Watercolor Seascapes: A 7-Day Voyage Around the World

1. Hop on the Voyage!: Watercolors see, escapes are a beautiful and challenging subject for artists. They offer a wide range of colors, textures, and moods, depending on the location and the weather conditions. Hi, I'm sweaty jihadi, a watercolor artist by passion and a project manager by profession based out of Bangalore, India. If you're new here, I go by the handle, tinted doodles on Instagram where you can see all my works. Oceans, caves, and waves are the main reason what made me fall in love with watercolors. I just wanted to explore anything and everything with the shades of blue and water. Painting, watercolors escapes around the world is even more interesting because it challenges you to explore various cultures and landscapes around the globe. From the turquoise waters of the Caribbean to the Radcliffe's of Southeast Asia. Each location offers a unique challenge that would help you explore a lot more. When it comes to painting a watercolor seascape. We will use watercolor paints to capture the essence of C, including its color, movement and texture, the colors of the sky and the water, as well as the shapes of the waves and the shoreline, are all important elements to consider when painting a seascape. But practice and patience, I'm sure you can learn to paint any seascape out there with a good reference. So in this class, we are going to hop on a voyage and start our journey from Asia, where we will go through direct lifts off Thailand. And then next we'll move towards Oceania to explore underwater SeaWorld along with some of the whales. And then we will go towards Antarctica to explore all the beautiful ice landscapes along with the penguins. Then we'll explore how to paint a majestic surfing waves from South America. Next we will capture Golden Gate Bridge along shows the sunny beaches of California. Then we'll hop on a yard to explore the amazing blues of Greece and Italy in Europe. And then we'll observe a spectacular underwater fall in Africa. Overall, this class aims to inspire you to explore the various diversity and cultures of cityscapes all around the world by providing you with practical guidance and techniques to paint watercolor paintings and capture all these beautiful scenes. So, hop on the journey with me and let's see you in the class. 2. Supplies that you would need: Let's go through all the supplies required for the class. Shelby, starting from paper, I'm using send cat, birds, Mel Saunders, Waterford paper. This is a cold press that is fine-grain paper with 300 GSM or 140 LB weight. This is the structure of paper. You can see it is having a fine tooth here. Okay. Then I'm using a spray bottle. This is from Amazon. It really helps me to re-wet at the places and the water is always creek clean. So that helps a lot in watercolor paintings. Two jars in which one I will remove the first layer of pigments. And the other one is to clean the brush so that the water is always clean. Okay. These are some of the brushes that I'm going to be using. A tissue paper as well or paper towel to remove excess of water from the brushes. Coming to brushes, this is a size four round brush from the brush. It's black velvet. 3,000 as series, same one in size eight as well. It has really good tip. You can use any round brushes with a good tip. This is a flat brush from Princeton, size threefold. It's really good for applying water as well as for any flat washes that I'm going to use in my paintings. This is from Neptune series. Here is a liner brush from Princeton at twilight, size one. This liner brush is really handy when I want to add my new details or waves on the paper. You can also use any other small round brush with a good tip. This is a synthetic brush from gambling that I would be using for applying masking fluid onto paper. This is a small container just to add some soap mix for using the masking tape. Coming to paints. These are Gosh, white gosh, I would say it's from heavy meal. You can use any other white, goulash or poster colors. These two colors are from the brand two-week permanent red and bright rose. I will be showing swatches for all of this in the upcoming class. From Daniel Smith. I have these two colors, moon glow and let's do own genuine. These are really good granulating pigments for adding rocks or any such texture to your paintings. You can also skip this and use violet or brown shades in the paintings. No need to worry about it. If you did not have the granulating pigment from Mission Gold, I have leaf green and peacock blue. I will be using peacock blue a lot in the classes. Now coming to the shades of blue from White Nights, I have a couple of these colors. This is ultramarine. Then we have cadmium red light. That's emerald green. This one is cobalt, turquoise. It's a very beautiful color for cityscapes. And this is green. You can use any shades of green if you want. This is CPL. And indigo. Indigo is really crucial and I just love how smooth this pigment is from White Nights. I have extensively used it in all of my projects. This is bright blue or yellow, blue from Winsor and Newton Cotman. A palette for mixing all the paint. Here I'm using a ceramic one because it is easier for me to activate and mix all the pigments. Any board of transparent or a wooden board for masking of the people and the masking tape for sticking it. So these are all of our supplies that are required for the class. See you in the swatches. 