Watercolor Desertscapes- Let's Explore Deserts Around the World In 7 Days

1. Hello & Welcome Back: The desert offered invokes images of a vast expanse, a timeless piece of beauty, wander and longing. That desert is such an environment that is often overlooked and it's true beauty is not realized. If you are looking to witness the beauty of desert, you must definitely wants experienced the colorful sunsets and the Magical nights and deserts. Hey guys, I'm Neil, I'm Ryan artist and an art educator based out of Bangalore, India. In case you're joining me for the first time and don't know much about me. I go by the name at the rate, Neil's artsy underscore Cove on Instagram, where you could discover my passion to paint nature. You could also find me on Pinterest, YouTube and Facebook, the link to which is given on my Skillshare profile. When it comes to illustrating landscapes that they encounter. Watercolor is my go-to medium, and I have been sharing my knowledge about the medium through various online and offline workshops for the past couple of years because I truly believed that anyone can paint. Painting landscapes has the power to teleport you to places that it depicts. And each landscape I strongly believe narrates its own story. Deserts have always intrigued me because of its vivid sharp contrasting colors, but I was always very scared to try out this subject until recently with several field experiments and trials, I learned to paint them in my own style. And I'm so glad to share with you the detailed process through this class. This class is going to run for seven days. Each day we are going to paint a famous desert around the world, capturing its own characteristic essence. The class is structured for all watercolor enthusiast. So even if you are someone who has just started with watercolors, do not worry, I have got you covered. I will be walking you through with all the essential supplies needed to paint for the next seven days, including setting up your own color palette. Show you why it is important to know about paint to water ratio and exercise water control when it comes to painting wet-on-wet. Also, before we begin with the class projects, I have given you an overview on how to proceed with the projects applying different watercolor techniques each day. So that by the end of this class, you will be able to paint any desert reference with ease by applying the techniques learned from this class. If you are someone who was looking forward to ping this escapes then joined right away and let's embark on our desert Safari around the world in seven days. 2. Supplies Needed: Let's talk about the materials that we are going to need for creating our class projects. First and foremost supply that we are going to need for our watercolor painting is our paper. So let's talk about what kind of watercolor paper do we generally go for when it comes to a watercolor painting? I will be explaining all about it. Now the watercolor paper that I'm using here is from Saunders, Waterford send cupboard, Mills watercolor paper. Now, this watercolor paper is a 100% cotton mold made acid free archival, and 300 GSM is the thickness of the people. You are. Thickness of the paper will matter a lot when it comes to how long your paper is able to absorb and with all the moisture content in it. So whenever you are choosing your watercolor paper, make sure that you are going for 100% cotton watercolor paper and which is of at least 300 GSM as the thickness of the paper when you are going for heavy washes. For lighter washes, you can afford a lesser GSM. Now, this one here is a cold press watercolor paper, and it is fine grain. Okay? Now when it comes to cold press, watercolor paper, there are three different kinds of cold press watercolor paper. There is this fine grain which has really finer tooth on the paper. And now there are medium grain paper and then rough grain paper, which is extremely to the. So let me show you the difference between this rough grainy texture and this fine-grain texture. So this one is your from Fabriano, artistic or paper, and this one is a 100% cotton, 300 GSM is the thickness. And look at the texture here. It is the rough grainy texture. So how to turn the paper fields right now, I'll compare it with my Fabriano fine-grain paper. Let me show it to you. I will get it up close so that you can really understand the difference between the textures of these papers. Here. Can you see the difference between the texture between these two papers? The fine grain is so smooth, whereas this rough one is so much grooved and to the right. Now, each one of us has a particular preference when it comes to going for our own particular paper. So I, as an artists prefer to go with finer green paper because I feel when I create landscapes in this kind of find people, I get the best between border walls. For example, when I want to create skies, I get the smoother blends and when I want to create rough grain textures or dry brush strokes, I create them perfectly in this cold press fine-grained people. Most people. Now let's talk about the surface on which you must be taping down your paper. I'll be using this acrylic sheet board to tape down my paper. Whenever you are selecting your surface to tape down your paper, always remember to select it as a non-absorbing surface here this acrylic sheet is like glass leg, so it is not going to absorb any water. Now next let's talk about paint. The paint that I'm using here is from Shanahan Art brand, which is from their premium watercolor range, that is the PWC. This is unprofessional learn artist grade paints supply. But if you do not have this artist grade paints, do not worry. You can go ahead and use something like this pallets. Now these pallets are from Art Philosophy go, but it has all the basic colors, like the primaries, along with the secondary and tertiary colors included in them. I will show you another one that I have out here. Just for an example, look at this palette. Here you can see, right, it has all the basic primaries along with their secondary and tertiary colors included in the palette. Now this palette is from Art Philosophy co-brand. This is their ODC palate. If you have either of this kind of pallets, you are good to go for this class, but not necessarily that you need to stick by these brands. You feel free to use whatever paints that you have got with you to join in this class. But makes sure that at least you have primaries included in your pallets. Always. If you're feeling confused as to what colors I will be using for the class. Do not worry, I have got you covered. I will be discussing in detail about all the colors before each and every class project. Now that we have discussed about paint people, what comes next? The very most important tool, that is our brushes. So here is my silver at ealier hake brush. Now, this brush is made up of gold hair fiber and hence, it is very soft and it's suitable for watercolor paintings. The size of this brushes ten. Now, in case if you do not have this kind of Hake brush with you, you can substitute it with a broad flat brush that you can use for laying flat wash on your people. Now, another alternative that I can suggest you is to use the square wash three by four inch brush from Princeton Neptune series. And you can see how soft this brushes are. So these are tailor-made for watercolor paintings and hence the soft bristles of the brush. Now, if you do not have this kind of software brushes, you could also make use of your synthetic soft hair brushes too. Next, we will be needing some round brushes. The round brushes that I'm going to use here is from silver black velvet brush. Now this brush is size number 12 from silver black velvet, 300 as series. And look at the sharp pointy tip. It has got the rounded belly which holds lot of moisture and paint as well, and forms that beautiful sharp tip. I love using this brush. Now, another brush from the same brand is the size number eight brush. This brush, a smaller brush is necessary to accompany your bigger brush. That when you want to fill out certain areas in your painting where your bigger brush, you do not have enough control to go with overdose areas, small areas, you need smaller sized brushes. Hence, I always prefer to have 1282 size brushes. Now next comes our square head, smallest size brush, which isn't a half an inch brush. Now, along with this soft hair brushes, you must also use some synthetic brushes to have enough control with the amount of water and paint that you want in your painting. So I always prefer to have this size number four brush from Princeton velvet series. This is a synthetic brush and this rigger liner brush from Princeton heritage as well. That was nice. Number two, now you must be thinking, what would you do if you do not have silver black velvet brushes are panicking what you must be doing. Do not worry. I'm here showing you another alternative to this round soft hair brushes, which is this small brush. This is also made from goat hair and it's very soft and flexible. This one is from the brand brush stroke. This is size 0 brush. But look at how broader the bellies. That's the beauty of the mop brushes. It has a rounded belly and when you wet it out, it forms a nice tip in case if you are looking for some economical alternatives. Now this brush set comes in a set of four brushes. You can go try them out. Now let's take a look at the basic sketching supplies. Are basic. Getting supplies include our pencil, which isn't a normal HB pencil that I'm using here. And I will be using an eraser as well. So instead of this eraser, you could also go ahead and use kneading eraser if you have. Next is our ruler. Now we would be needing a ruler just to have a straight horizon line. If in case you are somebody who is not very confident about going with freehand for straight lines, then ruler will come in real handy. So the next supply that I'm going to talk about is our palette. Now, in case if you are using paint tubes, you would need a place to squeeze out to your paint. So in that case, we would be using this plastic palette, which is 42. Well, it has this respective wells for me to squeeze out individual colors in its respective wells becomes really handy when I want to create my own palette and carry around for travel or anywhere that I go. Next supply would be our masking tape. Now this one is known as carpenters steep. It's very normal. Carpenter tapes, which is available in all hardware shops and stationery shops. Now, this comes in three different sizes, 0.512 inch. The other one that I have in my hand is washi tape. This is also a very smaller size. I think this is 0.5 or six MM. I'm not really sure about the size. Next would be our tissue double. These are very handy, especially when it comes to watercolor painting. They are my absolute best friends, so I keep them always by my side. Next will be our water jars. Now, I always have two separate jars for water. One is for rinsing my brushes and the other is freshwater supply. Always have this fresh source of water readily available by your side when you are starting with watercolor painting. Now, another way that you can have in handy is a geometric supply. Yes, you can have a compass and eBay you to draw some circles or have some circular objects like this to go and paint some moons in your landscape. We are going to paint a moonscape in one of our projects. So we need something smaller, circular and say it's not too small, but the mediums or gluten says, if you have a compass or a master circle, you are good to go. 3. Setting Up Color Palette: Okay, so before we begin to set up our color palette, first and foremost, we should know the basics of color theory. The color wheel, especially this split complementary color wheel, comes in very handy when we know what exactly are the cool colors, warm colors and water is split complementary colors. Now, always bear in mind that your primaries will always have a cooler and warmer variant to the respective color or hue. So when you mix its respective complimentary, that is your primary complementaries. With it, warmer or cooler variance, you get bright and vibrant colors. For example, warm yellows and warm reds will give you brighter, beautiful, vibrant oranges. Similarly, when you mix cool red with warm blue, they will give you a brighter mixes of purple, violets. Similarly, cool yellow with cool blue will give you brighter and vibrant greens, right? So this is how you are going to create your secondaries and tertiary is by mixing your complimentary primaries together are mixing one primary along with it. Secondary colors. Okay? So keeping this knowledge in mind, we will be able to pick out colors which may be visually contrasting and we want it in that painting. So accordingly, we will be setting up our palette and we will use this basic knowledge of our color wheel to fill up the palate. So in my color palette, I would like to have my primaries with their warm and cooler variance, just in case I want to create some bright and vibrant, beautiful secondary or tertiary colors. Now apart from your primaries, which can give you the first complimentary colors, it is wiser to have in your palette certain brands, the browns and the yellow occurs are typically categorized as the earth pigments. And in my previous class on evocative Golden, our landscapes, I have discussed in great detail about the earth pigments and what some paint manufacturers are now, replacing the naturally occurring earth pigments with more stable sources of synthetically manufactured compounds to give more stable and bright and vibrant colors, you know, which would be seemed towards natural counterpart. So once you know your properties of the colors and their background or history of this pigments. It is easier for you to choose your colors and set your own color palette. And this basics of your color wheel and color theory will, of course help you a lot in developing your own, are customizing your own color palette. So come now, let's arrange the colors in our color palette using the basic color wheel or the color theory, I'll be starting with my first red, which is cadmium red deep now this is a warm red. It is made up of pigment PR 108. I'm going to squeeze out my color in the well. Next is my cool red, which is spiral red here with PR to 54 as the pigment information. Now instead of this, you can also go ahead and choose your Alizarin crimson or rose matter. These are all your cool reds. Next LV filling up with my warm and cool yellows here I'm going with the cool yellow first, which is my lemon yellow BY A21, followed by my warm yellow, which is from Daniel Smith, Quinacridone yellow, which is p by 150. Now instead of that, you could always go ahead and use your permanent deep, which is PY 83. Similarly, I had filled in with my warm and cool blues. I'm going with sap green, followed by some purples and pinks. The pink that I'm using here is dropping, which is VR1. Now instead of this opera pink, this is sometimes fugitive colors. So instead of this you can offer bright rose, rose, madder lake. Now, here is the purple. This is mineral valid p V3. Next is my yellow ocher BY 42, followed by my burnt sienna. Now next LV filling in my blacks or Greece. Apart from this basic colors, I also like to have certain other colors such as my turquoise blue and cobalt green, along with some other shades of brown, which are known as light red and brown reds. I will be describing all the pigment information here on the screen. So you could take a note of all these other colors that I'm adding in my palette. And here it is my own personal customized palette, which we are going to use for seven days. In case if you do not own watercolor tubes, do not worry. If you have a very basic watercolor pan set, which consist of 12 primaries, you are very well good to go for this class. 4. Water Control- An Important Aspect In Watercolors: Water Control is a crucial technique that all water colorist must learn in order to paint skillfully and effectively. And it is the very same thing that all the beginners struggle to understand. Now, in order to learn how to control paint to water ratio, first, you must identify where the water is exactly coming from. So in this section, I'm going to demonstrate three ways that the water can come from. First is no wet-on-wet technique, which we do by applying a coat of water on your paper. Now, when going for a flat wash of water, as the first court on your paper, make sure that your paper does not have any bead or pool of water that you have. Here. You can see it's a pool of water. And you see what happened when I touch my intense pigmented color into this pool, it automatically bleeds into it, right? That's the beauty of watercolors. It flows onto the wet background. So the proper way is to go with your brush uniform lead to and fro motion on the area where you want to wet it out. In doing so, you realize that your paper has now and even glossy sheen, unlike here where you have a pool or puddle of paint separating out and flowing into the water, right? So this is what exactly is how much water you should have on your paper. So this is the right amount. So when you have a proper uniform layer of water voted on your paper, there should not be any pools, puddles. If there is, you should soak it up using a tissue paper or tissue tablet. Now next is water on paint. This is really very important. So we often ask the question, right, how much water do I mix with watercolors? So here is just a demonstration of how much water that you should be adding. Your, I'm going with my brush fully loaded with water, and I go and create this pool of very thin, watery mix of paint right? Now. This, suppose this is wet on dry. Now suppose you want to use this kind of watery mix on paper which is already pre-vet. So what would be the result? The colors will start flowing into the paper uncontrollably rate. And you will not be able to control the amount of paint and water that you have because it is already too watery and the paper itself is loaded with water. So this can be very chaotic. So in order to have the right balance of water, what I could suggest you is to practice your value scales of paint. This I have shown you in my previous class, evocative Golden, our landscapes. So please do go and check the section where I have talked about values of the paint. When I'm trying to create some clouds with very watery Payne's. So this is the result that I'm getting. This will slowly start spreading around the areas and there will be no particular shape of the cloud that you will be attaining. This. We will come back to it when the layer dries off. Now, the correct way I'm trying to demonstrate here. Now, this water on paint is subject to different conditions when you would want to have pain. Northern lights where you need the colors to flow and create beautiful smooth blends. That time you would want to use some watery paints. But unlike the other, where do you want to paint? Loose, fluffy clouds, for example. In that case, you need to understand what exactly should be your paint to water ratio in order to have your correct shapes of your clouds or the fluffiness of the clouds to come out beautifully on your paper. Now try and observe closely the amount of water that I have on my brush. Here. I dip my brush in water and my brushes fully loaded with water. I have extra water on the brush. What do I do? I grabbed my tissue paper and dab the brush on this tissue paper to soak up the extra water. Now I will be reactivating the paint. When I'm reactivating it, there is optimum amount of dampness in my brush to pull the colors. So here I'm loading my brush with the color and the result is I have this PR, intense pigment color loaded in my brush, okay, minus the watery part, right? So when I go and try to create clouds, right now on this wet background, I will get beautiful, intense pigment. It colors for the clouds because there is very much water. I have exercised water control over here, right? So I will be able to create as much clouds, as much fluffy clouds as I want without having to worry that these are going to flow or blend into the background and losers total shape, none. The next very crucial one is the amount of water that you have on your brush. Now as one who is just starting out with watercolors, you need to know that painting with good brushes make the painting process much easier for you. Okay? And as an extension to this, what I am seeing, water control will be much easier to achieve if you are painting with brushes that hold a lot of water and pigment together, okay, For this reason, I always recommend to go for or choose a brush which has at least soft animal hair, or a brush which is a blend of real and synthetic bristles like the one here. Silver black velvet is for demonstration purpose. Here I went in with wet on dry technique, and here I have created an outline. Now with the other brush where I had too much of water and I created too much of water pool out here. You can see that I have this water pool running inside. This is the case where you should be a little wary about when you have too much of water in your brush and as a result, you will have to watery paint mix. Okay. There might be a possibility that there's too much of water into the area that you are painting might come out of this confined areas and spoil your painting altogether. Okay, So that's why whenever you load your brush with water, makes sure to have a proper control on the amount of water that you're using. Always dab your brush onto tissue, tissue paper so that it absorbs the extra amount of water. Here I'll show you another example. So here I want to paint a cactus and I want to outline it. So if my brushes having too much of water, the outline shape that I'll get will be to take, okay. And I'll not be able to get the very nice sharp lines that I'm using using my two watery brush. So I'll show you in a while what I'm trying to say. Suppose this is, we are going with wet-on-dry technique and right now we have this area not too wet, but it is still wet because we have applied our wet paint over the dry surface, that is a paper. Okay, Now I want to create some stripes on this cactus. And to do that, I'll be needing my brush. Smaller size brush preferably to go ahead and do the stripes. Okay, so in this case, I will be needing little water control or here when I'm trying to create this flower on this cactus, if it is too watery, I'll create a blob on top of it and it will start spreading into the wet areas as well, right? That is what we want to avoid. Here. See the amount of water that I have in the tip of this brush. Okay? So if I start with layering this, you can see rate what is happening. I'm not creating any lines over here. It's getting all blended into the background, creating a very untidy mix over urine, creating a mess sort of thing, right? So I'll fix it back, I'll login, blend it out into a smooth one. Now see, the amount of water that I have. It is almost I'm picking up only the intense pigment. There is just the brushes damp. And here you can see I'm getting this dry brush strokes. This, when I do it on wet paper, this will give me the smooth lines or the strokes that I wanted to have for this cactus, getting a feel for the right amount of paint and water will obviously t time. So experiment, do not be afraid to make mistakes because from your mistakes, you will be able to learn the right way to do it. Now if you're someone who are very new to watercolors and not have much idea about the techniques in watercolor such as wet on wet, wet on dry dry brush technique. Then I would recommend you to go check out my class, watercolor sunset cityscapes, where all this basic watercolor techniques have been explained in great detail. I hope this lesson was useful to you. And if you were someone who were making some of the mistakes that I have just demonstrated here. I hope you have understood that and you will be able to practice more efficiently water control in your paint, paper and your brush. 5. Day 1: Color Palette : Let's quickly take a look at the colors that we are going to require for day one project. I will be swatching out all the colors that we will be requiring for our project one-by-one. And along with that on the screen, I have mentioned the name of the colors along with their pigment information. So please pause the screen wherever you feel like and take a note of all the colors that we are going to use. Here. I'm going to show you how you can mix your own sepia by mixing your basic colors in your palette. Here I have taken some of that. Golden yellow, that is Indian yellow pea way 150 and mixed little bit of mineral violet into it, along with some blue. When you use more of blue into the yellow, you obviously know it will turn green. So when you use more violet again, you turn into this brown, which is when Jackie Brown use more of violet into it, you will turn it into Colin Brown. So these are the colors that we are going to require for the one project. So pause the screen out here and take a note of all the colors, names along with the pigment information, and get your color palette ready. 