Transcripts
1. Intro: Most of us love to travel, visit different countries and experience different cultures. But have you ever tried
traveling through your art? In this class, we will travel to seven different countries, explore various
watercolor landscapes, mix and create our
own color sheets, and most importantly, get so comfortable with watercolors
that it feels second nature. Hi, I'm Khadijah, an artist digital marketer, and top teacher
here at Skillshare. I've been painting with
watercolors for four years now, and absolutely love
painting landscapes. Most of my paintings are
either landscapes in different countries or
different states within India. This class is designed in
a way that each prompt will help you master different
types of a landscape. We will be learning
different types of skies. Like a sunny sky
with a sunset sky, painting water bodies, reflections, desserts, waterfalls and much more. In Canada, we will learn how to create this gouache
of watercolor. In Arizona, we learn how to paint this is
rugged desert land. Mauritius, will teach us reflections and
beautiful water bodies. While also will teach us this beautiful
gradient night sky. The most fun part is
Antarctica where we learn how tor create almost
monochromatic painting. This class is perfect for
beginners who want to get comfortable with different
elements of a landscape. For seasoned artists who want a fun challenge while traveling around the
world through their art. Throughout this class, I will be painting in real time, walk you through my
thought process and share techniques to make painting
landscapes easier. As a bonus I teach you how to give personality
to your painting by creating a stamp style
look and how to create a good composition
using props that you have at home the
post on social media. By the end of this class, you'll not only have seven
beautiful paintings, but the confidence
to paint everyday, mix and create your
own color sheets and approach various
elements of a landscape. Now backup your bags and let's
get this show on the road.
2. Your Project: [MUSIC] This class has been created as a
seven-day challenge, so I'll be posting
one painting per day. But if you're watching
this glass later, please don't worry and
paint at your own pace, one in two days or
whatever works for you. Your project for
this class is to paint seven landscapes
from around the world. Paint along along with
me as it could be good practice to approach
different elements like sky, water reflection,
greenery and more. I also encourage you to
find your own countries and own landscapes if you
would like to paint and continue this
habit of painting. Usually before I start I create a Pinterest board and shot list the paintings
that I would like to do. I have shared the link to my Pinterest so you can
take inspiration from them. Remember, practice is the only way to get
comfortable with paintings making these second
nature for you and to enjoy this process of painting. Come let me walk you through the countries you
will be painting and what you'll be
learning from each. In Mauritius you'll
learn how to create this beautiful evening
sky with a little bit of clouds and how to create
reflection in water, the hills and the beauty. In Canada we learn how to create this
gush of waterfalls, beautiful clouds that
form below and how to create depth in waterfall
through tonal variation. Focus and building our bags for Austria we learn how we
can create foreground and background and
different layers of the hills to the colors we used and again how to create a reflection
in the water bodies. I love Oslo. What we do over here
is create a night sky. Use different colors
of violet and create that depth in this sky and
the reflection in the water. When we go to Netherlands
we learn how to create evening sky
with Indian yellow and violet and create
background and foreground through
different layers of green grass and
bodies within it. Arizona is all about creating
that drastic desert land. What colors to use? How can we mix burnt
sienna with Indian yellow and red to create the
authentic desert color. What I love about Antarctica is that it's almost a
monochromatic style. We'll learn how to create
this icy cold feeling in the hills and in the water bodies and with
this two cute little peguins. Time, since this is
a daily challenge, limit the time you spend
to between 15-45 minutes. Don't worry about
creating a masterpiece, just enjoy the
landscapes you create. I'll encourage you to upload each painting and edit your project to create
the second day. I would love to see what
you've done and also encourage other students to form this
habit of painting everyday. Now, let's take out our
watercolor supplies.
3. Art Supplies: [MUSIC] Before you
start traveling the world through
your paintings, let's take out what
supplies you need. Here Here some of
the supplies I use, but please feel free to
use the supplies you have. Remember, practice is more important than the
supplies we use. First, you need
watercolor paper. I suggest using a 300
GSM watercolor paper. I'm using a Lana brand, but you can use any you have. But keep it to A5 size so that it's easy to complete one body. Next you need paints. Limit your palette to
between 6-9 paints. I will be using
these nine paints, turquoise blue, cobalt blue, Payne's gray, lemon yellow, Indian yellow, burnt sienna, red, ultramarine
violet, and sub green. These are the nine
colors we'll use, and I'll be using
this little palette to create different
shades today. I'm using these
three round brushes, a Size 16 mop brush, a Size 10, and a Size 6 brush. Pick any pour three
round brushes we have and vary them in size to keep it comfortable between the largest size
and the smaller readings. Next, you need a pencil
to do the drawing, a masking tape to
hold your painting, a jar of clean water, and a cloth to dry
off your brush. [NOISE] For a few paintings, I'll be using masking fluid
and a 0.55 fineliner. But if you don't
have masking fluid, don't worry, just use
a white oil crayon. If you have a bigger palette
with a plastic or ceramic, maybe pick that out. It will help you get
comfortable with mixing color. That's it. You're ready
to get started. [MUSIC]
4. Color Mixing: [MUSIC] What I love about
color mixing is every time you mix same two colors you're going to create
a different shade. I personally don't
believe in buying 72 or 128 set of colors. I like to limit the
panel to six, nine, or 12 colors, and keep mixing them and
creating my own shades. Come, let me show you how to create and mix your own shades
with a limited palette. [NOISE] First, take out any
blue color that you have. Just create a simple
circle of that blue. I am using cobalt blue only. Here, I'm first talking to you about the primary and
secondary colors, which is basically
the color wheel, which will be the foundation. Next, paint a red circle, and third, paint a yellow. This triangle are the
three primary colors; blue, red, and yellow. Now when we mix blue and yellow, we will create green. Now, as you move on this wheel, if you put in more blue
you create a deeper green. If you move here you
create a green yellow mix. Now, when I mix red with
yellow I get an orange. Similarly, if you put
more yellow you'll move toward this side and it
will move yellowish orange. This side will move reddish. Now, I mix the next primary
colors, red and green. When I mix these two colors
I get a purple shade. Now you can create
different tone of shades of purple depending on how much blue or how
much red you add there. I'm creating this triangle and another triangle of
secondary colors and this is your foundation. With this you can create infinite number of tones
of different colors. Watercolor artists don't believe in using black directly, but creating a mix
of that black. Because it's believed that no color in nature
is absolutely black. To create black, I'll be using three colors. Payne's gray, which is
a very, very deep blue. If you don't have Payne's gray, use a deep blue. Then you'll add burnt sienna
with the Payne's gray, and put the mix of Payne's gray and burnt sienna, add a red. When these three colors come
together they create black. Think of it as an equation, Payne's gray green
plus burnt sienna plus red will give you a black. Now, based on the
amount of each color, the tone of your
black will change. Next we'll be creating
shades of green. Green is used widely
in watercolors, because that's your greenery, your grass your
trees, all of that. Now I'm going to mix sap
green with cobalt blue. I made a mistake I
mixed it with blue too, but it's cobalt blue. When you mix these
two colors you will get this shade of green. Another way of approaching
green is to use any green that will have sap green or olive green and mix
it with violet. Remember, violet is a
mixture of red and blue. This will deepen
your green and give you more of a red
blue effect here. These are two different ways to create green based on what is a tonal variation
you want to use and when you are using this green. Now let's create
an orange shade. Over here, I'm creating orange to two
different techniques. I put red in both, the same red. In one I added Indian yellow and in one
I'm adding lemon yellow. When you mix these colors do yourself and see
the different kind of orange you get when you use Indian yellow versus when
you use lemon yellow. I'm encouraging
you to be creating different shades by using
different shades of yellow, using different shades
of blue and violet, to create your own colors. For the sand, I encourage you don't to
use burnt sienna by itself, but add a tone of red to burnt sienna or you can also add Indian yellow
to burnt sienna. You can do this beautiful
rustic kind of a sand color, which you can not
only use in deserts, but if you create any kind
of seascapes where you have sand you can use
it in that as well. These are just some
of the color mixes that I'm using in this
