now we are done with the outlining. It's time to do the background, so for the background, we will be going but onward, like we have done since the background. I want to create a blurred out background and snowmen and the snowy hillock are the snowy highland while we are full ground and the main focus element of this painting. That's the reason I am going with the blurry background now there in the blurry background, we will be creating a very luminous effect. You know, the light, the the at the center portion, it will be kind of the people white that I will try to retain and a very light tone of dark coloured that we are going to create with the background oak so that the entire painting looks really very nice. It will balance out our lighter elements and our darker elements, OK? So for that reason, I am ensuring that I lay the flat was very nicely and evenly so that there is no chance of, you know, uneven, watery content on the people. OK, so it is very, very necessary that you do this properly. And since you have to go a little cautiously around the snowman, do. Now we will be starting with the background, so for the background, I'll be going from the corner of my left hand side and using a very slanted strokes of the brush. I will be going from dark to light transition. OK, so you're I am using the bushy blue, and as I'm coming down, you can see my colors are offloading from the brush and it is becoming a tone lighter. OK, so around the corner edge it will be darker and as you come towards the center area, it will come to the light to shade. So here we are, going ahead with two different tonal values. One is from the darker then mid value and then two the lightest tonal value. Now around the center area that you can see, I have lifted, right? I'll be now dragging those like the value of the lighter tonal values into the center area, so when it dries out, it will still look like it is still having that. People write color because we are painting this in that perspective. And this Norman will also have a little color in it so that overall area will be the lightest part of a painting. OK. So I am going and. Doing the background around this, Norman as well, so be a little careful in here because you do not want any colors to go and do the body of the snowman because we are going to create a negative painting of the snowman only the edges of this Norman we will be outlining with the darker colors so that its shape or the body's distinct and sharp and clear. OK, so now in the background, we are going to create some blurry bindings. So for that, I'm using my medium toned pigmented value of pushing glue. Now, if you wish to create with any other colors of this fine, you can go ahead. But since I have used your combination of violet and pushing blue, I am going ahead with the blue. But if you me, you may also use your violet to do this. Background things so use your makes both of this Prussian blue and violet because you want them to look blurry. We are not giving them a crest defined, you know, edge, so it will be in the background and this is going to get blurry. So we are doing this step right when my baby dressed in red. OK, so once the paper dries, this colors will automatically, you know, get the stone lighter. And since it does not having any defined shape right now, this will automatically look blurred out. Now here, the next brain, I'm going with a little shorter brain than the one we had created earlier. So you're I have used a very light tonal value of my same brush and Lumix so use different or varying tonal values of the color when creating this pain. So that would give you a kind of depth in the painting. So, you know, that's the trick over your when you are creating such kind of blurry backgrounds and you still want to show depth, then do the painting so use different tonal values to create that illusion. So I have been reading this almost day one since the day one of the projects that whenever you try to create this blurry backgrounds, make sure that you do not use too much of water in your paint while activating them. OK, you need to use them in a pigmented value because you are going on red. On red, you need them to have less of water so that it does not go uncontrollably beyond your control. Right? So first of all, when you activate the paint with water and use them on that on red, it is beyond your control. The paint, you know, behaves as for their own well, you have no control over them. You are very less control on them. So that is the reason you need to use them with little, you know, pigmented values or that you do not have to runny and it does not all look very messy. OK. So we are done with the pines now. It's time to create a snowman for snowman. We will be creating, though, outlines the outer fringes and blending them in do the body. So that reason I am going ahead and, you know, rereading, you know, wetting the surface of the body of the snowman. Now, before we do that, I'm creating this soft, snowy field in the background. So for that, I have added the water splatters. Now I'll be creating the shadows for the Snowman, so for that, I will be using my indigo now, my indigo shade, your astronomy mission and closely resembles to that of the bean's great. It almost is leg beans green. You can see your right. So what you can do is you can use your indigo, which will be a little darker, like the darkest of the blue that you have. So it will have a little