3. Swatches of colors used: Here I have taken down a piece of paper and noted on all the colors that I mentioned in the supplies class. Switching off with bright rose, be villa when it's a very beautiful neon pigment of pink. You can use any brighter shade of pink if you do not have this color as well. This is permanent red. This is also from the brand to me. It's a very good opaque color of red that is very useful for filling up some opaque places. This is peacock blue pigment b5 and three. Having PG seven, It's a very beautiful mix of yellow, blue and the yellow greens. So if you can also create this color if you already not have it. This is leaf green pigment BY three, PG 36 and p by 65. This is greenish amber. Pb 60, P became seven, and PY 83. This is a very good dull shade of green. I would say. This is emerald green. Pg seven are a green. If you have to say, it's, I would say most color for paintings escapes, then this is ultramarine PB 29. You can observe a bit of granulation in this pigment. Next is cobalt, turquoise, PB 28. You can also get this color by mixing. Hello, blue, yellow, green, and a bit of white. Next is Taylor blue, BB 153. It's another beautiful color. This is a bit of red shade that I have. This is indigo, BBQ seven, people 15 and PV 23. It's a very beautiful color and add a lot of texture and depth to your paintings. This is CPO PR 102187 and PVA sub n. Next is cadmium red light, PR 108. I'm using two shades of red here. Like you can see. You can use one of the sheets only if you want. I'm just wanted a particular color for one of my projects. Hence, there are two shades of red here. Okay, I'll be adding all the color code that I have told. Now coming to the scratching of granulating pigment. This is blood stone genuine. I'm just adding some water here in there randomly on my swatch show as to show how the pigments collect together in the tooth of paper and create beautiful textures. This is mainly useful while adding rocks or pebbles. To add that visualization of having a texture on the rock in the paintings. Next coming to moon glow. You can see this is kind of in a violet sheet, so you can use any of your violet shade with black to get this color, but it will not be having granulating property to it. Now, I would not be swatching the white of the gouache, but you can see I'm using, it can be either titanium white or Chinese white. So we have done all the swatches that we are using, we are going to use in this class. And if you have further doubts about what are the colors that can be used as a supplementary or in place of any of these colors. Please reach out to me on discussions for the same. Now, let's get started with our class using all these beautiful colors. I'll also be telling both colors are needed in each of the class in the beginning of the project itself. So let's get started. 4. Preparing the paper: So here I have the paper from Saunders Waterford. So I'm going to just take one piece of paper and then put it on my acrylic board. In order to do that, I'll take my knife palette. Yeah, it doesn't look good, but it's dry, so it is not going to affect the paper. Here. I'm going to cut it this way. And it is. Okay. So this is just one paper like you can see here. Now. Now I go and stick it around using my masking tape. So let me quickly do that. So how much space you need, the border you need for the painting, you can take the call and accordingly. Now, stick it to that level. I would take just half an inch space and that would be sufficient. Same thing I'm going to be doing here as well. Yeah. Perfect. So you can always see I apply in a clockwise direction so that when I'm removing the tape, it becomes way easier for me. Yeah. This looks good. So once this is done, either with your knee or with the help of the knife palette. You're going to just press it across here so that it is sticking correctly. Now, let's see how to stretch the paper a day before the painting. This technique I have used only for one of the paintings. You can, it is optional step, but I would prefer to have it stretched before painting the wave. So once I have taken out the people, I will first phase the backside of the paper and start with wetting or applying water onto it. I'm using a spray bottle for this. You can also use just the brush and water directly from your monk. Once this is done, I'm going to take a brush and spread devoted across evenly. Once it is done, I'm going to flip it over and ticket and apply water onto the front of the paper, again, making sure it is applied to all of the sides and doesn't accumulate at one particular point. Again, with my brush, I will evenly spread it across. I'm doing this technique only for one of the paintings because I do want to apply a masking tape for a definite border. So I might not be able to do this on the day of the painting, but I also want my paper to be stretched and off so that I can get all the advantages of having a stretch to people from both back and the front sides of the people. This would help me to retain pigments a bit longer and the water will be retained a bit longer. It has all those advantages to it. Now once this is done, I want it to dry a bit faster. So I'll just again pluck it and leave a bit of space on top. You can see you can rest it on any of this acrylic sheet and not on a paper-based cardboard or anything. So I'll let it rest for overnight. Let's get started with the paintings. 