6. Day 1: Techniques : Hello, welcome back. Thank you for joining in. In day one. Your, I'll be showing you the overview of the techniques that we are going to use for our main project. Now here in this project, I have three elements. Though sky is a background, misty mountains is the midground and our sand dunes is the main focus element of our project. Let's begin with our techniques. The first will be our background, which is a sky. Sky. I'm going to go with wet-on-wet technique, which means applying wet paint over surface. Here, I'm layering my paper with an even clean coat of water and making sure there are no pools, are puddles formed when I'm doing applying this step. So whenever you are layering your water, make sure that your brush is not loaded with too much of water and there is no pools are puddles formed on your paper. This is because if there are pools are puddles standing on the paper, when you touch your wet paint on this surface, it will start blending uncontrollably on the paper. This is something which you do not want, where you want yours colors to be perfect. Right here, I'm going with the gradient wash. So for gradient wash means I start with a darker color and then transition into lighter colors. Next, coming to our misty mountains for this, I'll go with both wet on dry and wet on wet technique. I'll tell you why our misty mountain will be somewhere connected between our foreground as well as a background which is this guy. Now, in order to have very sharp outline of the mountains where I need the shape of the mountains to be distinct yet very blended and faded out. I'm going to go initially with wet on dry technique to create just the outline of the mountains and fill in some of the areas at the top with those same wet-on-dry technique. Now, I'm going to start the misty effect at the base of the mountains. For that, I'm going to invert my sketchbook over here and with my flat brush, I'm trying to lead and even coat of water. It's okay if you display some of the colors, that's totally fine because we are going to eventually let little bit of the colors flow down to create that foggy or the misty effect. And this Mountains, at this point, the base of my mountains is wet, so I will get in some of that blue here. I'm using medium tonal value of blue. And with the damp, watery brush, I'm going to go and bring the colors down. Can you see that the colors are flowing down from the top to the base of the mountains. Here at the base, I want more faded look. So what I'll do is at the base, I left out some of the colors using one stroke with the damp brush for the background, misty mountain, I'm trying to blend in those browns along with the blues that I have loaded in my brush, makes sure that you are exercising little water control and use just the tip of your brush to blend in the colors. And at the base, it should look faded out owing to the fog effect. And that's all about the misty mountains. Now for the sand dunes, I'm going to go with wet-on-dry technique because these are the main focus elements of a subject. Hence, we needed to have sharp outline features indicating the ridges. The lines are the ripples in the sand, along with some shadows of the sand reflecting the light. Okay. Some darker areas will be there so far, the darker areas, I'm going to go and use a burnt sienna mixed with a little bit of burnt umber. On-screen here is a reference of a sand dune observers lighter and the darker areas and also the technical terms used to describe each part of the sand dune. Now we are going to paint the crest and the flank of the sand dune. Here. I'll be using my mineral valid mixed with little bit of my burnt sienna or burnt umber. I will use this mix to create all the darker parts in this Christian plank. Okay, here too, I'm going with wet-on-dry technique, but here, when you go with wet-on-dry technique, you are layering your dry paper with wet paint, right? So that gives you a little bit of time to work on the wet areas where you have just let the paint. Using that to our advantage, we are going to use are lifting and the layering technique on this particular areas where we have just created this darker parts of the sand dune. So here at this point my paper is still wet enough for me to create some textures on the sand. And to create those textures, I'll be going ahead and using splattering technique and the water bloom method to create the beautiful texture of sand grains on this dunes. Using just the tip of my damp brush on this wet surface, I'm creating a larger particles and now just dipping the tip of my brush in water and going to create some blooms over here. Now, I'll leave it to dry and then we will come back to it later. Now with my angle shader brush, I lead the flank of the dune with some darker mix of violet mixed with little bit of burnt sienna. You can see how bright that color is looking, right? So instead of an angle shader brush, you can use a very short head. Flat brush of this size number is one by eight, so you can use a smaller size, flat brush size number two or three. And you can create this kind of lines which will be the ripples and the sand dunes. For those sand dunes which are there in the background, I'm going to go and coated with the first layer of yellow ocher, which is my light color. And then towards the base, I'm going to go and coated with some darker shade here, I'll be using a mix of muddy, burnt umber mixed with data, a little bit of Payne's gray. You can, instead of that, you could go and mix a little bit of darker shade of violet with a little tinge of blue and blend the colors smoothly. So this is how we are going to proceed with the final project. I hope you are clear with all the techniques. Advice you to see through this lessons and tally and then practice these techniques in a separate sheet of paper before you start on with your project. 7. Day 1: Sands of Death Valley Part 1: Our day one begins with a trip to Nevada, that valid desert. So let's begin by first steeping down a paper with our masking tape onto this non-absorbing board. I have taped down my paper on all four sides using the masking tape. Now I will ensure that there is no gaps present between the shaping of the paper and the board. Okay. Because that's the point where the paint might seep into. So ensure that your paper is firmly fixed onto the board and there is no gaps present. So run your fingers along the side margins of the masking tape to ensure the same. Now let's begin with our pencil sketch. So I have roughly drawn some misty mountains in the midground. And I'm going ahead and drawing sand dunes, which is the main focal element of our painting. During this process, I might be erasing and 3D sketching the areas, certain areas lot many more times. So I would request you guys to go through the entire video, see how final sketch looks, then pause the screen over there and start your pencil sketch. I'm creating some shadow lines with the help of my pencil just to make sure that these areas will be darker when painting. So this is how our final sketch looks. So you could pause the screen out here and then take this as a reference and start your own sketch. I will try to upload the reference of all the class projects and the projects and resources section. So if you will, you can go check them out over there too. If you wouldn't have taken my other classes on Skillshare, you would know that in any landscape painting, I first always begin with my sky. So here too, I'll be beginning with my sky using my hake brush. I'm going to wet my paper. This is known as layering your paper with water, which is important part when you are going with wet on wet technique. On this pre wet surface, you will be layering your wet paint. So that's why it's known as wet-on-wet technique. If you would have observed closely the sketched mountain area, I'm leaving them dry and making sure that I'm going around those mountain ranges and be wetting the paper just alone the sky portion. While doing so, make sure that there is no lumps or puddles of water standing on the paper. So go as many times as you want with your brush to make sure that there is no extra water. And if there is extra water, always grab a tissue paper or tissue towel and rub it off from the sides of your masking tape to ensure that this water will not cause any bloom effect if they run into the painted areas. Using my size number 12 brush, I'm loading the brush with peacock blue color for the sky. Here. Observe the paint to water ratio that I had used. It's not too watery. It's just the optimum amount of water so that there is no excess water on this wet paper around this horizon line of the sky where it is meeting the mountains. I'm going to go and make them the lightest. Use. Just your **** tip of your brush. Now, your brush should not have excess water. If you feel your brushes having excess water, dab it on tissue paper or tissue towel to soak up the extra water there. Do you see that? Paint mix l soak it up using my tissue paper. And this is very important because you do not want this to cause any blooms in yard. Perfect Skype. Now we will let the sky area to get dried completely. Now, I'll be starting with my foreground sand dunes. For that, I'm using my medium tonal value of yellow ocher. Here. I'm going with wet-on-dry technique because I want to have control over the wetness of my paper, which will allow me to work in the ways that I want. Like going with dry brushing techniques are lifting techniques. I do not want to go with wet-on-wet because when you go with complete wet-on-wet technique, it takes some time for the paper to dry up. In that time, you will not be able to. Go ahead and start layering with other colors. It might bleed and blot and smudgy areas might appear. Here we need our lines to be crisp and sharp. Okay, so that's where we are going with wet on dry technique. Now observe the brushstrokes I'm going with for filling the colors in the dune. Here, I'm going with slanted or inclined brushstrokes. This will give a kind of elevation sought to the dune and does when we start layering it with darker shadows this June will represent are have a very realistic effect. If you would have observed generally the shadows are formed near the edges or the corners. So you're too with my burnt sienna. I'll be going ahead and creating some of this darker shadows. And I'll mix now a little bit of my burnt umber into this mix of violet and brown and create this darker sheets here when you are going with this darker brown. So make sure that your paper is still wet because you need to have the shadows really look soft. It should not form a stiff hard edge or a hard outline. Therefore, if you feel that your paper has dried out, go over those areas again with a layer of little watery paint to mix of yellow ocher and then go with this shading of Brown's. Continue to create this darker shadows using this slanted inclined strokes. When doing so, do it very lightly or gently. You do not want to scrape out the underneath layer of yellow ocher. That's why you need to go with very soft tanned. Just use the damp tip of your brush to create this darker shadowy areas. Now, what I'll do is I'll create some sand texture. So using a little diluted paint, I'll go with the splattering technique. I'll splattered this shade of burnt umber mixed with a little bit of blue and purple and create this darker shade of Brown's splatters onto this part of the dune. Now in-between this tiny splatters, if you want, with just the wet, damp tip of your brush, you can go ahead and create some bigger dots like shapes over there, just in certain areas. And that's all. Now with the same paint mix with which we had splattered. I have gone and created this darker outlines over there. Okay, now I'll create the splatters one more time because those have got blended into it. Now, I'll be using your permanent violet in your mineral valid. You can mix a little bit of blue to get your violet shade. I'm going with a medium tonal value of permanent violet and it's little watery if you also observe. This is because I need to work on this area a couple of times with lettering techniques. So I need this area to be wet, but not too wet. That's why we are not going with complete wet on wet technique. Now observe the brushstrokes. I'm going along the shape of this deal. Now, it's time to add some darker tones on to this area. So here I have used the same Berlin brown mix that we had created using our purpose and our brown. Now with just the tip of my round brush of size number eight, I'm going to go and create this inclined slanted lines which will represent the ripples along the dunes. But the help of my size two brush, which has a very sharp pointed tip, I'm going to go and create some ripple leg structures at this edge of this dunes. Okay, so from there we're going to bring down the rippled stripes much more prominently. Oops, I made a mistake over there. So I fix it by using my flat brush. This will be easier when you do using your flat brush because it has a flat head. So when you bring down the stripes, it will be long and slanted and straight. Because we have gone with wet-on-dry technique, the idea has dried out and it has faded out. Did you observe that? Hints, I'm going with a second coat of paint, this time with a darker shade. This is known as the layering technique. So I waited for the first layer to dry up and then I'm going with the second coat of paint. Here. I have used purple mixed with my burnt sienna to create this color. Now using smaller sized angle shader brush. If you do not have an angle shader brush, use a short head flat brush of size two or four and create this stripes. So load your brush with the darker mix and just go on and create this long horizontal slanted stripes. So that's all we will be doing for this part. I will meet you again in the next part of the lesson. 8. Day 1: Sands of Death Valley Part 2: Welcome back. We'll be starting with the background sand dunes. I'm going with a very light wash of yellow ocher at the top part. And for the bottom part, I'm going to go with a little dark color. That is for our shadow. So I'll be creating a very muddy mix of brown, preferably mixing browns with your blues to create this kind of darker shade of brownish black you could call, okay, So here it is rough, so do not worry about the dark edges that we have got using are just a damp brush. We are going to fix it back and create very soft, smooth transition between the colors. Always make sure that every time you rinse your brush in water, makes sure to dab your brush on tissue paper or tissue towel to soak up the extra water and then go back and blend this areas out. Too much of water will cause blooms to appear on the paper which you do not want. Now starting with the crest of the background dune over there. So I'll be going with a medium tonal value of yellow ocher there at the site, fringes of that crest, it will be darker and as they come inside, it will get lighter. Okay. So this is how we are going to go about it. It's time to start layering with the darker shade, just like how we did it for the front crest of the dune. And here to try to create brushstrokes and follow along the shape of the crest that you have outlined. Now, we will be switching to our same angle shader brush. Your switch to your, any short head flat brush and start creating those lines, those inclined sloping lines on this crest of the dune. Make sure you are using a synthetic angle shader brush or a flat brush so that you have better control on the amount of water that is present in your brush. With similar technique, we're going to go ahead and create the crest flanks of the other dunes. Here. I'm using my mineral violet mixed with little bit of my burnt sienna. Here the dominance is more towards violet. As you can see. I'm going with medium or the lightest tonal value, but having control on the amount of water that I have in the paint. Now on top of this, I'm going to go with a very dark shade of burnt umber. Okay? The bottom and the top corner of this flank will be darker and the center radius will be lighter. But here you can see that we are having sharp, distinct, dark, and lighter areas, but do not vary with the help of a **** brush, we are going to blend them together. So I rinse my brush and so the extra water up in the tissue towel or tissue paper. And now just with the light brush movement, I am going to blend this out together. Okay, just gently do not drag too much of brown's into the center area. Leave the area to be little lighter than the other two corners. With the help of my size number two, silver black velvet brush, I'm going to go and reflect some of the areas where the tasks much doubt to create a distinct outline of this darker dunes. And let me share with you an interesting fact about this Death Valley Sand Dunes. Did you know that at the top of the sand dunes, one can experience strangest phenomena of the desert, which is known as singing of the sand. Sounds interesting and intriguing, right? So it appears that when the sand slides down this Steve phases of high dunes are sound like the bass note of pipe organ or the distant drawn off an airplane can be heard. So the reason. Behind this phenomena is still not very clear to scientists, but it is the most likely assumed that it is caused due to the friction between the sand grains. Sounds very mysterious, straight. If you want to know more interesting stuffs about that valley, then Google it out. You will be in all and would surely love to visit this mysterious place. And for those of us who cannot visit this place, let's just enjoy the beautiful mysterious place by just painting them so that we can get virtually teleported to this mystical, mysterious desert cure to I'm going to create the same steps as we have done for the previous dunes. Okay? Now remember that if you have a softer watercolor brush or brushes like silver black velvet, it will become easier for you to blend the colors smoothly. Or if you have Princeton Neptune series but brushes or any watercolor brush made above goat hair, which are soft hair, you will be in a better place to blend these colors smoothly. Right now, it looks like there's too much of purple in there. So I use just the **** brush tip and liftoff, the dose areas. Because underneath the purple, we had the base coat of yellow ocher. Under painting is a very beautiful technique where, you know, the base coat is maybe a lighter or darker colored, and you top it with the darker or lighter color, so it goes vice versa. And though effect that it produces is very beautiful. Just like how we seamlessly created transition between both the yellow and purple color using just the lifting technique. Finally, here comes our last large dune. Okay, So I'll quickly fill it up the left side with the darker shade because as you can see, all our darker shadows are present on her left. It is very important that you remember this. Okay. So all the dunes, when it is in the same orientation or landscaping, we'll have the shadows fall and at the same site. This is because the sun over it would be casting a shadow on that particular side of the dunes. So do not go with one side of the painting as the lighter one, the other as a darker and haphazardly mixing all these sides in the respective lighter and darker shadows. And that way it will look very messy. Here. I'm going with little bit of ultramarine mixed into the darker mix to create this darker shadow. Because I'm going to go after some time with my damp brush and liftoff certain areas of this side of the shadow and bring out the lighter portions as well. I'll do it shortly. Even if you are lifting out the colors from this areas, just remember to go along the direction of this crest of the dune, okay? It is very important to remember and just light handedly blend the colors out. To the right side. I'll fill using my yellow ocher. I'm going as poor though direction of the dune. Okay, it is very important to remember to always paint in the direction or whenever if we are filling the color or likewise, because that is what gives the object its proper 3D dimension. Okay, now, around the top corners, I'm going and filling out the areas with some darker shade and at the bottom as well. Do not worry. I'm going to blend these ideas out with another bet, damp brush. Now, remember that your brush should not be too watery because you know what is going to happen, right? I have been repeating it quite many times. So yes, just blend it out like I have done out here. And that's it. You are good to go. Now to create a little bit more of a realistic effect, I'm going to add that little foot marks or any marks left from walking over those dunes. Okay, so use just the tip of your brush and use intense tones of your burnt umber and create this random strokes over there with some dots and blotches and that's it. Similarly, I'm going to go and create or fill out the colors in this background dunes as well. So keep observing. I have fast forwarded this areas because it is the same exact repetitive steps which we have seen earlier while painting the sand dunes out in the forefront. If you wish to slow down this process and paint at a normal pace, then I would request you to decrease the speed to 0.5 weeks in your Skillshare browser. And you could watch them in a normal speed. And with this dune, we're almost completely done with painting the dunes and I'm already loving it. Next is, we are going to paint the misty mountains in the background in the next lessons. So join me over there. 9. Day 1: Sands of Death Valley Part 3: Coming to the last and final part of the painting, that is painting the misty mountains as we had already seen and discussed in the technique section. We will be creating the misty mountain effect using wet on wet technique, but I'm not going to completely wet the entire empty space that you see for the mountains. Okay. I'm going very cautiously and carefully around the areas where the outlines of the sand dunes are. But I'm not touching the outlines of the mountains there. I'm going to go with wet-on-dry technique to create this distinct outlines of the mountains in the background. Okay, just like this. So use your brush tip and create those outlines here. Try to go with medium tonal value, soak up the extra water in from the paintbrush and then go ahead and create this outlines. Okay? Now, using the belly of your brush, try to move around. The colors are liftoff the colors from the base of the mountains. So in that way, you will be getting the misty mountain effect. For this misty mountains, I'm going with a medium tonal value of indigo. You could see here I have mixed with my blue, my peacock blue little tinge of my burnt sienna. Just a little tinge and you would get a darker shade of blue already, which will resemble very close to your indigo. Okay, So this is how I'm going to go ahead and create the misty mountain effect. And as you can see, as soon as though wet paint touches the wet areas around the base of that mountains, the colors will slowly start to float downwards. Okay. To facilitate the process, I just went again one more time with my wet damp brush at the base layer. And now I'm quoting the top layer of the mountains again with a darker value, a little watery value of my indigo mix and creating these strokes wherein I try to blend and make them float downward direction. Okay? So this is how we are doing it. So this will create the misty mountain effect. The last standing mountain left we are going to paint it out using the same technique that we have just seen. Being the top first with the dark tone. And then at the base, use the damp brush to spread out the colors and that's it. So yard painting is done. And I'm really loving how it looks right now. We will let the painting get dried completely. Our painting has dried completely. Now. We will be peeling off the tapes from all the four sides. Though, painting process was little tedious when it came to painting. The Sand Dunes, right? You must be feeling, but when you have the overall result, you will be really pleased with all the efforts that has gone behind painting this. Now, if in case you are feeling that you're painting has not turned out to be like mine do not vary. Every one of us has our own individual style. So be happy with the result that you have guard and yes, practice and practice. Practice always makes a man perfect. And that's all for day one. 10. Day 2: Color Palette : Welcome back to day two. And today we are going to paint this beautiful Milky Way galaxy, starry night under the OTA desert. So let's quickly take a look at the colors that we are going to need for creating our project. Here the main focus is the Milky Way. So for this guy, we are going to go with different colors, especially our blues, which is tailored blue. And then indigo. If you do not have indigo, mixing a little bit of Payne's gray into your Taylor blue and you can turn it into indigo or mixing red into your Taylor blue and you can turn it into Indigo as well. Now next will be peacock blue. Instead of peacock blue, you can add force cerulean blue or your cobalt blue. Next is lemon yellow. Apart from lemon yellow, I'm going to also use a warm yellow, which is my cadmium yellow deep. And I will be using both of these colors to paint my sunset horizon. Next would be my opera pink. Now, if you do not have Oprah pink in your palette, not very used. Any bright rose, rose, madder lake, or crimson lake, that's totally up to you. Swatching my mineral violet as my next color, which is P V3. Next is light red. Now if you do not have this color, do not worry, use yard burnt sienna mixed with a little bit of red. And when you have more of red into your browns, you get this brown red color. Using my purple and my brown red, light red, I will be making my own Perlin violet, which is also known as Martin Brown, other brands. So use yard mineral Violet and you're burnt umber, if you like. If you want to go for a darker shade, use your bond number. So you would get something like this. It will happen under hue of violet is my sap green, which is P G7. When you mix lemon, yellow and green, namely viridian green, you get this shade of sap green. Last but not least, we would need some white gouache to add stats. 