class, so I'll share, but this is the basic
color wheel that I share, which will help you create
any color that you desire. Now let's do a quick recap. You have your three
primary colors; blue, red, and yellow. With these three colors you can create any color you desire. Secondary colors are green
by mixing blue and yellow, orange by mixing red and yellow, and purple by mixing
blue and red. Then I have walked you through four major colors that I use
very often in this class; black, green, orange, and the sand color. For black you mix Payne's green, burnt sienna, and red. For green, there are two
ways to approach green by mixing any shade of green
with blue or with violet, which means green,
blue, and red. For your orange shade, based on kind of yellow or
the kind of red you use, you'll have a different shade. Lastly, to create a sand, which is more like
a brownish shade, you use burnt sienna with a red. Now go ahead, mix colors, play with colors, and just enjoy the different tones that
you create. [MUSIC]
5. Day 1: Mauritius: [MUSIC] Today, we're
going to start with the beautiful Island
of Mauritius. I love the color of the sky and the reflection in the water, and that's what we are
going to learn today. We start with this sketch. I've started with
the horizon line, which is the grassland part, and then move on to the boat. Remember that your
drawing is to create the larger structure so
that when you paint, you know how to
approach the painting, which parts to keep and
which parts to leave. Spend around 2-5 minutes
on your drawing, and remember that your drawing
is laying the foundation, so if you need to spend a
little extra time over here, that's fine as well. For these lovely palm trees, I'm just going to
draw the bark and we will work on it when we
come to the painting section. I wanted to get the stamp style of painting so I'm
going to write The Island of Mauritius and use a sketch pen
for that in the end. But feel free to leave out on this part if you just want
it to look as a landscape. Now I take my size 16 mop brush, load it with water and create a clear layer of
water on my paper. When I move towards
the mountain, I use the tip of the brush so the water doesn't lay
over into the mountains. In the other sections, I'm using the broader
part of my brush. This is called a
wet-on-wet technique, where I wet the entire paper and now I'll use
pigment over it. Here you can see,
I've taken lemon yellow because
it's a sunset sky, and put the lemon yellow towards the bottom half of the sky. Now, I'll just pull the color towards the top to
create an even layer. I'm going to load my
brush again with lemon yellow and create a
bit of a cloud effect. Just use the tip of your brush, use very little pigment, and just touch your paper
to create this effect. Now you see I'm
taking Indian yellow, which is a deeper shade and putting it towards
the mountains. Here also just be
extremely gentle. As soon as you touch a
wet paper with pigment, the paint is going to spread, so don't try to overspread it. Just put a little bit
in certain areas. Now what you can
see me doing is use red and Indian yellow together. This mix of these two colors
creates a beautiful orange. I quickly use a broader
part of my brush while the paper is still wet
and put it towards the top. Now I'm creating a
even deeper shade when I'm mixing
both the yellows; Indian yellow, lemon
yellow with red. Keep mixing these colors. Your colors will
look different from mine because the amount you
are mixing is different, the brand of colors you
are using is different. The idea is to create
your own color. I love mixing colors. Every time you mix a color, you are going to create
your own unique shape, and that's the beauty of it. Now take a deeper shade and
add a few strokes from right to left or left to right just to create a
little bit of depth. If you're happy with the way your painting is
looking right now, then you can drop this step. Now I'm using a smaller
size 10 brush and doing the same thing where I'm taking clear water and
putting entirely. Watercolor is a lot
about planning, so right now the thought
in my head is for the water I'm going to
keep one clear layer, then add just a little bit of cobalt blue and
turquoise blue, and then create some reflection. Think ahead, try to
plan ahead when you are doing your painting because
watercolor moves very fast. Now I've taken a little
bit of turquoise blue. The deeper part of the water
is always the bottom half. I'm starting with the
bottom half and then just pulling my color a little
bit on the top half. With water, just play along, let your guard down,
enjoy this section. Use the minimum color as possible because water
has a lot of reflection, so you want to keep a
lot of areas white, and create that beautiful mix of white and shades of blue
and green in your water. Now, I'm mixing three colors; sap green, cobalt blue,
and turquoise blue. This gives me this
beautiful blue-green that will look amazing
for the reflection. If you don't have
these exact colors, choose a blue and
a green that you have and create this mix. It looks extremely natural and gives a beautiful
look to your water. In the water part, my paper is semi wet and that's why there
are no hard lines. You need to move fast
when your paper is still wet and have very little
pigment on your brush. A little pigment will do
all the magic you need. The reason I moved
from the sky to the sea is I wanted the sky to dry before I do anything that's adjacent to the sky so that
the water doesn't bleed in. That's why I started
with the sky, I went to the water, and now I will go to
the middle section. Now, I'm going to
create a little deeper mix of my blue and green and give a
little reflection below the boat to
create some depth. Now, I'm creating even
darker mix of sap green, Payne's gray and cobalt blue, which will be used in
my grassland area. This is a wet-on-dry, so my paper's dry, but I have a lot of pigment
and water on my brush. I'm still using
my size 10 brush, which is my midsize brush. I'm giving an entire
layer of the same green. The way we approach
it over here is I'm going to create a
minimum of three tones. This is my base tone, then I will add deeper tone, which you can see over here. I've just put directly
Payne's gray. If you want to create
a deeper tone of green on your base screen, you add any blue. Because blue mixing with green will give you
a deeper green. Now I'm taking cobalt blue in my brush and I'm
painting the mountains. There's a good mix of water
and pigment in my brush. I'm going to just
put a light layer over the mountain section. Here, I'm loading my
brush with a mix of cobalt blue and
turquoise blue to give a little bit of depth
to the mountains. Now I'm loading my brush with burnt sienna pigment and
I'm painting the boat. This is called a dry-on-dry because the segment
of the boat is dry and I'm not putting too much water on my
brush, it's just pigment. Over here I'm going
to be a little slow and a little
careful because I don't want the brown color which
is burnt sienna to mix into my water and I just want to give the
shape of the boat. Take your time in this
section and enjoy it slowly. [MUSIC] Now I'm taking Indian yellow, you can use yellow ocher as well to create that top
section of the boat. [MUSIC] Now I'm using very
diluted cobalt blue to give the first layer, the top section of the boat. [MUSIC] I need this to dry, so I'm going to move on to the beautiful palm trees and
then come back to the boat. The palm tree is
my favorite part, I'm going to mix
Payne's gray with sap green to create
that deep green, so any blue you have,
mix that with green. I've also moved on to my
smaller six size brush so that I can have clean lines for the bark or the
branch of the trees. First smack out your
branches and see that they are in line with the
reflection you painted. Even if your drawing was a little to the
right or the left, just over here try to align
it with your reflection. You can see that I'm using very quick strokes when I'm
moving towards the outward. The inside part of the palm tree is more dense and the outside
part has more strokes. [MUSIC] The trees don't need
to look perfect, you just need to enjoy them. I've shifted over to
my bigger Size 10 brush and I'm just throwing
the strokes outward. It's put pressure, release, put pressure, release, to create the
bigger palm trees. You want a clearer stroke towards the outside
so that you can see the beautiful
skyline and towards the inside it will be more
pigment and less strokes. [MUSIC] I'm using that
same deep green mix just to give a little bit of outline to the grassland
area so that you can demarcate the water and the land better and just adding
a few highlights. If you're satisfied with the way your painting is
looking right now, then you don't need
to do the steps. At every step, move back, look at your painting from afar and take a call
whether you want to add anything more or you're happy with the way
it looks currently. I'm using my smallest
Size 6 brush, taking only burnt sienna and
painting the hut section. Whatever brown you have, just be a little bit
slow over here so that your color
doesn't bleed into the mountains or the sky. [MUSIC] Now that my boat is dry I'm
going to add a second layer. Similar to the first layer the bottom part will
be burnt sienna. Just go ahead and
add a deeper layer. Look at your painting,
see whether you want to add it like
I've been mentioning. If you're happy with it
currently, leave it, if you feel like you
need more depth, go ahead and add that color. Similarly I'm using
Indian yellow, you can use any yellow that
you have that is more on the orange side and paint that
top section of your boat. [MUSIC] Now I'm using Payne's gray and adding the windows and the doors to
the boat to give it that beautiful structure and this beautiful
realistic look. [MUSIC] Now I'm just taking a bit of Indian yellow and adding it to the top to demarcate it from the water and give it a little bit of
