Watercolor Meadows - A 5 Day Challenge to Level up your Watercolor Skills

1. Hello & Welcome Back: Painting is the silence of thought and the music of sight. It's just another way of keeping a diary. Need to paint is a few tools, a little instruction, and a vision in your mind. Painting is self-discovery. Hello everyone. I'm mashed it. A perio, an artist, an art educator, and a creative business and Premier. You can find me on Instagram under the handle, creating from the heart where I share my journey with journaling supplies, handmade phone cases, vintage frames, and my other artworks as well. Hi, welcome you all to my new Skillshare class on painting meadows with watercolors. In this class, we'll be exploring five different videos and creating each one over the course of five coming days. Do not be overwhelmed. If you are a beginner with watercolors, we will be diving first into the materials that you would be needing throughout the class. And then we'd be going into the details of each class project for the coming five days. I'll be sharing everything in detail for each class project from each stroke, how we laid out the colors that we'll be using, the color mixing that you can create if you do not have the same color tones. And then walking onto creating on the five beautiful meadows, I'll be sharing the reference image as well and how I selected my references. And then you can see the difference in the reference and what creation we turn it into. If you are someone who's looking to level up your watercolor games, then join me into this class and paint along these five beautiful meadows from the reference to the final painting, creating our own sunshine, along with a little hint of the flask. So without further ado, I'll see you guys in to the next lesson of this class. 2. Materials Required: Before moving further into the class project for day one, Let's have a look at the materials that you would be needing. I'm going to be using this handmade sketchbook from my store, which is made of Archie's 300 GSM, 100% cotton paper. This is the same sketch book that I had used in further 12 days monochrome class series. This is completely hand bound using the Archie 300 GSM hundred percent cotton paper. This is a little rough grain textured paper, but it's actually a cold pressed paper. You can have a close look at the texture of the paper despite being a cold press paper and the thickness that is 300 GSM. You can go ahead with any paper which is at least 300 GSM, 100% cotton. In case if you're going with a paper which is not 100% cotton, you will have to make sure that your paper stays wet for enough time for you to create it. I can use both the sides of the paper while working with such a thick paper. This is about the paper that you will be needing in the next material that you would be needing watercolor paints, I'm going to be using in this Magellan mission watercolor set, which I already have squeezed out on the palette and I will be using the shades from these. Do not worry if you do not have all the sheets, I will be sharing the details of each shape. Apart from that, you would be needing in white gouache as well for adding in some details and creating in some opaque colors. Next to you would be needing the masking tape to tape down your paper for each of the class project. Apart from that, you would be needing some basic stationary like a pencil eraser, tissue papers or some cloth towels so as to dab your paints and brushes for getting in some texture effects as well. Lastly, you would be needing in some brushes. Now you may not need so many of them. I will be sharing which crashes I will be using, which is majorly going to be one flat brush, round brush, and one detailer brush, which are all natural hair brushes that I will be using it you can even use in synthetic brushes. And lastly, you would be needing two jars of clean water for each class project because we are going to be working in with a lot of details creating in each class project. So these are all the supplies that you would be needing for the five days. So grab all of them and I will see you guys into the next lesson, which is going to be the class project for the one. So grab your materials and dive into the next lesson of this class and begin painting your watercolor medulla. 3. Day 1 - Mountain Meadow - Part 1 - Sky: Let's begin in with our class project for d, one of these five D, watercolor may lose challenge. I'm going to begin in with a pencil sketch. I have broken down each class project into different sections, so that is easier for you to follow along. As we discussed this class projects are going to be analytical, detailed manner, which will take a little extra time for you to get in all the details and level up your watercolor game so as to not make it overwhelming, I have split each class project into different sections so that you can easily go along and create in the class project. Now I first added in the mountain range and now in-between the mountains as well. I'm just adding in a small area which we are going to be giving in lush green details out there. Mountains are also going to be off the green details with different color tones of the green color creating in the details with the dry brush technique. So this little part in-between is going to be darker green. And then on the mountains we'll be adding in the dry brush details with the darker tones, feeding in different textures on the mountain as the top area over the mountain is going to be the sky space and the bottom is going to be the middle that we'll be adding in. Now, this darker part that I've created, we are going to be adding in most of the dry brush, giving it a little darker area. Now the colors that we need for this class project, I will keep sharing one-on-one. So basically for this tie, you would be needing more of the yellow, orange, and brown tones, The mountain ranges and the bottom space you would be eating the green and the brown tools. And then finally, for the floral effect we are going to use in the yellow and the orange tones. Now first I'm beginning with a layer of water out here, and I'm just going ahead into the sky space. But the layer of photo, make sure you do not add the water and the rest of the space is you just need to add the water in the sky area first. Do not even run into the mountain range. So go ahead very slowly. In case if you're using a paper which is not 100% cotton, then make sure that you leave it to you, But wait for it to dry approximately 50 to 60 per cent and then re wet your paper again in that way your paper will stay wet for a little extra time, letting your work wet on wet, giving him the details in each of those pieces of our painting step-by-step. So you can see despite I'm using 100% cotton paper, I'm running my brush multiple times so that my paper stays wet for enough time for me to get it getting all the details Dan and right. So the first color that I'm going ahead with is the yellow orange color. Now in case if you do not have the yellow orange color, you can just mixing a little bit of your yellow and the orange tint. I will try using as much as possible the basic color palette so that even you can follow along very easily. Going ahead with this yellow, orange color layer very closely towards the mountain range, marking out the shape of the mountain carefully so that we do not run into the mountain area. Now next I'm going to pick up a little of a light reddish tone, or you can even pick up a raw umber color. I'm mixing a little of the rumba with a little bit of the light jet tone, you can even mix in a little tin two of the bonds here, not very little, not much. So using the raw umber color, I'm beginning to add in the details at the top of the sky. Now you can see in the raw umber color, the water content is quite low. I just dip my brush in water and just activated the paint. And after that, I haven't added any water. So using this raw umber color, I'm just beginning to add in strokes over the yellow, orange color as well, creating in the cloud effect. Now next I've lifted a little bit of the sepia color and I'm beginning to add in little highlights with the sepia color. Now again with the sepia color as well, you can see the water control. I haven't picked up much of the water because of fish. The paint is spreading in very easily and I'm just able to add them as the highlighted space. They are not spreading and blending with the yellow or covering the yellow space. They are staying at the space where I'm just adding them with the brush. You can see the shape is also reading just that. They have a beautiful soft edge, well blended look with the base layers as well. Now next I'm just going to squeeze out a little bit of the Payne's gray color and begin adding in some highlights with the Payne's gray color. You need to make sure that your paper is still stays wet. My paper is still wet. I'm still working wet on wet. I'm just going to squeeze out a bit of the White Nights or Payne's gray color because the Magellan mission set does not have a Payne's gray color. And I absolutely loved the Payne's gray consistency of the White Nights set. So I'm just going to begin using the Payne's gray color and begin adding in the highlights. If you want, you can first have a look at the entire part, one that is going to be just the sky part and getting all the colors ready and then go ahead painting in your sky. Now using the Payne's gray, I'm going to begin adding in little highlights. It's going to be quite less. With every color highlight that you're adding in. You can see we are making sure that the colors are still visible. So you need to be sure that you add the palace in such a way that the previous year's colors that you've added still remain visible. Otherwise, it would make no sense adding in the base colors first. So you need the whole layers on layers. Now using the Payne's gray itself, I'm just adding in little darker depth as well. Now next time lifting a little bit of the vermilion color. If you do not have a vermilion color, you can go ahead with the orange tone or any other reddish orange tone. To that, I've added very little tinge of the bond sienna color to give it a brownish orange tint. And now using this, I'm just going to begin at adding it closer to the mountain range, but this is a little darker as of now. So I'm just going to lift up a little of this enlightened up little off the top. This is the last layer of color that we're adding in your and I'm just going to lighten this up and blend it. Well. I'm just going to add in little highlights with the orange-ish brown color at random places. And then wait for the sky to dry out and move ahead for the ones the sky dries out completely. So with orange color, you can see I'm adding in very little highlights and MoMA's Gianni closer to the mountain ranges. Only. I'm not taking it much towards the top of the sky. I'm just keeping it closer towards the borderline of the mountain ranges to show in a little of the sunset effect. You can see I've lighten the color effect as well so as to give it a little lighter and wherever needed, I'm giving it a little bit of the overlap with the brown tones again as well. I'm just adding in a little bit of the brown tones closer to the Payne's gray details because I feel it's looking a lot of Payne's Grey, so just a little highlight of the darker sepia brown color out your very little, not much. And now we're almost done in with the sky. So as I told you, each level, we are going to create a lot of depths, lot of details working step-by-step so as to get into details right now I'm just going to lift up a little color closer to the Payne's gray and creating little lighter effects as well, showing in the perfect sunset effect. So that is it. We are ready with us sky. We need to wait for it to dry. And in the next lesson, we'll move on to the next part, that's the mountain ranges, to see you in the next lesson. 4. Day 1 - Mountain Meadow - Part 2 - Base Layer: So my sky is completely dry it and now I'm going to begin in with the mountain ranges. So as I told you for the mountain ranges, we are going to be going ahead with the shades of green. I'm going to be using in different shades of greens, sap green, yellowish green, olive green, Hooker's green and vending machine. Now, you do not have so many of the drains. You can just use a light green color, dark green color and green color. Now in case if you do not have a light cream color, you can mix in a little tinge of yellow to your salary. If you do not have a darker green color, you can just mixing a little bit of your brown to your regular green. And if you do not have a vendor green color, you can simply mixing a little bit of the Payne's gray or black to your green, but very little. First-time beginning in with a little bit off the olive green color onto the right side mountain. I'm mixing in a little of the olive green and the greenish yellow tone from this set. I'm first just going ahead with the mountain range on the right side. And you can see I've added the layer of water as well only on the right side, because by the time I reach the left side, the water may dry out. I'll go in step-by-step because in the center, as you can see, we're already be giving in the lush green detail because of Fitch, the rough edges will get covered up, if any. Now I'm going to go ahead with the same green tones onto the left side Mountain as well. Now I'm just going to go ahead with the layer of color directly you are, but I'm going with a little extra water. You can see I added a little color and using the water, I'm spreading the color directly. So this is how I'm going to be creating in the detail out here onto the left side and blend it till the right side. Now you can see at the top of the mountain, I'm going in very carefully to define the shape of the mountain. Well, so go ahead very slowly and carefully and define the shape, the outline of the mountain where now you can see I'm using a brush which has a pointed tip, which is making my job easier in spreading all of the details out there. In case if your brush does not have a pointed tip and it becomes difficult for you to define the edges, shift to a detailer brush. First define the edges and then quickly run in with a bigger brush, filling in the rest of the spaces. Now I'm just running ahead with the layer of color defining in the bottom line of the mountain range. As of now, I've used in only two shades of green, one greenish yellow color, and the second one, a little olive green color. Now I'm going to begin adding in little details with the Van **** brown color is going to be quite hitting, not match. So I'm just squeezing out a little bit of the green color from this palette and blending it with a little bit of water so as to get it in a little perfect consistency. And I'm just beginning to add in little darker strokes. I'm still working wet on wet. My mountain ranges are still wet in case if your mountain ranges have already begun to dry in, then make sure you wait for it to dry out completely. Go ahead with the re-weighting technique, and then go ahead with the next layer. Otherwise, it will be very difficult for you to get in that soft blends between the details. You can see I'm blending the darker tints as well into the base layer using a damp brush. So I just have those darker highlights, but not those strokes marks standing out distinctively. Now in the scene view, you can see I'm running towards the left side as well. But if you notice the difference towards the left side, my strokes are moving diagonals towards the bottom right side and towards the right side my strokes, we're moving diagonally towards the bottom left side. That is to show the flow of movements of the details on the mountain ranges. Again, you can see your as well. I'm going ahead with the wet-on-wet technique. The darker green strokes are blending in well into the base layer. On the left side, I'm just running with little more details of the darker tones to give it a little more depth in the same way, even on the right side, I'll run in with a little more of the darker green tones. You can see I'm still working wet on wet. That is my basically a mountain is still wet because of which these talks are blending in well. But since I'm not adding in much of the water into these darker green tones. The colors are retaining the space in which I'm adding them. Now, I'm going to go ahead with a yellow green color, which is having more of yellow, less of the green tone. And I'm going to add in a base layer in the completely bottom space. So I'm just going to go ahead and add in the base layer of the middle space as well. For this as well, I'm going to use in different tones of green first beginning in with the greenish yellow color. Yours better, I'm directly going ahead with the color. Now you may feel that the mountain is still wet environment going ahead with the color directly here. Because if the mountain and the middle spaces blend as well a little into each other, It's perfectly okay because we need to show them connected to each other. And as it is on the left-hand side, we are going to show in that lush green valley in between the mountain ranges moving to the left side so that space will automatically be covered up. Now in case if you want, you can go ahead with a layer of water first in the middle space and then run in with the colors. But the reason I'm running directly with the palace is because. Oh, I'm not going to add in much of the details wet on wet in the middle space. So basic details that I have to add, it will be sufficient enough with this wet layer that I'm going ahead