11. Day 2: Techniques: Let's start with the techniques for our D2 project. So first we will be starting with our Milky Way sky. For this guy, I'm going to go with wet-on-wet technique. Now, you would have taken my other classes. You would already know what is wet on wet technique. It means applying your wet paint over wet paper surface here I am pre wetting my dry paper surface. And on top of this I'm going to let my wet paint. Okay. First we will be starting with our sunset colors, which will be closer to the horizon line. So I'll be starting with my yellows and pinks and little bit of oranges. So I'm grabbing my yellow. So rulers generally, what I generally prefer to do is I grab some of my warm yellow, mix it with little bit of red and some lemon yellow at the center to create that glowing part of the sunset sky. And the darker, warmer colors will be towards the site corners. There. This is how I'm going to go. Oh, I'll be grabbing some of my opera pink and letting it on top of the yellows. Always make sure that you go with medium consistency of your paint mix. For this step, do not use too watery mix or else you will cause unnecessarily blooms to spread across the yellows and you will get very smudgy clouds. You do not want that. So try to go with proper water control in your brush. Now once you are satisfied with that, it's time to switch to a bigger brush or using the same brush, you can now grab your blues here. I'm using my tailor blue in that Taylor blue, I'm going to mix my Payne's gray to turn it into a darker shade of indigo. Now, I'll start from the topmost section. As you can see, for this tape, your paper needs to be absolutely wet or else you will not be able to move around the colors with the damp brush, the transition metal area where the blue is meeting your yellows and pinks, go with yards, soft mop brush and try to lift out our smoothing the edges of the blue transitioning into the opera pink. Here are my people feels pretty wet. That's why I want to have some control in the amount of water that I have in my brush. Hence, I have switched to my size number for synthetic brush to create this softer clouds in-between those areas where the blue was transitioning to open it up. In those areas, we did not get a proper transition between the colors, right, in order to hide that, we're going to go and paint some fluffy clouds with some darker colors there I have used my purple mix. Okay, So here, this is how you can go and create this dramatic effect in the sky. Now, I'm going to go and create some more darker parts of the sky, especially at the topmost part of the sky. I'm going to go with my intense tone of the indigo mix that I've created. So just go with any random strokes is not necessarily to go by the strokes that I'm having. It should just, the color should be blending with each other. Your paper should be wet. Now, in this wet paper, I'm going to go with the white quash. Can you see I have white gouache loaded on my brush. So this is how you are going to go and approach this section and try to create some more whiter, much more whiter patches in-between the other areas which are blending and fading out into the blue and try to work around those bleeding areas with just the tip of your brush. Here, I'm going to drop in some of that darker shade of Payne's gray just in between those whiter areas. This is because if you have noticed Milky Way pictures closely, you would see that in-between those white patches there are some darker colors which are the clusters of this starts, right? So I'm going to go ahead and do the same. And once you are done, using here, are dropping your darker shades go and drop in some more of that white gouache to make the areas, the light areas much more brighter and glowing. Okay, So this is how we are going to create our Milky Way. It already looks so beautiful, right? So just with the tip of the brush dropping some dots. Basically the stars, the glowing starts over there with my soft mop brush. I'm trying to blend in the hard edges that were formed while when we started layering our blues. I'm going over my damp mop brush and very gently wetting around the entire area because we do not want any hard edges. I will be going over those areas again and creating some more clouds and splattering. This starts now Penn new splattered stars in the wet background, you get bigger bloom of stars, okay? That actually is what we would need in a cluster of stars. And then once your paper starts drying out, go and tap it with medium consistency, consistency of white gouache, and start tapping it to create the smallest stars in and around the sky, but more towards where the cluster of the star. So that is our Milky Way. Once you are satisfied with the number of stars that you have in your sky, you must stop the process and move on to the next part. Our next element is going to be the rocky formations of Monument Valley, which are referred to as messages are built. If you Google the images of Monument Valley, you would get the number of rocky formations at this plateau area. Okay, some of the famous is known as a tort hymns are built. Here. I'm going to go and create the builds in general. So this sandstone rock formations are generally with the red color, which is due to the iron oxide. That is the reason I'm going and using my light red color, you can mix in your burnt sienna little bit of red, and you can get a similar looking shade. Now for the darker or the shadowy areas, I'm going and using my little bit of Payne's gray into my brown. And that's how we are going to go and create this Butte leg structures. Now in-between this darker radius, I'll be going with lifting technique to lightly lift out certain areas exposing the lighter bars. Moving on to our next element, which is the ground area of this Monument Valley. So here for the Valley Today, I'm going to create the ground area with my light red. So you can mix a little bit of burnt sienna and yellow ocher as well, and to create the darker shadows in the ground areas. Mixing a little bit of burnt umber along the sides. Okay. Leave though, the center part of the areas to be lighter and all along the other parts, the sides will be darker. So once you are done with the ground, the next element will be the vegetation that is found in this Monument Valley. The ground would be covered with some vegetation or grassland structures. So for that, I'm going to drop in my greens into that Brown's, okay, when the background is still wet to so it will create that lose effect of having some vegetation on the ground right. Now, I'm going to go ahead with some splattering technique to indicate the soil or any debris is on the ground. So you could also do that. And if you want, you can add in some of that cactuses. Cactuses are really easy to paint, right? So for this bloom technique, you can use either water or your salt as well to create these textures on the ground. Things, some bushy grasses, just by using my rigger liner brush out here and just creating some long elongated strokes. I'm going to go ahead and paint some cactus, but this is totally optional if you want to include it in your landscape. You could include, but I have not included this cactus in the final painting. Apart from the sky, if you would have noticed, we have painted all the other elements using our wet-on-dry technique because we wanted some distinct outlines and shapes as well as control over how the paint was spreading on a paper, right? So this is why we went on wet-on-dry technique to create this other elements of our painting. Now with just the finger, I'm freeing the tip of my brush and I will go and drop in some of the paint loaded on the tip to indicate some rock pebbles scattered around the ground. 12. Day 2: Stargazing at Nevada Part 1: Hey guys. So let's begin at dA2 with taping down on paper. And this is what we are going to paint today as starry night sky under the desert of FUTA. Once you are done taping down your paper firmly, now it's time to do our preliminary pencil sketch. It's very basic and easy. First, the three-fourths of the paper will be a sky. I'm creating Jaron horizon line. There would be some background distant mountains. So your horizon line will just form of preliminary basic idea for you to create the mountains just above that line. And here I'm creating this builds. So if you have known or googled Monument Valley, and you would see this beautiful, gorgeous sandstone rock structures over there. Now that we're done with the sketching part, Let's start with the sky. We are going with wet-on-wet technique because that is my most favorite and preferred technique to paint a skies pure. I'm going to lay gentle and uniform coat of water all across the paper until my horizon line. It's okay if you are going over the huge structures, you need not worry because we're going to paint this builds with colors like red brown, so that's okay, but makes sure that you are doing this step very carefully and uniformly. There should not be any pools, puddles of water standing. Once your paper is glistening and you have coated uniformly, it's time to get on with our paint. I will be starting here with my sunset colors just above the horizon line. For the sunset colors, I'm going to use a mixture of my warm yellow, lemon yellow so you can mix it in the ratio of two is to one. Makes more of the lemon yellow and little tinge of that warm yellow. Lemon yellow because I want the center part of the sky to be glowing. The other areas to be warm and bright and beautiful. Whenever you want to paint a glowing centered sky, always try to go for lemon yellow as a color. Now, around your left and right corners, I'll be using some more of that intense warmer tones of my warm yellow, which is my cadmium yellow. I do not bring too much of the warmer shades right there at the center. I just leave the center to be with the lemon yellow. Now, I'm going again with my damp brush just to make sure that when I start painting the topmost part of the sky, my paper remains still wet. So you could do this step before you begin with your top part of the sky. So now I will be loading my brush with that of o para instead of o para, you could also ask for bright rose in case if you do not have a pyrene with you. This is obeyed wrapping from Han art. Okay? Now when you mix a little bit of red into this opera along with some of that warm yellow, you get a very beautiful coral pinkish color. And this is the shade that I'm going to go for while creating and mixing with my yellows to create soft yet vibrant sunset shades of this guy. Can you see the bleeds over there? So I'll switch to my size number eight, silver black velvet brush. And with this damp brush, I'm going to lift some of those bleeds and try to smooth those areas out. Switching back to my size number 12 and charting that I have gotten rid of all that excess moisture over there. So with that Oprah pink loaded on my brush, I'm going and created the slanted motion with my brush. Observe the brush strokes here. Whenever you are painting sensors with different array of colors, always remember to make sure that your lighter colors are not fully covered with your darker tones. Okay. You're my yellows are still visible underneath those pinks and now I'm layering it with some of that purple hue. Now it's time to go for our topmost part of the sky, wherein our dark shades will come and play. Mixing my blue with my Payne's gray here, the blue that I'm using is Taylor blue. And I have mixed it with little bit of Payne's gray. So go with any random strokes of the brush you and did not feel pressured. The strokes that you are having, remember that the topmost part should be the most darkest areas and even at the site corners, that is your right and left corner should also be dark. Now as you start approaching the center part of the paper, makes sure that you are going with lighter strokes and also ensuring that wherever you are approaching the areas where you have lead your Skype with pinks and yellows, you go with lighter tones of blue. The way our sky is looking is just perfect for us sunset sky, but here we are going to paint the night sky view with this answered this toddlers still existing in the horizon. Okay. That's why we need to go and use some more of the darker tones at the topmost part of the sky here, I have fast forwarded the process because it's kind of repetitive. If you want to slow it down and see it in actual face, you could change the speed on the Skillshare browser to 0.5 weeks and watch the same cure at the center part, we will be creating the Milky Way or the galaxy sky. So for that, I'm going to use my white gouache. So this is a modern watercolor techniques. If we were to go by the traditional method, we would have left some of the whites of people exposed while painting around them, the darker areas. Okay. Or else use the lifting technique to lift off some of those pins from the areas where we want the Milky Way to be. So instead of that, we are going to go and use this diluted gouache to create a transition between our blues and the white. One important thing to remember out here is you could do all the steps only when your paper is still wet enough for you to blend. The colors are, move around the colors creating soft, beautiful blends. Once your people starts drying out, do not try and do this blending of colors because you will be having a really hard time. And as you can see, I have, my paper has already started to dry out. You can see the colors are not really blending or flowing across the paper. But I think I will be able to manage this layer because some parts are still sufficiently wet enough for me to create this smoother blends. Google out some Milky Way pictures, and you would see that right in-between where the whitish areas of the Milky Way Galaxy, there would be some darker areas as well. So try to go with some darker tones in-between those whiter parts that you have left. That would give the exact same effect that you are trying to go for your Milky Way. Adding in the darker tones in and around those whiter areas that we have just created using our white quash. I think I'll have to go one more time with some of their diluted white cars so that it spreads more beautifully on this wet paper. Here. I'll be going ahead with some more of that white quash loaded on my brush. And I'm going to go with some little watery consistency, but makes sure it is not do fully watery or rails, that paint will start to spread unevenly onto the areas which is wet. And maybe if your paper is drying, you will get some uneven blooms over there. You do not want that. One way to fix that is load your brush with some darker tones and go and blend those bloom areas in and around. While we were doing the top part, the paints, we're traveling down towards the horizon because the paper is little inclined, right? And watercolor always flows down the gravity. So you can see I have created some of that hard edges because this bottom part of the paper has started to dry out completely. To refinance those hard edges, use your soft tip of your silver black velvet brush or any soft tip of your brush and try to blend those colors out. Okay. So that's the way that you would be able to still salvage the hard edges. Whenever you are going with this kind of areas where your paper has dried out, always make sure not to have too much of water in your brush, just the dam, IP and little bit of your color to blend and mix it well, I'll go and drop in some of my darker shade, just like how we have seen in the technique section in-between. White gouache. Oops, my paper has dried out here completely or no. So here I think I'll have to rework on this area all over again because you can see rate, my paper has started drying out and the colors and not really spreading. I'll try to make some more clouds here at the horizon level where the shades of sunsets are because this area is drying out to be a lot lighter than I expected. And here to my paper is drying up and the colors are not blending with the background colors. I think I'll have to redo the sky all over again. So anyways, I'll show you how you can do that. I'll try to fix it. So let's open prevent that. We're fixing it back because it's off lately, very windy and weird kind of weather. Sometimes watercolors is dependent on lots of environmental factors as well, such as the weather. If your weather is really dry, windy, without any moisture in it, your paper will likely to get dry up very fast. So here in this project you will see how I try to salvage this painting using the re-weighting technique. So let's get into it. In this point where your paper is semi dry here, if you do not exercise water control and your brush, you will see what happened there. Did you see the line that my brush created because it was a little bit of too much water. So I'll try to blend these areas back. Something like this going to and fro motion because at least the bottom part of the paper is still wet for me to blend the colors out. The top part, we will get to it. So here at this point, I want to create some darker clouds. So I will mix in a little bit of Payne's gray into my Oprah and mineral violet mix and create a darker mix. You're, there should not be any water in your brush. Dab it on a tissue paper and it should travel with just dabbing motion of the brush in this wet areas, try to create the smaller, shorter strokes, creating this cloud-like shapes. Now let's get to the top part. I have inverted the paper and using my damp brush with size number 12, I'm going to let it with another coat of my Caleb blue and peacock blue mix. And observe how I'm trying to blend in the colors. Moving the board upright down so that the colors flow downwards to the top, right, because that's where we want to blend the colors. Now here, I'm trying to salvage these areas so that it is still wet for me to blend the colors out. So I'm creating those clouds, inverted my paper. And here I'm going with size number 12, brush loaded with intense tone of my indigo makes sure that you are not using too watery paint because then it will turn into a lot lighter shade. Try to go with the intense mix out here. Now here is another trick is to use your misting or the spring button to create the dampness that you would want in the paper, but makes sure that you do not disturb the bottom layers where you have painted the sunset. This guy is looking much, much better now, okay, so I'll go one more time with those pinks and yellows with my another's brush that is a size number eight brush once I'm done with here. So I'm going over these areas again because we need the transitions to be smooth. Now I will switch to yellow and create glowing part of the sky. 13. Day 2: Rewetting The Sky Part 2: Continuing with this guy here, I'm going and lifting out some of that darker shades of blue because you're I want to use my white gouache. And my white gouache needs to have certain areas of white in order to come out beautifully, which will give the glowing clusters of stars. Okay, That's why we're lifting out certain areas using my damp brush. Use your software flat brush for this step. I'm struggling so much with my sky because the paper is drying out way too soon. I don't know if there was some problem in the sheet of paper, but it does sometimes happen. But do not worry, do not give up on the painting yet. If you do face similar situations like this, try to use your watercolor knowledge and the techniques of watercolor to try to salvage the painting. Sometimes you solve it, sometimes you feel, but at least you got to try right before you decide on to quit. So here is my take on that. Now, if you would have observed, I diluted my white gouache, did not make it too watery thin. I'm just using the tip of my silver black velvet size number eight brush. And because some of the areas of data still wet, my paint will spread and bleed beautifully into the darker areas. Okay, but here you can see some areas and not blending. The white quash is not spreading around. So I will go in there, use some damp brush and try to get my white gouache in there so that it spreads out. Now I'm adding in some of that white gouache with just the tip of my brush going and adding in over there so that I get This bright and beautiful glowing center in the Milky Way. Now because I have used little watery tip of the brush. Did you see the water started coming down onto the purples and pinks over there. So I will use my flat brush and using some clean water, I will very lightly and gently re-wet this areas all over again so that with the help of my damped round brush, I can go create those darker layer of clouds one more time. Here. I have lost though center part of that glowing skies using midas soft Princeton Neptune, flat brush, one by full-size. I'm very lightly going and lifting some of the colors from the center part because that's where we want our sky to be glowing right. Now. Did you notice the water droplet that fell at the top part of the sky? I need to go and re-read those areas all over again so that I can blend it and this bloom can be rectified. I am going with my soft mop brush and just trying to reward those areas very lightly, I have inverted the pace so that all the colors flow downwards as I have tilted the paper, can you see here, go with yard intense tone of indigo one more time using your brush. Now I'm trying to re-read the other areas as well, just trying to move around the color. Do not use two water-filled brush over there because you will get those ugly blooms one more time. So just with very soft handedly, drain off the excess water from the brush and just keep blending the colors. Now using a synthetic brush of size number four, I'm going to go and splatter some stars over there. I'm doing this on wet-on-wet background because I want the stars to look glowing. They will look faded out once the paper has dried out. And on top of that, we are going to splatter the stars one more time, again later when these areas have dried out completely. So this is the problem that you will face when you re wet your paper. Some of the areas, the glowing areas of the sky will be lost during this process, I have to go here again, lift out some of the colors from the center to create that glowing effect of the sky here you may go with, again, a tinge of lemon yellow here and spread it out uniformly across these areas to make it glowing. Now with my size four, brush from Princeton velvet does series. I'm just going and creating some dots like shape. Over the areas where we had splattered the white quash, they have left, you know, faded background which will indicate the glowing areas around the star. Okay, So just go and add these dots using the tip of your brush. You are done. It's time to add in some darker areas in between that white center of the Milky Way you would have seen in the pictures of Milky Way, right? There would be some darker areas as well passing through the galaxy. So this is what we are trying to replicate out. You use intense tone of your colors and try to do this step. When your paper is still somewhat wet, the paper has dried, it will not blend into the white quash. Okay, So this is how I'm going to create the clusters. Now can you see this area where you have this sharp two distinct blair of my sunset colors and the night sky, the darker tones. That's why I went and re-wet those areas one more time so that I can use my violet and with the help of the tip of my mop brush, I'm going and creating the shape of the clouds. The reason why I'm going with this kind of reweighting technique and not using my missing or spray bottle. Because I if I use the missing or the spray bottle, all the blues from the top, we'll start flowing down to these areas of orange and yellow, which rarely will lead to a kiosk in the sky, right? So this is the reason why I'm using my brush and going with very soft candidly re-wetting the areas, creating layers with my synthetic brush going with my white gouache all over again around those darker gray areas. Now with the help of my **** tip of the mop brush, I'm going and trying to spread out those hard edges, softening those hard edges with the help of my flat brush, going and lifting out those areas again from the center of the sunset sky. Now, with my size number for synthetic brush, I'm going to use the tip and create some dots in-between those white areas to create those starts glowing. And if you want to blot out any areas to create the glowing effect, you can use your fingertip as well. Now it's time to splatter the stars. When you as flattering the star, remember to use not too watery gouache mix because that will give you some bigger blooms. For tiny stars. Remember to use a thick consistency of gouache and use the tip of your brush directed towards the paper and tap it with another brush or your finger, that's totally up to you and skip splattering. This starts. The sky is looking beautiful. Remember the time when that water droplet had fallen on that top part of the papers there, I had reweighted those areas using my mop brush with a watery mop brush, that is where, you know, I might have unknowingly removed some of the colors from those areas. That's where you can see those lifted out portions and some darker portions in there, right? I will have to go back again and do reweighting technique for this. So make sure whenever you have some accidental spillage over there, you go and add some darker tones also when you reweight those areas so that it does not get faded out like that. Look at the difference of this guy. After I read it, the areas with my darker tones of indigo mix with Payne's gray. This is the trick, how you can fix your paintings, right? So that's where I told whenever you do reweighting technique makes sure that we you do not leave the area as such because you wouldn't have removed some amount of paint from there. Hence, go and layer those areas again with a fresh coat of your intense pigment at pains to give you this beautiful bright result. Now I'm working with the background mountain. This is the same technique which we had done for our day one project. I first went with wet-on-dry technique, creating the darker areas of the mountain. And then used my watery brush and drag the colors down towards the base of the mountains and that's it. Now we will soon be starting out with the foreground, especially working on those Rocky Mountains or the beauty. So I'll see you in the next part of the lesson. 