Transcripts
1. Introduction: Hi friends, thanks for joining the class. My name is Shiba. I'm an artist instructor and a UTI. Well, this is my fourth sketchy class, and I'm very excited to share a very beautiful painting with you all. In today's spinning class, I will be in a snowy winter landscape painting under a beautiful starry night sky. I'm very excited to share all those steps that helped me in making this beautiful painting. I will give you some step-by-step guide and walk you through my materials so that you can even try and follow along. So without wasting time, let's get started.
2. Art Supplies Required: Hi everyone. In this part I will discuss what are the materials I will be using for this video. Starting with the people. That paper which I'm using is a 300 GSM people cold pressed, twenty-five percent cotton from restaurant. The brand of the paper doesn't matter much at this point of time, just choose a good-quality people atleast one for TLB, which is equivalent to 300 GSM. The colors which I am using is from when sudden Newton, this is a set of 12. And these are the watercolor cakes, so they are quite easy to use and Al quite pigmented. And the colors which I will be using for this painting, I will let you know in the next part, I am using a simple masking tape to tape down my paintings so that I get a clear boundary at the end of the painting. To dry my painting. After each layer I'm using a hair dryer and two small tubs of water, one to clean the brush and the other one as a mixing medium. Moving onto the brushes. The brushes which I am using is from breaststroke. These are more brushes and the number which I am using is 024. If you don't have these brand of brushes, it doesn't matter. You can choose any set of brushes you have. You can use an ILS soft deco series or you can go for Princeton. Both are good. These two glasses are from Sinaloa soft aquifers. One is number eight and the other is number four. The eighth number is around rush and the other one is the rigor brush. I will be using them for detail purpose. For flat washes. I'm using a flat brush 20 millimeter from Silas off tech. Well, I hope you understand what are the materials I will be using. So if you don't have the same materials, don't worry, choose any available brand you have, which is easy, accessible. I must say just follow the process. You will end up making a good painting with materials you already have. Thank you so much.
3. Drawing Basic Sketch of the Painting: Hi guys. In this part we will draw the sketch of the painting. So before starting the painting, I will apply the masking tape all around the people so that we could get a clear boundary at the end of the painting. Application of this masking tape also helps to be brought to maintain its original shape without buckling. For drawing the basic sketch, I am using a mechanical pencil and unneeded Elazar to clean unwanted graphite lens. You can see how slowly I'm drawing the basic sketch. And while drawing this, I tried to keep my pencil a little bit loose. Otherwise have been silvered, create some dark marks on the people, which will be hard to these. Sometime you raising these lanes may end up Your people get fully destroyed. So be very careful while doing the basic sketch. I am sketching only the surface of the land which is already covered with snow. So while drawing this, keeping in mind that the edges of the land will be a little bit smoother and we'll have some ghost sheeps. Here. I'm using a needed either the reason is that it picks off a good amount of graphite without actually spreading it. You can see how slowly I'm making these shapes and at the same time, I'm trying to keep my pencil a little bit loose on the people. Once the building is finished, if you find that your basics sketch looks a little bit darker, you can use a needed either to pick some extra graphite of your sketch, making it later. Usually for watercolor paintings. We tried to keep us sketch lighter so that the fight of the pencil sketch does not get mixed up with the colors when we apply. I hope you have understand the process and I see you in the next part. Thank you so much.