depth to the boat. My painting is almost done
but when I go one step back I feel there are
certain areas that I want to add little more depth. What I'm doing in the hut, you can see I'm adding
some strokes which is the reflection
of the palm trees. I'm loading my brush with
burnt sienna, Indian yellow, and wherever I feel
the need to add a little bit of deeper colors I'm going ahead and doing that. I also feel like a little bit of reflection is required for the boat so that the
boat doesn't look like it's hanging in
the middle of water. This is a section which you need to use your own judgment. Move on setback
of your painting, see where you want to add, if you are happy
with it, leave it. [MUSIC] The painting is
complete and I just love how Mauritius is looking. What I'm going to do
is I'm going to use a fine liner and write
the island of Mauritius. Feel free to do
this step or if you don't want to do this step
you can leave this step also. [MUSIC] I'm using a brush lettering pen to give thickness to
the word Mauritius. But you can also use
the same fine liner and whichever are your down
strokes you double them so that you give this beautiful thick
and thin strokes to the word Mauritius. [MUSIC] [NOISE] Now comes the
more satisfying part [NOISE] [inaudible]. Always remove it from the
inside out [inaudible]. I love this part, I love when the
white color comes. The masking tape you get to
see your entire painting. I'm really happy with
today's painting, I hope you are too. Keep practicing, keep doing the skies in the water
and that's how you will eventually find
[inaudible] [NOISE]. See you in the next lesson as we travel to another country. [MUSIC]
6. Day 2: Norway: Today we'll be traveling to the beautiful country of Norway. What I love about this painting
is the beautiful picture, perfect sunset sky and the
reflection in the water. I start the drawing
with the horizon line. You can see the reference
picture on the left, and it's also in the resource
section in the class below. Then mark out all the
structures that are there. When you see too many buildings, just mark out the
main buildings, so that when we use paint, we know how to give a
little bit of detailing. But you don't need to
specifically draw each building. Just the idea of all
the buildings will do. Now I'm using a really old
brush and some masking fluid to cover all
my white sections, the boats, because
when I do the water, I'll be covering over
them and it'll be easier. If you don't have masking fluid, do not worry either use
a white oil crayon. If you don't have
an oil crayon also, then just paint over it. Then instead of making
the boats white, make it a deeper
color like a red. In today's sky, we're going
to do wet on dry technique, where I'm loading my brush with ultramarine violet
and a lot of water, but my paper is dry. Why I'm doing this is
because my sky has a gradient and it makes it
easier to use this technique. As I put more pigment, I pull it with water. Now I'll take red, start with the wet part, so go over the violet part, then pull that color
down with clear water. This way, wet on dry, gives you more control, but the output is different
from a wet on wet. Wet on wet gives you a more
free flowing easy look. This gives you more
controlled look. Depending on how you
want your sky to be, you can use either
of the techniques. Now, with the tip of my brush, I'm just adding a few strokes
to give that sunset look. Enjoy yourself here, don't put too many strokes, but just put a few strokes here. For the water part I'm
loading my brush with water and putting one entire
layer of clean water. The reason I'm using a
wet on wet technique for the water is because I don't want the water
to look controlled. I want it to look free flowing. The best way to do that, is to use a wet
on wet technique. The same colors that
I used for the sky, which is an ultramarine
violet, and red, is what we are going to use in the water because it's
an exact reflection, but lighter and
more free-flowing. While this section
is wet, add violet, add little bit of blue to create some depth and some
contrasts and add red. Whenever we use a wet
on wet technique, we need to move fast
because we want the paper to remain
moist or wet. While the paper is still wet I'm using my smaller size 10 brush, taking ultramarine
violet and adding the reflection of the
buildings to the water. Over here, don't use too much pigment because
your paper is wet, your pigment is any
way going to spread. Use a little bit of pigment and in a very controlled manner, you add the reflection. I absolutely love reflections. I feel like it creates this mystical look
to any painting. As you see, as you keep
painting you would be able to easily add these reflections to any of the paintings you do. It's an extremely
simple technique, but a very effective technique. The idea here is your
paper needs to be wet and you must use a little pigment, not
too much pigment. Now I'm taking
Indian yellow with my middle size 10 brush and painting over
all the buildings. Go slow in this section
because this is a dry on dry, so it's very controlled. You also don't want to
bleed into the sky or the water if they are
even a little wet. Look at your reference image. It's also then the
resource section see where you want to add deeper shades, where you want to
add lighter shades. I always start with
adding the first shade. Over here I made
a slight mistake where I also painted
over the hills, but I'm not going to worry
about it because I'm going to come back with a deeper
shade of blue and add it. You can see on this
particular building, I've added a little bit
of red tinge so that I can create that
sunset contrast to it. Now I'm mixing Payne's
gray and cobalt blue to create the hill at the back. This is a dry on
dry technique with the paper's dry and
I'm using a lot of pigment with less
water so that I don't bleed into the buildings
that I've done. You can see I've bled into
the building a little, but I'm not going to worry about it because what I'm
going to do is come back to the building with burnt
sienna and cover that part up. Whenever you're one color
bleeds into the other, don't worry too much about it. You can always come back and
put another layer of color. Now to demarcate the land and the water have taken
a mix of ultramarine, violet and cobalt blue and just adding a light line
on the horizon line. Now I'm mixing
ultramarine violet and burnt sienna and adding
detail to all the buildings. Remember, to create a 3D effect or to create a realistic
effect you're building, the one section
of your building, which is at the back, which is in a shadow, needs to be a deeper shade, which should be
like an ultramarine violet or a Payne's gray. Wherever I feel like
if it's whether it's the terrace of the building
or the side of the building, I'm going to go ahead and give a deeper shade
to create that depth. [MUSIC] Same way, I go over all the
buildings and add depth and shadow
wherever I can see it. Whether it's the roof or
whether it's adding windows. Over here I'm not looking
at the reference image. Because looking in the
reference image through all these details
becomes too tedious. But just use your intuition and decide where your
light is coming from. Suppose your light is
coming from the right or the left side of all the buildings will
be a deeper color, which will be in the shadows. Now I'm giving the first
layer to the mid-structure. Here I'm using a very light turquoise blue Payne's gray gray and just giving
the first layer. We'll come back and give it final detailings and
the second layer. Here with my smallest size six brush and ultramarine violet, I'm just adding a
few dry strokes of very swift movement
within the water. These lines help to create
that movement in the water. Especially near the boats
you can add these lines. I'm also using my
size 10 midsize brush to add that movement
to the sky as well. I'm really loving
how it's coming out. I hope you're enjoying
this painting too. Now I just use my index finger and remove the masking tape. We'll be leaving most
of this boat as white. But we'll be creating the bottom part of the
boat and the reflection. I'm taking Payne's gray and just defining the
board a little bit. Moving back to the
middle structure and adding some details
to give it depth. Now I'm just going
to take some pigment and add some movement. This line has become too dark, so I'm just going to take
some tissue and pick it up. Whenever you make a mistake
where you don't like it, you can just take a
tissue and pick up that color as long as
you've done it immediately. Now I'm just adding a few lines to show the
reflection of the boats. The main boat I'll be
doing a little more so that you can see a nice
defined reflection. Just adding in details, I'm adding another layer of
cobalt blue to the mountains. But you can skip the step, if you're happy with the way our mountains are
looking currently. Now this step, I'm just
going to write Oslo with my bubble
blush letting pen. Like I mentioned, if you do not want to do this
step, don't do it. Leave it as a
beautiful landscape. Now to create the night sky, I'm using some white gouache
and just adding a few dots so that it looks like it's evening time and
the stars are out. If you don't have gouache, don't worry if you have a
white pen, you can use that. If not, the step can
be completely skipped. That's fine. I'm also using that gouache to
add just a few lines to the water reflection
so that you get those white color that gives
that reflection effect. Take a step back and enjoy
this country you've created. Remove the masking
tape so that you can get the entire picture of it. Always remove the masking tape towards the outside
so that you don't tear this beautiful painting
that you've created. Sign this painting and enjoy it. I hope to see you in the next lesson as we
travel to another country.