14. Day 2: Foreground Rocky Mountains Part 3: Kick starting with a foreground where we will be painting our formations of this totems or builds. So for that, I'm mixing in my browns. I have used light red mixed with a little bit of brown red and burnt umber. Instead of burnt umber, you can also add little bit of purple into this mix and start filling in the areas where we have sketched out those totems or the beauty just along the foothills of that background mountain. I'm going to go and create another darker mountain to fill in the gap between this builds and the background mountain. Now filling in those builds with my same reddish brown mix that I have got Y reddish brown because this sandstone structures are filled with iron oxides. Hence, the color of this builds are this reddish brown in nature. Now keep observing my brushstrokes and the colors that I'm filling those mountains here, there will be some darker tones of red browns as well as darker shades of brown. While I move to the right side of the bills, I my colors, we'll start getting little lighter than that of the left side. Whenever you are going and creating the shape of the builds, make sure that you use just the tip of your brush there. The paint mix should not be too watery. As you approach the base of this builds, you can use little watery paint mix so that you are able to cover larger surface area with ease. Using the same technique that we had applied for the one rocky formation in the foreground. The other background builds to, we will be filling in similar way. Here. Only difference will be for the background once we will be using a darker mix of our Brown's, preferably make CRC same shade of brown with little bit of purple to give them the Perlin violet to brownish undertone look. Now, along the side edges of this builds, I will go in with just the tip of my brush and start filling in with some darker shades to indicate the stripes are the rugged features of this builds Okay? To create the darker areas of the mountains, use a darker shade. You can mix in a little bit, just a tiny bit of Payne's gray or mixing yard, permanent violet on mineral violet into your brown to get the darker mix as well. Okay, Now we will be creating some more darker shades on this right side and we'll stretch it along to the left side of the bigger Butte. Keep observing my brushstrokes, how I'm creating the ruggedness and the lines are the raw features on this builds using just the darker colors. For the ruggedness I'm using my synthetic brush and I will just go and create some darker vertical lines over there. Really led this area's dry up a little. And then I'm starting with the rounded built, which is the last viewed of our landscape. Here at the right-hand corner, I'm going with the darkest mix of brown that I have. So mix more of your purple or violet into your brown and get obtained this darker mix. Now, just the top will be dark, and then when you come down towards the bottom, it will become with the same brownish mix that you have. The second view, the color has faded out a little. So I'm going again and layering this with little bit of burnt umber at certain places, only your top areas. Now with a little watery mix, I'm going to blend this area's out so that it looks even. Now to create this lighter parts of the Butte, a little bit more prominent, I will do is I will go with my lifting technique with a damp dry brush, and I will just vertically live the colors off from certain areas in between the darker strokes that we have just applied. Now coming to the foreground area, which will be our land. So here I'll be going with my yellow ocher, but I have first pre wetted the area so that I can spread out my yellows beautifully on the areas and allow them to blend with the layering of Brown. Taller Butte is looking little bit more darker, so I will lift out some of the areas along those darker strokes that we have created. The paper is still wet so I was able to lift off. Now here I'll be creating an heap light structure over here with the light red mix that I have got. Now on top of this, I'm going to let it with some purples over here, purple or violet, you could use either of it. Now, the remaining colors that I have on my brush, I'm going to blend it out into the background, mixing the yellows with the purples like that, creating some random irregular strokes. Now it's time to create some vegetation like growths on this land surface. Okay. Your I'm just dropping in my sap green using just the tip of my brush onto this wet background. So it will seem like there is some kind of smaller bushy shrubs which are growing on this land area. You can mix in a little bit of purple or brown in your greens as well to turn them into a darker shade, this will create a depth into your painting. Creating the same here too, with just the tip of the brush dropping in the greens. I'll switch to my liner brush and create some vertical grass like shapes over there at the left corner and smaller ones you're at the right hand side as well. Now it's time to create some textures. You own the land area. So here I'll be going with the splattering technique. I'm splattering little water you may have solved nearby you, you could also add in some salt to create this kind of beautiful bloom effect. Here I'm happy with water and it is easier for the water to be on this wet, on dry technique because it will create very controlled and beautiful blooms and dab in some darker shades in between those platters to create a depth and also to create some grassy like structures out here. Some prickly grassy structures. I'm using my liner brush to do so. Here I have frayed the tip of my liner brush. As you can see now with this flip tape, I'm going to go and create some grass like structures, very small, short strokes there to indicate some glass-like patterns over growing on that land area. And that's all that we're going to do for this. We will let the area or the paper dry completely and then we will be filling out her tapes. As you can see, our paper has completely dried out flat. Now it's time to take off our masking tapes from all the foresight, this is the most satisfying part. Post painting rate billing of the tapes gives you such a great satisfaction feeling, a feeling of accomplishment, right? So here we are with all the four sides, perfectly neat and crisp. And here we have the final painting. Hope you have enjoyed painting along with me and learn the inside. So reweighting the people. Join me back tomorrow for we are going to paint this beautiful Namibia Desert. I'll see you tomorrow. Bye. 15. Day 3: Color Palette: Hello, Hello, welcome back. We are on day three today and we will be heading for a safari to the desert of Namibia. So come, let's get started. So we are going to be painting this beautiful desert cracked lands of Namibia. So let's take a look at the color palette that we are going to require for completing our project. Let's get started with the color palette. We are going to start with our beautiful brown, which is our burnt sienna, are very beautiful, orangeish brown. It is known by the pigment number PR 101, or PVR seven, followed by yellow ocher, which is known with the pigment number BY 42. Now, different brands will have different shades of yellow ocher. Some label it as light or deep. Swatch out your color and then get started. Now next is brown red, which is again PR 101. Now, brown red is optional. You could make sense some of the red within your burnt sienna and they've loved this brown, red or light red. Here next is burnt umber, which is the bundy version of your Romberg, which is PVR seven. Now mixing two colors, we will give rise to the mud color, which is the cracked land color. Okay, So we're going to mix burnt umber plus Payne's gray and a little bit of white gouache to result into one of these following shapes. I'll show you here. Here. I'll be mixing the colors and swatching it out. Mixing my burnt amber with little bit of white gouache and little bit of Payne's gray to form this kind of very opaque and clay kind of color, which is, which you can see on screen out here, right? So this is the shape that we are going to use now, when you add little bit more white quash and do the same, you will get the lighter variation. So we will be using both of these shades. You paint the dried out, cracked land. Okay. So I hope this is clear to you guys. Mix your colors, swatch them out, and then we will get started with our project. 16. Day 3: Techniques: Thank you for joining in. Let's get started with the techniques for our day 3. First and foremost, we will be going with the sky. For sky. This is going to be very simple sky with the bright blue sky with white fluffy clouds. I'm going to go here with wet-on-wet technique. There, I have just reactivated my settle in blue or the cobalt blue colors. You could use either of that color to paint your sky. I've started first layering the paper with an even wash of water till the portion where I want the sky to be. Then I have started with my wet paint, leaving around some white gaps for our white fluffy clouds. When a paper is still wet, you could lift out certain areas from the other areas where you want your fluffy clouds to be or enlarging areas that you have left the white spaces and to create your fluffy cloud. Every time you lift the colors, make sure that you dab your brush on the tissue paper or tissue travel or dip it in water and then soak it up in tissue paper or tissue travel. Moving on to our next element, which will be the sand dunes. Here we will be painting the sand dunes along with the shadows casted by the opposite sand dunes. Okay. So you're going with a mixture of my yellow ocher mixed with burnt sienna. So you get this result in shade. Once I'm done with this part of the sand dune, I will be switching to PR burnt sienna and going over layering the color on certain areas of the sand dune will be switching to my burnt sienna very soon. Sorry, not burnt sienna, burnt umber. And I'll be going over certain areas just along the slopes of that sand dune that we have just painted. Your observed the brush strokes that I'm creating out here. This is two, create the texture of the ripples that the sun has created on the sand dunes. Okay. Now going with the darkest tone of my burnt umber mixed with little bit of Payne's gray and creating the shadow of the sand dunes which are being tested from the sand dunes, which may be in the opposite side. Okay, So this is how we are going to go about it. Moving on to our next element, which is our dead tree. So for the dead tree, switch to a brush which has a sharp pointy tip for you to create some thin strokes for the branches emerging out from the tree. Now remember that the beauty of this dead tree will be its sharp pointy branches jotting out, right? So make sure that you are exercising brush control and water control in the amount of paint that you are using to create this tree. So when you are going for thin lines for the branches, if you're using a liner brush, use dry out the paint consistency on a separate piece of paper, and then start creating those sharp pointy branches of the tree. Now with my damp brush, I'm going to lift out certain areas from the branch of that dead tree. Okay. So this is to indicate the light and shadow portion of that tree where the light is not striking the tree there, it will be darker as compared to the rest of the other tree, which maybe the sunlight is hitting the tree. Okay, So that is what I have done over there. Now moving on to the last element, which will be our focus element in this landscape, which is our cracked ground. For the cracked ground, remember the mix that we had created, the clay kind of color mix using our burnt umber Payne's gray and white course. So I am going with that mix and creating this kind of strokes to indicate the ground. So the picture here, which I use for reference, has this kind of perspective where the picture is taken from a very low angle perspective, giving the hi to the ground as well as to the tree. Okay, so I'll share the picture out here. You could see here how, what exactly I'm trying to say. So to replicate it, I am going to go with this slanted strokes of the brush, observe my brush movement and create the same realism of the ground. Now I have switched to my liner brush. And with my liner brush I'm creating this cracked patterns for the land. Okay, so here the trick is go with very thin lines and use your darker mix for creating this cracked effect in the land. Now, if you saw observing the reference, you would see that this crack patterns are running, are converging towards the base of that tree. And where it is converging towards the base of the tree there the patterns are going to get thinner and thinner variables, the ones which are prominently visible on the foreground. There, I'm going with some darker strokes using the same mix. Just hear what you have to do is you have to create some darker, thicker strokes out there to indicate the deep cracks that it has, indicating the shadows. Right. So this is what I'm going to do. Now to indicate that dirt on the land, I'm going to go ahead and create some dry brush strokes using the same brush. This last step is very important as this would give the texture, the realistic texture to this crack lands. And wherever the cracks are, there, just go and create some thinner like cracks from there to indicate more realism into it. Now, I'm just going around with this synthetic size number four brush creating more dry brush strokes to create the textures on the land. And that's it. 17. Day 3: Aridness of Namibia Desert- Part 1: You guys ready to jump start our class project. Let's join together and paint this beautiful Namibia desert. Like always, I have taped down my paper onto this vote with the help of my masking tape, running my fingers along to ensure that the paper is stuck to the board firmly. Now, it's time to begin with a pencil sketching. Here is the reference for our D3 project and this is what I'm going to sketch it out. We are going to divide the paper in such a way that 1 fourth of the paper is our sky and the rest is a land. And in-between the land and the sky, there will be this background sand dunes. And just around the center of the paper, we are going to draw or sketch out this dead tree. So I'm going to do the same on are this paper, the final project paper? The paper that I'm using is a 100% cotton from Saunders Waterford. Now around 1 fourth I have separated the sky from the land with the horizon line. And just around like around three or four centimeters above. I'm going to draw, sketch out the sand dunes. The sketches really very easy and simple. You could pause the screen where the reference picture on the screen is displayed and use that as your reference and sketch it out. Or use my sketched out the outline for your reference and start with it. Now you're just around the center of the paper. I am going to start with the sketching out the tree. Makes sure that your tree is positioned right in-between the center, positioning it exactly in between those sand dunes. Okay, So this is what is the main focal element along with the cracked ground of this landscape. So this is a final outline and I have sketched out some background trees just below the sand dune. This as the reference. And let's start with the sky. I'll be going with wet on wet technique using a flat hake brush. I'm going to share just the portion of the sky. Makes sure that you do not go wet around the mountains. I do not want the water to go into the mountains are because I want to paint the mountains with Brown's. Okay. So if the blue touches the mountains, then the brown that you mix is going to turn really dark. And also we'll be using yellow ocher. So chances are there that you're mountains will start turning green, which you do not want that. So make sure that you are layering the water only around the sky area, going around those sketched outline of the mountain. Loaded my paint onto my brush. And I'm directly starting with this random strokes for the sky. Here, I'm using cobalt blue and look at the paint mixture that I have got. It's not too watery. You want a little bit thick paint mix, intense ones so that post drying, your sky doesn't look too faded out. And in-between, I'm leaving some shapes for those white fluffy clouds in-between. Now, instead of cobalt blue, cerulean blue, you can also opt to go for ultramarine blue. That's totally up to choice here I have used some cooler shares instead of warm shades. I hope you're observing what I'm doing like all the other projects, the sky at the top is darker and while I'm coming down towards the horizon line, my sky has become lighter. We have transitioned our sky from dark to light. Now using lifting technique, I'm going to lift out those edges from the whitespaces for the clouds. I'm just want to make those shapes little more rounded. So every time you lift off the color, wash it off or debit in our tissue paper or tissue towel. Now, I'm going to use a very diluted mix of my Payne's gray mixed with brown using just the tip of my brush, I'm just going to layer something like this. It's too dark. I'm going to lighten it using another of my **** brush size number four damp brush. And I'm going to simply spread it around those white patches of the clouds, okay? But makes sure that you are not going and touching the corners. Done with the sky. Now we will let this guy dry out. In the meantime, we are going to start with the land. Once a sky has dried out, we'll go and do our sand dunes. So for the land, I'm going to use the clay mix that we have seen in the color palette section. I'm going to mix my colors altogether and keep it ready because we are going to definitely cover a larger surface of the paper, right? So mix out your color beforehand and swatch it out before you try it on the paper and see if your color is almost same as mine. And then start with the land. I'm going to go and use this lighter section first as the first coat for my land. I have loaded my brush with the same polemics, going to go carefully around this area with just the tip and slowly start spreading the colors. Make sure you just use the tip of your brush and go around your main focal element, that is your tree. And here I'm going to use wet on dry technique and simply favoured this entire ground with the same color. But here, there is a trick to it. In order to give that perspective to the ground, we're going to use certain slanted brush strokes. Please keep observing how I do this. While doing this step, make sure that you use little watery paint that will enable you to cover larger surface quickly, but makes sure that it is not too watery that you are going all over these areas and your trees are also getting covered with those. You should be able to control it with the tip of your brush and use your full body of the brush here. When I say body of the brush, I mean the bristles of the brush. Okay, the head of the brush. So try to use the full length of the bristles when you are trying to spread out the colors. Now when you start reaching the base of the tree, this is from where you are going to create some diverging strokes from the base of the tree to the outer side of the paper. Okay, you are flanking it. I would say it can you see the strokes? But if you start from the bottom of the paper, that would mean you will have to go with converging strokes which will meet at the base of the tree. And those would be slanted converging strokes. So watch the entire process to know what exactly I mean by this. Here, I am lifting some of the darker shades because this ground will be far from your view bond. Hence, this areas will be lighter than the rest of the ground using just light pressure with your brush gently and liftoff the colors. When I meant by converging strokes, this is what I meant. See the brush movement that I'm doing here. I just, I'm just showing you with the help of little water and also because I don't want the layers to form any hard edges over there. That's why I reactivated those areas with little water with those strokes. Now with the paint mix, I'm going and creating those same converging strokes like I had said earlier. Keep observing the brushstrokes, that angle at which I am creating the strokes. And while we're at it, let me tell you a fun fact or something really very interesting. If you had not known about Namibia desert, is that now maybe a desert is by far the world's most oldest desert. And it has really some interesting facts about it. I will share it later in this lesson. Now I will go on using my brush and letting the color with the same strokes that I discussed earlier. Okay? So this, I'm doing again and again because this is the idea that I want to be wet since we went with wet-on-dry technique, layering your wet paint over the dry surface again and again will ensure that your paper is wet for a longer period of time, enough time to allow you to work and have some advantage over your paper. If you have noticed, I went with n number of times with some watery paint mix and also some damp brush. And as a result of which, my ground had become much lighter color. So if you also experienced the same go with another code using the same diverging or converging brushstrokes wherever you are starting the strokes from. Depending on that, okay. And then your ground colors should match. This almost looks like a coffee color, I would say. So. It should be something like this. Okay. Now to create that arch kind of shape or V kind of shape, anything that you may want to call. I used my burnt umber mixed and now with the damp brush, I'm slowly trying to spread it around the sides of that tree. Now here along the side bays of this tree, I'm going to go and create some dotted line patterns. Some dots to represent some rocks or pebbles lying around this area. Here I'm using my burnt umber, intense pure burnt umber, but just the damp brush and just loading it like that. And at the sides I'm trying to blend in a little bit. Creating some more dots and patterns over there with just the tip of the brush, just lightly gliding around the Brush. Oops, I removed some of the paint from the base. So I went with one more coating or layer of the same burnt umber plus payne's gray plus white mix over there. And I'm doing the same, trying to re-read the areas again, doing all over the place again. So makes sure that when you are doing that step, do not keep your palm of the hand or somewhere when still the paper is wet because in that way you will live the colors. I think I have covered most of the part. Hey, would say almost reweighted the entire ground area. Okay, Now, I think I am now satisfied and I'll be extra careful in how not to go and touch any part of that surface here with just the tip of my size four brush, I'm going and leaving some lines or marks over there just to indicate the textures. Here, the textures need not to be so much defined because it is far in the background. Okay, now it's time to paint the sand dunes because this guy has dried. Later on, we will start our ground work once the ground has draped. So I'll see you again in the next lesson. 18. Day 3: Arid Cracks- Part 2: Let's get started first time swatching out the colors that I'm going to use for my sand dune here. I have watched out both of my burnt sienna and yellow ocher. You are, you can see so intense and vote lighter wash tone over here. Now, I will be mixing my burnt sienna along with my yellow ocher and we'll get the result in shade. So this is the color that I'm going to go for layering the base coat of my sand dune. Okay. So here I have my brush size number eight from silver black velvet loaded with the same mixture of my yellow ocher and burnt sienna mix. And I'm going to go very carefully around the areas where it meets the sky. I'm outlining the mountains first and the tree as well. So intense tone at the top portion of the mountain and then I leave the bottom area, MT. This is the area where with a damp brush, I'm just going to lighten the color out. Okay? So this is how we are going to create this beautiful gradation of those sand dune. Continuing the same process at the other side of the sand dune here too, I'm going with wet-on-dry technique because you're I want to control the amount of paint to water ratio, Hence this wet-on-dry technique. Now at the rightmost corner I'll be going in and adding a little bit of burnt umber on top of it and blend the colors together. Now for the base of the sand dune, using your damp brush lift out just a little bit of colors because those areas had gotten little intense. We want your lighter tones. Remember just like how we painted the left. Do. So just make this a little lighter and with the tip of your brush dry blending the colors covering all the empty areas. Now when you are filling our blending in the colors for the sand dunes, remember to go with the direction at which the sand dunes are running along. Okay. Now with little bit of burnt sienna just with the tip of your brush, try to blend in the colors. Now I'm going to create the same kind of structures for the left June to use just your damp brush and little bit of your burnt umber mixed in with the burnt sienna. And very light handedly go along the slope of the dune in this manner to create some textures over there. Okay, just don't overdo it or leave it like that. Now it's time to paint the shadows of the sand dunes costed from the opposite sand dunes. Okay, So for that here I'm using my burnt umber mixed in a little bit of Payne's gray into it. But if you have darker shades of brown such as Van **** brown or CPR, you could use the same. Now here to add the base. I'm going little lighter. At the top, I have used the intense tone of the mix, repeating the same process for the one at the right two. So once you are done with this part, it's time to move on the ground. So my ground has already dried and here I'm going with my liner brush. I'm going to go and create this irregular shaped shapes over here. It's not so cool, It's not oval, it's somewhere in-between circle and oval-shaped. So just with the help of a sharp pointed tip of a brush, create this irregular shapes. Make sure that your stroke lines are really pins. They're only at certain areas of this irregular shapes. We will be going with a thicker strokes indicating the deeper cracks. I'm not just going to go randomly with this cracked textures. I'm going to follow with the strokes that are left behind from the wars that we have created the background with. Following the same strokes, I'm going to create this patches of dry land. Now when you are creating the shapes, make sure that you are going with some irregular shapes. I mean, some will be larger and some will be smaller. Okay, so here for the shapes alone, it needs to be irregular and in a random pattern. And somewhere in-between the adjoining are the connecting cracks. Go ahead and use some darker tones in there. Now, this is how I'm going to fill the entire land with this kind of irregular shapes once we start closing in or we start moving in towards that dream, the shapes, we'll start getting slanted in that converging direction and it will be smaller and smaller. Now here, I always wanted to use the cling wrap technique. Remember if you have taken my watercolor textures and frozen lake class, you would know how much I loved creating textures of the cracks using that method. So I wanted to go with that, but in that cling wrap technique, I wouldn't have got, you know, this kind of overland circular shapes. That is the reason I have not gone with the cling wrap technique. But if you are looking for those street or slanted lines, you can obviously go with the cling wrap technique. Now observe as I'm closing in towards the tree, my shapes are getting smaller and smaller. Did you observe that? And these are also thinner as compared to the ones which we have towards the bottom of the paper, right? One more way of doing this is I'll just show you in a while from the base of the tree, start creating slanted curvy, groovy lines. And just like that, and the line should be thinner. And as you come here, the line should get broader. It will be like diverging, right? That's what I meant. When you are starting from the bottom, it is converging. When you are starting from the base of the tree, it will be diverging. Now, I'm going to create some darker areas in this cracks just using a little thicker stroke, I will be repeating this step until I have covered the entire area of this land. Now, as I'm closing in towards the base of the tree, now my strokes are going to get much thinner and lighter shade. And just like that, I'm not going in and creating the full shapes here with the help of my dry brush, I'm just creating some dry brush strokes using the same mix. So when you are doing this dry brush technique, makes sure that your brushes absolutely dry and try you're using a synthetic brush because it holds less water. So I will keep doing this dry brush technique in random places over there until I'm really satisfied with the look of this cracked land. Let me share with you an interesting fact about this Namib desert. One of the many marvels saves are one of the most intriguing features is the phenomenon known as fairy circles, also known as fairy rings, which are barren patches of land and so called by a single species of grass which are found throughout the desert. And the most interesting thing is this fairy rings disappear once though they're yours of drought and they reappeared again once it has started raining. Interesting, right. 