4. Working on the First layer: Hi guys, welcome back. In this part I will work on the first layer. I am using a veteran wet technique. And for this, I will start by applying water throughout the people. You can start with any flat brush you have. Here. I'm starting with a 20 millimeter flat brush. But after that, I switch to my brush to brush number four because I find it more easy to work with. This is all about the preference. So you can select any brush, any of your favorite brush you have worked with, which you find more comfortable. I will be applying on water throughout the people. For this, a blush which I'm using is a more brush. Number four, I was applying water onto the areas such as sky and leak earlier, but after that, I'd thought as this is the first layer, we can apply the colors. Usually. This is a reason I even applied water onto the land surface. Because if a little bit of the color goes to the land, it would show that the land is reflecting the colors of the sky, which we usually see at the time of sunset and sunrise. Moving on to the colors, I'm starting with the Musharraf cadmium yellow mixed with lemon yellow and applying it using the same brush. Now, I'm mixing a little bit of cadmium red with cadmium yellow to get this audience Hello, I'm using a Seymour brush to a play notes to add a little bit of grim Sandra, I'm applying it using the same brush and blended with the previous layer. This is the first layer. I'm not thinking much about the flow of the column. It might go to the surface of the land, but two will control it. And at the same time, we will let them flow a little bit. So you can see how the colors are getting mixer with a previous mixture of cadmium red and cadmium yellow. For this darker tone, I am mixing ultramarine blue with crimson red. And as we will move avert, we will increase the amount of ultramarine blue into the chromosome. You can see that the glaze looking popular later, but this is because the amount of ultramarine blue is more than crimson. So you can see that this machine is little bit blue. This is because I'm increasing the amount of ultimate in blue into the Crimson before doubling it. So you can see how beautifully the colors are getting mixed up and creating this gradation. You must have no deaths, like how I am applying it. I'm not rubbing my colors with the brush onto the people, which actually destroys the fibers or the people. I'm writing a little bit of more crimson mixed with ultramarine blue to the sky. I'm applying this fellow when the layer is still wet, otherwise, it will create some hard edges. Even for the lake, the portion which is away from the sun, not getting much later, we will apply Docker tunes of concentrated mixed with ultramarine blue. If you want more darker tones, you can even add a little bit of intense blue and draw some water waves. It seemed to pick the colors from the idea of we don't want, I'm using a damn brush number four, which is a more brush. And we'll pick some of the color. You can see I'm trained to maintain the curve shape of the land by removing unwanted colors. I'm applying a little version of crimson red when the area is still red. So you must have noticed that the colors of the leak is flowing a little bit onto the land. And don't worry if it happens. Because in the second layer we will create differentiation between them. Now I'm working on the land for this, I'm using ultramarine blue inner dilute form and applying it. As we know that this is a snow and snow is white, then the quotient may arise from where does this blue came? The answer is that the shadows of the snow looks a little bit blue. To die is because of the light it, that affliction. This is the reason I'm adding a little bit of ultramarine blue. I'm also adding a little bit of blue to the land at the Autism. Now it's time to make some small adjustments. As you can see, I'm adding a little bit of crimson red to the land which is close to us, only on the areas where the sunlight is falling. So friends, we have came to an end of this session. I have completed my first layer. It's time to dry before they move on to my second layer. I hope you have understand and enjoyed this leading process. So let's move on to an expert.
5. Working on the Second Layer: Hello everyone, welcome back. So in this part we will work on the second layer. As you can see, I'm starting by applying water onto the leak area because we will be adding a second layer to the water. So we will write only the area we are. We will be adding the colours. That is the lake. For this, the brush which I'm using is a marvelous number four and our mixture which I am using is ultramarine blue mixed with crimson red. Let's quickly mix ultramarine blue with crimson red. I am a blame only on the ADR, which is close to us, which would appear a little bit darker. As we will move avert the portion close to the sun, we will make them mature a little bit dilute by adding water. Since we have wear down the people before the application of the color. Now it makes easier for the colors to flow without creating any type of hard edges. It's time to add a little bit of darker tone to the area which is very close to us. I will be adding crimson red mixed with ultramarine blue, but in a very take form. In other words, we will increase the amount of pigment and maintain good thickness before application. I am applying all discolored layers and adjustment when the paper is still wet. Let's add a little bit of MOOC crimson mixed with ultramarine blue to draw the shadows on water. Now I'm adding a little bit of more crimson to draw the shadows of the land at the horizon. Because as a son, the shadows of the Horizon will look a little bit red in color. This is the reason I'm using crimson red. Let's draw some waves using the same crimson color. We will apply this when the pizza is still wet. I have layer down the colors. Now it's time to dry the leah before we proceed further. For this, I'm using a simple hair dryer. I'm adding a little bit off from definition by adding shadows to the land using a mixture of crimson red mixed with ultramarine blue. I'm applying onto the upper portion of the land to the right. This portion will be darker because of the shadows of the trees and less light from the sun as it is away from it. So you can see as I have moved close to the hot season, I have shifted, drying your shadows from ultramarine blue to the crimson red because the EVA I would just close to the Sun appears odd inch. Therefore, the shadows will also, will appear a letter but red in color. I'm doing small adjustment by adding a little bit off more ultimately and blue for the area of the land. Now I'm adding ultramarine blue in dilute phone. I'm also taking help of order to create soft edges and the blush which I'm using my brush number two. Now I'm adding a little bit of more shadows to the curved surface of the land. For this, I'm using the same mixture that is ultramarine blue mixed with Crimson. Let's quickly draw some more shadows and I will try to soften their edges are using more data. Adding a little Rudolf mortal blow to the gardener. So as to show that the ADI is getting less of the sunlight and more of the shadow. Let's add a little bit of more shadows to the curved surface of the land. For this, the brush which I'm using is a marvelous number two, and the mixture is I'm using is a varchar, ultramarine blue. I'm also adding a little bit of mortar, ultramarine blue at the corner. Let's add a little bit of trees at the horizon for this stuck alone, which I am using is awash OF cadmium red. I will be drawing the tree as a whole rather than drawing each single tree. So we will be drawing the trees just to symbolize their existence. So friends, we have come to end of this session. I hope you have enjoyed this video. The painting of the tree and the shadows I will be covering in the next spot. So let's move to our next video and see how to create them.