7. Day 3: Austria: Today we travel to Austria. Austria reminds me of the 1960 movie that
has Julie Andrews, The Sound of Music. It's classic if you
haven't watched it. [MUSIC] My singing is bad,
but my drawing is good. Getting back. As you see, I've drawn the horizon line, which is always the
first thing I draw. You have the
reference picture to the left to create
the little hearts and the castle-like
structures you see spend around 2-5 minutes
when you're drawing. In this particular drawing to
draw out all the structures of the hills and trees in the land section
because when you paint, it'll be important to know where to put your bird sienna, where to put your green. Because most of the other part
of this painting is blue, which is this the sky,
the hills, the water. Now I'm going to write the
words Austria Hallstatt, but please feel free to
leave this step if you just wanted to look at the beautiful landscape
from Austria. Here I'm using my size 16 brush and doing a wet on
wet technique where I've put just the clear layer
of water on the sky part. Now I'm taking some
turquoise blue and just really lightly adding
it to certain sections. I don't want an entire blue sky. I want a cloudy look. That's why I'm going to use very less pigment and add it in certain directions from right to left and left to right to create this cloudy look. Just be a little careful with the amount of pigment
to take in this section. Now what I'm going to do is mix cobalt blue and turquoise blue
to create a deeper shade, which I'm going to use
for the mountains. Here after the sky I'm moving to the mountains
because I don't mind if the color bleeds in because both of them are blue. I've put a deeper color
and then I'm taking water in my brush and
pulling that color down. Because this is
my cluster layer, I don't want to
make it too dark. I'm using more water
and less pigment. But as I come to the next
layers of the mountains, I'll be using more pigment. While mixing color,
if you are unsure, keep a small piece of paper next to you and test
out that color. Because I've been
painting for so long, I don't test the colors as much because I know what color is going
to come out of it. But because they are doing
a lot of color mixing, put a smaller paper next
to you and mix color. Now while my mountain
is still wet, I'm using more pigment to
create the second layer, and I'm using a mix of cobalt
blue and turquoise blue. For the leak, I'm still using my size 16 brush and putting
a clear layer of water. You want a leak to have this
beautiful transparent look. I'm not going to layer
the water too much. I've taken a mix of cobalt
blue and turquoise blue, I added the deepest
sections below, and just pulled this
color towards the top. Now while it's still wet, I'm using cobalt blue to
add a few strokes and in certain sections to add depth and reflection
to the water. You need to move fast in
this section and you also don't want to overdo the section because your paper
is already wet. Remember adding little pigment
is good to make it spread. Now I'm using cobalt blue, using the tip of my brush to
just gently add a few lines. I'm doing this to create
some movement in the water. Now I'm using a size 10
brush, my midsize brush. It's loaded with cobalt
blue and very little water. This is a dry on dry
technique because I want this mountain to look deeper so that I can create the contrast
between the mountain. Also, I want to give this beautiful look of
a little bit of snow. I'm not covering the
entire mountain and I'm leaving a little sections
of the mountain white. That's the beauty of watercolor, is you don't use the color white but in order to create
snow anything white, you just leave the
paperwork white. Now I'm using my
midsize size 10 brush, mixing cobalt blue with
ultramarine violet to create this purplish blue color. I'm going to go over the
first mountain that we did. Over here also you can
see I'm not covering it with an entire
layer but adding strokes as a downward
movement to also show a little bit of snow and to give that cold effect to it. Be careful when you're near the structure so that
you don't paint over the structure since our
structures are yellow color and other colors so
we don't want to mix the blue and do
those structures. Keep in mind that after
watercolor dries, it almost becomes 50 percent
cent than what it was. Now that I look at
the second hill, I feel like it needs
a little more depth. I'm taking cobalt blue
and adding another layer. You currently look at the
painting that you've made, See whether you want
to make this change. You want to add something or you're happy
with it the way it is. I'm also using Payne's gray, which is a deep mix of
blue it's a grayish color, and adding a few highlights
to my first mountain. Now I'm switching over to
my smallest size 6 brush. Using Indian yellow,
you can also use yellow [inaudible] to add the first layer to
the house's section. Now I'm using sap green, and will give the first
layer to all the bushes. [MUSIC] Now I'm using just
a little bit of ultramarine violet or
any purple that you have to just give the lower part of the land structure to
create a little bit of depth. [MUSIC] Now I'm taking burnt sienna and working
on the roof of the houses, we'll lead to move slow on this part because they
are smaller structures. We need to study
these structures. How these elements are, where the light and reflection is so that we give
that beautiful, realistic look to
the houses section. [MUSIC] Now I'm creating a deeper mix
by adding burnt sienna with ultramarine violet and adding all the small details
of the houses, the reflection and
adding some depth. One tip over here is
whenever you want to add a deeper color
of the same shade, mix that color with purple or ultramarine
violet as I'm using, whether it's green
or blue or brown. Whenever you mix purple with it, it's going to create a
deeper shade of that color. [MUSIC] Now use cobalt blue
or ultramarine violet and add a little bit of
depth to the bushes. I'm adding a little bit of depth below and to the left side to create this nice fluffy
look for the bushes. [MUSIC] Now I'm going to
work on the tower section. I've moved my hand so that I'm able to
create a clear line. You can move your paper or move the direction so that you
can get clean lines over here because I'm going to
be particular to create that beautiful stiff
look of this tower. [MUSIC] In this section where you
have to create clean lines, if you do not want to
do it with the brush, feel free to use a
fine liner or a pen and draw out these lines
as straight lines. Because these are
man-made structures, I'm okay to use like
a scale or a pen. But if they are natural
structures like hills I don't recommend ever
using a scale over them. [MUSIC] Now that I've added some detail, what I'm going to do
is I'm going to use this mix of burnt sienna
and Payne's gray just to the right side to give that structure a 3D
structure to the top. Now I'm using my mix of Payne's gray and
ultramarine violet and moving back to the
lower part of the land. I going to draw
out lines which is the fence to give all
the details to it. [MUSIC] Now I take a step
back and look at my painting and take
a deep mix of Payne's gray and see all the
sections where I want to add just a little bit
of a highlight or details. In every painting,
towards the end of your painting I
recommend you moving one step back and see where you want to add just a
little bit of details, a little bit of highlight. This last step brings
your painting alive. Because even smaller
lines that define certain structures really adds a lot of robustness
to your painting. [MUSIC] Now when I look at my painting, I feel something is missing. I'm going to take a
deep mix of cobalt blue and Payne's gray and
go back to my hills. The reason I'm putting
more color or pigment to my house is now that
the land part is over, I want to create much
more of a contrast. How do I create this contrast? I make my hills deeper in color. This is a dry on dry technique
and just go over it. You can look at your
painting if you're happy with the way it
is, just leave it. But if you feel like you want
to create more contrast, go ahead and do that. [MUSIC] Even in the lake section, I'm going to use my size 10
brush and just with the tip, very quick strokes of some lines just to create a beautiful
movement in the water. Now I'm using my blue
color brush lettering, pen, and writing out
the word Austria. Like I mentioned
in the beginning, feel free to leave this section if you just want to look as a
beautiful landscape. [MUSIC] Now, with my 0.5 fine liner, I'm going to go in certain
structures and just add a bit of detail so that it looks like clean
structured lines. I'm really happy with the
way this painting came out. Moving to the satisfying part of removing the masking tape
and signing your painting. I hope you enjoyed
traveling to Austria, and I'll see you
as we traveled to the next country in
the next lesson.