with. But one thing that I'm making sure is that the paints are a little extra wet so that it remains wet for a little time. By the time I have to add in a few details onto the bottom space as well while it is still wet. So this is just the first layer of color that have spread across completely. Now wanted this, I'm going to go ahead with the darker tones, which are going to be sap green, olive green, and a little bit off the vendor gene as well. So I'm just making sure that my paper stays wet for enough time. Then we'll wait for the mountain and the bottom spaces to dry out completely and then move on with the details on both of it. Now when picking up a little of the sap green color for us, and I'll begin adding in some random darker strokes as well. So you can see how randomly I'm beginning to add in these darker strokes, just moving my brush across very freely. Adding the darker deaths vary randomly, but making sure that the lighter green strokes are also still visible so that they do not get completely hidden. Otherwise, it would make no sense to add in those lighter beans first. So I'm just going ahead with some darker tones of the green color. And you can see not much of the green from the mountain and the bottom middle space have blended are flowing into each other because I did not add a layer of water in the bottom space and I directly add it in the layer of color very carefully and Biden the mountain range was a little bit dry because of fish. The colors are not flowing much into each other and both are having in this specific distinctive marks. Now using the vendor cream color, I'm just beginning to give in more depth on the edges. You will notice the center of the middle is a little more towards a greener side. And on the edges I'm beginning to add in the darker depths. Now I'm going to lift up a little of the light yellow color and I'm going to sprinkle a little of this light yellow color at the bottom space of the middle while this is still wet. So make sure that you go ahead with little splatters. Now in case if you are going to be using in the next side of the paper, covered it up first. Secondly, make sure these platters do not go in the mountains and the sky space. They feel not confident about that as well. You can cover them up first and then go ahead with these plateaus. So as I told you, we are going to be adding in the flower details with the yellow and the orange tones. That is the reason I'm adding in Digital of the splatter details with a yellow color while this is still wet so as to give it a little of the background blurry effect of the plaza as well. So since I'm going to be using in the right side as well, I've covered it up with a tissue so that the splatters do not go there. My splatters are not moving into the sky and the mountain ranges, so I have not covered them up. Now I'm adding in these plateaus bile, my bottom middle space is still wet. So make sure you add in these plateaus while it is still wet only then it will have that soft edge blended look with the background, which we want to give in. Now again, I'm just running it with little of the darker greens while this is still wet to give it a little more darker desks in-between this platters as well. I'm running in because I'm still going to go ahead with more of these platters. This is building in the details step-by-step. Now using the darker green color, I'm justifying the line that is marking the distinction between the mountain and the middle space. You can see my paper is still wet and I'm able to add in all of these wet-on-wet GTA is in case if you're using a paper which is 100% cotton but not stay wet for enough time. Then you can go ahead and first adding a layer of water and then go ahead with the green. So in that way your paper will still stay wet for a little extra time. Now the next details that I'm going to go ahead with is I'm going to use the pointed edge of a brush and I'm going to pull out some grass strokes while the green is still wet. So just using a pointed edge or appointed tool or appointed knife that you can use in appointed any pointed object that you can use it. And just go ahead and keep adding in some grass strokes, pulling out random grass strokes. So this will given texture in your middle space while this is still wet. When this will dry out, you'll be able to see the green effect that is created. So I'm going to pull out these strokes at the bottom of the meadow space completely from left to right. Now I'm going till the center space of the meadow with the length of the grass turf. At this point, it may not be visible to you what the cross strokes are looking like. But once they try out, you can be able to see some inbuilt texture effect because of these strokes that we are pulling out. Make sure you need to do this while the paper is still wet. If you will try creating in this texture when your paper dries out, you will not get the same effect. Now you can see all of our green strokes or yellow strokes that we had added are completely hidden because of the greens and the pulling of the grass strokes. So now I'm going to go ahead with a little more of the splatters with a yellow color. Again, I'm going ahead with a bowl yellow color, so it will be visible on the greens to create in the background Florida effect. Now again with the yellow tones, I'm just pulling out a little more off the grass strokes again. And then we'll be almost done with this second section of this first-class project will have to wait for all of these to dry out completely. In the next lesson, we'll be adding the details on the mountain range and adding in the details in the middle. And creating in the distinction point in the in-between the mountain range creating in that lush green space, adding in the floral details as well in the meadow space. Now after creating a little more off the grass strokes, I'm giving you a little more of the bowl yellow effect. And this is going to be the last step here. Now we'll wait for this to dry out completely. I'm not going to be using in a hairdryer. I let this dry out nationally so that those Castro's effect at the bottom space we can be visible a bit. So I'll wait for these to dry out completely and then we'll move on to the mountain range details and the meadow details in the next lesson. 5. Day 1 - Mountain Meadow - Part 3 - Final Details: So now my mountain changes completely dried and I'm going to go ahead with the details on the mountain change. So I'm going to first go ahead with the dry brush techniques. Let's begin with the dry brush details. So I'm going to pick up a little of the vendor green color. Now since I know I have to go ahead with the dry patch detail, I will make sure I do not have excess water or they say excess of pigment on my brush. I'm mixing in a little bit of the sepia color with my green tones to get in a little more darker colors. So along with the vendor Trina, I've added a little bit more of the sepia green. After picking up the paint on my brush, I've tapped it on the paper or cloth towel. As you can see, that the excess paint and water is absorbed by the cloth. And I have very limited paint and water on my brush. I'm first beginning and to define the edges dark off the mountain change using in this darker tint. And then I will slowly begin adding in the dry brush. Now I'm going to go ahead very slowly and carefully to add in the dry brush technique because I do not want to overdo it. I want to make sure that the base layer is still visible distinctively, having all those elements of the darker tones that we've added in being visible. Now towards the right side of the mountain, you can see the dry brush is moving towards the left side. When we will be adding in the dry brush on the left side will make it move towards the bottom right side. So that is how we are going to go ahead with the dry brush technique. Now on the tip, I'm that's the tip of the right-side mountain. I'm moving a little towards the right side as well, only on the edge as you can see in-between, I'm even going to keep adding in little darker patches of the color that we're using in. And major me, it's going to be the dry brush technique for the right-side mountain. I'm going to add in the dry brush technique majorly at the top space where we've already added it. Now, majorly at the bottom space, I'm going to give in very limited of the dry brush detail. Again, you can see I'm going ahead diagonally with the dry brush detail. Make sure you do not have excess paint, otherwise you will not get the dry brush effect, right? So at the bottom you can see I'm going ahead with very minimal dry brush for now. After this, we'll still be adding in little dry brush with a little of the Payne's gray and darker tints. So I'm not filling in much of the spaces for now. I'm going ahead with limited details. Now, in the center you remember the little space that we had created in for the lush green detail. I'm just going ahead and adding in those details using the vendor green color. Now along with the vendor green, I'm adding in a little bit of the lighter green tones as well, blending both of these together well and creating in that lush green movement In-between the mountain ranges. And I'm going to take it completely towards the middle space, moving towards the left side, trying to show are lush green area in-between the mountain ranges out here. So on the edges while it is still wet, you can see I'm adding in the dark of Lean details in the center. I've kept it towards a little lighter skin tone. Now I'm just going to take it till the left edge and I'm going to keep adding in the details in the same manner towards the left side as well. So before that, I'll just go ahead with the details on the left side Mountain as well first and then I'll connect the rest of the details of the Center's space. Now on the left side as well, you can see I'm first going ahead with the dry brush technique using in defining the edge of the mountain belt. Now as I told you towards the left side, we are going to be having in more of the dry brush technique. And you remember the pencil or backing or the patch that I had created on this mountain space. So that entire top space, we are going to be adding in more of the dry brush detail and the bottom space, I'm going to be keeping it light. I'm mixing in a little bit of the sepia color to my green to get in the darker green tones. You can see on the left side we have more of the patches and less of the dry brush details coming in. I'm just going to keep defining in. I'm going to keep the bottom side of the left Mountain more towards the MDR side, as I told you, I'm just running across the shape which may not be visible to you because it's the green tones that we've already added in the base layer of the mountain. But if you don't remember that a line that we had marked on this mountain, I'm just trying to maintain that line shape so as to give in these dry brush tedious. Now, towards the bottom or side here you can see I'm giving you in again, very minimal patch details to actin as some rocks onto this mountain range. We're almost done with the mountain details. Just two little more dry brush and patches urine there to give it a little more detail. You can see how detail we are going ahead with the class projects step-by-step. So much of the details into the sky, creating in the clouds, the patterns, the movement of the colors, same way even in the base layer of the mountain and the middle we've added in so much of the details step. And now going ahead with the wet-on-dry details as well, creating in the textures, depth into the painting using indifferent tones. And that is the reason I told you this class projects are going to be a little longer as compared to the other classes that you may have joined until now. Now I'm just going to join in this space out here towards the left side. So I'm just going to pay beginning with lighter green tone first. And you can see I'm just going ahead with simple dabbing technique to create in the grass effect. And I'm going to connect it till the center space completely using a mix of delight again and the darker green I've connected it till the center space you can see now the lush green pathway that's coming in between the mountains crossing in towards the middle space. That is what exactly what I wanted to create an York. Now the details that were left to add in is giving him little more texture to the mountain ranges. And then the Florida effect at the bottom space, you can see the grass effect, which is visible at the bottom inscribed into the meadow space because of the wet-on-wet details that we had added using in the back of the brush stroke. Now using the darker green color, I'm just giving it a little darker at the bottom side, defining the edges a little more. Well, now using this darker green, I'm just going to give him little more darker highlights in the middle space as well. My motto is also completely dried, so I'm going ahead with these details. You can see the splatter of the yellow color effect that is created at the bottom space where we'll be adding in the Florida. So these florals will give him the filler effect for the final florals that we'll be adding in. Now using this darker bean and the mix of the brown and greens, I'm just going ahead with little of the texture details in the meadow space as well, giving in random dry brush details as well. Remember for going ahead with the dry brush details, it's very important to have in very minimal water as well as paint on your brush. Otherwise, it will begin to give you patches of color instead of the dry brush detail. So depending whether you need the patches or the dry brush effect, you need to accordingly have the consistency of the paint and water on your brush so that you can have that free movement of the brush to get in those dry brush details. Now using the darker green color, I'm going to add in little of the grass strokes as well in the bottom space. So the background grass strokes that we had added wet on wet, we'll just actin again as the fellow spaces using the darker green and my liner brush, I'm just going to begin adding in smaller strokes at the bottom media. Again, make sure you use a pointed tip brush or a detailer brush here so that you can add these details. Finally, I'm just going to keep moving in these grass strokes vary randomly and just going to fill in at the entire bottom space, make sure you do not cover up the entire yellows platters that you've added in. We need to let them be visible so that we have in the effect of this background flowers as well. Once we add in the little detail, look up the flask using in the yellow and the orange tones. So you can see I'm pulling out these grass strokes and very small length and I'm going to pull them across completely from left to right. I'm not having any specific movement. I'm just having and moving them freely, either left or right. There's no specific pattern here. Make sure if you're anywhere you have an excess paint dropped and you can quickly dab it up with the help of a tissue to lighten it up and given the effect. So I'm done adding in the grass strokes as well. Now let's move on to the next layer of details. I'm going to pick up the yellow color and begin adding in the Florida effects. So I'm using a bold yellow color and I'm going to use it in a very thick consistency so that I have that opaque look on my green space. Now in case if your paper or paint is such, which does not give you an opaque look, you can go ahead and mix in a little bit of the whitewash to the yellow color so that you get an opaque look. But you can see since I'm using it in such a thick consistency, it's visible very clearly even on the green tones. I'm just beginning to add in very random rough dabbing shapes using in this yellow color. I'm not giving a very precise shape to the flask for this class project. I'm just going ahead with very simple layering of the yellow tones to actin as the Florida mentioned here, the bottom graph space. Only. Now I'm just going to cover up the mountain and going to go ahead with some splatters wet on dry as well to give him little of the filler yellow effect florals as well. You can see I've covered up the right side of the painting as well as the mountain because I do not want these yellow flowers to even go much in top area of the marrow space. So I've covered up even the top space of the meadow. I just want the splatters to be at the bottom side to actin as those filler tiny mini flowers at the bottom area. Now the little splatters that I have of the yellow color at the top space. I'm quickly blending it into the greens using a damp brush so you can see. Those yellow tones are blending in well quickly with a cream color and no longer visible. If you have little splatters, you can quickly use a damp brush and use this technique. Now I'm picking up a little of the orangeish yellow color, which has more of orange, less of yellow. And I'm just beginning to add in little florals with this color as well. So for this class project, I've kept the floral part very minimal so that you can just beginning and get into the form of the detail painting style as well. I've kept in very simple florals, not going ahead with much of the details. Very simple, basic meadow look that I'm trying to create it, which is not visible in detail to you. Now, one last detail before removing the masking tape, I'm just going to go ahead and add in little of the greenish yellow color detail highlights onto the middle space. So I'm going to use the yellow green color in a bowl consistency so that they are visible on these darker green tones as well. Now in case, again, if your color is not that opaque, you can go ahead, add in a little bit of the white gloss to this yellowish green color so that it gives you a bowl loops. I'm just going to add in very little highlight at random spaces. So you can even mix in a little bit of the yellow to green to get in an opaque look. So you can see I'm just giving you a little dry brush detail and little patches towards the right side of the meadow space cure. So you can see as soon as you added in little of the dry brush with the yellow color, it gives a different impact on the middle. I'm trying to show in that little of these flowers are trying to bloom in towards the top species as well. But since they are far from our view, they're not visible clearly. Hence, I've added them in the dry brush pattern, just giving you a little of the yellow dry brush effect onto the mountain ranges as well. Very little. You can see hardly one or two strokes on each of the mountain ranges. On the left mountain range, I just gave in a little more dry brush detail. Now let's remove the masking tape and see your final painting. You can see it took us almost around 40 to 45 min to create this entire painting because it was so detail revoked with each detail step on step creating in the detail look for the painting and the middle space. I hope you guys enjoyed painting this T1 class project with me. In the similar manner we are going to be creating in far more detail watercolor meadows so as to level up your watercolor gave and to go into details, painting format as well. Yours, the final Anna closer look of the painting for day one, you can see the textures, the details onto the mountain ranges, the middle spaces, the wet-on-wet details that we've created. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the day two of this five-day series. 6. Day 2 - Cornfield - Part 1 - Sky & Base Layer of Meadow: Hello everyone. Welcome back to day two of the five-day what color challenge? Today we are going to be painting a very simple model as compared to the previous one. But this time we're going to go ahead with a little more detail in the sky creating in the highlighted box. So I'm first going to head with the pencil sketch. I have marked the horizon line. And on top of the horizon line we are going to be having in a lot of the bush space. And in the field we are going to be adding in the details which are going to move in diagonally from left towards the bottom right. And in the field we are majorly going to be having in a cornfield details wherein we'll just be having in the grasses of the concrete and not much of the details. So this is it for our basic pencil sketch. Now I'm first going to go ahead with a layer of photo onto the entire sky. Then move on to painting the sky first. We'll paint the sky, wait for it to dry and then move on to the base layer for the field as well. So for this guy, I'm running in with a layer of water. Make sure you have an even layer of water we are going to be having in a pretty simple sky with just a one base color. But we'll be creating a religion of the cloud effect and creating little texture in the sky as well. I'm going to head with an even layer of water. You can see I'm running my brush multiple times so that my paper stays wet for enough time. Despite amusing 100% cotton paper, I'm making sure to run multiple times so that it will stay wet for enough time for me to add in all of the Cloud details. I've added a layer of water till the horizon line. Now when mixing in a little tint of the black, a little tinge of the vendor green color and blue color. The green and the black is very minimal. It's more of civilian blue that I'm adding in. I'm ready with the turquoise blue kind of a tone. And I'm beginning to add in a layer of this color onto the entire sky. You can see I'm going ahead with a medium tone layer of the color. I'm mixing in a little bit of the Vendee green randomly in-between the blues wherever I feel the need to add in little more hints of the green color. So this is kind of a grayish blue shade that I'm trying to get in with a little hint of the turquoise by keeping the blue a little on the extra side. Now I'm just going to add in a little bit of the vending machine and the civilian blue color and blend them onto the paper directly. And, you know, getting a little darker tones towards the top side, towards the bottom center side, you can see I've left a space white because they are, I'm going to create in a glowing cloud effect, which I'm going to give in photo texture by dabbing in the paints out from there. So first I've kept that space blanket self much towards the lighter side in the center you can see. And I've taken the paint's still the horizon line because on top the bush area is going to be off the black tones so it will all get covered up. So you can get a neat line out to you. Now I'm going to use in a tissue and creating the texture into the sky, creating in the cloud effect. So just using one edge of the tissue, I'm beginning to create an, a big cloud space in the center area going ahead with a very rough cloud shape on the edges as well. I'm just lifting in a little color very randomly urine there so as to create in a little more depth, make sure you do not add in. A lot of whitespace is at the top area of the sky. I'm majorly going to keep in very small cloud effect towards the right side. And just this one big cloud in the center. As you can see closer to the horizon line. Now quickly using a damp brush, I'm blending in this edges of this cloud and creating in the software. Blended in with the sky, giving it a little very light blue in defect as well. So you can see the soft edge that is coming in because of the damp brush since you had lifted in the colors with the help of a tissue, the edges were very sharp, which I did not want to make it look soft and blend it in with this guy. I'm just going ahead with the damp brush and adding in a little detail. Now using in a little bit of the Payne's gray color, I'm just going to add in little effect into the Cloud, very little hint of the Payne's gray, not the darker tone. So make sure you go ahead with a very light tone, keeping neutral after spaces white as well to create in that glowing effect. Now I'm dabbing a little bit of the Payne's gray color as well, creating in little effect out here as well. All of this you can see I'm still doing wet on wet. That is, my paper is still wet while I'm working in creating in all of these details. So that is why I recommend you to work on a paper which will stay wet for enough time for you to add in all of these details. Otherwise you will not get this effect what we're trying to achieve in your. So I'm just adding in some darker hints of the Payne's gray color as well. Now I'm just going to go ahead and lift a little of the colors out here from the top right side using in the brush as well. Because you can see the tissue lifting is almost blended into the sky because of the wet paper. So I'm just going ahead with a little more lifting technique very randomly. Even from the center and the left spaces you can see I'm going to head lifting in a little bit of the strokes to create a metal effect in the sky. All of this is only possible when your paper is still wet. My paper is still wet and you can see almost eight to 10 min that I could work wet on wet on this paper. I'm using 100% cotton paper, which helps it stay wet for a little longer time. You can see how carefully I'm lifting up the strokes one-by-one, creating in that effect into the sky. Make sure you do not lift up a lot of strokes from one particular space a lot. Otherwise you will not get in that effect into the sky that you needed. It's a very simple sky with very minimal colors, but yet a beautiful effect because if the lifting technique that we are doing in your to create the depth into the sky. Now using it a little bit of the tones I'm just beginning to add in little darker effect on the edges randomly. Now I'm going to paint in the base layer for the field as well. And then they'll move on to the details in the next lesson. So far the base here of the field, I'm directly going ahead with the wet-on-dry technique. I'm going to begin in with the yellow ocher color in a bold consistency, I'm moving diagonally from left to right. Now, do not worry for little of the color will bleed into your horizon line just a little towards the top space. Because as you remember, we are going to be adding in the bush details on top of the horizon line. That is the reason I'm not waiting for the sky to dry out completely. But if you want between the sky and the field, you can leave a very fine line blank in these details so that all of these can dry together and then you can begin adding in the details, wet on dry. Once these dry out, now you can see the different sections that we had created diagonally with the pencil sketch. So I'm going to alter between the yellow ocher color and the sepia color for the base layer of the field detail. So now I'm going to add in wanting diagonal effect of the sepia color. And I'll add in little hints of the Payne's gray and the black color as well to give it a little darker effects. Now for the third section again, I'm going ahead with the yellow ocher color closer to the sepia color, giving him the darker depth again. Now again, for the second last piece, I'm shifting into the sepia color mixed in with a little bit of the black tones. Now the second meal was a little towards the lighter side. So I'm just going ahead with one more layer out here to make it go a little darker. You can see how We are running in feeding in the depth. We are working wet on wet, each of the layer is having a soft edge blended look with each other. Now the last fear at the bottom, I'm covering it up completely with the yellow ocher tone. In-between the tones. If you feel that the blending is not going smoothly, you can run in with a lighter tone on the blending point and create in this mood, going blend between the tones. We are ready with the sky completely and we are ready with the base layer for the field. Now we'll have to wait for all of this to dry out completely. And then in the next lesson we will move on to the further details. For the fee we are going to be adding in a lot of grass strokes to create the confint effect. And then we'll be adding a lot of Bush effect on top of the horizon line and then given little highlights to the bush area as well. So let's wait for this to dry out completely, and I'll see you in the next lesson now. 7. Day 2 - Cornfield - Part 2 - Meadow Details: So now everything is completely dried, my sky and the bottom middle space. So let's move on with the next layer of details onto this class project for D2. Now using the Payne's gray Canada, I will begin adding in the bush details on top of the horizon line and beginning in with the center space so as to be careful to not cover up the entire cloud that I've created just above the horizon line. After this layer of the bush with the black color will be adding on highlights on top of this using in the brown tones. Do not worry, we would use in a little bit of the white quash if needed to create the highlighted tones. So as you can see, I'm falsely just using the tip of my brush and creating in the bush effect at the top space, because the rest of the bottom space is going to be filled in completely with the black or the Payne's gray color till the horizon line. So I'm first just defining in the shape of the top spaces, giving him the dabbing technique creating in the random Bush effect. Now you can see I'm filling in the entire bottom space completely with the darker tone off the black or the Payne's gray color, whichever you wish to use in same way, even on the left side, I'll be adding in the bush detail at the top space as well. I'm first defining the entire horizon line. Now quickly using the dabbing technique, I will begin defining the top space of the left area as well. You can see I've covered the Cloud minimum. I've made sure it still be visible. Go ahead slowly adding in these details of the bush meat. Sure they look a little realistic. You can see how I'm going ahead slowly defining the shapes somewhere. Toddlers are much shorter. If you're not confident about adding indirectly with the bigger brush, you can push shift into a smaller sized round brush, adding the tabbing details and then fill in because space is better because I is brush. But since my brush has a pointed tip, you can see how easily I can add in these bigger details using in this bigger brush itself because of the pointed tip of the brush. Now let's open places wherever I feel the need to define a little bit more of the top spaces, I've shifted into a smaller size brush, which is a size four brush. And I'm adding in these details using in this smaller size brush, make sure you do not overdo these details. You can see how slowly I'm going in step-by-step defining in the details. Hey everyone, I just want to add it a little taller in space. I'm just adding in the bush detail at the top space of fit. I'm going to fill in the rest of the space till the bottom area with the black color again. Now I've taught in places, I'm just going to pull out a few branches of the leaves and try to show in some of the branches popping out from this bush space. So you will see very thin strokes and very thin branch details that I'm trying to pull it out. So you can see these little details adding so much more depth to the painting. It may look a pretty simple painting by the end of it all. But the details, the step-by-step adding in of this proportions of each of the details makes it time-consuming and helps you understand the detailing process a little better. Never overdue all of these together. Otherwise, it will be very difficult for you to go back if you want to reduce any part of it. But in case if you add in little in the first step, there is always a possibility to add in more whenever you wish to. Going ahead. I'm almost done with the first layer. You can see I almost increase the height throughout Kevin, little more details using in the smallest size brush. Now we need to wait for this to dry before adding in the next layer of details on this bush area. But till then, I will just go ahead and add in the other details at the bottom space. Now next I'm going to begin adding the details on the middle space. So for that, I'm going to pick up the yellow ocher. Along with that, I'm going to mix it with a little bit of the white gouache so that we can have an opaque consistency. If you will try to go ahead with the yellow ocher color directly, then it may be very difficult to have an opaque layer over the black and the opaque color details that we have already added in, in the base layer of the meadow space. So now using the liner brush I'm beginning to add in the crust works. So first I'm going to go head over the yellow ocher layer and begin adding in the grass to make sure to beginning with the topmost layer closer to the horizon line. The grass strokes also will be moving in diagonally on the sepia color layers that we've added in the field space, we'll be adding in the grass strokes with the darker color there. Now make sure your grass strokes are moving in very randomly. You can see, I'm making sure that they are moving in all direction, as well as just because of the use of a bit of the white gouache, you can see how beautiful opaque color consistency you can get them in all your layers. So make sure that you add in the details, as well as using a little bit of the white quest to get into this too opaque. Look for the grass strokes that you will be adding in your. Now for the layer of grass strokes on the sepia color I'm going to use in a bold black color so that it stands out on the sepia color. I'm using the same liner brush. You can see how find the strokes are coming in and I'm moving in very naturally. You are as well. I'm going to move in diagonally. Now a little of these black strokes may be overlapping onto the yellow strokes that we've already added in. So in the same way, we are going to go ahead with all the rest of the three bottom areas as well, moving in between the yellow ocher and black tones, adding in the detail. After that, in the next lesson, we'll go ahead and add in little of the highlights onto the top bushy area that we've created it before completing this class project for D2. Now for the third layer, I have again shifted into the yellow ocher and the white quash mix. Now you can see the third layer. I'm making sure it goes overlapping onto the black space as well. Because I want to minimize the black space a bit and neater, showing some darker depth underneath the yellow spaces as well. So you can see how beautifully even the yellow color is standing out right on the black spots, creating a more detailed look. So make sure that you add in these details are very carefully. Make sure that you beginning with the topmost layer because we want our overlapping to be there. So now you can see this yellow ocher third layer overlapping onto the second black layer that you've added in giving in the realistic view. Also, another thing that you could do is you could use in two to three color variations of this yellow ocher and white mix. You could even mixing brown and the right question. Use another variation to add in some highlights or add in little more details to this conflict. It's absolutely your choice, but I'm going ahead to keep it simple with just one color mix of the white and the yellow gouache. You can see the white quash and the yellow ocher color. So you can see how beautifully it's