bit of bluish undertones. So you will see I added a bunch of that Prussian blue into my indigo mix, and I got some close value of that. Now with my damp, wet brush, I'll be evenly spreading the colors around the body of the snowman, right? So in that way, it will be evenly coated and the areas where I need the shadows to be prominent, that is along the sides there. I have a little darker value than the rest of the other places. Now, using the lifting technique with my damp, wet brush, I just lifted out those areas. Now we will let the body of the snowman get dried out and we are going to find those Santa hat. So for that, I'm using my carmine red. Now go ahead and use any darker shade of red that you have got and you can be in the hat. So the body of the hat will be with the red. And now I'll be filling out the red accordingly and along the sides of the hat, I'll be adding some darker tones, so I'll be just dropping in some over there. The pigmented value of blue just along the lines of that hat and I will create some greens like structures so you can see that it will be more or less the creases which will come to effect. Now you can see for doing the same, creating those little shadows and creases, I'm using my same Princeton velvet, does it say no full brush because it has a very good and pointed tip? And I like using this brushes for any detailing that I need to do in a painting. So, you know, just using one brush, it becomes so much easier to create, you know, certain elements of this object where you need to do detailing as well as you need to fill out the colors. Now I'm creating the muffler or the scarf around the neck of the snowman. So you're do using the same shade of red. Now some areas are outlining the areas that I'm outlining there. I will be adding some darker value of red, and as I'm pulling out the scarf, I'll be lightening down the color a bit. Not too much, but a bit. And to clear the hangings of the muffler, I'll just create with my brush this long strokes, long vertical strokes, so that wouldn't do so. Similarly, I'd be creating for the other end of the muffler. So now we will let this area get dried and then we will be creating some, you know, some stripes in that muffler. So for that, we need those areas to dry out a bit. So in the meantime, I'm going ahead and filling out the color on the gift boxes that are there on Snowman's and OK. So we will lead this area in the meantime, get covered and then we will go back to painting some woolen, you know, detailing to the muffler and just normal white stripes with the Doug Wash. Or you can use your booster beans or your watercolor prints. OK, so now here you can see for the gift boxes. I went with wet on dry technique and now I'll be trying to create tiny ribbon there on top of the gift box. Now I used red out here. But if you have a golden shimmer available with you, you can also very well use that golden shimmer on top of your red box. It gives a very nice contrast to it. OK, so now I'll be painting the hand of the Snowman, as well as creating the filling out the gloves of the Snowman as well. OK, so for that, I'm using the same old Princeton velvet to see these days and before brush and I created that hand over there. So you need a brush, which has a sharp, pointed tip. So switch to your detailing brush or a line brush or even a round brush of size number one or two, anything that you feel comfortable with. Now for the gloves, I'm just filling out with my lighters total value of Russian blue, and that's all. We are not going to create any more details over yours or that's it. And we will let this air get dried completely. Now we are going to clear those buttons on her body of the snowman, just around the belly of the Snowman. So I'm using Bean's Gray or my indigo here. But you can very well go ahead and use any lap or your brain's gray, whatever is available with you using the same mix. I'll be going ahead with the facial features also such as the eyes and the smile of the snowman. OK, now for the nose part, you can the hugs go and switch to your yellow lip color or, you know, because we have already used your red, so I'm not painting our red nose for the snowman. But if you use any other contrasting colors with the muffler and the scarf, you can very well go and being the nose of the snowman with the red. So that's all. And now I'm starting with the little details on the muffler, so I'm adding those slanted stripes to the muffler. So all woolen patterns have these cute patterns, right? So in order to give that little textural details on the muffler, I'm going ahead and creating this drapes with white. So, yeah, I think I'll be going ahead and creating the same stripes on those Santas gap to. To outline the circular, the end of the gap, the fluffy woollen part of the cab, which is generally right, so I'm going and mixing it with some of that Prussian blue color, and I'll be just outlining it now for the head part. Also, I did the same just around the edge of the starting point of that gap I filled with, you know, landed with a little bit of darker mix of my blue and then just outlining the areas creating that shadow, the illusion of that white part. And now I'll be mixing it with my white guys so that it looks smooth and event. And also it looks white. OK, so if you're one, you can add some more woolen details. You know, just with their jelly roll band are adding those details. But since I already added