8. Day 4: Antartica: Today, we travel to the
southernmost tip of the world and the least
populated continent, Antarctica. What I love about this
painting is it's going to teach us to create
different shades of blue, almost a monochromatic style. I start with a drawing where I mark out the large structures. To create this cute
little penguins, draw an oval and then create
the head and the legs. You have the reference image to your left and also in
the resource section, so do draw along. [MUSIC] Writing the word Antarctica is
completely optional. If you want to leave
this as a landscape, feel free to miss this step. With the sky, I'm using a wet-on-dry with my
mid-size size 10 brush. I take turquoise blue and put it towards the top
part of the sky. Then I take clear water in my brush and pull that color
towards the bottom part. What this does it creates
this beautiful gradient. When you move closer
to the hills, see that you use the tip of your brush so that
you don't bleed in. While your paper is still
wet from the first layer, take a little bit
of cobalt blue, a deeper blue, and add
clouds to the sky. Over here, just use the tip of your brush and do
quick movements. To add that puffiness
to the clouds, I'm using ultramarine violet, but over here also, please see that your
paper is at least semi wet for you to get this
soft look to the sky. To paint the icy ocean, we'll use a
wet-on-wet technique. I've taken my largest
size 16 brush, loaded it with clear water, and adding a clean, clear layer to the ocean. When you come towards
the penguins, use the tip of your
brush so that you don't overflow
into the penguins. Now I'm going to
load my brush with turquoise blue and add it to the section
that's already wet. Because the section is wet, you do need to add
paint to every inch. Let water do it's
magic and just add a little bit of color and let the rest of
the colors spread. Towards the bottom part, I'm adding turquoise
blue and cobalt blue to create a deeper blue. As a second layer while
the paper is still wet, use a mix of cobalt blue and turquoise blue and add it
just to certain section. Over here notice I'm just using the tip of my brush
and I'm doing quick strokes to give that
movement in the ocean. [MUSIC] Now I'm
moving to the land. I'm still using a mix of
turquoise blue and cobalt blue, but I'm using a
smaller size 10 brush. This is a dry-on-dry technique where I have a
lot of pigment on my brush. Go slow over here, so you can give a
little more structure. Here I'm using three colors; Payne's gray, cobalt
blue, and turquoise blue, to give that definition
and depth by using different
tones in my colors. [MUSIC] The way we are
going to give the look of ice is to leave the paper white. When we are painting
the bottom section or even the hilly section
which has ice, we're going to just
leave the paper white. I'm going really slow over here, even towards the land section, but I'm going to add very less blue and leave the paper white, so it looks like
it's ice. [MUSIC] [MUSIC] With the
icy cold mountains, we'll use a wet on dry technique where I've
loaded my brush with pigment, but also with water, and then go through it on the
dry section of the paper. Use clear water to pull your
color as in when required. For the mountains at the back, which have a lot more ice, I'm going to use my size
10 midsize brush and very lightly go over it with the cobalt blue and leave a
lot of sections white. The reason I'm doing
this is so that we can get this look of icy mountains. The technique I'm using here
is only having pigment on my brush and then doing quick strokes so
it gives it rough, uneven look where you can see a little part
of the mountain, but you can also
see a lot of ice. We'll go over this section
with a few more layers. But for now, this is
how it's going to look. Let's give another
layer to the ocean. I've loaded my brush with turquoise blue and
I'm just going to add it to a few places to
create the depth in the ocean. Over here you can
see that you're getting this rough, uneven look. How you do that is
you put a lot of pigment in your brush and
you create quick strokes. For the thinner lines, a brush is at a 90 degree angle. Towards the lower
half of the ocean, you'll not see as much a white, you'll see more color. That's how I'm approaching
this entire section. As I wait for the
bottom part to dry, I'm going to go
back to the hills. Now I'm using a
little more pigment and I'm using
ultramarine violet, which is basically
blue mixed with red and giving depth and structure to the
mountains above. But even then, I'm being careful to leave a lot of
the sections white. For the second layer
on these ice blocks, I'm using Payne's gray
and my mid size 10 brush. Similarly, in the
bottom section, I'm just using Payne's gray as a dry on dry
technique as my paper is currently dry and going out and marking some details
and giving some depth. Always take a step back
in your painting and see which other sections you
want to add more depth and which sections you'd
like to leave as is. Now we paint the cute
little penguins. Here I've taken a mix of
Payne's gray, burnt sienna, and red to create
a black and I'm using my smallest size 6 brush. Very carefully,
you first mark out the black section of the penguin and then
paint inside it. I see a little bit of Indian
yellow on the penguin, so I'll just go ahead and add that of the penguin and to
give it that roundish feeling, I'm taking a very diluted mix of turquoise blue and just
adding it to a few places. Don't overdo this section because you want the
penguin to look white. But they are just the shadows of other things in the
penguin itself that you're painting
on the penguin to give it that round look. I'm quite happy with the way
this painting has come out. It gives me this cold
feeling of Antarctica. But I see the certain places I would like to add a
little more detailing. I'm using either Payne's
gray or ultramarine violet and just going over a few
sections to add some depth. Look at your painting, see where you want
to add that depth. If you're happy with the way
it looks, don't overdo it. Similarly, I'm taking some
turquoise blue and going over the icy ocean section and adding a few highlights and
details just to a few places. Now I'm using turquoise blue and my brush is filled
with a lot of pigment and hardly any water
and I'm just going to add quick strokes
of reflections. These strokes are
going to look like triangles and they're going
to be very quick strokes. Now mixing ultramarine
violet and cobalt blue, I'm going to go over the peak of the mountains and
add a little bit of structure over there. Now I'm not taking
any new color, whatever color is
there in my brush, I'm just adding a little bit of it to the body of the penguins. We also traveled Antarctica. Now I'm having some
major wanderlust. Completing this painting with writing Antarctica with
my brush lettering pen. As I've been mentioning, please feel free to skip this step if you want it to
look just as a landscape. Because I have a faint
heart of an artist, I'm going to quickly use
some Payne's gray and add a little bit of depth below before I remove
the masking tape. Always remove the
masking tape towards the outside so that you don't
tear off your painting. Now sign it and take a
few minutes to just enjoy the icy cold mountains and oceans of Antarctica and
the cute little penguins. Join me as you travel
to the next country.