5. Continent 1 Asia - Prerequisite: In this class, I would just be teaching how to paint a simple rock type formation that are used in our cityscapes. So here I'm drawing one of the cliff rocks are the mountains that are usually found in southeastern part of Asia, Thailand forget, or even the James Bond, Ireland, if you're familiar with it. So here I'm drawing a three such different rocks within the same structure to show how we can create the shadows or the depth on top of them. While joining the sea level. I'm giving this angle to it because that is how they usually are formed. So now I'm starting to apply water. You can see that I'm applying only the sky part of it and not to the docs. You can use any round brush or a flat brush that you have, or a mop brush as well. Just make sure not to put water onto the rocks so that when we are painting the blue sky water or the pigments do not flow back to our rocks. Okay? Now I'm taking cobalt turquoise mixed with emerald green. You can take any shade of blue that you have for the sky, maybe ultramarine, cobalt blue as well. And just apply it wherever. Currently we have added water. Since this is our wet on wet technique, you can see that the pigments are dispersing wherever I have applied water. And since the rocks do not have water in it, it, the pigments will not flow back in, hence retaining divide surface for us to paint afterwards. Adding some darker shade of the same on top of the sky and tilting my paper a little bit so that it can flow down without forming a harsh edge there. Okay. So now to the sky part as well, I will be taking a mix of blue, emerald, green, or viridian and applying it onto though, see part of it. So make sure to prepare good amount of mix of your color. You can use one single color as well. Now with the help of a spray bottle, I applied some water on the paper. You can do the same with the help of brush as well. The main subject for me here are going to be rocks. So I'm not focusing more on the sleep, but it's still here with just one shade of the color I'm going to apply. In the same shade. I'm adding some depth in some places, leaving good bit translucent in some places. Okay? Now when this part is still wet, we have to make sure to add the depth of what reflects back of these rocks. So when the variable, this rocky structure meets the sea, it does create a very dark effect on, on the Z line. So we have to create it while the paper is still wet. And I'm using indigo for same here, you can use Payne's gray as well. So this is how we can show because there will be a shadow to it onto the sea that is getting created because of that structure. And once, when we apply it, when the paper is still wet, they will eventually. Disperse it into water, forming a very graduated effect there. Now for the rocks, I'm going to start with, I'm applying water. Until now, the sky is completely dry. So it will, there is no problem of the pigments flowing back in here. I'm taking some raw sienna and applying a very light wash off it as though first wash on these rocks. On top of it, we'll build couple of layers to add more texture and depth and even the shades to this rocks. But the first layer for me would be raw sienna. Now when it is still wet, I'm going to make some indigo with the greenish umbo. You can take any green off your choice. With that mixture. I'm going to add the outline to our structure that we had created. So when it dries off, it will look like there was, there is all debt. And we can see this 3rd Rock specifically coming out in our painting. With the same mix. I'm going to just add randomly at the places. It will add a beautiful texture once it dries off. And some of these places are going to be with the lot of shadows. Some of them can be at the elevated or popping out of the mountains. So it creates those unusual effects. And it can be a very tandem in your paper. It may not be the same how I'm doing it here. You can also try with different shades. With little bit of opaque or adding more water. You can try it. Now I'm taking some moon glow that is a granulating color and adding it the places where I have not added the other mixture. So why am I adding a granulating pigment here is it adds a very beautiful texture when it dries off. And some of the paint will dry up with together making a clutter off it. And we can see those harsh it just forming on these rocks, which is very much important for the texture of the rock anyway. So even if you do not have a granulating pigment, you can just use any shape that you have of a violet shade in in place of this granulating pigment? Or do you have any other granulating pigment? You can mix it with other colors to bring it to the shade of this violet and try it. Okay. No, I'm mixing again some of the greens and adding a lighter shade of green as well. The leaves on these rocks always on the top portion of the rocks. Now, there are some trees, are some plants that we can see. So I'm going to add it with my mid single light shade of green to it here also, while adding, you can add inliers. So my first layer would be a light shade of green. And after this, I'll add a darker shade randomly at some places to show that for the mountain, they can be popping out of the mountains or they can be in-between. So if you see any of any of the reference images, you can always see that they are randomly placed pop-out that are coming out of these rocks structure that there can be these plants coming anywhere. Now I'll gave me the darker shade of green. I'm just adding some lines here and there. Now, here, while I'm applying a thin layer of moon glow, again, I'm doing it in an angle so that when it dries off, it comes in the same way. So you can see my brush is going in the direction or creating a curved structure, right? So once it dries off, it will come across in the same way. And we can see maybe there is a dent or a curvature within the block. Once the below part is also dry, I'm adding some more indigo onto it so that we can see that final depth to where it meets the sea. So it looks really finished and eating some of the drugs and, or start as well as part of the shadows. Now we're going to do the dry brush technique. Okay? So there is minimum to no water in my brush. I'm taking the pigments and just moving it across in this angle you can see how I'm holding the brush and I'm just moving it in this angle in a straight line. You can also curve your brush and move it across in the angle that you want between the curves are in the straight line, but makes sure there is no water onto it and your paper is already dry. Yeah, so have