6. Adding a Darker tone to the Water: Hi everyone, welcome back. So in this part we will work on the lake. I feel that the lake is looking a little bit lighter in color SUV, we'll make it dark using a third layer of colors. Before adding the color, I will write down the EDI using a mob brush number four. I'm a plain water only to the leak area. For the colors I'm using, ultramarine blue mixed with crimson red and a little bit of intense blue. You can see that the amount of pigment and the thickness of the color is little bit more than the previous layers. Will apply the colour gently to the corners and the edges of the lake, making them as dark as possible. I don't include black because that will make my painting look dull and less vibrant. If I really want to use black, then I would mix burnt sienna within dense blue. So this will give me a color close to black, which is vibrant and will not make my painting done. I'm adding the colors to all the corners of the land, lose to the lake. This will increase the beauty and define the shape of it. You can see that the glaze getting accumulated. So we will push the colors towards the vet area using a mob aggression. And before. Now I'm making some smaller adjustment. This was removing of colors from getting accumulated will make your painting tray faster. Now and adding some strokes to the league to draw the waves on the water. For this, I'm using the same mixture in a dilute form, using the same brush. I'm also adding a little bit of crimson red to the water to draw that affliction. You can also pick some extra color which is getting accumulated at the edge of the leak. So you can see how beautifully the colors got mixed without any hard edges. This is possible because the layer was vet throughout the learning process. If by any mistake, you add the color which shouldn't be there, you can pick it up using a damn brush. I thought of adding some trees, but I find that the area is little bit wet. So I will be drawing the tree in the next session. Let's write your painting first using a hair dryer. I hope you have enjoyed and understand the leading process, the drawing of the tree I will cover in the next session, and I hope to see you there. Thank you so much.
7. Painting Trees: Hello everyone. I hope you're enjoying the painting. This painting session is a bit long because we are drawing the tree as well as the shadows. I'm starting by drawing some small grasses. For this, I'm using a mixture of crimson red mixed with ultramarine blue. As we are moving away from the sun, we will be adding more of the ultramarine blue and in dense blue to make the beam darker in color. You can see I'm adding colors in a Louis XVI without caring about the shifts and structure of the glass. Because these grasses are little farther v, so we cannot see them in detail. My image just to create a texture rather than drawing each single grass. You can see I am going very slow at this point of time because if I do mistake at this point of time, it's really hard to get it back. Swam thinking twice before adding any color onto the painting. Let's add this mixture of concentrated mixed with ultramarine blue. At the age of the land close to the lake, as you can see. Now, I am adding some smaller trees using the machine of crimson red mixed with ultramarine blue. And starting by drawing from the holism. And then we'll move slowly towards left. I'm also adding a little bit of shadows to the edges of the land. For the leaves of the tree, I am using the tip of the brush. The blush which I'm using is from Sinaloa software quad round brush number eight. Just make your brush heat on to the people to create this beautiful texture. These are the pine trees, so we will maintain the basic shape and as we move, avert will make them pointed. To draw the spanning tree. I'm using the same technique that I've used to being the previous one. I am using the same mixture that is crimson red mixed with ultramarine blue, but in a diluted form. To draw the shadows of the leaf, I will use the same technique, but we'll make the pain.gov. So you can see how beautifully and quickly we have covered the drawing of these trees. Now I will add some shadows for this, I'm using a dense blue mixed with crimson red. To draw the trees which are close to the sun, I will use the wash off cadmium red. And as we move away from the sun, we will add a little bit of crimson red mixed with intense blue, and then we will apply. So you can see we are using three colors. That is cadmium red mixed with crimson red and intense blue. Let's quickly draw some more leaves. The technique is same. We will be drawing each leaf and then we will connect it with the previous one, drawing it in some other direction. You can see here I'm using a mixture of cadmium red mixed with crimson red and intense blue. So the leaves of the trees are looking a little bit red, but at the same time they also looking a little bit blue in color. And as we move away, we will be increasing the amount of intense blue in our mixture and then we will draw the leaves. The important part is that I am using a very dilute layer of colour. This is the reason the leaves of the trees are looking a little bit transparent in color. Here I'm using the same technique to draw the leaves. I will make use of the tip of the brush and will dab it on to the people to create this beautiful effect. Following the same process, I will be doing some more leaves. As I will move away from the sun, I will be increasing the amount of intense blue with crimson red before the plane. That the leaves which are away from the Sun will look a little bit blue and darker in color. You can see how I'm doing the leaves while drawing the leaves, I'm trying to maintain the basic shape. Just try to interconnect them with each other. Let's add a little bit of more leaves at the top right corner using the mixture of crimson red mixed with intense blue. We know that the trees are little far away, so we cannot work on each leaf separately. Rather, we would create a texture that symbolizes their existence. Adding a little bit of more adjustment here and they using the same Michelle of crimson, red and mixed with intense blue. Now I am adding some darker color leaves on the top right corner using the mesure of intense blue mixed with crimson red. I will use the same technique to draw the leaves. That is, I