overlapping onto each other. I've made sure to give it a good enough pair. Now again, I'll shift into the black color and begin adding in the fourth layer with the black color. So I'm almost through the fourth layer as well. I'll just go ahead with a little more filling detail. And now you can see the fourth layer is overlapping onto the third layer as well. After this, we'll just be left with one more layer up of finishing the field space as well. So now for the last video, I'm again going ahead with the yellow ocher and white wash mix and I'll make sure it overlaps a toddler as well. I'm still going to go ahead and add in a little more highlights in the previous layer as well, with a little lighter tone to create little more depth into the painting. So now using the lighter tone that is, I've just added in little more off the whitewash. I'm going ahead with another layer. Also at times, if you have excess water, the Leo me dry out a little dull because this page, it may be a little dull. So in that case as well, you can run in with a second layer to make it look a little more bold and vibrant enough onto the dark backgrounds that we've already added in. In the same way, I'm just going ahead with little more highlighted space and the bottom layer as well. You can see I've added little more of the white quash, making the color go a little more towards the lighter side. As I told you, you can create in two to three of the color variations with the same color by just adjusting the color mixing propulsion to get in different tonal variations and adding the details and the highlights using in different color tones. Now I'll wait for all of this to dry out completely and I'll see you guys in the next lesson where we add in the final highlights into this painting for the two. 8. Day 2 - Cornfield - Part 3 - Final Details: So now everything is completely dried and I'm going to go ahead and begin adding in the highlights onto the top bush space. There I'm going to be using in the brown and the yellow ocher tones to add in some highlighted leaf effect and then blend it a little into the black space so as to show it a little settled look into my yellow ocher, the white quash mix I've just added in a little bit of the sepia color so as to get an opaque sepia color look. And now using a smaller sized round brush, I'm just going to begin dabbing in very small dots so as to show us the bush effect onto the black spaces. You can see the same dabbing technique that I was using with black. I'm using it with this mix of the yellow ocher, white quash and the brown tone to create in the highlighted space. Now I've just lighten up a little bit of the color tone by adding in little more of the white and the yellow or yellow ocher color. And you can see how beautifully it's standing out on the black color as well because of topic consistency of the white course that we've added to this mix. Now this is just one layer. We're still going to add in little more details and then blend these a little bit into the background black space because I don't want them to be standing out so distinctively. Now for the next layer, I'm going to mix in a little bit of the light red color along with the yellow ocher and the white course to get it in an opaque consistency. And using this color mix, I'm going to begin adding in next layer of this bush detail just below the lighter tone that we've already added in. You can see I'm adding these details in such a way that the black layer is not completely hidden. In-between these strokes, you can still see the black color visible and the black layer that we've added in. We'll be dabbing this layer well into the bag black layer as well later on, so it will still be visible. So now as I'm moving towards the bottom side, you can see I'm giving it a little more of the bigger details as well, dabbing in my brush a little more takeoff so as to get in those details out there. Now next time picking up a little bit of the yellow ocher under white quash mix. And I'm going to add in little highlight. And then we'll move on to the last step that stabbing all of this into the background. And then we'll be ready with this class project for D2 as well. So I'm almost done adding in the highlights as well. Now we'll move on to the last step quickly before removing the masking tape for this class project. So I'm just using in a little bit of the black color and I'm just defining it a little more of the bottom space is trying to show the top bushy area blended well into the field space, just creating a little more natural lookout. Now using the black color, I'm even giving you a little rough edge towards the bottom space of this black space, you can see trying to make it look more natural. And as I told you, I'm just going to dab it on top of the details that we've added in so that it has a little blended and settled in look onto this bush space. So I'm just using the black color and with a light hand, I'm just dabbing in the black color on top of these highlights that we've added it to make it look a little bit settled and lighter tone and given a little perfect transition from that bush space to the field area. So that is it. Now let's remove the masking tape. So we just use the black color and a round brush and dab in a little bit of the black color randomly in-between the yellow ocher and brown tones. And you can see how beautiful effect it has created, giving in a very muted or tone along with all of the details. So you also final class project for day two of this five-day watercolor meadow challenge. I hope you guys enjoyed painting this beautiful class project with me or for the two. I will see you guys soon into the D3 class project. Thank you so much to each one of you for joining me into this class. I hope you guys are enjoying painting this beautiful detail meadows. And over the coming three days as value will enjoy painting these. So these are the first two days class project. I'll see you guys tomorrow in the D3 class project. 9. Day 3 - Lush Green Meadow - Part 1 - Sky & Sea: Hello everyone, Welcome back to D3 of the five-day watercolor middle class. Today we are going to be painting a beautiful sunset by the lake side with the details of the middle. So let's go ahead with the pencil sketch first and then move on to the details of the middle signpost marking the horizon line, which is a little below the center space and below the sea area. We're going to have in that little middle space, wherein we are going to be going in with more of the lush green details instead of the floral details. So I'm just marking out the trough spaces on top of the horizon line as well. We are going to be having in little of the lush green spaces. And on the left and the right side of this guy as well, we are going to be having in lush green leaf details this time. Secondly, we are going to be creating in a little bit of sunshine this time in the sky by using the lifting technique to create in the shining sun effect that we're going to get into this painting. So first we'll begin with the sky now. So I'm going ahead with a layer of photo onto the entire sky space first and then we'll move on to the rest of the details. Make sure you have an even layer of water spread throughout so that your paper does not dry out quickly. We are going to be working wet on wet onto the sky with a little more Laos this time as we are going to be creating in that lifting technique effects you're trying to show in the sundries. You may have already seen the final class project in the beginning of this class. So you know the sunlight effect that I'm talking about using in the lifting technique in this guy plus this guy. This time we are going to be leaving in little of the white gaps nationally while painting in the sky colors. Now you can see despite I'm using 100% cotton paper, I'm running my brush multiple times so as to make sure that my paper stays wet for enough time so that I can walk in with all of the wet-on-wet details are creating in the depth into the sky, as well as making sure to go ahead with the perfect lifting technique. In case if you're using a paper which is not 100% cotton, I would recommend you to first wet your paper, wait for it to dry for around 50 per cent and then run in with another layer of water that will help you in keeping your paper wet for a little longer time for you to work with all of the details wet on wet. So first I'm going to begin in with a yellow sheets. I'm using in the shade of the light yellow color. You can use in any lighter tone of the yellow which is available in your palette. This is permanent yellow light that I'm using it and beginning to add in very random patches, I'm making sure I do not have excess water while adding in these panes because I want to make sure that I have very minimal water so that the colors do not spread on their own. They retain the space in which I'm adding them and so that I can have in the perfect color blending later on. Now the next color that I'm lifting up is a little bit of the brighter color now in case if you do not have the right operator color, you need not dividing. You can go ahead and use in any lighter tone of the pink color. I'm just kidding to begin adding in little highlights closer to the yellow color. Now, make sure again for the pink color as well, you do not have excess water or pigment so that it does not cover up the yellow space is completely, if you will be having an excess water, what will happen is the pink color will begin to cover up entire of the yellow color as well, giving you a mix of the yellow and the pink, instead of having in both the colors looking at distinctively out here. So very randomly you can see I've added in the layer of the pink tones as well. I'm making sure I do not have excess water. I'm running in with a smaller size brush so that I can keep the details minimum. Now I'm going to use in the civilian blue color again, by losing in this area in blue color as well, I'm going to be sure that I do not have excess water and pigment on my brush. So every time that I'm lifting up the pigment, I'm dabbing it onto my paper cloth towels so that the excess paint is absorbed by the cloth. And I have very limited water and paint. Now in between all of the white gaps that we've added in males, the fill in with the yellow or blue color. I will not be. All of the gaps completely. I will leave in little of the white highlighted spaces as well. So filling accordingly, making sure that literal of the whitespaces are left in between. Now at this point, you may see that it's looking at very weird blending in-between the colors. Using a damp brush. I'm just dropping in little water closer to the blue edges so that it blends a little automatically with the pink tones. And when the pink and the blue will blend together, it will form in a little bit of a violet tone, which is perfectly okay for a sky. So you need not worry about that, but make sure do not blend the blue and the yellow color. Otherwise, it will give you green tones, which we do not want. So now you can see I'm having those white highlights, but I'm using the soft edge or to create in-between these colors. So very carefully I've added in the blue tones. Now I'm going to head with overlapping of the blue tones or whether pink color very carefully the toluene, so that I do not have much of the violet tones as well. Now at certain places I'm going ahead and adding in darker tones as well majorly at the top space. Now at this point, I believe in go ahead with a little bit more detail of the pink tones as well to give him little darker dips again, your Asbell. And blend all of these together for blending anywhere if you need, you can simply using a damp brush and run it towards the edges of the meeting point of the colors so as to have the smooth blend happening between the colors. Now using 1to1 darker off the same pink color. I'm adding it closer to the blue edges so you can see how beautifully the colors are blending. And also you can see the color mixing and having soft edges between each other on the blending points. Now you can see it's a little darker consistency. So at certain points it may form in a little lighter tone of the violet color as well. And that's perfectly okay. So now I'm just going ahead and adding in the highlights with the pink color over the yellow as well as the blue tones creating in the plans happening in between the yellow and the blue as well. Now, I've taught in places, I'm intentionally adding in a little bit more of the pink over the blue to get in those violet tones. You can see a beautiful violet being fun because if the mixing point of the pink and the blue stuff is happening in, in creating in a natural violet color out there. Now I'm just adding in a little more highlights you are or what the blue color creating in little cloud effect. Now after this will directly be doing in the lifting technique, wireless sky is still wet. So I'm just cleaning my brush now using a damp brush, I will begin the lifting technique. But first I'm just adding in a little more of the yellow yard from there, I'm going to begin in with the lifting technique to create the perfect sunshine effect. Now using a damp brush, Let's begin doing in the lifting technique. From this center point yellow color that I've added in, I'm going to begin lifting up the stroke, moving towards the top of the sky aspect, every stroke make sure to clean your brush so that the pain that is lifted up is dacron to the tissue and you do not have any paint. Again, dip your brush into water and go ahead with the next lifting off the ray. So you can see how I'm lifting in the race, makes sure you're using a smaller size brush, just using the tip of the brush to pay. Go ahead with this lifting technique so as to create this effect of the sundries. Now let's open spaces. You may have to go ahead with two layers of the lifting technique to get that bright effects. So you can see I've run on the race twice so that the color lifting is perfect. Towards the left hand is right. The rays are only Dylan, small limited space, but towards the center of taking a pill, the top edge of the paper giving him that lifting effect. Now next I'm going to go ahead and paint in this area as well. Between the sea and the sky, I'm going to leave in a very neutral white gap because there as it is, will be going ahead with the Bush details which will get covered up. Also we'll be adding in a little reflection of the horizon line Bosch into the sea area as well. So while adding in the details in the C will be adding in those reflections as well. So we need to make sure that as the area also remains wet for enough time. So I'm running in with a layer of water first only in the z-space. I've not gone completely till the horizon line. I've left a very fine thin white light gaps, so that does tie colors, do not move into the area, ruining up the sky. Now as he's going to be a reflection of this guys, I'm going to exactly placed in the yellow tones wherever we have it in the sky very randomly. And then I'm going to go ahead with the pink and the blue tones as well, giving you the details you are as well. Now next time beginning in with a little bit of the pink tones. And now lastly, moving on towards the blue tones and beginning to add in the blue tones in the rest of the spaces. In the C, I'm going to keep it medially, the blue, the little yellow highlights. There's a little bit of the violet tones because of the mixing of the blue and the pink tones. Now closer to the horizon line, you can see I'm going ahead very carefully leaving in that little white cat in the sea, as I told you, wet on wet, we're still going to add in the reflection of the greens as well. So make sure your C remains wet until you can add in the reflection. In case if your c happens to begins to dry out quickly, then you will have to wait for it to dry out completely. And then once it's completely dry, then adding or reweighting technique of the sea area and then add in the green details. For the re-weighting technique. You can visit my specific class on the re-weighting technique where enough discuss the reweighting technique in detail. So with the pinks are blended with the blues getting in those violet color in between. Now I've made sure that the yellow is still visible in between and a little highlighted space to show the effect of the sunset happening in the sea area as well as the reflection. Now, I'm just going to go ahead blend in a little of the blue tones, but using the flat brush quickly and lift up a little of the color wherever I'm feeling that the blue is going in a little excess, my paper is still wet, I still have to add in the reflection, so I'm still going ahead with the details until I feel that I can go ahead and my paper will stay wet. I've just lifted a little of the pink tones to give it a little more violet effect in the area. Now using the sap green color, I'm going to begin adding in the reflection. So I'm going to add in the reflection for the bushy details that we are going to be adding on the horizon line. So the deflection will be in an inverted manner. Now, make sure in the green tones you do not lift up excess water or paint. Otherwise these will begin to spread it. So you can see I'm going ahead with such a layer of the pain that it does not spread out completely. It's written in the space in which I'm adding them, along with the sap green I'm using in a little bit of the darker green, That's the vendor green color. I spend to give it a little darker that you can add in a little bit of your brown to your sap green color to get a little darker effect. Now in the center I'm leaving