19. Day 3: Final Details Part 3: We are almost towards the end of a painting. Here we are going to add few more background trees over there. For the background trees, I'm going to go with wet-on-dry technique. Here I'm using my liner brush loaded with an intense mix of burnt umber in case if you're burnt umber is not as close to this shade. You can mix in a little bit of neutral tint or your paints black to your mixture and create this. Or if you have Van **** brown or CPR, you are very well good to go and use those. I have started painting the background trees in the meantime, my entire paper, especially those sand dunes shadow part as well as my ground as totally dried up. Hence, it's, it will be easier for us to create these trees without having the fear of lifting off any paint from anywhere. Starting with our main tree. For the main tree, before we start here, I observed that I had left a little white patch over there, so I'm filling in with that clay shade that we had created. Now, I'm going to fill in the tree with my burnt umber mixed. Here. There will be a time where I will be using lifting technique just to indicate the darker and the lighter radius of the tree. I have switched to my size number four brush to create or fill in the color for this tree. Here, try to use the full head Brazil of your brush. In that way he will be able to cover larger areas together at once. And when required when you want to go and create those sharp tips, use just the point that if your round brush is not having a sharp pointy tip, I would ask you guys to switch to our brush, which is having a sharp pointy tip and keep and other round brush where you can fill in the colors at the broader base of the tree. The little mindful about the water that you add to your paint to not use too watery mix. Too watery mix will result into fatter or thicker strokes. Here I'm going with two mixes of my burnt umber. One to the right, I'm using a very light mix of burnt umber. And for the darker ones, I'm going with PR, intense tone of burnt umber. Now here, the main beauty of this landscape is this dead tree. So take your time, Have some patients and use just the pointed tip of your brush to create those thinner branches of the tree. I'm quite happy with how this painting has shaped up. And with this tree it is adding so much of that beauty, isn't it? I hope you are following along with me at every step of the process in case if you feel that you are getting stuck at any process, please do not hesitate to reach me out on my mail id or on Skillshare under the discussion tab, you could post your queries or anything that you want to ask or have any doubts, feel free to reach me out over there. Now here with my damp brush, I'm going to very softly lift out certain areas from that tree branch. And on the other side, I'm going to let it again with the darker tone of my burnt umber and blend it out like this. So I think we're pretty much done with our tree. I'm not going to overdo here, I'm just trying to create some dry brush strokes over there. And yes, we are pretty much done. If you want. This step is totally optional with synthetic brush, dry brush, I would say grab some of your white quash and go near to the bark of the tree, just set the base, try to create some dry brush patterns here. This would mean the solid deposits due to the added temperatures that has deposited on this dead tree. When you're using this dry brush technique, tried to go from the base to upwards. Like that. How I'm creating the dry brush pattern over here. And that's all with just the tip of my **** brush loaded with little bit of burnt umber. I went and added some dots over there and that's all I'm going to do. I'll let the paper dry out completely. Then we will be peeling off our tapes. Our paper has dried completely. Now I'm taking off the tapes from all the four sides. Always do it at an angle. Also makes sure that your paper has dried out completely. When your paper is dry out completely, your paper will be flat like this, okay? So don't be in a hurry to peel out your masking tapes patiently wet enough for the paper to dry out evenly. With that, we wrap up our D3 tomorrow. I will see you again in Namibia with a very beautiful Skeleton Coast. So until then, bye. 20. Day 4: Color Palette: Hey guys, welcome back to day four. And today we are going to paint something very interesting. We are going to paint today a landscape where desert meets the sea. Okay, so let's get started with the color palette. First. I will be starting out with our sky. So for this guy, I'm going to use my cobalt blue or you could use your cerulean blue. These are your cool blues. Now, if you want to go for some warmer blues, ultramarine blue or yellow, blue, you can go ahead and use them to four-year sky. Here I'm swatching out my cobalt blue color. The alternatives that you can use instead of cobalt blue are on screen. Now the next color would be our gray. So I'm going to mix and form my gray using that of burnt sienna and little bit of my cobalt blue. So this is the sheet that I'll go for. Next would be our yellow ocher. So as you have already seen, yellow ocher is the common color that we have been using throughout our class projects so far. Have that along with my burnt sienna, followed by our burnt umber. Now burnt umber we will be using for the coast of the sea as well as for some of the darker parts for the sand dunes also. Okay. Next I'll be swatching out the sea color for the C I'm going to use here my cool blue, which is the peacock blue color. Now, instead of peacock blue, you could offer other cooler options of blues are just Prussian blue and indigo. Indigo is for creating though wave or the ripples which will be darker in color. So that is all for the colors that we are going to use for this project. So I have categorized the colors based on the elements that we are going to create. So I hope to see you in the next lesson. 21. Day 4: Techniques: Thank you for joining in. Let's quickly dive into our techniques section and learn to paint each and every element for our skeleton coastal Namibia. But we'll be starting with the sky as usual for the sky, I'm going on wet-on-wet technique. The only difference here in this project for this guy will be here we are going to paint largest stretch off cloudy areas of the sky. So far that I ensured that I went ahead and laid my paper. The area where I'm going to paint the sky with an even coat of water with the help of my cobalt blue, I'm going to go and create some patches of that bright blue sky. So here we are just doing the alternative of creating the patches with our bright blue instead leaving them white. It's just that difference right? Now at this point, what you can do is if you want to fix those bleeding areas, you can use just the tip of your brush and smoothing it out. Or you could also lift out some of the areas from the blue where you would want your bigger cloud chunks to be, just lift out the colors over there. Now I'm preparing the gray mix using my burnt sienna mixed with little bit of my blue. So you're is it and I'm going to drop it just along the bottom edges or maybe at the center. And then with the help of my another **** brush, I'm going to just use the tip of that damp brush and blend it out. Now next will be a sand dunes, I think by now, all of you must have mastered the technique of creating sand dunes with different textures and shadows and depth into it. So here's what I'm going with freehand sketch of the sand dunes for awhile and just using slanted strokes to get the colors down. So here I am going with wet-on-dry technique. I think by now you'd know it very well. What kind of technique I am going ahead. So it means applying your wet paint on your dry surface, which was our people. Now here I'll be going ahead with the layering technique, also known as glazing. I'll be going with some darker shades of brown, preferably my burnt umber. And just go along those strokes. What we have just created, those slanted strokes, just in few ideas to create the shape of this sand dunes or the textures, how the sand has deposited over time. Now here I'm going to grab little bit of my Payne's gray mix it with my burnt umber. And just with the tip of my damp brush, I'm going to go and create some dots and irregular patterns over there just to indicate some lying rocks or pebbles across the sand dunes. Okay, So we're moving on to our next element, which is a C. Here. For the C, you can go with wet-on-wet or wet-on-dry. That's totally up to you for this project. I'm not going with wet-on-wet technique because it would take time for us to get up paper dried. And also we want to create this ripples for which we need our people to be almost in a semi dry state, not fully wet, because we want the ripples to hold their shapes as well as to blend into the background. That is the reason I will be going with wet on dry technique and not wet on wet. Now, in case if you want to learn more in details about how to paint, see and it's repulse. You could check out my class seven days of vitamin C. I have explained it all out there. Don't worry, I'll be explaining the process all over again when we go into our main project. Now, let's move on to the next element, which is short for the shore. I'm going to use my burnt sienna. And also I will be going ahead and using some of those splattering technique to create the textures on the sand. Now, I'm going to go with the little bit of layering technique to create the shadows for this sand area. Now, I'll be grabbing in some of that yellow card and just go over the center area and blend the other colors together on top of this. Now with the help of pen liner brush, I'm going and splattering my water. So it's just the plain water. You could also create some mix of your Brown's darker browns and splatter it as well to indicate the grainy textures of the sand. Now another important part is the beach face. That is the wet area of the beach or the shore here for the for that beach face area. I'm going to use a little bit of my purples out here. So mix your blue along with the mineral violet to get the similar blue violet tone. And just do it the use of your damp brush go and let the colors in that direction. How you have painted the line of the shore. So if it is slanted, go with the slanted strokes like this. Now coming to the last finishing part, which is R for me part of the C. As you can see, those forms I have created using my white gouache. So instead of white gouache, you could also use your white watercolor paint to create this sea waves with little bit of foam over there. Okay. So I've switched to mini detailer brush here. But instead of mini detailer brush, you could use any round brush which has a sharp pointed, rounded tip and create this retreating area of the waves. Your goal with smaller strokes to create these lines now go with some slanted exact lines. So create some interlocking patterns in between these waves. More of this is there in my another class, seven days of vitamin C there in one of the projects, I have shown you in detail how you can create this interlocking patterns for DOC waves. Here with some of that blue, I have created this, you know, crashing waves or bulge which is going to crash into the shore area. Now using mine, another round brush, I'm going to use dabbing motion of the brush to create this splashy part or the foamy part of the wave. Here, go ahead and use your dry brush technique for the same. Use, thick consistency of white gouache and keep dabbing in across the area where you have painted the shoreline, especially this crashing wave and keep dabbing until you are satisfied with the fact that you have got, I hope you are confident with the techniques now practice these techniques if you're not confident on a separate piece of paper. And then we will get started with our project. 22. Day 4: Skeleton Coast- Where the Sea meets Desert: Part 1: Let's get started with our project first and foremost, I'll be taping down on paper with the help of this masking. The paper is taped down on our board, and now it's time to do the basic pencil sketching. 3 fourth of the paper will be the sky. The horizon line will be separating the sky and the C. Okay? Now here just above the horizon line, I'm going to go and sketch out the areas of sand dunes. And below the horizon line, I'm sketching out the C part. Like every other class project, I would suggest you to first go through or watch through the entire sketching process or the entire video first, and then pause the screen and create your own outline. I was not really happy with the waveform over there, so I'm going to create it all over again. Here. I'm creating the crashing wave line, okay? So the one in front will be the retreating wave and the one behind will be the next incoming wave. Here is our final pencil sketching. So you could pause the screen out here and then sketch it out. Let's get started with this guy. For this guy, I'm going to go with wet-on-wet technique. So by now you would have done that for this guy. I always prefer to go with wet on wet technique because I love those mood flawless transitions in the sky. And the smooth sky always gives me a happy feeling. So whenever I want to paint sky, I always prefer to go by, but don't read method. Now, I'll be preparing my paint mix. The paint mix that I'm creating here is my cobalt blue. Makes sure that you are not creating too watery paint mix out here. I'm going to use little intense tone of my cobalt blue. Okay, so this is how I'm going. Observed my brushstrokes out tier, I'm going and creating little slanted strokes out here and using just the tip of my brush to go and create some of the blue lines are patches in the sky. Now can you see what has happened over there? My color is all flowing down and you can see right there is a pool of water over there. So I'm going to use my flat brush and grab my tissue travel and all the excess water that is there on the paper. I'll be trying and removing them. So I'll tilt my board in such a way that all the excess of water that is there in my paper is drained out. And with the help of tissue paper, I'll be just soaking it all up. All that extra water is now off from people. Now, with the help of my damp brush loaded with cobalt blue, I'm going to go over those areas one more time because the initial layer had faded out because of too much presence of water on the paper. I'm going to go ahead and use the tip to create a light, airy strokes to create those fluffy blue presence of cloud. Next step is to prepare the gray mix. It is advisable that you prepare your gray mix well ahead. As soon as you I plan to start your painting because you already know I had already briefed you about in the technique section, what are we going to do? So once you have your reference planned out, always go ahead and mix your colors. Prepare your colors well ahead and keep it in your palette so that in-between your painting, you do not have to go and mix your colors, right? So that will save your time. By this, you would also have an advantage to work quickly with your wet paper because mixing your colors and then coming back and going ahead and layering it might take some time and your paper might start drying up. So in order to avoid that, always mix your colors well beforehand. With the help of my **** dry flat brush, I'm just going ahead and layering my gray mixes over this white patches. Okay, now, do this, they're very likely and gently do not use too intense gray areas. If you feel that the blue areas that you had been tuned has started to fade out a little bit. You can go with another layer of your light cobalt blue mix and created one more time. But do this step only when you feel your paper is wet enough for you too. Blend and spread the colors smoothly and evenly. If your paper has started to dry out, avoid or skipped this step totally cure. I just feel like going ahead and creating some more blue patches. But if you feel that you are happy with how your sky is looking right now, you might avoid this step altogether. There is no hard and fast rule had the way I am going with this layers of blues in-between my whites. You will have to also exactly copy the same. It's never like that. So you do whatever you feel that you are happy about. I am now going and cleaning of this bleeds that I have got because the paper is wet, right. I do not like this kind of bleeds in my cloudy sky. So I just use the dam tip of my brush and lift off those areas. Now VT0 for this guy to dry out a little bit and then start out with your dunes. For the dunes, I'm going with my yellow ocher here. Observe I'm going with wet on dry technique. And the reason why I told to wait out for this guy to dry out. There, I was getting some bleeds, the yellows where bleeding into the blues of this guy. So wait for your sky to dry out and then only start with the dune part. Okay. Now, just like how we had seen for our D3 project, the base of the dunes, we will go with a lighter shade. The top areas of the dunes will be your darker shade. Okay. So using just your **** little watery brush blend of the colors towards the base, making it a transition from dark to light. Be mindful of the paint to water ratio. I cannot stress about this enough. I have been repeating the same in each and every class project rate. It is very important that you try to understand how much water is needed in your paint mix when you are going and creating textures like this are creating elements where you need to know how much water control you should have in your paint mix right? Now here, I went with some of that burnt sienna to create some darker parts of the sand dune. Observe the strokes. All my strokes are aligned towards the direction of the sand dune. Okay. So my sand dune is sloping from top to bottom and left and curvy direction. So am I following the same direction even with the darker, burnt sienna tones? I will be blending that out with the help of the dam tip of my brush, make sure that you blend out the strokes evenly. There should not be very prominent hard edges. It will really not give a good feel and look to your sand dunes. It is important that you learn the technique of using wet-on-wet and wet-on-dry and to how you can create smooth and softer blends. Do you know why the Skeleton Coast has got its name? So this is because this part of the desert is named for the bones and the hundreds of broken chips that litter its beaches. And of the main reasons for so many shipwrecks is the stretchers, Gail wind forces, and the crosscurrents that blow from the sand dunes to the sea, creating our dense fog, due to which visibility becomes absolutely 0 and the ships almost bang into the jagged reefs along the coastline. That is why it is known as the most dangerous coastline in the world. Okay, So now coming back to our painting, I'm going ahead with my damp brush and trying to gently smoothing out the Dark Ages by blending and softly into the background. So I'm going to create these textures and the illusion of many sand dunes forming on top of each other. Okay, like, you know, kind of range of smaller mountains, you could say, by adding in some distinct boundaries are layers using my burnt sienna. Just keep observing. Now that I'm satisfied with the dunes now it's time to create some smaller debris ease with my intense tone of my bond. Umber, you can make a little bit of Payne's gray into your burnt sienna and create your burnt umber as well. Okay. And create this along the foothills of those sand dunes. Okay, Just like that here, try to go with some intense tones of your burnt umber mixed with a little bit of black. Do not use too watery paint because if you use too watery paint that would create blue into the sand dunes, you do not want that. You want little dots like dabbing strokes from your brush. And that's all. Let's start with a C. So for the C, I'm going to use a peacock blue. You can see from the right, I have gone ahead with an intense tone of peacock blue and towards my left eye diluted the same peacock blue and created this lighter shade right here is the transition from dark to light, as you can see. Now, I'm going with wet-on-dry technique. And in certain areas of the sea there will be varying depths, right? So with lighter and darker transition of colors, you are going to depict the same. Now here, do not try to use too watery paint mix out yours. You need to have control on the water where Ts, when you use a little bit of intense watery mix of your peacock blue, you would be able to cover larger radius altogether and keeping your paper wet for a longer period of time. And also whenever you are going with the C tried to create this depths with varying tones of color and your brushstrokes. Try to create some ripples using the tip of your brush, like the manner I'm doing. 23. Day 4: Skeleton Sea & Coast Part 2: Let's continue with us. See here observed the strokes that I'm using, I'm going and using the same paint mix, which is not too diluted with water, as well as it is not to take it somewhere in between the medium consistency of water and paint so that I get that vibrancy of the sea as well as have the paint flow and covered larger surface area. Also. When you are approaching your coastline, makes sure that you go with the same direction of your brushstrokes as the pencil outlines, sketches. Once you are done with the C, I'm going to go and create the wet part of the shoulder area, which is also known as the beach face. So I'm going to use my purple mixed with little bit of my cool blue, that is my peacock blue. And I will just go and create this slanted strokes towards the see, okay, from the shore. So this is how I'm going to do it, it, this step is very necessary because yard outlines, sketches. The sketch or the boundary of the sea that you have created is leg towards slanted rate. It is not very straightforward, or the straight cut one, it is slanted. So always go, try to go with the same kind of direction with your brushstrokes as well. To give you the perfect realism into it. Here, I'm starting with the shoreline or the coast area. For that, I'm using my burnt sienna mixed with little bit of burnt umber. Here. Try to be observant with the brush strokes that I'm going and creating. And when you are near to the areas of that beach face curves and the grooves, use just the tip of your brush to go and create those smooth outlines. Now from the bottom right corner of the paper, I'm going to fill in using some horizontal strokes using my yellow ocher. Now here I'll be trying to blend those areas of my burnt sienna mix along with those yellow shade to create the shore kind of effect. And towards that beach face area, I will go and darken the areas a bit more using my burnt umber mixed, try to blend the legs out together. And now here I'm using my dry synthetic brush, size them before and creating this outward strokes from the beach face, radiating out. Okay, this is like the convergence strokes to go with convergent and divergent strokes as well. Once you are done with that, you can start with those flattering technique. Oops, I have splattered too big of those water droplets. I need to use just the tip of the brush and blend those wet areas out again. And here I have to go with another layer of that burnt sienna mix one more time because those droplets were too big. Now in this step, my lighter parts of yellow ochre, red almost hidden. So I will just use my damp brush and lift out certain shades from there and expose my yellow ocher. Now I'm covering up the part, the sky part and the C part. And now here I'm starting to splatter those mics off my browns. Now to create more interesting texture on that sand, use the splattering technique to width water, makes sure that your brush is not too loaded with water because you need to have smaller, tiny droplets are blooms. My Sea area has almost dried up because we had gone with wet-on-dry technique with the help of my size number 12 brush, I have reloaded the brush with the little watery mix off my peacock blue and I'm going over those areas all over again. Okay, so creating some darker shades as well as some light two sheets. Now using my size four brush or you could use size number two brush, anything which you are comfortable with. Make sure that your brush has a pointed tip. Try to create this smaller waves or ripples. Smaller waves or ripples will be towards the horizon line just below the sand dunes, okay, because this is the farthest point. And as you are closer towards the shore, the repulse will be little bigger in size. Now here I'm going and creating this crashing waves. So just create this bulges. Sharp bulges of the waves. Once you are happy with this, crashing waves, start with their background. See there you want to create some more of those waves and ripples in the C using the same mix of your peacock blue and mix a little bit of Payne's gray into it to get a darker mix. Or if you have indigo available with you, you can directly go ahead with indigo. Now, make sure that whenever you are using this paint mixture, not make it watery. Watery paint mix will totally ruin your C because your, your paper is almost in a semi dry, semi wet kind of situation. So any extra water will cause the pain to move around and shift causing blooms. I'm going to repeat the same steps to create this background waves. And also I'll darken some of the ideas there on the crashing waves as well. Time to create some sand texture in this beach face area or the wet sand area. So the signed area, if it is wet, needs to have certain tinge of brown. Right. So I'm layering this purple beach face with little bit of my burnt sienna, burnt umber mixed. Just a very light wash of burnt sienna mix and blend it with that popup. Now remember the white part that we had left for the crashing wave. So just beneath that go with some darker tones of brownish purple mix and create a darker tone of it. Because underneath the waves, you need to make those areas dark for your waves to be prominently seen on the paper because underneath the waves is the shadow part or the shadow area and hence the darker color. Once we're done with this, we will start with our little waves in the background of the sea. So here I'm using my liner brush and with the thick consistency of white quash, I'm going and creating this wavelike ripple forms over there. Okay, so it need not be a perfectly straight line. Waves are never symmetrically straight raid it, it has some calls and forward areas, backward areas rate. So use those kind of goals and grooves to create your waves in this background, areas. In the background see, these waves will be very smaller as compared to the one crashing on the beach. Right? Now, I'll be switching to my size four brush. After I'm done with this, I'll just go and redo the wave, the wave ripple of this particular wave that we have just created over there using my little intense tone of my peacock blue, just bulgy curvy line out there. And that's all. So go and darken the areas underneath those smaller waves also. Now it's time to create the foamy part of that crashing waves. So for that, I'm trying to use my liner brush, but since the point is to elongated, I'm not able to have a proper grip over there. So I've switched to my favorite round brush, which is extremely round. It has very sharp pointy tip at towards the tip or the FX rate and the entire brushes very much rounded. So use this brush to create this splashing effect. So I'm just dabbing the brush, make sure the brush out here is totally dry. I'm just lifting up those white quash, the thick consistency of white gouache and just dabbing my brush and this motion just along the curves of the wave that we have painted. And that's how we have got our very foamy wave. Now, with the help of another brush here, I'm using my brush size number two. I'm going ahead with its tip loaded with the thick consistency of white gouache and creating my lines of the waveform. Now loading my liner brush with the help of this thick consistency of white gouache. I'll be going and creating the strokes. Going over the strokes all over again with white gouache. To create the take quite for me part of the wave. This wave is the crashing wave. So I'm just going underneath that white part and creating the outline or the shape of this wave. So here, once I'm satisfied, I'm going to go ahead and start creating the interlocking waveform or the patterns of the retreating wave just after the crashing wave. Okay, so I'm going to go with the zigzag pattern with the help of my liner brush loaded with my consistency. Of course here the quash consistency should be medium, it should not be too watery, it should not be too thick. And here I will be going ahead and switching to my fine mini liner brush. If you're comfortable doing this interlocking patterns with their liner brush, please feel free and go ahead and do it with the same brush. I have more control on this brush, which is my mini liner brush, because it has a very sharp pointy tip and I get precise control on the amount of thickness or thinness of the interlocking wave patterns that I'm creating here. Now, I'm going to repeat the exact same steps, but here the stretch will be a bit longer. First I start with my outlining the areas of that beat form. You're used thick consistency of white gouache and make sure that these do not become too thick. You need some thin, very crispy lines over here. So switch to our brush where you have more control like I have more control on this fine liner brush instead of my liner brush. Here. This is how I'm going and creating strokes to slanted strokes. I have filled in those areas with little bit of white gouache. I'm going to go and do little dry brush patterns over here at the right corner and fan it along to the left side as well. With a pointy tip of the brush, I just go and create this curvy top sea lanes for the waves, retreating waves. So you're trying to go and form interlocking wave-like patterns. This interlocking wave-like patterns I have explained elaborately. Skillshare class seven days of vitamin C, where all these aspects of painting C has been explained elaborately. Now, I will go and create some more foamy part in the background of the sea over there. The colors, the white quash had faded out a little. So I'm just going to go add a little bit more using my mini liner brush. Almost done. Now comes the exciting part of splattering this white gouache. To depict the white for me, splatters or Farsi. That's all for this painting. We will let the paper dry out completely. Then we will be dealing off the masking tape, peeling of the tapes from all four sides. Now, doing it at an angle and only after our paper has dried thoroughly. I'm totally loving how this painting has come out to be. I hope you had fun painting this along with me. I'm eagerly waiting to see you upload your projects in the projects and gallery section. I'll see you again tomorrow with day five. 24. Day 5: Color Palette: Hey guys, Welcome back. So let's quickly get on with our day five color palette, E5 color palette is pretty simple. It will consist of all your warm color tones here. First I go with Naples yellow. Now instead of Naples yellow, you could mix and create your own Naples yellow, which will be discussed in the main project, then followed by a light red, yellow ocher, burnt umber. Now instead of burnt umber, you could also offer any darker shade of brown and last but not the least, Payne's gray. Payne's gray and burnt umber will be used to create the shadows. And that's all I'll see you again in the next lesson where we are going to go over the techniques which will be required for a project. 