9. Day 5: Netherlands: [MUSIC] Today we travel
to the land of windmills, cycling routes, and tulip
fields, Netherlands. I start the drawing with
doing the horizon line, which is the line that divides
the land from the water. You can see the reference
image on your left. Then I mark out the
larger structures, like I've marked out
the grass below. I'm now drawing the windmill. We will be doing the windmill in slight detail so that when we come back to
it with our painting, we know exactly how
to go about it. Now, that we've
drawn the windmills, I'll just add a few birds very lightly so that at the end, when I come back, I know
where to place them. Now, we're going to use
a wet on wet technique. I've taken my size 16 brush, loaded it with clear water, and I'm adding a clear layer
of water on the sky section. When you come towards the hills and towards
the windmills, use the tip of your brush so that you don't
overflow into them. Now, I'm going to
take a little bit of Indian yellow and put it towards the top and then use clear water and pull
the color below. I want to create this
beautiful sunset gradient sky. The deeper shades are
towards the top and the lighter shades of the
sky are towards the bottom. Now, when you paint
around the windmills, use the tip of your brush
and be little careful so as to not let the sky
overflow into the windmills. Now that I've already
put my yellow ocher, I'm going to take ultramarine
violet and put it towards the lower half to create that
beautiful sunset effect. I'm also taking a
little more pigment to add a bit of clouds. Now, what you need to remember
here is you need the base of your paper to remain wet
while you put this color. Only then will it
beautifully blend in well. Use the tip of the brush
and see that we have very little pigment when
you're creating the clouds. Note that my paper is still
wet and I'm adding just a little more of Indian yellow to create a little
more depth in the sky. You look at your painting, if you're happy with the
way it looks right now, then you may leave it as it is. But if you feel like it needs more depth, go ahead and do it. If your paper is completely
dry, don't do this step. Now, moving towards
the grassland. I've taken sap green and notice the way I'm
holding my brush. It's at a 90 degree angle and I'm putting
pressure and releasing. What I'm trying to do here
is create quick strokes, where the thinner part of the stroke is towards the top to give that lovely
raw grass effect. Towards the bottom, you can
take the broader part of your brush and even
out the color. But towards the top, see that you have
more defined stroke. For my second layer, while the grass is still wet, I've taken cobalt blue and I'm repeating the same
process where I'm putting pressure
and releasing and the thinner top part of
the stroke will be on top. Try it. It feels so good when you see the
eventual output. Don't worry, this is nature so it just
needs to look natural. It doesn't need to look perfect. Now for the grass on top, I'm mixing sap green, turquoise blue,
and Indian yellow. You mix any green and yellow you have so that you create
a lighter mix of green. I've shifted to my smaller
size 10 brush and I'm just evenly putting out layer on the top
part of the grass. The first layer is done. I'm going to mix a deeper
green where I use more of blue and less of yellow
and add the second layer. In the second layer, don't cover the
entire grass section, but just a little bit so that you have those beautiful light, dark tone and the light
which is the sun, is coming from the
left-hand side. So that's why the right-hand
side or bottom side will have deeper colors and will give a more robust, deep look. Now it's semi dry, so I'm taking the same mix. You can also add a little bit of blue to give that
third deeper tone. I'm just adding green
in a few places. Look at your reference image, look at how I'm painting, and then you take
a call on where you would like to add
the deepest layer. Now I'm using same color mix, by taking my thicker
size 16 brush and giving some deeper
strokes to the grass below. Similar to how I had done
the first two layers, I'm going to put
pressure and release. See that your brush is it at a 90 degree angle so we have those beautiful grassy strokes. The river, is a reflection of the grass so it's
going to be green. Here I'm using a wet on dry technique because
there's very little space. My brush is currently
loaded with a lot of clear water
and very less paint. You want this
section just to have one or two layers to
maintain that transparency, to give you that water effect. What I'm doing is just taking
a deeper layer and just adding a little bit of
reflection where I see it. Now take a step back and see where you want to
add the deeper shade. So now I just have
Payne's gray in my brush, which is a really deep
blue and I'm just adding it to a few places
to give that depth. Now I'm shifting to a smaller size 10 brush
and taking burnt sienna. I'm painting the
windmill section. This section is going to be a dry on dry section
where I'll use a lot of pigment and my paper is dry because this section
is what I call tight, as in the water is
not easily flowing, be slow in this
section and enjoy it. And remember, your output will be very
different from mine. That's great because that will
create your unique style. Even if I paint this again, it's going to look
very different so just enjoy what
you're painting. I'm still using burnt sienna, but more pigment and less water, and giving depth and details
wherever I see them. So for any structure to
look three-dimensional, you need to take one
side which will be in the shadow and one side
which will be in the light. The side which is in the shadow, will always have a second and a third layer to
give it that depth. What I'm going to do in this windmill is
towards the left, I'm going to add a
little more depth with burnt sienna. [MUSIC] [MUSIC] Now that two layers have been added to
all three windmills, I'm going to add a third
layer of burnt sienna itself, but using more pigment
and less water. Now when you do
your third layer, you just add it
where you want to add depth and not everywhere. Your first layer is a base layer which covers the entire section. Your second layer
covers even lesser, where you see a little shadows and to create little depth, and your third layer
is the detailing. [MUSIC] For the blades in the windmill, I'm using my smallest
size 6 brush, and I have mixed
Payne's gray or mix any deep blue with burnt sienna. Go slow and try to draw
as thin lines as you can. If you're not
comfortable right now, you can also use a
fine liner over here. But I do suggest
using your brush and getting comfortable with drawing thinner lines with your brush. [MUSIC] With the same color mix of burnt sienna and Payne's gray, I'm also going to
add a little bit of highlights and depth
wherever I see it. Take one step back
from your painting, look at your reference image, look at my painting, and then see where you would like to add a
little bit of them. If you are satisfied with
how your painting looks, you don't want to add depth, that's fine as well. [MUSIC] Repetitive strokes can
be very therapeutic. Enjoy this section, switch off your mind and just continuously do these strokes. [MUSIC] I'm happy with the way
the windmill looks, and I'll come back to
it after it's dried. Till then let's do the birds
with a few quick strokes. Same deep, burnt sienna with Payne's gray is what I've
used for the birds. Now I'm going back to the
sections where I want to add a little depth and
I'm still using burnt sienna and
Payne's gray mix, and I'm going to do
a few touch ups. Note that my paper, especially in windmills section, is now completely dry. So whatever color I put
is not going to flow, it's going to remain there. [MUSIC] Is my painting done? I think not. What I'm going to do is I'm going to
take Payne's gray, which is like a
really deep blue, so take a deep blue, and just add it in the sections I feel need
a little bit of air. Now that my painting is dry, I know where I want to add
this just as a few highlights. What you do is
take one step back from your painting
and see whether you want to add these
highlights or you're happy with the way your
painting currently looks. I think I'm really
liking it now. To give a stamp style
look to my painting, I'm going to write
Netherlands and use an orange brush lettering
pen to go over it. But if you want to leave your
painting as a landscape, please feel free
to miss this step. Tada, you just