a little gap, as you can see, because they're at the top space also believing in the little gaps accordingly, even in the CAD, I've left in the little gap if needed, we'll add in a reflection there as well later on. Now on the rightmost side, I've gone in with a little more color variation and used in a little bit of the lighter green tone as well as you can see. And I'm just going to fill in the rest of the spaces blend in with the sap green color. So you can see how using a damp brush and blending the darker greens, the lighter greens as well together so they have the perfect transition, smooth flow between them as well. Now next, I'm just going to lift up a little bit of the yellow ocher color and begin adding in little depth with the yellow ocher color in-between the greens while this is still wet, to give it a little more detail, because at those top spaces we'll be adding in little reflection with the green or yellow ocher color as well. Now on the right side, my reflection you can see is a little larger than length because at the top right side as well, I'm going to add in the bush detail with a little longer height than as compared to the left side. Now, using a little darker green, I'm just going to define in a little more off the edge out you are at the horizon line on the right side as well before we move ahead to the further details in this painting. So all of these, I'm still going ahead, wet on wet. And you can see how beautifully the colors are blending into each other, creating in the depth into the painting. Make sure that you do this only when your paper is still wet. Otherwise you're going to get a very sharp look for reflection and it may standout distinctively making the entire painting look a little epsilon. Now lastly, I'm just going to give him the base layer for the bottom meadow greenery space as well. So I'm just going ahead with the layer of greens. I'm just randomly using in random greens from my palette and adding in the details here. Creating in the layer. Now, do not worry if you see area is still a little wet. My area is almost 50 per cent dry. So I'm going to hit with this NEO because if, even if the greens and the blues at this point mix a little bit together, it's perfectly okay because we are going to be adding in the grass strokes on top of these green tones as well. So just as in the previous class project, we used in the yellow ocher mixed in with white to give him the details. You are as well. We'll be using invite quash a bit, mixing it with the greens this time to give him little highlighted opaque leaf details. You can see randomly I've gone ahead with different mixes of the greens and given in the details here. So I'm randomly running in with different genes yet creating in different texture, running my brush in circular motions, creating indifferent texture on the entire green large space. So now that is, it will wait for all of this to dry completely. And then in the next lesson we'll begin adding in more depth to this painting. 10. Day 3 - Lush Green Meadow - Part 2 - Final Details: Now everything is completely dry it and I'm going to go ahead with the details. So I'm going to be using in this spoilt round brush, which I call it my magical one. Because the tips of this brush, or a little hard because of the credit colors that they've been used for. Now I'm going to pick up the black color. I've just dip the tip of my brush a bit so that I can wet the black color. But you need not to read your entire brush. Now I'm mixing in the black along with the greens and browns on my palette randomly creating a greenish, blackish kind of a tone. Using this, I'm going to hold my brush perpendicular and begin dabbing in, creating in the texture. Now my brush has a little excess. What does I'm just dabbing in the excess water very gently onto the tissue. Now as I'm beginning to dab and I'm going to make sure and creating the shape of the outline that I need accordingly. So you can see as I'm moving ahead with the dabbing technique, I'm even giving you the shape to these green foliage that I needed somebody. I'm taking them taller towards the outer side somewhere. I'm keeping keeping them more towards the edge only. So you can see this method helps you fill in the space completely. After this, we'll be giving you a little bit of the detail dabbing technique as well, giving in some detail leaf on the outside. Same VM just going to go ahead quickly fill in the horizon line as well first. And then in the horizon line as well, I'll be giving him more of the darker details later on. Cmv, even on the right side, I'm going to go ahead with the dabbing technique creating that effect of the bush area on the right side as well. Now to get this dabbing technique right, the important thing is that on your brush you shouldn't have excess water. If by any chance you will have excess water on your brush, it will not give you this dabbing look. It will give you patches of the color. Instead of giving in this dry brush, leave a detailed, giving you the complete village look. You can see how quickly this space is filling up plus giving in a very natural law. This helps you in filling up. This base is faster reducing the time as well as it gives in a lot natural look as compared to go ahead head with just a basic leaf kind of a detail. But as I told you, the important thing here is that you shouldn't have excess pigment or water on your brush. It needs to be a little kind of a dry brush technique, but not too dry as well. Otherwise you will not get the file age effect. So even on the right side you can see I'm defining the shape as I'm moving ahead forward, giving in the detail. I'm making sure I give him the shape accordingly as per the need yard so as to define the shape. And right now it says later on using in the detailed leaf as well, we'll be defining a little bit of the shape, but as much as possible to find the length and the shape of the bushy area. Now it says, now using the same technique I'm going to give in a little detail towards this bottom side, green lush space as well. So just at the top species using in the darker color, I'm giving in these darker details as well as I'm just going to pull out a little of the grass effect using in this color as well. As I told you in the last lesson in cells that we'll be having in the details coming in, you're at the meeting point of the blue and the green covering up the blending points. And now you can see there is no spillage between the colors because Messi was already beginning to dry in. Now using this brush itself, I'm pulling out very random grass strokes in between to give him little of those grass details as well. But since my bristles are separated, I'm getting in this grass effect in case if you want, you can use a fan brush to give him these grass details as well quickly. So onto the entire bottom space, you can see I've given in this dabbing technique creating so much more texture into this bottom space, making it look so much more realistic. This has been a mix of the greens, browns, and blacks that I've been using in randomly. Now across the line you can see I'm pulling out these grass strokes very randomly creating in the debt, giving him the details out here, make sure you can use a fan brush or a liner brush if you're not comfortable getting in these grass strokes using in this pilot round brush itself. Now using my round brush, I'm beginning to add in detail leaves. So I'm just using the tip of my round brush and I'm just dabbing in your to create in the detail leaf effect. Inbetween this spoilage that we've added in. I'm using in the mix of the black and the greens you are as well. And once this dries out, you will see the natural effect more because we already have the base layer filling in space and now the detail look over it. Wherever I feel the need. I'm giving it a little more filling details as well with the darker tones using this detailer brush. So now you can see everything is coming so much more into the detail life. Now I'm going to use in a little bit of the yellow ocher color as well, your TA given lifted highlighted leaf effect, very little, not much of it. Now again, I'll pick up the green tones and I will give it overlapping the yellow as well so as to make it blend well into each other and not stand out distinctively from the greens are the blacks. So you can see a very simple technique that I've used to create the entire foil is first we gave him the details of Philip spoilage look using in this point the brush. Now we are giving in the detailed look on top of it using the round brush so as to give it a detailed look majorly on the inside edges. Same way I'm going to go on the left side as well. And given the detail look, now, make sure that you do not lay your hands at the bottom space where it's already wet, otherwise, the colors may get lifted from there on your hand and wherever you place your hand on the painting, it will get laid there. So you need to be very careful. You can tell your paper accordingly. So it's always better to have your paper taped down on a movable surface so that it becomes easier to rotate your paper accordingly to your hand movement and add in the details. I'm almost done with this detailed leaf on the left side as well. Now the other details that we are left into this painting will be the details on the horizon line for the bush area. And a little bit of the green lush details at the bottom space of the middle. And then we'll be ready with this class project for day two, day three of this five-day of watercolor middle class. Now on the horizon line for the bush detail, I'm first going ahead with the green color at the top. You can see I'm giving in the dabbing technique creating very random shape. And at the bottom space till the horizon line, I'm filling it completely with the green tones. On top of this lighter greens, I'll even be running in with a darker greens towards the horizon line as I did in the reflection area as well. So the reflection is exactly the opposite of the top space. So at the top you will have the reflection at the bottom area closer to the horizon line. So in that reflection closer to the horizon line, you will have the darker tones. Now going ahead on the right side as well, in the same manner, filling in the spaces. At the top. You can see I've tried to vary the height of the bushy area as well. And at the top I've just giving them the dabbing details. Now on the right side, I'm using in a little bit of the yellow ocher color as well. You remember we use the same yellow coat color in the reflection as well. And that time I told you in the top space on the right side, we'll be using in the yellow ocher color, so adding it in the reflection at that time. Now using the darker color, I've marked the distinction point between the horizon line under reflection beautifully. You can see each of the details visible separately. Now I'm going to go ahead with the darker details on top of this bush, giving you more depth at the top spaces. So you can see I've given in the top details while my lighter green color was still wet. So all of this, we are still working wet on wet. Make sure that your paper green details are wet enough so that you can give him these details. Now I'm just defining and blending in the horizon line perfectly. Do not worry, we'll still be giving you a metal highlights using the white pen later on once everything dries out to give him little highlighted details. Now in the bottom lash green space, I'm going to begin adding in little detail defects I'm going to be using in the brown tones as well as the green tones. First going ahead with the mix of sepia, along with a little bit of the yellow ocher and the white course that we had used in the previous lesson. So I already have that on my palette. To that I just added a little more sepia color to get it in a darker tone. And using the liner brush, I'm just pulling out some detail grass strokes from this screen. It is paste that we've added at the bottom area here. So throughout I'm going to pull out these random strokes. You can see how roughly I'm losing my brush moving it so casually so as to give him that natural looking grass details at the bottom space here. Now using a little bit of the lighter green, I'm going to give in little more detail towards the left side, giving it more of the foil each connection between the top and the bottom space. So I'm just going to beginning with the dabbing off this light green color here. Now onto this slide, I'll go ahead with a darker green so as to give it a more natural and blended look. Otherwise, it will look out very separately, standing out in the painting, not blending in well with the rest of the details. So on the edge giving in the darker color look and I'll blend it well so as to have in the natural lookout here as well. Now using the yellow ocher color, I will just give him little more highlights towards the top space here. Now these little details that we're adding in using the yellow ocher color creating and little highlighted space are very natural. As you know, after letting things to dry out wherever you feel the need to add in little highlighted space. So you go ahead with the layer again there. As I always tell you, it's easier to add on the details later on rather than to minus the details when it comes to watercolors. Because once you add anything, It's no going back. It's either completely gone or you'll track it out completely. So it's always better to add them step-by-step and using a damp brush, you can blend them easily with the base layer. Getting the perfect transition as well happening in lightly. Now I'm just defining the top bushy area a little more using in the darker tones I'm giving the top spaces as well a little more defined shape with the bush shape that I needed to add in your. Now before moving on to the final highlights that we need to wait for all of these to dry. And then lastly, using the white pen, we'll be adding in little highlights. So we'll wait for all of these to dry out completely before moving on to the final details and removing the masking tape. So just wait for a few seconds for these to dry out. So now everything is completely dry and I'm going to use in my white gel pen to add in little highlights on the horizon line, very little broken white line detail to mark in the distinction between the top space and the reflection of this green large space that you've added. So you can see this white line begins to actin as the point wherein it shows the meeting of the top area Bush detail along with the reflection point. Now, same thing, I'm just going to add in very little highlights into the grass details as well, very little, not much of it. So I just pulled out a little bit of these white strokes as well. Now I'm going to remove the masking tape and see your final painting with those clean edges. Make sure you remove the masking tape once you register completely dried or is it may tear of your painting because of the wet paint that's there on the edges. Always remove your masking tape against the paper so that it does not lift up the paper and tear of your painting again. You also final painting for day three of this five-day vertical and middle class. I hope you guys enjoyed painting this beautiful green lush painting with me today. I will see you guys soon into the day for class project where we create another beautiful pink sunset. Thank you so much for joining me into this class. 