the textures on the cap also like the stripes, so I'm not going ahead with that. Now on the face to am just, you know, blending the bluish tone there. And once it dries, it will all be looking very white, so you will have your snowy white snowman. Now we will be starting with that snowy foreground, so for that, I'll be going where don red and I'm layering and even cold of water on that idea with the help of my flood brush. Now on top of this, I'll be layering the medium dawn values of my brush. You know, you can see how watery the mixes looking because I want to create that glowing or the light coming out from that snowy land or the sky getting reflected in that snow. OK, so create to create that reflection. We are going ahead with this little bit corners, but the darker tones of the mid value tones of my blue and I'm retaining the vibes by using the lifting technique as well. I'll create some more depth into it. And I'm adding, though some more blues over your do not worry might be is still wet. So till the time your paper is where you can really play around with colors, you know, like you can always go ahead and lift out the color once you feel that you are not happy. So see, I'm lifting out the colors from the center area of that snowy ground and towards the corners. I'm retaining those darker areas. Now is the time for the last finishing touch that is snowing splatters, so I'm mixing my white squash and you're creating a medium consistency and creating this noise splatters. So use some, you know, bigger splatters as well as some smaller splatters when you go for smaller splatters, have less amount of water in your brush and you would be creating this small splatters. When you want bigger splatters, create, you know, a little bit more of watery texture and you will be able to get it. So, yeah, that's all for the painting, and I really like the look of this painting. It is looking very soft and subtle, so I usually like this kind of soft and subtle paintings. We are done. DA, my beeper has dried, and now it's time to peel off our masking tapes from all the food sites. OK, so do this, Deb, when your paper has dried out thoroughly and it is very important because your paper will otherwise have you not allowed from our marble from the site. So let it dry evenly with the tips on so you will get the proper painting. So we are done. 16. Color Palette of Day 7: Hello guys, welcome to the last and the final day of our seven holiday inspired Polaroid greedy. And let's quickly take a look at the colors that we are going to require for this last one cure in this project, we are going to be using a very limited color palette. Now these are the colors that will be available. All of you because you will be using red and you're using a comma and dread, and Prussian blue. Now to denote a blue, you can go ahead and use any darker shade of blue. You can also use the RTA look blue or your ultramarine blue or your indigo. Now, the next color will be the Payne's gray for creating those branches. And this red light is an optional color when you are going ahead with creating that bubbles, you can mix in your Carmen and you're ready to create a medium tone, crimson, red. Now, the next will be our white quash. And if you have golden shimmer with you, you can go ahead and use the golden shimmer on top of that bubble. Golden Shovel. You can also opt for darker yellows, yellow deep. Now, these are the colors, so get your colors ready and let's quickly jump start a project. 17. Day 7: Christmass Bauble: Hey, guys, welcome to day seven, and today is the last day of our seven holiday inspired Polaroid readings. So let's quickly begin by going ahead with the basic pencil outline. So I'll be creating a bubble which is circular in shape, and I have grabbed hub cap off my bottle a jar so you could grab a compass or any round circular object that you can find near you and you can create this circular shape. The composition of this painting is very, very basic and simple. I have decided to go with a very simple one at the last because I think the few of the projects in the 70s were quite overwhelming. So the last one, I wanted you to relax and enjoy, as well as implement all the techniques that we have learned so far in the previous six lessons. OK, so you're the bubble is a main focus element, and in the background, we are going to draw some branches of the trees. Now this is some word we have done in our second project. Also, if you remember. So initially, we will go with the flat wash of water for the background. We are going to go red on red and that is why we are leaving and even go off water beforehand. We apply upping. OK. So I want the background to be blurry as well as smooth and soft. That is why we will be going with that on red and also because, like we have seen in a second project, we will be creating a faded out branches, which will be like out of focus. Or you can create a foggier mystical effect. Also, so your interpretation, anything that you would like to go. So I'm layering it with the very bright, beautiful tone of my blues. So I have you're used to my bright blue and you can also use your Prussian blue in your darkest hour pigmented values to its medium dawned or lightest tonal values. OK. So when you come towards the center, like we have seen in all the other projects, you go lighter and towards the corner edges you retain with the darker sheaths. No, it is very essential that whenever