25. Day 5: Techniques: Let's get started with the techniques first, beginning with this guy here we will be going with wet on wet variegated wash. Now, what is variegated wash? When you use two or more colors and go for a gradient wash, that is the transitioning your sky from light to dark colors are dark to light that is known as variegated wash. Now I have lead my paper within thin even coat of water. Now using my lemon yellow and a mix of my cadmium yellow, I'm going to prepare this mix, and this is the mix that I'm going to use for the glowing part of the sky. I'll start from the center. Now with just the tip of your brush to blend in the colors, move around the colors on the either side of the paper. Now I will wash my brush, and here we will be creating just with the tip of my brush, the outline of the setting sun. Now I'll be using little bit of my light red color, mix it with my yellow to create this brownish orange shape. Now with just the tip of the brush, I'm going to go and create an arc or a semicircle to create the shape of the setting sun. The idea was dry where we have went ahead and created the outline. That's why the colors did not really bleed into it. And other adjoining areas. I'm just going to let the colors that is there in my brush just from the sites. Now I will grab bit more of that lemon yellow and I will start blending the colors where they wear those distinct cell sharp lines from the reddish orange color, right? So I'm just going to blend with the help of my damp brush. The center area should be your glowing area. So try to retain those areas with the lemon yellow. Now coming to the next element, which is a sand dunes. Now, by now I think you all know how to go ahead and create your sand dunes here the sand dunes will not be as high. It will be closer to the ground levels, so there will be little high res sand dunes in the background. Now with a darker mix of brown, I'm going to go and create the shape of the sand dunes just with the tip of my brush and trying to blend in in here, the main important point is my paper is still wet, so the moment the paper starts drying out, it becomes a little difficult to blend these areas with the background color and create this softer looking edges. Okay? So always make sure that you do this step with loose watery paint. Paint your background with loose watery paint, and then go over those areas with the darker tones so that you can easily blend out these ideas. Now that is all for the sand dunes here we're going to outline those skyscrapers of Dubai and the famous boots Kaleeba. So that is one of the most tallest building in the world, right? So that's what we're going to sketch it out over here. It's just a rough outline sketch. The details will be in the project section. So we are going to sketch out some of these high res skyscrapers. My outline is done and now we are going to start filling this shape of the buildings with our colors. Okay, so here I'm going to use two shapes. One is our burnt umber mixed with a little bit of Payne's gray, which is for the shadowy parts of the building. And the other one will be the lighter color which will be burnt sienna. Now here we might be sometimes going from the intense tonal value of a particular shape to its lightest pigments, such as here, I had first coated it with the burnt umber at the top, which is the darkest, and then feed it out, right? That was the lightest tone with just the damp brush. Now here I'm going again and I have lead it with another coat of burnt sienna. So that is how we are going to create the shadow and depth of the buildings, exposing the lighter as well as the darker colors. So this is how we are going to go about it. And you're am going and filling in some more darker shades. And that's all. This is the same thing that we are going to repeat on the left also. So let's jump start our project. 26. Day 5 Desert Sunset At Dubai Part 1: Hey guys, welcome to day five. And like always, I have taped down my paper on all four sides using my masking tape. I have tilted my paper a little bit by using a smaller masking tape there. If I project is very simple and hence the sketching is also very easy. I just went and created a horizon line around three-fourths of the paper. And then I'm going and sketching out the sand dunes. Dunes, okay. Now here I just went and created some more bulges indicating others sand dunes. Subject is sunset view from the desert overlooking the Dubai skyline. So for the setting sun, I'm using a coin over here. So you could use any round object or a campus event to go and create this color half semicircle of the setting sun. And now I'm going to create the tallest skyscraper in the world. That is, they are Burj Khalifa. We are going to go and create just as elaborate of these buildings from the setting sun. Hence, there will not be any detailing required. Okay, so just the outline of this building would do. Now adjacent to it, I'm going to go and create all the other skyscrapers surrounding this main building. Okay, so just a basic pencil sketching would do, as I always say, if you want to get the final outlook of this sketch and then go and start your pencil sketch. I would request you to fast-forward this areas or go along with me, watch the full video and then start your pencil sketching by pausing the screen out there where you find the final outcome of the pencil sketch. We are almost done. Here is the final sketch. You could pause the screen out here and then start your sketch. For this project, I'm going to first start with a foreground, which is our sand dunes. Okay, So I'm going and starting it with medium tonal value of my yellow ocher. And just around the horizon, I'm using just the tip of my brush going there very sharp and precisely here I'm going with wet-on-dry technique because at certain areas I want my papers not to be wet for a longer period of time. And hence, I have chosen to go with this technique. He owed at the base or bottom of the papers, use your little diluted form of your yellow ocher and start layering are covering it up. Here. I'm trying to blend out those hard edges, trying to evenly spread out the paint. And now with another brush, I'm going to go and create some darker tones for our sand dunes using our burnt sienna mix. At this point, I'll be going with little bit more darker shade because you can see red, It's quite blending well with that yellow ocher. Here. Observe the change in the direction of my brushstrokes. This is the same way that you can create the dimension that you want in your painting, especially the direction of how the sand dune has been formed. Now at this left corner, I'm going to go with some intense tone of burnt umber and create this diagonal slanted strokes. Now I'll go and use the tip of my brush to create this darker tones onto those upper or the topmost part of the sand dunes also. Here we are going with layering technique, but on a red background. Why? Because we want these areas to be smooth and softly blended with that of the background. And hence, that is the reason we are going with wet on wet layering. Now at the bottom of the paper I'm going to go with yellow ocher mix and we'll cover this entire whitespace with the same mix. Now switching to my size two brush from silver black velvet. And I'm just trying to spread around the darker areas, layering it again with some darker areas just to create the valleys are the grooves that the sand dunes firms. Now towards the bottom of the paper, I'm going to go with my burnt umber mixed with a little bit of Payne's gray and create some marks on the sand of this dunes, just like this, using the tip of your brush and creating some marks and patterns over here. Adding in some darker tones over there in this mux. Okay, now, towards the right corner I'm going to go and create some more loose strokes with my burnt amber mix. We're done with the sand dunes now it's time to start our sky. But before that, I'm mixing my colors. Well ahead here I'm creating a mix of Naples yellow. You could say it has Naples orange. By mixing lemon yellow with that of my scarlet red, it's time to code the sky area with an even wash of water, makes sure your water should not be in excess. It should not be forming pools, puddles because if in case there is an excess amount of water in the sky, it will all start running down towards the sand dunes that you have already painted and you wouldn't want that. Here? I went around the sun. I did not wet the sun. Okay. So make sure that you do not wear your son because I want the center of the sun to be white. As I've already mentioned in the earlier projects, always use your lemon yellow to create the sunset glow in your sky. Now I'm spreading this lemon yellow at the center of the paper, leaving some white gaps as well. I'm going to blend it out with some of that cadmium yellow now around the sides and at the base of that lemon yellow as well. Now, as you go or approach towards the base of a horizon line, we're not going to paint it with orange. We are going to mix a little bit of burnt sienna with a little bit of red, and then we are going to paint it. So this would give you a very sober and beautiful color of the sunset. Now towards the right side of the sun, I'm going to use my orange mix as we had already prepared it well beforehand and around the sun, I'm going to go with just the tip of my brush and create the outline. Now towards the right, I'm going to just blending the colors, this orange and brown shade mix with that of the yellow that we had lead in the sky. Now it's all about the blending that we're going to do. Now as we move to the top of the paper, are colors will get lighter. Okay, so that is what you should remember and use of a brush which holds more water. And use the medium or the lightest tonal value of your color and try to blend in together with data of yellow just with soft, light, gentle strokes. Now here, going over with that **** tip of the brush and just trying to blend in the colors very light and softly. The more softly you will do this step, you will be creating very smooth and soft transitions in the sky. So that's all for this guy. I will see you again in the next part of the lesson where we will be going ahead and creating this elaborate. 27. Day 5: Painting Building Silhouettes Part 2: Continuing with our desert. Here you can clearly notice, right? Or desert has faded out completely. That's where I'm going and reweighting these areas very light and smoothly with the help of my size number 12 brush, making sure that I do not lift up any colors. Now with little intense tone of my burnt umber, I will go and let it using my tip of my brush. Okay. If you feel that you have led to much of color, wash your brush and just try to blend in because we have just reweighted this background areas observed my brushstrokes over here. I'm not really completely going with flat and straight strokes. I'm going and creating some bulges which will represent the dune, the bulged or the heaps of the sand dunes. Okay. I'm going to go and continue with the same steps until I'm satisfied with this other shadows of the sand dunes. Okay, so here I'm continuing with just the tip of my brush and creating some slanted strokes to indicate the other part of the sand dune. Adding some darker strokes from the right-hand corner as well. And here I'm not going with a straight line. I just created a bulge over there now with the help of my size number two brush, I'm going to go and create those marks on the sand all over again. Okay, so just random shape and create this kind of marks over here. And that's all. At this point, we will let the sky, as well as the land area dry out completely before we begin with the building silhouette zoomed in a little about the space so that you can have a better view here with the help of just the tip of my brush, I'm using my darker mix on my palette. So here you can see rate that's burnt umber mixed with little bit of Payne's gray. Now I've switched to my size number four brush switch here to a smaller size brush so that you have a better control. The paint mix out here is little watery because we don't want a very dark tone out here, but we want certain dark areas as well as certain light areas right there. I have created a mix of my burnt sienna as well as this darker mix of my burnt amber. Again, a droplet of water has fallen and yes, I have lifted up the paint, so I need to prefix this area all over again. I don't know what's wrong with me. Second day project was ruined because of just the drop of water. So please be very mindful of this drop of water. Whenever you are washing your brush, do not wash to vigorously that you splattered the water droplets all around your painting. Now with the help of this size number two brush, I'm going to go and create the others elaborate of the buildings. It's just the filling of the colors. Remember, one particular site, go for the lighter tones and then one side go for the darker tones. So that would indicate the depth or the shadow cast by the other buildings on the particular building, right? Where the light is falling will be the lightest color and where the light isn't falling upon, that would be the darkest tone. From here, I have phosphorylated the process. This is because it's the rep, step of just filling in the colors of lighter and darker shades and blending them together. This is how we are going to fill in colors for rest of the buildings. T5 is a very simple project, and I have chosen this project. This is because here we already have applied all the techniques that we have learned so far in the class from day one to day four. So it looks very simple, but the outcome is really very beautiful, especially with the soft glowing Skype. Make sure when you are going with this main building of Burj Khalifa, one of the biggest landmarks of the way. Make sure your paint is not too watery. You need here, your tip of your brush to be very sharp and pointy with the smooth flow of your paint so that you are able to paint the curves very sharp and smoothly. Do not go with two watery mix because that would totally ruin the sharp corners of this building. Try starting at the top part. Oops, can you see the paint is bleeding onto that area because that's the area where my water droplet had fallen and I had reweighted that area, laid over the paint again. Wait for this area to get dried in case if you do have spilled some water droplets and you went over those areas or your sky has not dried out completely. I would suggest you wait for your sky to completely dry out and then start with this, love it. I will let that area get right. In the meantime, I will start with the left side of the syllabus. Okay, So here too, I'm going to use little darker shade than that we have used for the right. It is because our sun is setting and the left-side buildings will be almost towards the shadow side. My lighter shade, I went and use little bit of burnt sienna mixed with little bit of red, that is the red brown, and then mixed it with little bit of that dark tone of burnt umber towards the left side. Okay, So this is how you are going to paint the buildings at your left. So just relax and keep painting this lovers using your brush. This painting's main objective was to make you feel relaxed when you paint. Because all throughout day one to day four, we have created lot, many complicated elements and subjects. So this painting is merely very, very simple rate as compared to the others. So take your time, relax. And D6 will again be a little rigorous because we're going to paint beautiful, dramatic sunset sky with that desert backdrop. Now from here, I'm going to be extra careful because my building or the epics part of the building is going narrower and narrower. I need to be very careful of the amount of watery paint that I'm having on the brush. So make sure that you soak up the extra water from the base of the bristles from the brush and then go and start painting not from the tip. I repaid only from the base of fear. Bristles, right, the ferrule where the valueless starting and holding all the Brazils soak up the extra water with the help of tissue paper from that area and go and do this top part. Finally, we are done. Okay, I'm pretty much happy and satisfied with how this is looking. Overall. I'm going to fix a little bit of those paint which had gotten into that white of portions of the sun, right? I'll just go with the help of white gouache using my size number two brush and I'll just try to lead the white gouache over this ADS trying to cover those patches. Okay, and that's all if you want, you can paint, give the Sun a little bit of orangeish tone also to it by going with a light reddish brown color into it. It's totally up to you. I'm choosing not to go with it. I like it better in this way. So I'll just retain like this. I'll wait for the paper to get dried completely and then I'll be peeling off the tapes has dried completely. So I'll be going and removing all the masking tapes from all four sides of the paper. Make sure that your paper has completely dried out or else there might be a chance that you will rip off your painted part along with your peeling tape. So make sure you do it at an angle and have little patience. And that's all I'm in love with, that sky and the desert and all the colors that have blended harmoniously. I'll see you again tomorrow with D6, where we are going to paint a colorful sunset from the desert of Arizona. 28. Day 6: Color Palette: Hey guys, welcome back. Today we are going to paint a beautiful sunset sky from the Arizona desert. So let's quickly take a look at the colors required. The colors with all its pigment information is given on the screen. So make a note of all these colors. Get your color palette ready. And then we will be going and checking out the technique section for the Desert. We're going to use our yellow ochres and little bit of sap green mixed with a little bit of burnt umber. Now, instead of burnt umber, I have here used round red. And when you make sap green and brown, red, you get that greenish brown, which we are going to use for our mountains. So get your color palette ready and let's jump into the technique section. 29. Day 6 Techniques: Thank you for joining in and this technique section for our D6 class project, we are going to paint this beautiful sunset view from the desert of Sonoran. So the very first element that we are going to create is the sky. And here we are going to paint a dramatic sunset sky. First, I will go wet-on-wet for this guy, meaning I will be applying wet and paint over my wet paper surface. First, I'm going to start by applying an even coat of my yellow. The yellow that I'm using here isn't warm, yellow, permanent yellow deep, and going across the paper from either sides with horizontal strokes. Next, I'm going to coat it with some orange layers. Now, when you are applying this layers of orange and yellow makes sure that you are leaving out some white spaces in between. Now here, I'm starting with the topmost part of the sky wearing, I'm wearing my cobalt blue and peacock blue mix. Instead of This makes you could directly go ahead and use your cobalt blue, cerulean blue, any lighter shade of blue, preferably cooler one. Okay. Then I will be now going with some of that mineral violet. So mineral violet and blue really blend well together. They are harmonious combination, but be little careful when you try to mix mineral violet with your yellows and orange. So you can notice, I'm going and mixing my mineral violet, blending it into the blues, but I'm not doing the same for my yellows. Instead, I have those certain white gaps in-between right? Now they're, the oranges faded out. So I'm going to go and create some more brighter shades of orange, letting it just beneath those violet clouds. Here, the mixes not looking proper, so I'll switch to my size four brush. And with the damp tip of the brush, I'm trying to gently blend out the colors over there. You can blend out these colors so smooth and softly only when your paper is wet. So make sure when doing this step that your paper is wet. Moving on to our next supporting element, which will be our Rocky Mountain. This is almost similar to that Rocky Mountain or the Buttes which we had painted in our day to project, we are going to apply the same techniques over here too. Just the difference will be here. We are going to add a little different color combination. So observe my brushstrokes over there. I do not have any outline, pencil sketch. I'm just going with the tip of my brush and created those vertical strokes over there first with the yellow ocher. Now, topping it up with my unit reddish brown mix. Now we will be creating some darker parts of this mountain. For that, I'll be using my burnt umber, go with an intense tone of burnt umber and use just the tip of your brush and create along this lines are vertical stroke. If you want, you can mix a little bit of violet and use yard. The side belly of your brush to drag the colors down along the vertical strokes. Here. It's looking too dark, so I'll go with the damp brush and lift out using vertical stroke as well. It very gently lift out certain areas in-between those darker areas. Okay. And again, lead with a darker area in-between those lifted out areas. And here you are. You create so easily this kind of rocky terrain of a mountain. We are going to create our third supporting element, which will be the ground, where we are going to paint vegetation, along with the famous characteristic of this desert, which is the the cat taste, especially the Saguaro Cactus. I'm going and creating the ground using my sap green, which is mixed with a little bit of burnt sienna. Mixed little, just a little tinge of burnt sienna into your subroutine and you would get a shade similar to this. Now with very watery mix, I went ahead and created the ground, which is kind of in-between that mountain, mountain and your foreground right there. I have created a mix using burnt sienna, as well as this greenish brown, gold color. Now with a darker green mix, I'm going to paint vegetation over there using just the tip of your round brush, you can create this strokes, vertical strokes which will indicate some prickly grasses over there. And now with just the dabbing motion of the brush, you can go create that shrub. I'm in-between those greens, you can go and add in a little bit of your mixture of burnt umber mixed with a little bit of purple. So that would create that look of a dried parts of the grasses or the bush. Similarly, I'm going to create some dried out grasses here at the right-hand corner too. I'm going to go create this prickly kind of grasses here, closer to our foreground. Here I'm using just the tip of my brush and creating this vertical strokes swaying left to right or right to left. So go with any direction and blend this base of the grasses into the background. Loading my size four brush with this sap green mix. And I'm going to go and create this tree-like cactus, which is the main characteristics speciality of this Sonoran Desert. So it's very simple. Go with and intense tone of sap green first at the left corner, and then use a diluted paint mix to drag the colors lighter to the other side. Okay, So similarly, I'm going to go and create another stem from this cactus, repeating the same steps. Now to fade out the color to the right, I'm going to use the lifting technique out here and use the full body of the brush just like that. So I lifted out two months. So this is how we are going to paint the cactus. It's easy and simple. Painting another stem towards the apex of the cactus. And yes, that's all. So it's very simple. These are the main elements of our landscape. And together we are going to be painting this in the form of our sixth project are the basics project. So come, let's get started and deep dive into our project. 