travel Netherlands. Go and pull out
that masking tape, and always pull out
the masking tape towards the outside so that
you don't tear your paper. Sign your painting, and enjoy the memories
of Netherlands. If you like, you can go
in with a 0.5 fine liner, and in the windmill section, you can just add a few highlights and details
for it to look crisp. Loving the look
of this painting, and join me as we travel
to the next country. [MUSIC]
10. Day 6: USA: [MUSIC] Since I've seen
enough Hollywood films, the Grand Canyon is
definitely on my bucket list. Let's start drawing
with the horizon line. You can see the reference
image to your left, and it's also in the
resource section, so please do draw along. Give yourself 2-7 minutes to draw and just mark out
all the large structures. Since this is a desert, just mark out the land
which is the road, a couple of cactus, and the mountains behind. To give the stamped style look, I'm writing the word
Arizona behind, but please feel free to skip this step if you want it to
just look as the landscape. After traveling to
all five countries, I'm going to let you paint
the sky as you look. Simple steps, to a
wet on wet technique, use turquoise blue, pull the water down and with the tip of your brush
just add a few clouds. Go ahead and try it on your own. For the first layer of the
entire desert topography. I'm going to use a mix of burnt
sienna and Indian yellow. As you mix color, you'll already see
a little bit of variation and that's
why I keep encouraging my students to mix
colors instead of just buying a 48 color batch and just using specific colors
for specific things. Use fewer colors
between 6-10 colors, and keep mixing them. Continue this wet on dry technique to the rest
of the desert section. The beauty of using wet on dry over here is that
you are able to pull the color to the entire space where you want to have
that desert look. Now let's wait for
that section to dry. Till then let's do the road. I'm using the mid-size, size 10 brush and to
create this deep mix, I've mixed Payne's gray
with burnt sienna. If you don't have Payne's gray, just use any deep blue
that you have like a cobalt blue with your burnt sienna and it'll
give a much deeper look. To avoid my color
from overflowing, I first mark out the outline
and then paint within. Now that we've finished
the first layer of the road also, I'm using sap green and my smallest size 6 brush to paint the first layer
of the cactuses. Now, for the first layer of the hills that are
there at the back, I'm going to use only a mix of Indian yellow and lemon yellow so that I can
create that contrast. It's very light so it looks like it's for
this [inaudible]. Now, let's paint
the second layer. For the second layer, I'm using my mid size 10 brush. I've mixed burnt
sienna and red to give that fresh kind of a look to this section and I'm just
giving out certain details. I'm not painting over it, but just looking at
the reference picture, see where you want to add all the structure to the
mountains behind. [MUSIC] [MUSIC] Similarly let's move
to the topography below, and with a mix of burnt
sienna and read just added in certain sections to
give character and depth. To paint the little
rocks in the desert, mix Payne's gray with burnt sienna to create
a deeper burnt sienna. Just add it to a few
places where you can see anyone to give that character
to the desert topography. For the second layer
of the cactus, I'm using my smallest
size six brush. I'm taking Payne's gray and
marking out the details. I'm just drawing thin lines and the lines are not straight, they're moved into curves to
make it look like a cactus. All your cactuses don't to
have the same structure, so you can do something a little different
on other cactuses. Like over here, I'm not
simply drawing lines, I'm first giving
it a little bit of shadow and then just adding
with the tip of my brush, adding a few dots in lines so that it gives a
different shape to the cactus. Continue with the other
three cactuses and mix the shapes of the
cactuses as you like. The best color to use for
shadows is ultramarine violet. I'm using this color and where
I want to add a little bit of rough land surface or where I want to
add the shadows, I'm going ahead
and adding there. Just do a few places and with
my smallest size six brush. For my third layer, I'm using a mix of
ultraviolet and burnt sienna and adding a little
bit of depth and character to the
mountains above. Take a step back, look at
your reference image and wherever you feel you want to add a little bit of
depth and character, add a third tonal variation. Now for the side of the road, I'm taking Indian yellow
and just a hint of red, to create that color contrast
and paint that section. The reason I'm coming
back to the end is because the color beside
it is already dry, so I have no risk
of bleeding in. This is a dry on dry technique, so the paper's dry and you're
putting dry color over it. To create the
contrast of the road, I'm going to go in and add a very deep mix of Payne's
gray and burnt sienna, and evenly put it
out for the road. This will help
create the contrast between the road and
the desert topography. I'm pretty happy with the
way the desert has come out. I'm going to take a step
back and wherever I feel, I need to add a
little bit of depth, I'm going to go
ahead and do that. Look at your painting, see where you want to add depth and add it to only
those sections. Again, to give a stamp style, I'm using my brush
lettering pen, and writing the word Arizona. If you want to skip
this step and just have it as a
landscape, please do. The most important ingredient of a good painting is
that you enjoy it. Enjoy every step of a painting. It doesn't need to look like my painting it needs to
look like your painting. I hope you enjoy
traveling to Arizona. Go ahead to the
satisfaction of pulling out the masking tapes
and signing it. Join me as we travel
to the next country. [MUSIC]
11. Day 7: Canada: [MUSIC] Let's take out our yellow
quintessential raincoats as we travel to the
Niagara Falls City. I start the drawing with first marking out
the large section of the falls and then drawing and detailing
the structure below. You can see the
reference image on the left and also in the
resource section below. Go ahead and start drawing. Now I'm writing the
words Niagara Falls, which I will come
back and letter, so that this looks like a
beautiful stamp from Niagara. Let's move to the painting part. I've loaded my brush with Indian yellow and
I'm using a wet on dry technique where I use clear water to
pull the color down. Notice that when I move
towards the waterfalls, I use the tip of my
brush so that my sky does not bleed in to
the waterfall section. Now I'm going to take
more pigment, less water, and use the tip of my brush at some depth in the sky
and give a cloud effect. For the waterfall, I'm
going to use a wet on wet technique where I've wet the entire section
with clear water. Now I'm taking turquoise blue and very lightly with
the tip of my brush, I'm moving from the top section
of the waterfall to down. Why I'm doing this is
I want it to look like this gush of water that's coming from the
top to the bottom. Towards the bottom,
I want to look like those puffy clouds
that are created. Go slowly over this section, but not too slow that
your paper becomes dry. Over here, we're going to use many layers till we are satisfied with the
way the water looks. Because these are water, you will need to leave a lot of this section just
the paper white. Over here, please use your
own intuition and get that right balance
between adding this beautiful turquoise blue and leaving the paper white. Every time you add color, add very little color
because the color is going to spread as your
paper is already wet. Only if you leave that white section will
it look like a waterfall. Over here when you add pigment, let the pigment flow. Since it's a waterfall
and it's nature, it just needs to look
natural, not perfect. I'm happy with my first layer. I'm going to take a
smaller size 10 brush and do the second layer. What I'm doing here is just adding turquoise blue
as in where I see it. Notice that my paper
is not completely wet, but it's semi-wet, and that's why the water color
is being able to spread. I'm really liking this
waterfall effect. It feels like
you're almost there and you can feel
that gush of water. Now we'll move towards the land and then come
back to the waterfalls. For the land, I'm taking burnt sienna and this is
a dry on dry technique. My paper is dry and I'm