you are going ahead with the subject or a painting, you understand the composition really well and know what exactly that you are going for. For example, in this painting, you must be knowing that, you know, water my lighter values and water, my darker values are accordingly. You can prepare your paint ahead. So it is very, very important that if you are painting it through a rough picture or if you have captured the image by yourself and you are trying to paint it later. So what you must do is you must always study your friend's picture and you not take out inference from that picture. Water the lighting values water the darker values, which is in the foreground, which is in the middle ground and which is in the background and what techniques you must be going with so that you can achieve a similar effect. You're in this composition of our main bubble is the main focus element, and all the other elements in the background is kind of out of focus. It is not the main subject element, but it is kind of supporting element and also our bloody background. So in order to get a blurry background in watercolors, we must always go with white on red technique. Now, when you go with Don Red technique, it is imperative that you must be knowing about what is your correct strength of color that you are using. Like how much of water should be added for you to get your perfect tonal value of the color and also to achieve the realistic background tone like, for example, you're at the corners. I'm using the pigmented values and as I am approaching towards the center, I am going with the light, the values. And now I'm creating this branches, so I'm using your means great. Now if you can observe the way I have held my brush, so I am applying different pressure points at the tip of my brush to create some thicker branches. And when I'm applying it gently, I'm creating it some softer and thinner branches. So based on your pressure points of the brush, also, you would be getting, you know, a lighter and deeper strokes. So you must be well aware, and it requires some of that practice also to play around with the strokes of your brush. So if you are not confident painting this branches freehand with your just the tip of your brush, you can also go ahead and practice this in a piece of paper. And then maybe you then started out in your painting. So make sure that you do disturb when your background is still red, because once your background dries out, all these lines will appear very much sharp and very outlined and detail. Okay, so you you do not want that to happen. You want this branches to be low down in the background and later on the mean particular focus elements. We will be coming back and adding a layer over it again once the background is completely dried up. No, I'm going with the layering technique that is my background has kind of dried out, but it's not completely dry as well, so I will go ahead with one more code of that beans grill on top of these branches because I need some of these branches to be in focus. But as well as little lord, so I will go ahead and go with that another layer so that it appears to be the main subject element and also a beard is very defined in our main subject frame. If you want your background to be, read more textures, you can always go it and use little cards or, you know, something sharp of which has a sharp edge to it, and you could find those branches as well. So that would become a little different effect. And also, when you feel the colors, sound them out in them, it will be giving a different look altogether. I wanted to try that out, but I actually thought so. Let's not complicated, and let's just go simply with this kind of thing and also of fact that I'm not keeping well. So for now, this is the thing, but I promise you, it does show that the thing that I just talked about about creating the texture with the are sharp edges of your paintbrush or any sharp cards or anything like that, and you can create a beautiful background texture. So maybe in the next glass, I'll be showing you how you can do that, and maybe it will be a glass completely with texture. So wouldn't you love that? I think I might be planning that for the next. So anyhow, concentrating on and coming back to our painting, so I have added this little red dots, which are resembling that of berries. It's time to go ahead with the bubble, so for the bubble to have the smooth and luminous effect, we will be going with wet on, wet now along the sides of the bubble, we will be using some darker values or darker tones of our color. Okay. And well, at the center, we will be feeding the darker tones into the lighter tones. So that is where the humanness or the glowing effect of this bubble will come. Or do you know the shiny, lustrous surface of the bubble would be defined? Now I'm going with smoothly with my brush. Now, whenever you are going red on red, be careful when you are painting this bubble because you do not want your red to spread into the background because the background has already dried out and it will be very difficult to cover up the, you know, or rectify the mistake once your red dove comes out into the blue background. So it'll be a little careful and gentle with this step. No need to rush and no need to hurry. So around the corner, go with your tip of your brush very smoothly and get around. Keep out lane. Now, when you are going with red on red, it will be easier for