30. Day 6: Sunset View from Sonoran Desert- The Sky Part 1: Let's get started with the basics first and foremost, I have taped down my paper on all four sides with the help of my masking it. Once you are done taping down your paper and making sure that there are no gaps or leakages in between. Now it's time to start sky. So like always, I will be going with three-fourths of the paper for my sky. Then will come the mid ground, which will be the mountain, and then the foreground which will be there, desert land. Okay. Let's begin by going with the basic pencil sketch here I'm sketching out the horizon line. Now, this line is totally optional. I'm just using it to have a reference how much height I want for my mountain, so that I can scale my mountain accordingly in aspect ratio to my sky. Okay, So this is how you can have a clear idea of how much you should be scaling up your elements. Now with the help of my pencil, I'm going to go and shade out the areas where there will be some darker tones. I'm going to go and create the cactus, which will be the main element in the foreground. So the cactus is simple and easy. There is no too much of competency involved is just creating the stems of the cactus. And that's all. Here is our final pencil sketch. Now, mark the other positions where I want the other cactuses to be. Now let's be for this guy, I'm going to go with wet-on-wet technique. Now here makes sure that your sky is the paper where you are going and creating the sky. It should be thoroughly coated with an uniform layer of water. Because we are going to paint a dramatic sunset sky. If in-between your paper dries out, it will be a little bit problematic to go and create the dramatic sky. So makes sure you do this step little, patiently. Coat your paper, but makes sure there is no excess water. If there is excess water running out from the masking tapes like that. Use a tissue paper or tissue towel to soak up all the extra water along the side margins like this. Now by doing so, if you feel that you have exited mentally scraped off the water on the paper, then go again with a damp brush and layers though water one more time, but makes sure there should not be any running pools of water on your paper. Time to create the dramatic sky. Here, I'm going to use slight tinge of lemon yellow, mix it with my warm yellow, that is the cadmium yellow. You by now know right, this is my favorite mixed to create that bright and glowing sunset sky. So this is what I'll do and I'll squeeze out some of that white gouache. You're I'm trying to make the Naples yellow mix, okay, so that it does not react too much with our blues when mixed together. Now load your brush with this paint mix, but remember, there should not be too much of water into your pain. Start from the corners of this mountain range and go and create this horizontal strokes. Now in-between these strokes, always make sure to leave certain wide gaps there you could go and fill out others streaks of color. Now make CR, warm yellow and tinge of your warm red to mix a bright and beautiful orange, almost like a fiery sunset. Orange. This orange we will be using to layer in-between these white gaps, which we have left in-between yellows. And we are going to go and create this horizontal streaks like this. I'm using my size number four brush from silver black velvet. These is a soft brush and I'm going to go and layered this orange one more time in-between those areas because the colors are fading out a bit when mixed with yellow. So I want these colors to be very vibrant and striking in the sky. Hence, I went with another code. Now using my purple mixed with a little bit of brown, I'm going and creating this darker mix of clouds in there. Now I'll switch to my size number 12 brush from same silver black velvet. I love using this brush, especially when I need to cover larger surface area. And I start with the top portion of this guy here, I'm going to go with a gradient wash, meaning dark to light transmission of a single color. Okay? So this is what I'm going to do. I'm going to go over those areas all over again and create this side horizontal strokes. Now, if you observe, I did not go there and touch the yellows and the red brown purple mix over there. I just left the whitespace in between. Don't worry, we are going to create some dramatic clouds in there and cover up the space later on. What I can do is I can tell the board like this and since the paper is wet, I can use the dam tip of my brush and helped the colors to float down like this. Not exactly into the yellows, but just to fill in that whitespaces. You're creating my mix of mineral violet to create some darker shades. The transition color is in-between. I will go and create this dramatic intense clouds with the help of mineral Violet, when we are very close to that of orange. Orangeish red are the fiery orange color. It just in-between go and use the tip of your brush and create these strokes. Just have a look in my palette. The paint mix that I'm using is just with optimum paint to water ratio. There is the painters little pig. You can see using just the tip of my **** brush, I'm going and creating these strokes to create the dramatic clouds if you use too watery paint mix out here, as stated earlier and also before we started on with our projects, I had included water control lesson in there. I have showed what really happens when you use too much water in your paint mix if you're a big note and you would have skipped that lesson, I will suggest you to go back and check that section because it is very important to understand the importance of water to paint ratio. Sky is already looking so vibrant and colorful, dried. I'm going to go ahead and use just the tip of my brush and glide them lightly across the paper to create some more shapes of the cloud. Remember to use very soft and light hand strokes to indicate this fluffy clouds. Every time you go clean up your brush in water, makes sure you dab it on a tissue and tissue paper and then go and load your brush again with an intense tone of color and put it across on your people. I'm now going with an intense tone of Payne's gray on top of that purple mix clouds to denote the darker clouds. Keep observing the brush movements are pure and also the position where I have held the brush. I have held the brush almost towards the edge of the handle, right? This allows me to create very loose and wispy strokes are here with the help of the dam drives the hip. I'm going to go and clean out certain bleeds because our paper is inclined. We had inclined the papers. All the colors are flowing down towards the horizon line rate. You're trying to clean out. On lift out this bleeds, make sure that you do not put too much of pressure applied just the tip of your brush and try to create very soft, gentle strokes and liftoff the colors. If in case you have lifted off the colors, go with an intense tone of any color, your Payne's gray or your purple, even your orange would do and create some darker clouds in there just to fill up the space. Now going and dropping in some of that indigo shade you would call. So here I have mixed a little bit of my blue and pains create together to create this darker shade of indigo. And I'm going and creating just lose kind of wispy clouds with just the tip of my brush. Make sure you do this step only when your paper is still wet. If your paper has started drying up, please do not do this step. This step completely. So that's all for the sky and we will let it to get dried and then start on with our land and the mountains. The center area had become faded. Those clouds. That's why I'm layering it with again and intense tone of Payne's gray mixed with a little bit of purple in there. And using very light gentle strokes, I tried to create some wispy clouds and I'll stop there. That is all. I do not want the colors to float down. So what I'll do is I'll fill the board other side. You can see rate all the colors are moving down towards the horizon, right? Right. So if you do not like this kind of bleeds, what you can do is using just the tip of your brush, you can just lightly remove or clean up those bleeds like this using the lifting technique. Now that's all I will not try to move out or lift the colors too much because the paper has already started to dry. I let the paper dry, inclined like this, and then we'll start on with our ground. 31. Day 6: Sonoran Desert Foreground - Part 2: Let's get started with our ground. In the meantime, our sky will be dried out completely for the ground. I'm going ahead with a mixture of yellow ocher and a little bit of my lemon yellow over there. So I'm going and creating this lighter background ways for our ground on top of it, I'm going to go and fill in with some of that burnt sienna. Now observe the brushstrokes out here. I'm not using too watery, burnt sienna over dead. Now I'm mixing my yellow and a little bit of burnt umber or burnt sienna in there, go and fill out the empty spaces of the ground using this watery mix. Now, with the help of the brush, go and create a drop in some more of that red brown color over there just to indicate certain foliage or grassland growth. And similarly, I'm going ahead and doing it with my sap green. Now I'll use just little watery tip of the brush and try to create this random brushstrokes. Just like how you would create foliage on the tree. I'm going ahead and creating with the brush chips similar kind of foliage and adding in some browns and darker shades of brown just to give some depth into this grasslands. Now just below that bushy vegetation, I'm going to go and reward those areas so that I'm able to blend the base of that into the background. Now using my mix of green and brown, I'm going to create here some spiky grasses just at the bottom of the paper using the damp tip, make sure your paint here is not to dilute d. I'm going to go dropping the colors over there where the background is still wet. And then with the help of my liner brush, I'll go and try to create some vertical strokes indicating some spiky grass like shapes. To create grasses with much more ease, you can use a fan brush, synthetic fan brush and create this. Tall spiky grasses are just frayed ends or the tip of your synthetic brush and create this grassland shapes by just lifting the colors in a vertical stroke where the background is still wet, just like this out here. We're going to create some more grassland patterns here, near to the base of the paper, okay? So use varying tones of greens and browns. If you want to create a darker mix of green or brown, you can either use purple or you can use your cool blue and create a darker mix just in-between go and create some darker strokes like that. Now here in this ground, you can go ahead and do your splattering technique. You must platter here using the little water or using some greens and browns as well. So it will give a very loose effect to the ground. Now it's time to paint a mountain. Our sky has dried completely. Here. I'm going ahead with my mixture of red brown mixed with a little bit of my mineral Violet. There you can see right in the mix that I have guard, it is almost towards Berlin. Berlin brown violet and add more of the violet over there. And with the help of the tip of my ties number eight brush, I'm going and creating the outline of the mountain first and then I'm going to start layering it with this paint for the mountains here. I'm going to go with the long vertical strokes with the help of my brush tip. Just like that, drag the colors down and use a little diluted or just use the damp brush and try to blend in the colors, creating some darker and lighter stroke like that. Filling up the rest of the mountain using my burnt sienna mixed. But here we are going to apply the technique of day one, where we had created the base of the mountain to when Misty here too, I'm going to go and create something like that, but it will not be missed. It will just be the area where the mountains are receiving plenty of light and there are no shadow. So this area will be the lightest. So when you paint mountains and this way, you'll create a beautiful textures on your mountains and give some water 3D realist view. So this is the most easiest way that you can beam to such rocky features. I'm going to do the same until I have covered the other part of the mountain as well. Okay. So you're I hope you are well aware of what kind of technique I'm using. I'm here using wet-on-dry technique. This part is little tricky. I'm going to go around that cactus stem and paint the other half of the mountain in case you find it little difficult and are afraid to smudge the colors into the characters. What I would suggest you is to use a masking fluid to mask out the areas. This negative painting method is the only way that you can go around your whitespaces and paint with darker colors. Remember those dark mark that we had made with a pencil during our preliminary sketch? So I'm going to use my darker shade of violet and brown mix and create the darker areas. Now in-between these darker areas, go and use a synthetic brush and lift out certain areas as well. Just to give them a bit more realistic highlight. Over the help of my synthetic brush size number four, I'm going to go and create some darker edges from the top of the mountain. Use a mix of long and short vertical strokes when doing so. Just like how I'm doing out here. Just around that base of the mountain where it is lighter in color. I'm going to go and use this synthetic brush. Lay very light coat of burnt sienna mixed with a little bit of yellow ocher. And then I'm going to drag out those darker areas that we have just painted into these areas because these areas are wet, it will easily blend into it. Observed my brushstrokes, how I create this very realistic effect at the base of the mountains. I'm pretty satisfied how the mountain is looking are the rocky feature of this dessert is looking right? So this is how I'm going to go and do not overdo the mountain ADS. That is not the main focal element of this desert, but an important part I would say. Now here I'm trying to reactivate the layer of yellow ocher for the ground and create with the tip of this brush very small, tiny new vertical strokes which will eventually blend into the background. Okay, so this would indicate the vegetation growth happening on the surface of this. So I li or rocky areas. I'm really not happy with how the grass is looking right now on this land. Okay, so I'll blend it out again with the mix of my burnt sienna and the existing background of the yellow ocher along with some of these greens. Okay. So just blend it out and using just the tip of your **** dry brush, try to create the dry brush strokes again with the brush to denote the grass. Now I've created a similar shape of this grass over here and onto my right to, I will go and create some more spiky grass like shapes in-between those grass leaf blades am going and adding in some darker tones of green there I have mixed in a little bit of purple into my green to grade this darker mix. But you can go ahead and add in a little bit of Payne's gray or indigo to it. And this is how I'm going to go and create some more grasses. The grasses which we had created in the foreground at almost faded out rate. So we are going to go and create those leaflets one more time using my greenish brown mix. I'm creating out here more grass like patterns, but I feel that the background had faded out already. So I went over those areas One more time with my yellow ocher. In this way, I also blend it out the greens that I had in the field already here. Now I'm going to create my cactus for that. I have already prepared my darker mix of green. Here. I have mixed sap green with a little bit of brown, that is one sienna and little bit of Payne's gray to create this darker mix of green. And here I'm going ahead and creating the cacti tree. Layering the cacti with this green here and making sure that one part of the cacti will be darker and the other part will be little lighter so forth that I just drag the colors with the help of the Brazil. And yes, that's the lifting technique that I have done over there. And for the base, I'm trying to blend in the colors and use certain strokes from the tip of the brush to denote this grassy pattern. Now it's time to paint our main characters, the bigger ones. So for that I have mixed my yellow ocher sap green to create this kind of muddy kind of green, I would say pay silly green and using just the size number four brush, I'm going to go and create the shape of the cactus. Now when I reach the base of the cactus, I use a little diluted paint and go over those areas once again to create some lighter mix. And surrounding the base of the cactus, I use some darker green mix to create the grass blade like leaves. Now using my darker mix of green, I will go again from the left side, the areas and create this darker shade. Now, I am going ahead with my darkest green. If you mix a little bit of Prussian blue or any blue into your sap green, you would get a color which is very close to this darkest form of green. This is also known as when tacky green. In many other brands. Using the same mix, I'm going to go and paint this other branch also here. I'm going with little irregular lines, not a very smooth one. Painting the stem of the cacti tree as well. And did you know that this Sonoran Desert is very famous for the types of cacti that grows here, especially the Saguaro Cactus, which only grows here in this region. This tree like cactus can grow up to 40 feet tall. Can you just imagine? Now here in this desert land, I have not added any kind of Florida's, but if you do want, you can include some of the tiny florals, including your water blooms platters, or just by splattering any colorful paint mix such as lemon yellow or so. The main broad stem of the cactus has dried up. So I'm going to go and use my darker green to create some stripes in there. I'm going to go and create some more cactuses in the background over there and one more taller one near to this shorter one. Yes, pose this we will be done with our painting. I will not overdo. And here near the base of the cafe, I'll just go and create some shorter grasses. And that's it. Now with the help of my damp dry brush, I'm going to go and lift out certain areas from that cacti. And yes, our painting is done. We'll let it to dry out completely and then we will start filling out the tapes. Here comes the most satisfying part that is peeling our tapes. That's it. We're done with D6. Tomorrow is the last day of our desert Safari. I'll meet you tomorrow. 32. Day 7: Color Palette: Hey guys, welcome back to day seven. Let's quickly take a look at the color palette for creating our project. For this class project, you have two variations. You can see rate one here is with the contrast of this just yellows, pinks, and blues the other year with the contrast of little orange, pink and blue. For this class project, I'll be going with this orange contrast. But if you want to go ahead with the other one, you can also go ahead and do so. So come now, let's quickly take a look at the colors that we would be using. The swatches of all the colors would be there on the screen and also the pigment information. So you could pause the screen out here or go through the entire video, pause the screen and take a note of all the colors that I will be using for this class project. Here. For this guy, I will be going with overlapping. Now instead of opera pink, you could go and use your bright rose. Now when you mix yellow cadmium red and cadmium yellow, cadmium orange. Last but not the least, we would be using some white gouache to create craters on the Moon and some starts and theories. One trick for this guy to achieve the smooth transition of colors, mixing and blending. Have a spray bottle handy with you, and that's all for the colors that we are going to use for the color palette. I will see you in the next section, which is the techniques. 33. Day 7: Techniques: Thank you for joining in. Now, let's get started with the technique section. First, we are going to go with the sky. And as always, I will be going with wet-on-wet technique. If you are joining in for this particular day, wet on wet technique is nothing but applying wet paint over your wet paper surface. Okay. That's what is the literal meaning of wet-on-wet technique in watercolors. I have lead my paper with an even uniform coat of water here. Now I'm mixing my lemon yellow mixed with a little bit of my cadmium yellow to give me this bright and beautiful yellow. This, I'm starting from the base of the sky where they would be horizon line. Now here I'm layering some red with yellow. Red and yellow, which are warm colors, will form of beautiful, vibrant orange, right? That is what even we have seen in my other class. If you would have taken my class on irrigated Golden, our landscape, you would all know water, warm and cool shades. If you notice out here, I am transitioning this guy from lighter to darker shades versus started from the lightest color that is yellow. And then I'm transitioning it to orange, pinks, and then purple's. Okay. So this is how we are moving for a sky if you want, you can start first with the darker colors and then transition into lighter colors. That is totally up to you, but the transition between light and dark colors should be maintained. Since here I have my little watery paint for each of these bands of color, you can see the colors are all flowing down. Now is the time when we are going to tilt the paper. And we are going to control how the colors will flow. The trick to achieve a smooth blend of colors in a galaxy sky is two. You know who your watery Payne's when your paper background is still wet but do not go ahead and use to liquid or watery Payne's that time, you will have little difficulty in controlling how your paint will flow in the paper. So try to use moderate amount of paint to water ratio and work when your background is still wet enough for the colors to flow smoothly. I am now going to tilt my paper and let those watery Payne's flow in the direction that I want them to flow by tilting the paper. When I tell them downward, they will all move downwards. When you tell them sideways, they will flow side versus this is how you can tilt your paper and let the colors flow. Now here, my background is still wet. If I go and splattered, this starts like this with my thick wash paint, even if it is take but my background is still wet, right? This we have seen in our day to project two there, we wanted certain white stars, which are faded because we wanted to paint a milky way over there, right? So if you do this step, this is what will happen. Your colors will start. The stars will move with Along the colors. So if you want to paint something like this, you can go ahead with it or else you let your ideas to get dried a little and then go and splatter the stars. Here. I have started with creating the shape of the pyramid. You could Google out or browse out some shapes of the pyramid. And then you create this triangle shapes like this. Once you are done with sketching out your pyramids, now it's time to go and fill the pyramids with colors. First, I will be going with wet-on-dry technique, which means applying your wet paint over your dry paper surface here, I'm using yellow ocher as the base coat of these pyramids. Here. We will be going with wet-on-dry technique for glazing as well. We are in day seven today, so I think by now you all would know what I mean by glazing technique. Glazing or layering essentially means applying multiple layers of paint on top of each other. So each layer of paint is left to dry a little, then applying the next one because this adds depth and richness of the color and also it transforms any flat shapes into visually, you're not 3D shapes. So notice here, I am not really working full-on dry on dry technique for this glazing, I am mixing it with little bit of wet-on-wet technique as well. Because I want this darker and lighter shades too little blend as well, because that will give the pyramid its own characteristic colors. Though darker shades. I have gone and filled it along the side fringes. Okay. Now, I will let those areas dry out. I'm going with the sand dunes, the low-rise sand dunes here also I am going and using the wet-on-dry technique. The main trick out here is to make the wetness of the paint wet your paper and work with the darker shades as well so that it creates this smooth, beautiful blends of color giving the exact dark or the depth that you want in your dunes are the texture in there sand. Now we will start with the dry on dry, which is a dry brush technique. And observe your my brush bristles are absolutely dry. I go and pick some of my concentrated paint over there and I scrape it along the sides of this pyramid so you can see the dry brush strokes which I'm obtaining. So this is how I'm going to do the sides of the pyramid indicating the ruggedness and the frontier of the pyramid across the edges. Here I have shown you very briefly about how to go with this dry brush strokes to create this ruggedness of the pyramids, right? But in our final project, we will see in much more details, the next element in our landscape is the moon. So use any circular object to create your moon. Here I'm using my masking tape, but this is not the exact shape or size of the moon that we are going to go for creating a moon. I'm going to go with wet-on-wet technique. I will first code to the circle shape with little bit of water here. The water should not be too runny. And top it up with some lunar blue here. The lunar blue that I'm using is from Daniel Smith. This is a very granulating color. And if you do not have this color, you could go ahead and use a little bit of your Taylor blue and mix it with little bit of indigo. Use the medium tonal value, and then let it with the darkest tone of integrals. Just like this, in certain areas only the lighter colors should we still visible now with the help of some white gouache, I'm blending the right side of the moon to show the glowing part here for the astral projection in the moon. I'm going ahead and using my liner brush and thick gouache consistency to create that astral projection just like this. Now it's time to move on to the next element, which is our camel and the man sitting on the camel. So this is the last element. So keep observing how I create the pencil outline of this camel and the man. Once you are done with the outline of the camel and you are satisfied, now it's time to fill up the Campbell's elaborate. So for the silhouette, I'm going to use my Payne's gray. If you do not have Payne's Grey, do not worry, you can substitute it with ivory black or lamp black and the black that you have got when filling out the camel BCR to use a very thin liner brush or else you might get some fat, thick outlines. Or bestest to use a brush liner pen to create this allowed. That's all for this technique section. I will see you in the next lesson. 