11. Day 4 - Daisy Meadow - Part 1 - Sky: Hello everyone, Welcome back to day four of the word element of class today. Then on the second last class project of this five-day series. Today we are going to be painting another beautiful pink sunset along with the middle, along with some disease as well this time. So let's go ahead with the pencil sketch first before moving on to the further details of the class project. So this time, this time-space is going to be quite small. As you can see, the horizon line is quite towards the top center, top space. What I'm marking out the same space and the center is going to be the CEO. This time also, it's going to be a seascape along with the meadow. At this time, we'll be adding in the floral details as well. Plus this time this guy is going to be more towards the pink tones as well as we'll be adding in all the shining effect in this guy this time as well with the lifting technique just as we followed for class project three. So let's go ahead with the details in the sky for so we'll go ahead with a layer of water bill going step-by-step. There's no much pencil sketch. All of the details will directly be with the paints. And Carlos, did they agreed to give him the details out. So I'm first going ahead with a good layer of water only into the sky space so as to begin adding the colors in the sky. Make sure you haven't even near to four to two out so that your paper stays wet for enough time for you to walk with the details wet on wet for bringing this tie and the details in the sky together. You can see despite using 100% cotton paper, I run my brush multiple times so that I know my paper stays wet enough time until I can get in all the details done. Now I'm going to shift into my round brush. I'm shifting to buy right? Round brush size it on the silver black velvet brush CDs. And first picking up the lemon yellow kind of tone. And I'm going to begin in closer to the horizon line with evading the yellow color. Because we will be giving in that rising, sorry, the sun rays effect for this class project as well. So just giving a very little yellow hint first. Now next, going ahead with a little bit of the yellow orange tone and at the beginning of the indigent highlights. So this is more of a yellow, orange. So it's kind of a mid yellow tone that I'm using in urine this point to begin adding in little highlights with this color. Well, I've just added in a little bit of the yellow, orange tint. Now I'm picking up bring it to the end of this. I didn't move cargo and I'll just add it at the top space a little. We'll still be going in with the pink highlights. This is the base feels color that I'm adding in your so as to have a little color mixes when we add in the pink, closer to the blue and the yellow, you can see I've left in the white gaps in between so that the colors do not meet on for many green tones. Now I'm going to head with the Rosemarie dark color in the center space where I've left in the white gaps so that we have a perfect transition between the yellows, the blues as well. Now, all yellow and the pink when mixed together, it will give you a reddish, orange and pink and the blue mixing together, they'll give you a violet ish kind of a tone. That's perfectly okay. That is the reason we use this palette and between blending of these two colors so that the transition looks smooth. Now I'm going to begin creating in the Cloud space using in this color itself at places wherever I feel the need, I'll go ahead with a damp brush so as to make the blending goes smooth. So you can see how quickly I ran the damp brush at the meeting point of the colors so as to have that smooth transition between the colors happening. Now that I'm adding in the highlights using in this pink tone, you need to be sure that you do not have excess water. If you will have excess water, all of the yellows and the blues will get covered up with the pink completely rather than having enough transition effect and the effect of each color that you've added in so far. So you need to make sure you have a very less water on your brush, as well as limiting pigment so that they stay on this piece where you try to add them. Now using a little bit of the violet color and beginning to add in the details at the top space. Now I'm still walking wet on wet. We still have to fit in that glowing sun effect as well. So remember, people still has to be bad for enough time. So you can see how moving in randomly I'm creating in the highlights using in this violet color in a very medium tone consistency. Make sure to not take the violet color closer to the yellow. Otherwise you may get in muddy tones. You need to go there very carefully with the help of little pink tones together for getting in the transition and the blends right as well. Now next time using in the orange, yellow color, which is more of orange, less of yellow. And I'm going to begin adding in little highlights in the yellow spaces of this guy giving him little effect there as well. So there you go. It was a simple patch of the yellow color as of now to do that as well, I'm giving you a little more cloud effect. So just adding in little more details with the tones of the violet color you can see I'm using it in such light consistency to get in stride. If anybody you feel that the color is dropping in editor access, you can quickly lift it up with the help of a damp brush. Now after this, we are going to directly go ahead and begin in the lifting technique, just as we did in the last class project. This time is going to be much closer to the horizon line that will be going ahead with the lifting technique. Now I'm running but one more layer of the pink tone so as to get it in a little ball pink effect, you can still see the blue color tone that's being visible learning that is, had edited in the bass. Now, I'm just going to hit with the damp brush blending in the tones, right, so that we'd not have simple patches of color anywhere. Now next, using a smaller sized round brush, I'm going to go ahead and begin lifting in those days effect. This time it's going to be in the center closer to the horizon line. And false marking out a small subspace as well. So very small, so good. And from this I'm going to begin pulling out the race. This time. The reason will not be The Complete top edge. I will take it a little smaller as compared to the previous one. As we discussed in the previous lesson as well. At times it may take two to three of the lifting strokes to get into details, right? So make sure that your paper supports also much of the lifting technique or else it may become quite difficult. Now what do these have shifted to afford us smaller, fine brush. This is a size zero round brush. And I'm now going ahead with the lifting technique. You can see the rays are quite small at this time. I'm going to vary the height of the vase as well. And it's going to be more in number rather than the width of the risk. So slowly you can see the sun rays coming to live because, uh, you know, I, as I told you, it may take time at certain times to go ahead with the lifting technique so as to lift the colors, right? Also, some colors may not be supportive for the lifting technique because they may be staining pigment. But these colors that we've used are normally the non-sustaining pigments out here. You can see how simply we are able to lift it up into 23 strokes. And my paper is also not wearing off. The key here again, is that makes sure that after every stroke that you live, that you clean your brush. Now we'll wait for this guy to die out completely and then move on to the sea area and the middle spaces in the next lesson. So I'll see you guys in the next lesson now. 12. Day 4 - Daisy Meadow - Part 2 - Sea: So now my sky is completely dry it and you can see the beautiful sunrise effect that is formed here. And this time, as I told you, it's not till the top edge, just until the center of this guy. Now I'm going to go ahead with a layer of water into the entire area for us and begin painting in the sea. The seas also going to be the reflection of the sky colors majorly. And then we'll be adding in some wet on dry wave effect later on once I see is kind of trite, make sure you have an even layer of water spread throughout so that you can get all the details right closer to the horizon line. Be a little careful so that the colors of this guy do not begin to bleed and the water does not seep into the sky, ruining up your sky loop. Now I'm going to hit first with the yellow orange tone in the center to create that sunlight effect, it's going to be very little. And on the left and the right side, we have majorly going to be having in the pink tones. I won't be adding in the blues here because it's very limited in the sky as well. So I do not want to increase the task of adding and blending in one more color. So I'm going ahead with the pinks closer to the yellow and then on the edges, I'll go ahead with the violet tone or light Leo. So now on the edges I'm going ahead with the violet tone. You can see this is just the base layer. The colors you can see a naught well blended yet into each other. I'll be going ahead blending each of these well and creating in the base layer just in the center, we have to maintain little of the yellow effect for getting in that glowing sunset reflection effect in this area as well. And on the horizon line running very carefully so that you do not move into the sky space at all. So now you can see I'm blending in the pinks and the yellow is using in a little bit of the yellow color again. Now, step-by-step, you can see a little of the blending coming to life. Now again, I'm going ahead with the violet color from the edges and I'm just taking it very close to the yellow, orange tone, but I'm not taking it overlapping too much because they may form in muddy tones there and we do not want that. Now very carefully just using the tape I'm trying to get in lifted off the violet tone over the yellow, orange color, but in such a way that it does not form any muddy tones with a very light hand. I'm just giving you a little of the violet color overlay so as to give a more realistic look to this area as well. You can see via building it layer on layer, not going ahead with the details altogether, one editor wants together. Last, we are building in the color tones as well, Leon. Leon not adding the darker tones directly, only then you will be able to achieve in the depth into your painting. Now very carefully from the center you can see how easily I'm trying to blend in using the flat brush maintaining in that yellowish orange tone in the center for the sunlight effect. So we are done with a base layer of the C. Now I'm going ahead with a layer of water for the grass pay. So we'll just paint the base layer for the grass as well. Yeah. I'm just adding in a layer of water, but closer to the sea area, I'm leaving in a baby's fine line for now while adding the colors. I'll cover that up. Now again, the reason of not waiting for this to dry is because I want a little soft edge between the C and the middle space. So that is the reason I'm directly going ahead with the base layer of metal as it is will be having in the Grass talks later on and the flower details, which will show everything perfectly blended. So for the base layer, I'm going ahead with the yellowish green tone, which is a mix of the yellow and the green tones. This is just the base layer that I'm adding in now on this, I will begin adding in the darker tones as well. So you can see I'm just defining the edges where I'm using in the sap green color for adding in the second layer. Now I'm making sure to add it in such a way that you have little lighter tones as well visible. After this, I'll go ahead with a little bit of the vendor green color to give him little more darker depth. Just closer to the C9. Be a little careful that you do not use extra wet paint there. Otherwise, you will have a lot of green color moving into the area which we do not want. And also if you want, you can keep your paper tilted so that the colors from the green will not move towards the sea area because of the tilting the paper. Now just beginning to add in the darker depths at the top speed line, you can see I'm just giving you a very rough shape so that we do not have that straight line giving in that, you know, a natural look out there. Now next, I'm adding in a little bit of the olive green color as well. So as I told you, you can simply go ahead with any multiple colors of the greens that you have in your palette. You just need to create a very greenery in field or with different tones of greens possible. You can use in the yellow, brown, blue tones to alter your palate of greens if you do not have much of the different green shades already in your palette. Now I'm just going to go ahead with a little bit of the water splashing technique at the bottom space to create a little texture. It will take a little time to keep, keep creating in this texture because, you know, since that paper is still wet, so this may dispose completely. So we'll go here on LEO to get ingest very little texture effect, not much of it. Now if you're not confident about adding in this plateau easily make sure you cover up your Z space annual painting on the left side in case if you're painting on both sides of the paper. And then go ahead with the scratching techniques so that the splatters do not go on to the sea area. Otherwise you will get those patches in the sea as bell. Now I'm done with this flattering technique as well. And now I'll wait for all of it to dry completely and then we'll move ahead further to add in the waves first. Sees almost dried. It's just like ten to 20 per cent wet, which is exactly the time that I wish to add in the vase so that my waves also have a little soft edge. So I'm mixing in a little bit of my pink along with a little tinge of the violet color you can directly using a reddish violet tone if you want, and using my liner brush. And I'm just going to begin adding in the waves, but in the center, I will keep it blank for now because there'll be adding in little off the yellow leaves effect on the left and the right side. I'll begin adding in the waves with this violet color tone. My greenery space is still wet. I'm going to go ahead very carefully to not lay my hands on the green spaces. Otherwise, it may lift up the colors from there. You can see I'm using the violet tone in a very light consistency here to adding these waves effect, make sure you do not use it in too dark consistency. Otherwise, it will not look in that in sync with the z-space. So in a very light medium consistency and the fine strokes closer to the horizon line, I'm adding these waves in very small length and just crisscross random lines closer to each other. As we move further towards the middle space, we'll begin increasing the length of these ways because those are much more closer to our view. So as I told you in the center, I'm leaving the space. Because they're forced, I'll be adding in the wave effect with the yellow, orange tones. And then I'll just add in little of the blending tones with the violet color once we are done adding in the yellow, orange tone. So going step-by-step so that we have that sunlight reflection effect in the area as well. Now somewhere, I'm just going ahead with little darker hint of the violet color tones so as to give him some more depth to the waves. So just some few darker veins randomly urine there and some of the waves you can see our little thicker as compared to the other way, so as to add in little more depth to the waves. Now using the yellow, orange color, I'm beginning to add in the waves in the center space. In case if you feel that this color is not standing out, you can simply use in a little bit of the white gouache, mix it with your yellow, orange color. So I'm going to do the same thing. I'm just going to mix in a little of the white course so that I get an opaque look to this yellowish orange tone mix and I get those wave effect quite good. Now made sure to this mix of divide question yellow, you do not add in a lot of water otherwise, again, it will begin to actin as watercolors. You can see as soon as I've added just a yellow color to divide quash, it is turned out opaque and you can see the waves coming to live. This is just a simple dry brush technique. Waves that I'm giving in your so as to get in that glowing sun effect reflection in this area as well. If you want, you can mix in a little bit of the orange ten CRS well, and given little of the orange wave highlights as well. After this, as I told you, I'm going to give him little of the violet overlapping waves effect here as well so as to make everything look well-defended with each other. So with the violet color you can see in between the yellow tones, I'm trying to add in these waves so as to show everything looked blended with each other. Make sure that your yellow waves are completely dried and do not run too harshly over the yellow leaves. Otherwise it pink if you muddy tones in-betweens wherever I can find the gap I'm adding in these violet color wheel so as to show everything looking well blended with each other. Now, after the waves have dried out, I feel that they are looking a bit lighter in tone. So I'm just going ahead with a little darker tint out pure and giving in some darker depth randomly, not going to turn it to dark as well, just some highlighted Dhaka waves effect so that everything looks a little more in detail. So you can see how simply you can dab in the darker tones as well in case if you feel it's turned out to dark, however used to tissue and quickly dab that wave which was looking to bold as compared to the entire CSPs. So we're almost done with the sea area as well. Now the details only left in the middle space and a very fine mountain range on the horizon line using in the black tin or the violet color, whichever you wish to use it. So using the black color, I'm just going to quickly add in that very tiny mountain range on the top of the horizon line. I'm just going to take it till the center of the horizon line and it's going to be a very tiny one. Make sure you have an uneven shape to this at the top space and towards the horizon line, you just fill it with the black color completely. So there you can see, I've just got it till the center line and I'm leaving it there, just turning it into a very fine pointed edge out there. Now we'll wait for all of this to dry completely. And in the next lesson we'll add the final details to the middle. And we'll be ready with our class project for day four as well. So I'll see you guys in the next lesson where we add in the final details. 