will dabbed on the tip of the brush gently onto the people to create this beautiful texture. You can see that we have covered most part of the people with the leaves. So this is an important element in this painting. For drawing the branches. I am using a rigor brush number forward from sunny LA soft data for the mixture which I am using is intense blue mixed with crimson red. I am using this mixture in a pig farms so that I can draw some darker tree trunks and branches. I'm drawing the three trends at the same time, I'm leaving some of the ideas without drawing any type of branches, which shows that the branches are going through them. And I am drawing here. We will be drawing the branches in the same way or lower the painting. We can also add some leaves in the data using the same brush. Now I am adding some more branches using the mixture of intense blue mixed with Crimson rate. So you can see leg while doing the branches, I'm making them a little bit ticked towards the ground. I will use the same concept of a painting. The branches that as we move away from the sun, we will be adding some Dhaka branches and tree trunks. In other words, we will increase the amount of intense blue in mixture to draw these branches. You can leave some of the areas without drawing the branches. This shows that the branches are going through the leaves, which further adds a realistic newness to the painting. If you have any questions regarding the concept regarding this painting, you can ask me in the discussion tab, I will be more than happy to answer that. Let's draw some more branches. So you can see how we are doing these branches quickly and in a precise way. Disclosure look will help you to understand better how to add these branches. I'm making small three trends darker just to show that the sunlight is not falling on them and they are in the shadow. For this, the colour which I am using is intense blue mixed with crimson red. The portion of the trunk which is close to the ground, we will add some darker tones to show that these areas are getting less sunlight, as well as the shadows from the leaves. For this mixture, which I am using is crimson red mixed with intense blue. Let's do some bigger branches and three trends using the same mixture of intense blue. Next to it, concentrate. I hope you understand how to draw these beautiful trees. In the next part, we'll work in more detail and I hope to see you there. Thank you so much.
8. Working on the Shadow Part-1: Hi everyone, welcome back. So in this part we will work on the shadows of the trees and the leaves. For this, I'm starting with the mixture of crimson red mixed with intense blue. And the blush which I'm using is a rigor brush number four. I'm starting with working on my new deals using a bigger brush number four for drawing these leaves, I'm using a simple technique that I will be drawing the leaves and then connected with other leaves with changing direction. So what I'm working on the leaves on the left, we will draw only those leaves which are in the shadow. The part which remain unpainted would pop out and it looks as if the sunlight is falling on them. Let us quickly draw some more leaves in the shadow. You can see the mixture which I have used is little bit dark. This helps in getting some realistic effect. As I will move up vetoing the trees. I will try to maintain the basic structure of the pine tree by making them pointed in cheap. Let's add some more details. Once we are done, we will mix a little bit of intense blue. But this time we will keep the amount of intense blue mode while mixing if it crimson. And then I will use this mixture to draw these beautiful trunks. This is a good time to make some small adjustments because the culture is quite Doc. I'm adding it to the base of the land where it connects with the lake. But while doing this, I will try to do it a little bit slow. Now I will use a mixture of cadmium red mixed with crimson red and intense blue to draw the trees which are close to the Sun at the horizon. I'm just doing some street lane symbolizing some trees. And to draw the shadows of the leaves on the right, you can use a mixture of intense blue mixed with Crimson. But try to keep the amount of intense blue mode so that you could get some darker color leaves while doing. To draw the deflection under a tree in the water, I vent that required portion of the people at first using a mob blush number four. And the globe which I'm using is in dense blue mixed with concentrated. To draw the deflection, the brush which I'm using is that rigor brush number four. Try to mix the color a little bit ticked and saturated so that when we will draw the reflection on the water surface with color, the color will not flow here and there. At the same time, the color will have no hard edges. I will try to take a good amount of pigment before I apply. You can see that I'm adding some vertical strokes. While doing this. I tried to be quick audio brush will leave some extra color on the paper. Using the same Michelle I'm painting some leaves in the water of lake to show the reflection of the leaves. I'm just making some zigzag shapes. If any mistake, you put some extra color onto the paper. You can easily pick it up because the layer is still wet. For this, you can use a damned brush. Now I am adding some reflection of the leaves for which the mixture which I'm using, dense blue mixed with crimson red. Whenever you want a soft effect or a blurry effect, no bending. You can apply the Water Act first to that particular layer and then you can play with your color pigments. As we will move close to the sun, that affliction of the tree will be a little bit read for that. I am using the machine of crimson red mixed with intense blue. But we'll try to keep the crimson red mode in the mixture. You can see that the reflection of the tree in the water looks blurry and faded. Now this effect came so well, it's only because the paper is still wet. Now I am adding some small details and adjustment at the edges of the late painting. Reflection on the wet surface gives a very soft effect, which further increases the realistic ness of the painting. I hope you have enjoyed this painting session. If you have any questions or queries you can ask me in the discussion tab, and I will be more than happy to answer that. And I see you in the next video. Thank you so much.