you to draw. Keep dropping in darker and the lighter values and make this bubble come to life because the colors will start automatically spreading onto the red background and blend the colors into each other. OK, so as you can see, I just landed on top of that carmine my red light color, and I'm mixing it thoroughly, and you can see kind of that blustery effect that have already got around the corner center center portion of the bubble, right? So I have left it a little lighter now. I'm darkening the edges. I'm using a little bit mix of blue just along the round edges. OK, now you can also go ahead and use a little bit of your black when you are going with the corners. I'm still fixing the center part, lifting out some of the colors as well. Now creating those shadows, I'm using my silver blue velvet to say to brush because I need a very sharp and pointed to do this step and with little precision because I do not want the ideas to bleed out. OK, so go a little carefully. And with the when you use a detailed brush like this or a brush with the small pointed tip, you are more control. So when you have more control, your hands will be steady and you'll be able to achieve that perfect circular shape, OK? So just around the edges, you'll have to create drop in the shadows. So I'm using my brain's gray. Or you could use even your black go with a medium toned beans gray. Do not use too watery paint. Use a little pigmented value and go ahead with it and try to blend out the other areas with that darker tone. Now, do this, Deb, only when, though, of your background is still red, because once the background starts drying out, it will be very difficult to, you know, blender discolor smoothly. So be a little quick and drop in the shadows. Since I was continuously lowering the bubble with my red paint, so my background is still there and this is allowing me to move around the colors. Now, as you can see, I'm using just the DAMROSCH to lift around some of the colors from the center and spread it across around the other areas as well. Now the center portion, I want that shiny effect of the bubble to come true. So for that, I'll be using some darker shades around the sides, my right and sides and around the center. I'll be going ahead and lifting out some of the colors and spreading it around. So that would give that shiny, lustrous look. So now going about the ornamental crown part of the bubble, I'm going with my golden shimmer, but do not worry if you do not have golden shimmer, you can always go ahead and use any of your darker yellows, such as Yellow DB or even your Indian yellow or mustard yellow in that case would do. Now, with the help of my size, number to run Russia, I'm just going and adding in some more high loads to that branch from which the bubble is hanging. OK, so I'm just defining or outlining it once more. Now I'm going ahead with my snow deposits that are there on the branch. OK, so just with the doubling motion, with the tip of my garage lowering the snow on the branch. So I'll be doing this for the rest of the branches, which are a little defined and not blurry. OK, so based on these structures that we have in the background, we will be going ahead and clearing those snow. Now, for those who are watching this for the first time, so this notion that I am doing is but right now, if you do not have whitewash, you can always go ahead and use your post clippings. The already vinyl white watercolor of beams or try to use a thicker consistency of your white watercolor been even when you are going ahead with gloves. Do not make it too watery. Use a little thick consistency so that your guage opacity is retained and you can get this opaque white colour at the very first instance. Now adding in some of that snowy effect on around the bubbles as well. So, you know, when the temperature drops below and when an object is subjected to subzero temperatures, you would have seen this frosty kind of omissions that happen on the body of those things, right? So this is almost like those pointy, sharp edges that you get to see. And so I'm just going and doing that, and I have added some of the splatters to denote that it is snowing. So yeah, and after this, we will be done with the painting. So adding in the last finishing touches, adding in those of that snowy deposits once again with the help of my size and before brush and I'm just using the tip of my brush. Just little touches here and there. And once I'm satisfied or once you are satisfied, adding in those details, you may stop your painting. You're if you're satisfied with the overall look of the painting, you may just stop it here and let your people dry. And then we will be removing our masking this from all the four sides. My beeper is right completely now it's time to take off our masking tapes from all the four sides, and I have those same beautiful borders, all the. Now you're going to add in a courtyard and that's it. We're done with the painting. So I hope you have enjoyed the glass. 18. Wrapping up: Seven days and we have created seven beautiful projects. And I hope you have already selected which ones to send to your loved ones. Thank you for joining in the class. And if you have loved a glass, I would love to hear from you. In that case, please think of dropping a review for my class. It would help my class reach better students. And I can't wait to see you upload your projects, wishing you a very happy Christmas, Bye.