13. Day 4 - Daisy Meadow - Part 3 - Final Details: So now let's go ahead with the details on the middle. So I'm going to squeeze out a little bit of the white course so that we can mix it with the greens for adding in the grass strokes. In the second class project as we had mixed in the white along with the yellow ocher color. This time we'll be mixing invite along with the greens that you can get in a little opaque looking green if you want, you can directly using a green gouache. But in case if you do not have quash paints and just have a white color, you can simply mixing your white quash along with a little tint off the white watercolor. And we also did the green watercolor. And we'll begin adding in the Grass talks with this opaque color. Now I'm randomly mixing into 23 greens, which is already on my palette, and a little bit of white gouache. You can go ahead with any mix of the green just that you need to make sure that it be visible on to the base layer colors that you've already added in. Now, once I added in a few strokes, I could feel that they are not visible that great because of this almost same looking colors. I'm just adding in little more off the white gouache to get it in a little more opaque consistency. Now you will see I'm going to move ahead very randomly with these grass strokes. I'm going to take them quite taller one as compared to the shorter ones that we were painting in the second class projects. So we do not have Laos or different sections here. We're just going to randomly be going ahead with these grass strokes. So very randomly you can see I'm moving ahead using the liner brush, adding in very random strokes, moving in all direction, giving in the depth to the painting. So it may be a little tedious task to keep pulling out these tools, but it's at the same time quite relaxing to just randomly adding these strokes without any sped set specific pattern or without any specific way of adding these. So you can see I'm just randomly adding them, overlapping each other as well. Later on we'll add in some darker green strokes as well, which will be visible very simply. Now towards the top as well, you can see I'm adding in some of the green stuff overlapping the sea area as well so as to make everything look well blended with each other. Now using the vendor green color, I'm just painting to add in some darker green Stokes randomly. Now make sure in case if you are lighter green tone is not completely dried. It may be a little difficult for you to add in these talks as the colors may begin to blend and move into each other. So go ahead accordingly. If you'll notice I'm going ahead with very different lens of the grass strokes. I'm not having the same length for each of the strokes. I'm very, very small, some base shadow. I'm even adding some of the grass strokes coming out from the bigger grass strokes connected to each other, giving him the natural look as much as possible. Now I'll just add in a little more of these are darker strokes first quickly and then we'll move ahead to the next step for this painting. Now you can see we just added in the grass talk using in the two color as of now. But because of the background Leo, already the space looks completely filled up and so much nitrogen background green tones that we had added now access to fill those spaces and these grass strokes that we added on top of it makes it look much more in detail. Now I'm going to add a little more lighter green strokes if needed variable. So I've added in a little more white. As you can see, this is little more towards the brighter side. So these are just adding in as the highlighted strokes are in-between the grass details that we've already added it. So now I'm done adding in the grass strokes. Now I'll move on to adding in the DZ. So I'm going to squeeze out a little bit of the white coats separately to begin adding in the daisies, make sure that your grass strokes are almost dried before you begin adding in the daisies. Using the white quotient of all consistency, I'm going to begin adding in very simple florals. And then for the buds, I'll be using in the yellow ocher color later on. So for now let's begin adding in the disease. We are not going to fill in the entire glass piece with the disease, will add them in a very scattered manner. So you can see I'm going to head with very random shapes of the daisies somewhere. I'm just taking it half towards the top sites and we have towards the bottom side somewhere the top strokes are quite smaller somewhere the bottom strokes are smaller. And decide strokes up bigger. So just trying to vary the look of the flowers from different perspectives. One of my previous classes are discussed in detail about these daisies. How you can add them in different angles, proportions. If you want, you can go ahead and visit in that class, wherein I have discussed in detail about adding an painting to Daisy fields. Now you can see some of the daisies I'm even adding an overlapping area as well, trying to show in those days is blooming or towards the sea as well. So I'm just going to add in a little more then we'll add in a little splatter as well to actin as the filling space. So do not go ahead and fill in the daisies at one specific spot altogether. Go ahead, scattering them all throughout the middle space. And then wherever you feel the need, you can go ahead and add them. So you could see I began in from the left or right side. I added a few on the right than on the left. Now again, I'm adding in the center so as to, you know, understand where you need to add in more instead of filling in the entire space just with the player of a white color. Now using the yellow ocher color I'm beginning to add in the bud in the center of the disease, make sure you use a yellow coat color in a quite bold consistency. If you want, you can use in a darker brown tint as well and mix it with a little bit of the white quash. Now I'm going ahead very carefully adding in the buds to each of the daisies that we've added it. Now some of the disease which are blooming towards the bottom side, but will be on the top and the petals which are towards the top side, the bud will be at the bottom side. I'll say if you notice all of my disease or in different sizes, I've tried to bury them as well somewhere. I've added them quite small and tiny one somewhere I've added the bigger ones and some there half daisies as well to maintain the natural log of the entire middle space. So I'm almost done adding in the buds to each of the flowers. Make sure you go ahead very carefully with this step so that you have the notch look to the flowers as bad. Now using the white gouache, I'm just going ahead with a little splatter off the white color medially at the bottom space to showing us some tiny daisies which are quite far from our view and which will act as the filling space. Do not add a lot of these platters, adding very minimal. Now randomly somewhere I'm just converting these dots into bigger petals trying to show in just a few petals of these daisies coming in to which we won't be adding in any of the bad effect. Now, I've taught in places I feel that the white mini dots are the little extras. I'm quickly going ahead with the tissue and lifting up those dots before they dry out. So just dabbing them into the green space a bit if you want, you can even use Dan Brown brush and blend them into the green tones and just add in a little green overlay on top of it and it will get covered up. So that is why I told you while adding in adding very minimal because I had added in a little extra which I'm dabbing them out now. So we're almost done with our class project. I just added in a little more detail to the daisies. Now I'm just going to add in little more strokes connected to these daisies. So some grass talks with the darker and the lighter green tones so as to get it in harmony with the disease as well. And to some of the disease, you can even add them as the stem for the disease. So now let's remove the masking tape and see your final painting. We are ready with our class project for day four as Ben, Just one more tea and we'll be ready with this five-day challenge to level up your watercolor skills with the middle class lessons. You also final class project for D4. I hope you guys enjoyed painting this with me today. I will see you guys tomorrow into the day five class project. Thank you so much for joining me into this class and painting along with me. 14. Day 5 - Sunset Meadow - Part 1 - Sky: Hello everyone. Welcome back to day five. This is the last class project in this five-day challenge. So let's begin in with the pencil sketch for d Phi first. Four, D five we are going to be having in a lot of mountain ranges and we are going to show in kind of a sunset effect from behind the mountain range. I'm just adding in some random mountain ranges. You can go ahead with your own layout for the mountain ranges. And below the mountain ranges we are going to be having in that little middle space at the bottom area. So you can see I've added a few bigger mountains and then some of the smaller mountains. So I have six to seven different mountain ranges that I've given in. So this entire bottom space will be the middle till that mountain range line. And the top area is going to be this guy. So let's begin with the sky first. I'm going to go ahead with a layer of water into the sky. This time we are going to be painting a brownish, yellowish kind of a sky with a little of the glowing sunset effect again. And then we'll be showing that effect of that sunset falling on the mountain ranges as well. While adding in the layer of water into the sky, make sure you go across the mountain shaped very carefully because the mountain ranges at the top side are going to be off the lighter tones. As we move towards the bottom side, the color of the mountain ranges will also begin to darken up. Because closer to the sky, we are going to show that these mountain ranges are having the effect of the sunlight falling on top of them because the fish, they are visible in lighter tones. So I'm first beginning in with the yellow light color in the center space, beginning to add in the yellow color. Then we'll shift onto the brown tones giving into depth into the sky. Next time picking up the light red color from this set, you can see it's kind of a reddish brown tones. So in case if you do not have the exact same tone, you can simply mixing your red color with a little tinge of the Guanzi and Apollo. And you'll get it similar-looking, reddish brown tone. You can either use vermilion color or you can even use in a little bit of the Bayh-Dole dread, permanent red, whichever is available in your palette. Now, with a little of the yellowish orange tone, I'm adding it completely in the whitespace till the closer line off the mountain range. Now big thing in with the brown, I will begin adding in little details. I'm going ahead with the burnt sienna color a bit and I'll begin and adding in very slowly. Now make sure when you beginning with the brown, you do not have access water. Otherwise, they will begin to split up completely and we'll cover up the entire yellow spaces. We do not want that. We want the yellow space is also to be visible. So make sure that now when you begin adding in the Cloud detail and the depth into the sky, you have to perfect Water Control on your brush. No excess water, no excess pigment so that the colors stay where you are adding them. So now you can see I'm just alternating between the yellow oranges and the brown tones and beginning to add in these cloud shapes in different angles. So I'm, when I'm running my brush in circular motion somewhere, I'm just running in simple strokes. Now I've picked up a little bit of the sepia color, and I'm beginning to add in the details close to the orange tones that we have added in. You can see I'm running my brush so casually and down motions. I have mixed in a little tent of the yellow ocher as well, which was already on my palette into the sepia color. That is the reason it's in a little lighter tone consistency and not the ball sepia color look. So we're still working wet on wet into our sky and we'll still be working a little more wet on wet before going ahead and creating in that glowing sunset effect. Now using the light red color, I will just add in a little more highlights as well into the sky because I feel a lot of sepia and yellow has taken over. I want a little reddish tone as well. That is the reason I'm using this light red tone and not directly a red tone because I don't want that bold red color as well. Now using the smallest size brush, I'm going ahead with the lifting technique. It may again take you a little while, but I'm sure after the first two plus three, j of d3 and d4, I've got a little hang of it in lifting up the details out here and creating in that glowing effect. Now using the size zero brush I'm lifting in the race. Now this time the rays are going to be completely in a circular motion, but towards the bottom side I'm going to lift it up in smaller lens and towards the top it's going to be a little longer, almost in the edge off the masking tape. Alter this time you can see in-between I'm lifting smallest strokes as well, and between two longer strokes, I'm lifting up some smaller strokes as well to give a little more depth out. You're now in the center we're creating in this glowing space and the sunlight effect. So in the mountain ranges, when we'll be painting the mountain ranges will make sure that towards the center side of each of the mountains that falling under this piece will keep the tones are little towards the yellowish site to show the effect of the sunlight falling on the mountain ranges as well. So as I always tell you, it takes a little time to lift up these V is n gets, get the effect right. But after the multiple lifting strokes that you go ahead with it. Absolutely. The details that come in here now makes sure that after every stroke that you lift up, you clean your brush so that you do not have the pins lifted back on your brush. And when you go to pick up the next truck, it may again get laid down. Now wherever I feel the strokes have gone a little longer. I will quickly go ahead with a little bit of the color and blend them before they dry out. Make sure that your edges haven't dried in. If you are going ahead with this layer of the Browns who are blending in. Otherwise you may get in patches of the color instead of the blending loop on the edges of the strokes, you can see a little bit wherever I'm feeling it too long, I'm just blending them into the sky well, because my paper is still wet. So we're done with this guy now we cannot paint the mountain ranges because this is wet and the colors will begin to seep into each other and we want the distinctive look in each of them. So we'll go ahead and just paint the base layer of the middle for now so that even that can dry out. And later on, we can begin painting one-by-one mountain ranges in the next lesson, and then paint the final details. So I'll go ahead. The Meadows piece, I'm going to beginning with the same yellowish green layer for us and then begin adding in the darker green tones. So then the last mountain range, so only the bottom 30% of the space is the meadow space. Make sure you do not go ahead and fill in the last mountain range with the lighter green tall. Now, I'm going ahead with a very rough shape, not maintaining a straight line for the middle space. So for the middle this time you could see I did not go ahead with a layer of water. I directly went in with this yellowish green color layer. And I went ahead with this color in a little liquidy consistency so that automatically it will stay wet for a little time until I can add in the darker tones on this and get the depth into this painting. Now seeing because we have been going ahead in the previous class project, you can see with different tones of greens how I'm moving ahead very randomly. You can notice my brush strokes just moving carefree in any circular motions. Anyhow. Just so as to create different color depths into the meadow space for the base layer. So that when you add little details, staffs on top of this, once they're dry up, this background layer acts as the filling space, which makes the middle look more detail, more realistic. So the third layer of colors you can see I've used in a little bit of the olive green tones now in case if you do not have all three, you can simply mixing a little bit of your CPR to your sap green and you'll get an almost olive green color looking tone, which you can use in for the darker tones. And now lastly, I'm going to use in the vendor cream color and I'm going to begin adding in some more darker depths using in the vendor green color. You can see how randomly I have been moving on the middle space because of which I can see variations of greens in my meadow space giving it a more natural look. So make sure you move your brush so randomly that you can get in all of these details. And so much more of these right? Now, just as we went ahead in our class project one same way I'm going ahead with little of the lifting technique here to create in some grass stroke. And I'm just using the tip of my brush to create some texture pattern for the class talks, while this layer is still wet, Ready simple detail, you can see I'm just lifting up little bit of the color tones directly from the edge of the brush. Now I'm just going ahead very randomly here you can see because we are going to be adding in a lot of the florals this time, it's going to be pretty simple. Florida, not a defined one by tau, since, you know, in-between the floral sees, grass strokes will be visible, sizable dividend, natural law. That is the reason I'm going go ahead with this textured grass this time instead of adding in those grass strokes with opaque color, once everything dries out. I'm pulling in a lot of these in the entire space you can see when stay dry out, it will give him the texture effect. Now my sky is completely dry and I'm going to go ahead with the first mountain range. And after that, I'll wait for all of it to dry. I'm going ahead with the burnt umber color in a very light consistency. It's more of water and just a little tinge of the color. Make sure that the sky is hundred percent dry before you go ahead with this step of beginning to paint in the mountain ranges. Otherwise it will be very difficult to maintain the distinctive points. Now you can see I'm going ahead with a very light tone of burnt umber mixed in with a little tint of black. And it's a very light tone that I'm adding in your. Now just using a little darker tint at the tip, I'm defining the top edge and I'm going to blend it with a lighter tone. So basically we are