9. Working on the Shadow Part-2: Hi everyone, welcome back. So in this part we will work on the shadows. This is just a continuation of the previous Spark. As you can see from the screen that the layer is still wet. And now I'm adding a little bit of d deals to the land by adding shadows. For this, the mise-en-page I'm using is in dense blue mixed with crimson red. Further machetes in a very dilute form. At the same time, I will also try to smooth the curved surface of the land at the edges. Because of the snow, the edges of the land will be smooth and it is good to do adjustment with the love and the people who still read. Because otherwise it will create some hard edges. I feel lake eliminating some of the gold surface. But do this when the people is still wet, the VM doing. Now I am adding a wash of intense blue mixed with crimson red onto the surface of the land because it looks darker because it is away from the sun. And also because of the shadow of the trees on the ground. I'm also adding a little bit of shadows to the curved surface at the edges of the land. Now I am adding some more deduce using the same Michelle in their dilute form, and applying it on to the trees to draw leaves which are on the upper right side. Apply only on those areas where you want the leaves to be darker in color. A play for this necessary and viola playing this clade to be very thoughtful otherwise don't apply. Now I'm adding some darker color leaves for this. The mixture which I am using is intense blue mixed with crimson red. And the village which I'm using is a round brush number six. I'm using the tip of the brush to create this irregular shapes, which will make the leaves look more realistic and natural. You can even add some smart abuse to the branches by making them look a little bit darker by increasing the thickness of the bins. It's time to add details to the ground, making the shadows more prominent. As you can see, the deflection of the ground will be a little bit darker. For this, I'm adding the colors in a tick form. As you can see. Basically we are using two colors for the finite, that is in dense blue mixed with crimson red. I could have used black and stirred, but I avoid using it because it makes the painting done. Wherever I felt that I have missed any type of adjustment, I will be governing it right now. Add the whole reason I'm adding a little bit of crimson red in a very dilute form just to show that affliction of the trees. To draw the stars and moon, I'm using a scooter white gel pen number ten. I could have used a white beam, but for my convenience, I choose up in while being, being the stars just don't overdo it. Actually required number of stars so that you have been doing is pleasing to the ice. And the beam didn't, doesn't get overpowered by them. Let's quickly draw some stars. He using the same shock woulda wide GLP-1 has some portion of the land where the sunlight is falling, such as on the curved surface at the edges of the land, I will add some highlights. These islets will make your painting look more realistic. So vf come to an end of this session. I hope you have enjoyed. The only thing which is left is to pull up the masking tape and reveal up painting, which I will perform in my next video. And I hope to see you there. Thank you so much.
10. Final Thoughts: Hi everyone, welcome back. So we have come to an end of this painting class. It's time to reveal a painting, but before that, let's give up ending up effect sign. We are done with the sign. Let's remove the masking tape. While removing the masking tape, but we move it slowly and pull the masking tape outward so that it doesn't tear up your people. I hope you have enjoyed the painting class and would definitely give it a try. You can share your paintings in the project gallery so that I can see and definitely tried to guide you if it is required. If you have any cushions of queries, you can ask me in the discussion tab, I will be more than happy to answer that. You can even join me on Instagram or you can visit my YouTube channel, drove it Shiva VR. I post some of my watercolor paintings. You can follow me on skill share for mood upcoming classes. And lastly, be safe, stabilised and enjoy painting. And I see you in the next class. Thank you so much.
Shiba Basan, Art influencer and Content Creator