34. Day 7: Sky- The Land of Mummies Part 1: Hey guys, welcome to the last and the final day for our Sephardi to the desert. And as always, I have taped down my paper on all the four sites using my masking tape, make sure that your paper is firmly adhered to the board with the help of the masking tape and that there are no gaps from where the paint can see true? Once you are done with fixing your paper, Let's start with our preliminary basic pencil sketch. Three-fourths will be our sky. I have created a horizon line over there using a ruler or you can go freehand, totally up to you. Okay? Now, using this horizon line as a reference, I'm going to create this sand dunes structures. In total, there will be two sand dunes. One in the foreground will be the most bigger, covering a larger surface area, and the other one will be little smaller. There are other smaller one is the main sand dune from where the pyramid structures are going to raise. Okay? So you need not have this horizon line again with you, so you can erase that off. And now you can create your pyramid structures using your ruler or a scale. The shape of these pyramids will be triangular in shape. It's going to be two other pyramids, but this will be smaller in size behind this bigger pyramid. So keep observing. I will suggest you like I had already suggested in all the other projects, go through this entire video or the sketching part and then sketch out your pyramids. I'm going to darken this outline of the pyramids a little bit more so that once we start with our watercolors, these are visible. Now I'm going to create the outline of a wound. So for the moon, I'm going to use the base of my candle, which is in circular shape to create the moon. So this is the size that I'm going to go for, for the moon. It is kind of in proportion with the pyramids. It is not too big, not too small. Just that. Use a compass or any circular object of this size. Now, here I'll show you one trick. You can mask this area of the moon because we are going to paint the moon invite, okay. So you can cut the outline of this moon with the help of this masking tape. And then you can stick it and start the painting process. Or you can use your masking fluid. Now sketching out the next element, which is a camel and the man, you could use vector images which are available on Pinterest as your reference and try and sketch out this camel and the man writing your LB sketching out the man will just sitting on top of the camel. But if you want, you can also go ahead and use your own reference, our yard imagination of a man walking along with the cameras. So either offers, so it's totally up to you. Once I'm done with the sketch, I will be reactivating all of my sky colors with the help of the spray bottle. This is the easiest technique and also this will help you to have some water control on the amount of water that you have in your paint. Now, let's start with the sky. I'll be going ahead with creating a flat wash on my papers, especially the sky area. So if you have any thread-like hair coming out from the brush, always make sure that you remove because that will form a bloom or pattern when you start layering with your paints once it dries up, okay. So make sure you remove any of those thread or hair from your brushes. Another tip is to shake off the brush quite nicely with the help of your fingertips before you start going and applying a flat wash of water with the help of your brush. Once you are done with layering the paper with an even coat of water, you would see your people listen when you hold it against the light, something like this. Okay, So in this way you will be able to notice that if all the ideas that you want to cover it with water has been watered down perfectly. Another tip, I have couple of brushes handy by you, so that once you start the sky, you'd need not go fetch your brushes. I have prepared a mix of cadmium yellow and lemon yellow and started with the base here. Observe I'm going around the pyramids because I have not maxed out my pyramids over here. Make sure that these colors do not enter the pyramid, because pyramids are going to go with the yellow ocher and brown. So be a little careful of that. Go around. So this is known as the negative painting that I'm doing. So I'm going around the whitespaces that I want to retain and filling the other areas with my color of interests. Take a look at my palette and observe that I do not have too much of water in the paint mix. So here it is very important that you do not go with two watery paint because it will be little difficult to control the amount of the pain spreading on your wet background. Now, I'll be layering with a very bright orange. I have created this orange by mixing my warm yellow with cadmium red, which is also a warm red. So I have made enough so that did not come back and prepare this mix again. Now, before I start applying the orange, I'm going to use my spray bottle and spray some of the water over there so that I have this kind of water flowing over on my paper. Okay, This is very important because from now on, it is just about all the colors blending with one another, creating a complimentary and a tertiary colors. Okay, so this is how we are going to do it. Mix it thoroughly with the help of your of your brush. So over there I kind of created a transition of yellow, orange. And now I'm going to go with much more darker orange. I went with solid red over here. Now, I'll be using my damp brush and mixing these colors altogether. So keep observing now. Now I'll be switching to my size number 12, brush dipping it Justin some water and loading my brush with lemon yellow. Here, I'm trying to create a transition between the yellows and the oranges over here because it should not look like two distinct bands of color, right? That's why I went and created this mix using your brush. Since my paper has lot of water, you can see the colors moving. So you can tell the board and make the colors flow as per yard direction. Now I'll be starting with my Oprah pink. I have mixed a little bit of Prussian blue in there to create a mix of violet. So I have created a mix of permanent valid out here. Now I'm loading my brush with a little bit of oprah pink and that violet mix and going ahead and applying this pain, spreading it across the sky. Something like this. Do not have to worry about the strokes that your brush is creating because the paper is with little water. So this will help all the colors to flow and blend together. Now I'll be switching to my bigger brush that is size number 12 brush because I need to cover larger surface area and this will help me to spread the paint much more evenly. So I'll tilt my board like this and try to code the paper with the blue at the topmost part of the sky used little bit darker blue here I have added that little bit of Payne's gray with my blue to create this dark tones of colors. As you come and touch down to the yellows and reds go rinse your brush in water, dab it in a little bit of tissue paper and come back and grab your indigo or Payne's gray, whatever you have or you can mix yard Payne's gray with your approach in blue and create this darker mix some blue, you need to work a little faster over here, because if your paper starts drying out, the colors won't bleed and mix into each other. Okay. If you feel that your paper is drying out, go ahead, grab your spray bottle and spray a little bit of water into those dry or dry doubt areas are the areas that you want to colors to flow and mix beautifully. Use the spray judiciously, not leverage with too much of water so that everything goes and ruins our moon and the pyramid. Okay. Around the moon, I have went ahead and created a layer of oprah pink, because opera pink and orange and yellow forms really beautiful coral orange color, which is really a beautiful contrasting color to your orange and yellows. And it will be harmonies together with the colors that are there at the top most part of the sky as well. Now, if you observe, you would notice that all the colors are flowing down, right? So as a result, some of the colors might start coming to this dry area such as the moon. So you can go and fix those areas by using just the tip of your brush and your tissue paper to lift out those areas. Something like this. Go and lift out gently from the side. If it is not coming out, do not worry. We will go later on and fix this with gouache. You can see how the colors are flowing down due to the gravity. So you need to keep the board and such direction that the colors are flowing to the topmost part of the sky and not coming down too much to the bottom. Now, here is a very important thing. Always a cough or rub your tissue paper against. Lose extra paint mixes that are flowing out of the masking tape because in case it runs into your sky, it will form loose bleeds. Okay. So you want to avoid that into your pretty sky? At this point, my sky has somewhat dried out, so I have used my synthetic size number four brush and grab the little bit of my pick consistency of gouache and started splattering. This starts when splattering the stars covered the bottom parts so that the starves platters with the gouache does not settle down over there. Okay. Now keeps flattering. You need some smaller as well as some bigger drops for the smaller drops used very thick consistency of gouache and keep tapping it with a brush or your finger. Okay, something like this. And point the brush tip at the direction that you want the splatters to be. Keeps flattering until you are satisfied with the amount of stars that you have gotten your sky. Now, I'll be using this liner brush. This is size number two brush from Princeton Heritage Series. And I'll be going ahead and creating some shooting stars. Okay? So I'll be creating this bigger dot like this, white and tap it with my finger. Just that it represents the glowing area around the star. Okay. And then I will go over that area with this thick consistency of gouache. And now I'll be going with one stroke for the tail of the shooting star. And this is how I'm going to create some more of the shooting stars. At this point, this part of the paper has completely dried, so I'll go use the size number two, brush, dip it in water and create this wet background for this star so that the paint spreads, giving that glowing effect around the star. Okay? So this is how you can do it and go and create the dot over there and gently strike it down. So this is how you create the shooting star. Next, we will be working with our pyramid. So I'll see you in the next lesson. 35. Day 7: Pyramids & Dunes- Part 2 : Let's continue with painting our pyramids and Jones for that, I'm preparing a mix of my yellow ocher. I'm preparing and quite a good amount and keeping it ready that I need not go and prepare this mix again and again with the same brush that I had prepared the mix, I'm going to go and create the outline for this foreground sand dunes. I am here using size number eight, brush from silver black velvet. This is a medium-size brush which has quite a good tip and holds lot of paint and water. So it would help me to spread out the colors smoothly. Observe that I'm just dipping the tip of my brush and little water and I'm going and spreading around the pain. This will ensure that the base of the dune is having lighter shades of yellow ocher. Now, I'm going to prepare a mix of my burnt umber by using burnt sienna and my purple. Along the right-hand upper corner. I'm going with slanted strokes and I'm going to build it out at the left-hand corner. Also. The strokes are kind of converging right? So it's going inside the dunes, leaving the center area of the dunes to be with yellow ocher now with just a damp brush, I'm spreading around the paint and blending them. So this is how you can play around with paint to water ratio once you have learned how to control the amount of water in your brush and your paint. And you can go around, play around with watercolor techniques and use them to your advantage at this point with slide gentle strokes of my damp brush, I'm going and lifting out certain dark colors and exposing go yellow Copart. This darker shades of brown that you are observing right now is going to go a shade lighter since that's the rule of watercolors. When it dries, it dries a shade lighter. So I'm going to go with another layer of this brown that is my burnt umber and go from the sides, blend it out with the same strokes that we had done earlier. Now I'm going to use the same technique and create those sand dune, which is just beneath that pyramid. So the base code will be with medium tonal value of yellow ocher. I'm going with wet-on-dry technique. And as you come towards the base of it, try to go with the lighter base coat of yellow ocher, because later on we will be darkening it with some of that burnt sienna and burnt umber. So let's start with a pyramid right now. For pyramids tool, I'm going to work with a base coat first with the yellow ocher here too. I'm using my medium tonal value of yellow ocher. You could make it a little bit of your tinge of Indian yellow into your yellow ocher to create this golden yellow ocher mix. And then you could start letting it with some darker tones of burnt sienna and burnt umber to give this pyramid its shape and depth. The right side of this phase of the pyramid, it's going to be darker than the left side because here the light is not reaching and hence the other side will be casting a shadow over here. So here in this case go with little darker tone of yellow ocher. And then we will be sharing it with some darker tones of burnt umber. Go with the darkest tone of burnt umber or mixed little bit more of Payne's gray into your burnt umber mixed to achieve that shade, I have now switch to my size number two brush because I'm going to go and outline darker areas of this pyramid. So I need something which is really pointy and sharp to give me this thin straight line over here. Hence, I have switched to size number two, but feel free to do the step with any brush which are sharp, pointy tip and which you have control over. Now, observe how I'm going to play around using wet-on-dry technique and altering the paint to water ratio. I had lead that darker tone of burnt sienna and now using little watery dilute mix of the same mixture, I'm going and creating this transition of darker to lighter shades. Are you able to follow here? Observed my brushstrokes out here. I'm going with slanted strokes right from the base of the pyramid to up. I'm going to go and lay this over that base of the pyramid to create that shadow. And you're, I'm going with some slanted altering strokes at the front of the pyramid. Here, I'll be switching to my synthetic round brush of size number four from Princeton velvet. That's the reason why synthetic brush, because I want to control the amount of water that I have in my brush. Hence, I have switched to my synthetic brush and now observe my brush movements. When I start working in this pyramid from the top, I start with the intense blackish tone of brown, and then I go with some shades of my darkest burnt umber and then fade it out with the help of my damp, watery brush. See how light or color is looking right now, right? So I will start again from the top with long slanted strokes like this way. With my synthetic brush. Here I'm using the mix of my bond tamper with little bit of blue. And hence I will get this kind of dark brown shade. I'm going to repeat the same process, but right now I'm going to go from the bottom to the top, observed the brush movement out here. I'm flicking the brush from the base to leaving it upwards. You can see rate, that line is not so smooth. So I will lift out certain areas where there had been a bulge because my brush went outside the boundary. Now with the help of my size four brush, I'm going to go and lightly to control my stroke, creating this straight line. With the same brush, I'm going to just blend out the other darker tones, which I just lead trying to fix this area because here I felt the area was looking to bed dark. So I just use my damp brush and lifted some of the darker areas. This area has completely dried off now as you can see. So I'm going to layer one more time with my yellow ocher here. Try to observe that whenever I go and wash my brush, a rinse my brush, I always tap it on my tissue paper or tissue travel so that all the excess water from the brushes absorbed. Repeating the same process for our smaller dunes here, I'm mixing my burnt sienna yellow ocher and starting with wet on dry technique for the smaller dunes which are just behind the larger one. It's the same drill. The PR concentrated mix of paint is always towards the edge of the pyramid, right where it is more darker than the rest of the body of the pyramid. And when you go to the darkest portion, which is the right portion of the pyramid, use darker mix of colors such as your burnt umber mixed with the burnt sienna, and start layering it with wet-on-dry process using your brush. Now, the selection of brushes totally up to you, if you would like to have a better grip and better control, I would recommend you to switch to a brush of smaller sizes, preferably of size number four or two based on your comfort. Repeating the same exact process for this smaller pyramid as well. I have started leading burnt sienna first on the left corner of this pyramid and toning it down with little damp, watery brush so that the color is lighter at the base. Adding some darker shadows using burnt umber starting from the top and gradually blending it into that wet paint. Adding in the darker tones on the right side of the pyramid, which is the shadows spot. So you're being a little careful. You do not want to use too watery paint mixed. Use your brush sizes number four or two and then go and create that going over the base of the pyramid one more time with my brush loaded with burnt sienna mixed with a little bit of yellow ocher that is all over here. I will not try to overdo this area. Next, we'll be moving to the moon. 36. Day 7: The Moon & Final Details- Part 3: Continuing with our pyramid here I'm going with the lifting technique and using just the damp brush. I'm going and lifting certain areas of those darker shades that we had just led, just to expose some of that lighter base coat. Now I'm going to start working at the base of this pyramid because the initial base code has dried out to be a lot lighter. Here I'm going with a damp brush using my wet paint and trying to blend in the colors smoothly. Use little tones are burnt sienna or use your purple mixed with your bonds here not to create more darker use of your browns and go and create this darker shade. The purpose of using this light and dark shades is to represent the depth in your painting. This also has an important role in how the light and the shadow behaves a particular shape or an object that you are painting. Hence, we are using some darker, warmer tones to create the same. Here, since my bottom part of the dune has already dried out, I go with my damp brush very gently and start coding it with water all over again. This is the re-weighting technique so that when I start blending the darker tones, it does not form any hard edges. Here at this corner, it feels too dark and sell lift out some paint of the darker tones and go in and add another coat of my yellow ocher onto it and just blend the colors evenly. And that's it. Now, I'll be squeezing out some of that white gouache because we will be starting with a moon. I'm going to spray a little water and make it a little watery consistency, but to take one so that it's not very diluted. And I'm going to first write out the areas of the moon. While doing so, do not flood the areas of the moon because if you do so, all the waters will start going out of the boundaries of the moon and into the sky which you do not want, right? So go with the damp brush and just try to spread out the water evenly. Now, host you are done with that. Go load your tip of your brush with this diluted white gouache and go around the radius or the circumference of the moon to create the white outline. Here, makes sure that your hands steady when you are creating this circle outline. Because if there is some curves and bulges, your moon will not have a proper round shape, right? So B steady tried to practice it. And also, if you want, you can take the support of your little finger, steady down on the paper and then go and create this a confidence. Now, I have switched to my size number four brush because it has a sharp pointy tip and also quiet volume or body of the Brazil's. Hence, it will be easier for me and I will be having much more better control when I'm going with this smaller brush to create the outline. Now once you are done with that, I'm going to blend in with the help of my size number 12 brush. It is just the damp brush. I have not used much of water in there. Now is the time. Then I will go and drop in some of that white gouache because I can still see the lead of the other colors, right? So you just need to cover those areas so that it is not so prominently visible once we start layering with our lunar blue, which is a granulating blue and a Payne's gray. So here comes a lunar blue. Instead of lunar blue, you could also go and use your darker shade of blue. If you have any granulating blue, that would be fine. If not, you just use any of your blues and use some darker and lighter tones to create the effect of the craters on the Moon. The reason why I went with wet-on-wet technique for the moon so that when I start layering my lunar blue, which is a granulating blue, my colors will start forming beautiful bleeds and blooms onto this wet surface of the moon, which will give rise to the shape of the craters. And it will be easily done. I just need to go and add in some darker tones of indigo Payne's gray to give the effect of depth into the Craters of the Moon or the shadows. And that's it. This is the reason why I went with wet-on-wet technique for a moon or near to the topmost part, I'm just going to lightly blend out the colors over there. When I had used some of the darker pigments, this would give a beautiful effect, or the glowing. Light of the moon, as well as the shadows that the creators have custard, right? So this is how I'm going to proceed on. Add some darker tones in-between using just the tip of your brush. And that's how your moon will come to life. Now, with the help of my liner brush, I have used thick consistency of gouache, loaded it, and I've just went and used a so-called or a dot placed in just kind of center, you would call over there. And I'm going around it, lettering with some darker tones so that this astral projection is vividly seen on the moon, right? So I'm going to use this liner brush loaded with gouache. And I'm going to create this Astrium prediction. Very thin lines. It will be in the form of a star. So keep observing. When going with this astral prediction tried to create long strokes, one stroke using your liner brush or any fine liner brush. And that's it. Let's move on to our last element of our landscape, which is the Campbell and the man riding on the Campbell. Here, I've switched to my size number two brush from silver black velvet because it is very sharp, pointy tip. And to create the outline of this camels, you would need a brush which has a sharp pointed tip. So you can use your size number to one or any mini detailing brushes to feel, feel you have better control over your brush. Go ahead and use your brush to fill out an outline the camel, or else you could use a sharp pointed tip Sharpie or your brush pens also. Now here I'm just going to fill out this allowed of the camel using my Payne's gray. So keep observing, this is nothing complicated. You just need to fill out the color. So you could also use your black micron brush pen or any fine liner pen and fill out the shape of the camel and the man. Switching to my liner brush to create this thin lines which indicate the harness that the man has for the cabinet. And that's it. Since the camel is on the sand dune. So it would leave some marks on this Dunes, right? So for that, I have loaded the tip of my brush with little bit of yellow ocher mixed with a little of burnt sienna and then faded it out. So that's all. And I will let the ideas dry out completely. To start with my dry brush technique. Use just your dry bristles of your brush loaded with the darker shades of yard Payne's gray mixed with a little bit of your red brown or your burnt sienna and create this kind of dry brush strokes around the edges of your pyramid structures. I'm going to do the same, repeat the same process, even for the smaller pyramids at the back of this bigger one. Okay. So I'm just going to scrape this dry brush over these areas and you would get this dry brush marks, but makes sure that your Brazil's of a brush and really dry in order to give you this dry brush patterns. So this is the dry on dry technique. Why this dry brush strokes? Because this would indicate some of the textures which are there in the pyramid and also give the vintage of the wear and tear of these structures over time, right? I'm going to continue creating this dry brush patterns onto this larger pyramid, which is like almost the main subject you could call for a landscape. The smaller ones are not that required because they are really small and are really at the background, right? So makes sure that you go and create this dry brush patterns onto the bigger one. So that is quite prominently visible. I'm satisfied with how my pyramid is looking right now. So high would stop this dry brush techniques and loaded my brush with little bit of Payne's gray using just the tip of my size number two brush I'm going and creating certain drops and things on the moon. That's it. Those were the final details and now my paper has dried out completely. It's time to peel off our masking tape. But all the four sides. I hope you have enjoyed this seven days safari to the deserts. We have painted deserts all across the world. Some of the very famous desert. I hope you have enjoyed the class totally peeling of the last steep. I hope it's fine. Yes, it's perfect. And here comes the final reveal of a painting. I love it. The sky is looking so beautiful, right? Even the pyramid and the dunes. I hope you have enjoyed me in the next lesson where I'm going to give you certain tips and tricks and also concluding are the seven days journey to the deserts. 37. It's A Wrap: With this, we come to an end of our seven days Sephardi to the desserts. I hope you have enjoyed this class thoroughly. Each day we have painted seven beautiful deserts across the world applying various watercolor techniques, understanding why it is important to have proper water to paint ratio. Now, here comes an important thing that I want to share with you. Wherever you pick up references for your paintings, always try and remember to go buy a plan. What I mean to say is, before zeroing down on your references, always try to pick one or two or more than that references and try to see the color combinations that you would want to go for. For your painting. It maybe the color combinations, or you can combine one or more of these reference pictures and combine them by picking elemental compositions from each of these references and make it as your own. I hope this helps you in all your future paintings are artworks. Now, if you are interested in painting and practicing more of deserts, I have my Pinterest account where you could find the link on my Skillshare profile and access all the references that I had saved for the deserts. If you are someone who has loved this class, I would love to hear your thoughts about it. Do consider leaving a review. It would help my class a lot. Also keep uploading your projects in the projects and galleries section. I would love to see them. I will see you soon in my next class.