going to have each mountain enough radiation be the top of the mountain range is going to be towards the darker side. And moving towards the bottom side, you'll keep lightening up the tones. Now you can see this mountain range that we painted as not falling directly under the sun space. That is the reason I have not added much of the yellow effect here, but still have kept it towards the lightest site. So basically even going to be painting the center mountain ranges, your will keep in mind of adding in the yellow tones much more as compared to the rest of the mountain ranges. Now in the same color pattern, I will paint in the right-side mountain range as well because it is not connected to the left-side mountain range and we can paint this as well together. They stop the mountain ranges. We'll have to wait for He's forced to to dry out and then go ahead step-by-step with each year of the mountains. So I've painted this right most mountain ranges well in the same way with the same tones of the bond amber and the black tint at the top I'm giving in the darker tint and blending it till the bottom space using a damp brush, make sure you have the perfect transition and not to patches of the color darker and lighter. So you can see how using a damp brush, I'm blending the darker tones as well towards the lower side and getting it the old right? Now we'll wait for all of this to dry completely. And then in the next lesson we'll move on to the next layer of mountain ranges and then do the final details of the middle. So I will see you guys in the next lesson now. 15. Day 5 - Sunset Meadow - Part 2 - Mountains: So now let's go ahead with the further details. My entire painting is completely dry. You can see the beautiful effect of the glass. Glass talks that we didn't with the help of the tip of the brush. Now I'm going to go ahead with the second mountain range. So I'm lifting up a little bit of the sepia mixed in with the burnt umber color. And I'm going to begin with the center mountain change. Now in the center, remember we have to even given a little bit of the sunlight effects, make sure that you are forced to mountain ranges that you've painted a completely dry. Otherwise these will not have a distinctive low, and the colors will begin to seep into each other. Now that this mountain range I'll be creating in that light effect in the center space as well. I'll be adding in a little bit of the yellow color then later on. So first I'm just lifting in a little bit of this color. This was the second mountain range. I know the pencil sketch maybe too light for you to understand. But after this we'll be having in the rest of the mountain been bigger mountain range in the center you can see into more smaller ones on each edge. Now I'm just adding in a little tent off the yellow out here after lifting up the color. And you can see the effect that it's showing, the sunset effect falling on the mountain range as well. And I'm blending the yellow effect well with the rest of the colors of the mountain range. Now I've even, even paint out this mountain range on the rightmost side, which is again a very small one. You are again, will not be having any of the sunlight effect falling in because this is quite far from the sun area. So we are done with two more mountain ranges. You can see how slowly we are going in step-by-step to add in the details, do not rush with the mountain ranges. You can use a hairdryer to speed up the process if you want, but do not rush an ad while the mountain ranges are still wet, not go on to the second mountain range, otherwise you will not get the distinctive looks out there. Now I'll wait for these to dry out completely and then move on to the next mountain. Now my two mountain ranges that I added are completely dried and I'm going to move on to the third Mountain, which is going to be the biggest mountain in the center that you can see. I'm going to use in the same color, but this time in a little extra darker consistency as compared to the first two that I've added in. First, I'll go ahead with this very small, tiny mountain range on the left side as well. And then I'll go ahead with the main mountain range. Again to this mountain range on left as well, you can see I lifted up the color from the center space, just keeping it a little darker edge and then a transition effect. Now in the same way I'm painting in this last mini mountain range out you're on the rightmost side and then we'll just be left with the tool. Bigger mountain ranges, which we'll add in once, you know, these to dry out completely. Now we'd have to wait for these to dry and then we'll move ahead to the bigger mountain change in case if you are mountain range or has already dried out, you can go ahead with the bigger mountain range now it says. So now my third layer of the mountain ranges on the left and right. I've also tried out and I'm going to go ahead with the center big mountain range. And for this, I'm using quite a darker consistency of the sepia color. It's going to be darker than compared to rest of the six mountain ranges that you've added so far. And fast beginning to define the edge and the shape of the mountain range. And later on I'll be adding in the yellow highlight on this mountain ranges well, in the centers piece to show the sunlight effect falling onto this as well. I'm filling this completely as you can see, the last mountain range is going to be off the green tones, which will be showing in as the tree effect out there. So do not add the brown tones there now because they are, we are going to be going ahead with the tones of green later on. So you all, you can see I'm lifting up a little of the brown tones and adding in the yellow tones and blending all of them well together to show the sunlight effect falling on this mountain ranges. So you can see how beautifully the mountain is showing the sunset effect falling on the mountain range here. Now make sure you have the Blending right. Otherwise it will look as Apache space, which will not give them the natural effect. So to make it half the natural look, it's very important that you blend the yellows and the browns well to each other. So I'm just going ahead with another layer of blending. And now you can see everything is looking in smooth. Only the edges have a little darker. And this mountain range is much darker as compared to the rest mountain ranges that you have added towards the top site. So basically we have gone ahead with a gradient mountain range towards the topmost site. We've kept them light because they are closest to the sky and more lighter because of more sunlight falling on top of them. And as we move towards the middle space, we've kept darkening the effect of the mountain ranges. Now the last mountain range, or the range you can call it, will be of much darker green tone, which will make it look much more darker and try to show it in harmony with the color range falling in. So just to add a little more layer of the browns and the yellow Teutonic, a little more dark. And now we'll wait for all of these to dry. And in the next lesson we'll add in the final details to this painting with the last mountain range and the rest of the details. 16. Day 5 - Sunset Meadow - Part 3 - Final Detaisl: So now everything is completely dried and we're going to go ahead with the last leg of details for this painting. So let's go ahead and paint that whitespace first wearing. I'm going to add in a tree-like effect using in the dark green tone. I'm using the Van **** green color for that. It's the darkest green tone of my palette. Now in case if you do not have such a dark green color, you can always mix in a little bit of a darker blue or brown to yard or regular greens to get in this darker green effect. Now you can see towards the top side, I'm giving it a little spiky look to try to show it as a bunch of trees clustered together out to you. That is the reason I'm giving in that top edge a little pointed low. And then I'll fill in the entire bottom space with this green color till the horizon line. So now I've almost filled up this entire bottom space with this darker green tone now will be left to add in some details in the field space, as well as the floral effect in the meadow area for this class project. Make sure you go ahead with a very bold layer of the green color here you can see how bold the screen is. Not. Go ahead with the black color directly. I would recommend go ahead with a mix of a darker green because, you know, it will give you a much better look and in-sync with the mountain ranges and the field space. Now the bottom of this mountain range you can see I'm trying to give it a very uneven shape. I do not want to keep it as a single straight line because I wanted to show it well-connected to the field as well. So that is the reason I'm giving it a very absolute shape at the bottom and run the bottom as well. I'm just going to pull out very random shapes are there to try to show in all of these connected well into the field out here. Now with this darker green itself just giving it a little darker effects randomly urine they're creating in some bush details in-between the grass field as well. And then we'll go ahead with the last leg of details. That's the Florida and for the middle field. So very simple, darker green patches in the field you can see we've created so as to make sure that everything is in a sink instead of just having simple parts here and there. Now I'm just mixing in a little bit of the pink tone with the white quash already on my palette so that I can get an opaque look for the florals. Now, for the florals, I'm going to go ahead with very simple dabbing technique to create in that distinctive floral trying to join a lot of bunch and cluster together. So no distinctive look for the florals. But I'm going to go ahead with two to three color variations of the pink tones for the floral area. So I'm going to keep altering the color mix, some more of pink, somewhere more of white so as to get different color tones for the Florida area. So far. So I'm going ahead with this darker tint. You can see I'm just randomly beginning to dab in this color urine there. Now I'll just squeeze out a little bit more of the white gouache and keep it so that I can keep altering the color by just adjusting the white gouache in this color mix. Now randomly in between you can see I'm going ahead with the darker tones. I'm just dabbing in the tip of my brush somewhere you can see the dabbing is quite thick and big. So I'm going to just some smaller dabs to create in some miniature flowers in between. So then dire bottom space, I'm going to be filling in in the same. Then that's going to go ahead with different tones of the pink color. The reason of adding invite cautious to give it an opaque and right look to the florals. You can see how beautifully it standing out even on the darker green tones. Next we'll be adding in little bit of the green details in between these florals as well once they dry out a bit. Now somewhere in-between you can see I'm adding in some bigger florals as well. I'm going to take these Florence till the green mountain range that we've added in. That's the trick range kind of detail that we have added in. Now closer to the mountain range, I've shifted to my size zero round brush. I'm just using the tip of the brush. I'm adding in these quite tiny dots out. You're trying to show him that these florals are quite far from our view because a fish, they are visible quiet in a smaller size. And the Florence, which add the bottom-most area of the page are much closer to our view, Hence a little bigger in size. So I'm just going to add these quite far as you can see, same, I'm going to go ahead with different color tones there to give him those mini flower details closer to the horizon line kind of detail. Now in-between these bigger flowers as well, I'm just going ahead with some smaller flowers to give him little more debt. You can see how beautifully we can create so much detail with just the help of different color tones, giving it so much more depth to the middle space. If you want, you can even go ahead with some detailed floral look here. You can go ahead with a sunflower field, arose field, poppy field. But I wanted to keep it simple so that even if you are a beginner, you can follow in easily. And even if you had an intermediate level artists, you can easily go ahead and add in detail flowers on your own. Now a further created an almost baby pink tone. You can see so much of light and very little bit of the pink color. And I'm just beginning to add in some highlighting flower with this lighter tone as well. So I've got like three to four color variations by just adjusting the pink and the white color proportions in the column mixes to get in these tones you are for the Florida range. We are almost through the class project for day five as well. I'm just going to hit very carefully and slowly building in the entire middle space because I do not want to overdo it. You can see since the beginning I've been going ahead with very little details of each color, not running quickly with too many colors altogether so that I do not overdo any space, and I do not overdo any specific color a lot. Now, I'm shifting into my liner brush and using in the green mixed with white gouache, which I already have on my palette from the previous class project. And I'll begin adding in some grass strokes in-between these florals to give it a much better blended look altogether. So very carefully in between the florals, you can see I'm pulling out these drugs. The details majorly at the bottom space, I'm giving in more of these crosstalk details, trying to show in these acting as the stem to the florals that you've added in. So in between the spaces of the florals, wherever you can find in much larger spaces, you can add in small lines of these color tones. So they will act in asda or stem to the flowers that you've added in those spaces. So you can see how carefully I'm adding in these if you want for the greens as well, you can go ahead with different tones of the green color so that you can have it a more natural look. You can see how loosely I'm moving my brush without any specific notion, just moving randomly in different directions to give him the details. So make sure that you go ahead quite loosely and casualty so that you'll get it in a natural look. We are almost through the day five as well. And I hope you guys have enjoyed painting these meadows series, enjoyed it in different, you know, all the five are quite different class project ranging from different techniques or different details for adding in the meadows. This was a little detail class so that you could get a handful of detailed paintings and walking layer on layer step-by-step, as well as with the wet-on-dry details. Also, this class was more focused on building up your techniques rather than simple, easy class projects. So I'm almost through the class project and we'll soon be removing the masking tape for our last and final painting of this five-day challenge. Now, using in a little bit of the pinks, I will just give him some highlighting effect so as to make it again look blended well with the gastroc that you added in. Now, you can see so much of the grass strokes that I added in-between the Florence, it took a little time, a few minutes. But now you can see the realistic effect to the meadow that's coming in. Places. You can see I'm adding in some bigger flowers so as to show in the close-up view of these flowers which are much closer to us. And that is it. We are ready with our class project for day five. Let's removing the masking tape and see the final painting. I hope you guys have been enjoying painting these five-day series and I would love to see each of your class project into the project section. And in case if you've liked this class for whatsoever reason, do not forget to drop me a review. It may help me reach maximum students who may also be looking to level up your watercolor skills and paint detailed paintings. Make sure to remove the masking tape once your edges are completely dry it and always to move it against the paper. You also final painting of the five-day challenge day five class project with a pretty pink meadow detail. You also closer view for you On the day five painting. In the next lesson, we will have an overview of all the five class projects that we did in this five-day challenge. I hope to see you guys soon into my next Skillshare class. See you in the next lesson where we see Oliver, five paintings at a glance together. Thank you so much once again for joining me into this class and painting along with me through the five-day challenge. 17. Thank you : Thank you so much to each one of you for joining me in to this five-day challenge. We began with the first day painting in this beautiful mountain range with the sunset and a simple greenery, lush meadow. For the next class project, we went ahead with a cornfield kind of a detail wherein they went ahead with little different color tones as compared to the color tones of the reference picture and created in this beautiful fee. For the 3D painted this beautiful glowing sunset and the green dashed details. For day four, we painted this beautiful pink daisy field. And four, day five, we find that the painted a beautiful glowing sunset mountain range effect fit something floral details. I hope you guys enjoyed painting each of these beautiful painting with me through the five days. I will see you guys soon into my next class. Thank you so much for joining me. Make sure to drop me a review if you like this class for whatsoever reason.