using a lot of pigment. To create and give that
depth to the land, there are two colors
I'm using here, burnt sienna and Payne's gray. My base color is burnt sienna and wherever
I want to add that depth, I'm adding Payne's gray. Towards this top section
that I'm currently doing, see that you have a lot
of pigment in your brush. Similarly, using
the same colors, burnt sienna and Payne's gray, paint the roof and
the entire structure. Go slow and enjoy the spot. Whenever you're
doing a dry on dry, you can go slow and
do it at your pace. But when you're
doing a wet on wet, like we did the
sky and the water, you'll need to move faster because you want the
paper to remain wet. In this section where
the people are standing, I've add a little pigment, and now I'm using water
to pull that pigment. Be a little careful over here because you don't want to
paint over the people. Since people are in yellow, you will need to
come back to it. If you cover the people
with burnt sienna, you will not be able to
put yellow over that. To create black, I mix three colors. Payne's gray, burnt
Sienna, and read. When you mix these three colors, you get something that's
really close to black, but not yet black. So it has this beautiful
color mix to it. I always encourage mixing color. To get this mix right, you'll need to try it
a couple of times. Try mixing that color
separately and try it on a separate piece of
paper before you actually put it down on
your painting. [MUSIC] To do the detailing, now I'm using the
smallest size 6 brush and just going over
all the lines. Again, if you're not
comfortable using a brush, you can use a 0.5 fine liner. But I encourage you to start
doing finer details with your brush because that's the best way you'll get
comfortable with it. [MUSIC] With the same mix
of burnt sienna, Payne's gray and red, I'm going to go over the roof
and the bottom section to give it that row look and give some
depth to that section. Look at the reference image and see where you would
like to add this. Now I'm moving to the fence. I'm using my smallest
size 6 brush, and I'm just using Payne's gray. Very carefully,
I'm going to mark out the area that has the fence. Now I'm using burnt sienna to add the shadow of the fence. Shadows always give that
three-dimensional effect and depth to any painting. Once you finished any section, always look at it again
from a shadow lens and see where you can add shadows in that painting
or in that section. You remember that
raincoat you took out? Now it's time to make
the people wear it. Take some lemon yellow, and add it to the people. Pick some burnt sienna and don't miss adding
a little bit of shadow to the people who are so engrossed in looking
at the Niagara Falls. Now I'm mixing Payne's gray, burnt sienna, and red again, and just adding a little bit of detailing to the structure
that we painted. Now I'm loading my brush
with just burnt sienna, but it's heavy on pigment
and doesn't have much water, and I'm going over those structures section
to see where I would like to add a little bit of burnt sienna to
create that depth. Now I'm using my smallest size 6 brush and the
black mix that we created to just give that illusion of those
steps over there. There's no need to do
too much detailing, but just draw a little bit of lines so that you understand that the structure feels
complete with this steps. As I take a step back
and look at my painting, I feel the railing section and the people need a
little more definition. Using my same mix
of Payne's gray, burnt Sienna, and red, I'm going to go in and give a little more shadow and
deepen the railing of it. But don't go over everything, just a few parts
of that railing. Now for the final layer
on the waterfalls, I've gone back to my
largest size 16 brush. I've loaded it with
turquoise blue, and I'm adding the
clouds below where all the water has
come together and gushed up that looks
like a big cloud. I'm also just on the waterfalls
section going to go in and just do a few places
with tip of my brush. I'm going to add a little bit. Over here, see that
your brush has a good mix of water and pigment. Watercolors is all
about mastering the amount of water and the amount of pigment that
you hold in your brush. In this section,
see that you have a good combination of
water and pigment. Just use the tip of your brush, the side of your brush to
add a little bit of detail. Don't go overboard over here, your painting
already looks good. If you're not comfortable
using a bigger brush, use a smaller brush and add
a little bit of detail. Now I'm quite happy
with the waterfalls. I can almost feel that water. I'm going to go over
and wherever there is a little bit of
shrubs and grass, I'm using sap green with
my midsize 10 size brush, and I'm just going to
add it to a few places. Now I'm taking a tissue
and just lifting off some color from
the waterfalls. It's a great way to show
more of the paper white. For a final touch, I'm using white gouache, and adding it to just a few places where
you have the little bit of white highlights of the water in-between all the larger
gouaches of water. Now I'm using my black
brush lettering pen, and writing the
word Niagara Falls. Again, if you do not want to
do this step, don't do it. But it does give a
beautiful stamped finish, especially when we add
the stamps at the end. I feel it's a little empty, so I'm using my
smallest size 6 brush, using Indian yellow, and just adding a few words to create that character
in the painting. Now, remove that masking tape, sign your painting and give
yourself a pat on the back. Because ironically, painting water in watercolors
is quite challenging. Enjoy what you've created, and I hope you enjoyed traveling to seven countries
through your paintings.
12. Bonus: Stamp Style + Photo : [MUSIC] To give a
stamp style look, I will need two things; cutting the edges and adding stamps randomly
to my painting. Let me show you how. I bought these stamps
from Itsy Bitsy, and I'm using this Archival Ink. All you need to do is wherever you can source
them locally from, buy these stamps that get more
of stamp-style of a look. Take them on a stamp, use Archival Ink, and then randomly stamp
them over your painting. I've already completed
stamping them on my painting, so I'm just showing you on a random piece of
paper on how you can go about this. Then I'm using this
zigzag scissors and just cut the edges of your
painting with this scissors. Or if you don't have
these scissors, you can just keep plucking
the edges a little bit to give a rough and jagged
look to the edges, which will give that appendix
stamp style of a look. To create a beautiful
composition for a photograph, use whatever you have at home. This is my father-in-law's
Atlas from when he was a kid and I basically
found in the attic. I've taken that out to give this beautiful
oldish, vintage look. Whatever you have
bring them out, place them well in
order to take a photo. I've placed this vintage
Atlas and I've got a lot of post cards from
when I used to send post cards to strangers
from around the world. I've placed them to the left. I found these beautiful
little alphabets at [inaudible] you need
to just find whatever you can around your
home that will give a little bit of personality
to your photographs. Like this compass that I found. So anything from your father or grandfather or
grandmother's local. Then add a little
paint on paint brush, place your painting right at the middle and this
is the composition. You don't need to
use the same things. But just the tip is to find these little things
at your place. Place them in the middle and
take a photo and you'll see how much personality it gives to each of
your photographs. It's just that simple. I hope you create
these paintings, create beautiful
compositions and photographs or paintings, post them on social. Please do remember to tag
me @quirkykhadz. [MUSIC]
13. Final Thoughts : [MUSIC] Thank you
for taking my class. Hope you feel motivated
and confident to paint and travel to more
countries through your art. If you have any questions, please ask them in
the discussion panel below I will be sure to reply. I look forward to see
your paintings every day in the project section below. If you post them
on social media, please do tag me @quirkykhadz and I'll be sure to share them
in my stories. Don't forget to leave me
a review on this class, it will help me to
reach more students and keep me motivated to create more such classes
for you [MUSIC].
Khadija Karachiwala, Watercolour Artist