used all these different, different angles here. And again the following. Similarly what I had done previously, going it in this curved type only in the center part of my rock. So that once it dries, everything comes across and we can see a bulge in the rock there. Okay. So this looks good to me. From the dark side. From the rock side. I'll just add few birds here to complete a mini painting. In this prerequisite class, we learned how to add these rock structures for any of your paintings. And we will be using the same in our next class as well, but in a very diluted version. So let's go. 6. Continent 1 - Rocky Thailand paradise: Welcome to day one of our voyage on seascape around the world. So in this, we're first visiting Asia because that's where I'm from. And this is a reference from one of the Thailand Islands. Okay? So the paints required for this class are tailored blue or intense blue. Bright pink, raw sienna, greenish amber, indigo, cobalt, turquoise, tailored green, and leafy green. You can use any other combinations of greens or blues for this class. Here I have taped down already the people like how I have shown in one of the basics class. Okay, now with the reference, I'm going to draw a rough sketch. This would be the direction of the C part. I've attached the reference image and resources section so you can refer it there and paint easily. And fraud the rocks part. I'm going to add one rock in, sort of a middle ground, which is a bit new row to us and to the seashore. Similarly, how we did in prerequisite class, the the point where it is meeting the sea. We are going to do it with an angle. Here. I'm going to add two such small rocks in the background. Okay, this is a very rough sketch like you can see. So I'm going to take my kneadable eraser and just forming this visible angle where the rock is meeting the sea. Now once I'm happy with the drawing, I'm going to just run the eraser across all the variables. There is peak pencil mark. This just helps us to get rid of the pencil mark. Once we add watercolor paint, I'm starting off with the painting above the horizon. Okay? And then we will come back to see later and also the beach part later on. So applying water to the entire paper here, taking a flat brush and distributing that water equally. This is a rough sketch and painting I did before starting this, just to show you. Now, taking tailor blue for the sky part and re-weighting only the top part of my people where I'm going to apply this Taylor pigment. Okay? So starting from top, you can also create an angle for your people. And you can see that already. The rock part of it is a little bit dry, like how we had done in our prerequisite class. So the pigments are not flowing back onto the rocks. Adding some more pigment on top of the sky and gradually coming down with lesser intensity in the pigment. Now I'm creating an angle here. Taking some more water wherever I'm using the spray bottle, if you have, you can use the same or you can just use another brush for adding water at that place. Now I'm adding some bright pink to the same mixture. Or you can also use ultramarine here. And just above the horizon, use this pigment in a very light wash. Now that equal to no pigment in brush and with more of water, bring the same pigments down until our horizon line. Since your paper is already in an angle, do not worry, it will flow down and create a very beautiful gradient. Just applying some more here because I fear that once it dries off, it will be very dark. I'm lifting some of the pigments. Now starting for the beach part, I'm mixing some raw sienna, wet, bright pink and apply all over the beach part with a very light wash off it. So this is going to be our first layer. I'm moving my brush in an angle just so that we can add the way the sand creates a structure or the formation of sand on the beach. Some places it is going to be a harsh line. Some places it's going to be a very translucent line of color. Extend the same pigment a little bit into our C part. That is where there will be a wave that is onto the beach. In order to show that we will be using the layering effect once we paint the c. But for it, we need a wash of the same beach color within there. So I've added a small wash there before it creates a harsh edge. I'm going to lift it off with the help of a tissue people. That light gradient, whatever we have on the c is more than enough for creating our wave or the water on beach effect. Make these structures here and there with help of size six. Sorry, size four, round brush, basically a smaller sized round brush. Here might be better, is not completely dry and it is not having too much water as well. So it is seen as semi dry condition. Here. I'm going in one single direction where I'm adding this texture onto sand. In the beaches, you can always see as you walk, there is a depression created on the beach, right? So we are trying to depict the same here with help of adding some depth with the same shade of the beach color, what we have used. But in but in a concentrated form on specific areas. Nearby the wave. We can have very small lines or splatters of the same color. But once you are going to end off your paper, make sure to have bigger, such concentrated depths are the grooves in the beach. And that is how it will help you the perspective of the painting. Keep a tissue ready to lift the splatters off as soon as it goes into the C part. Now, the same mixture, add some blue, any of the blue that you are having, I'm using Taylor blue only hear. You use that color into your already created groups. Everything again in the same direction. So this shows how deep each of our groups are here. You can also practice these angled strokes that we are giving with our brush. Once it dries off, it will look really beautiful because it will dry one or two shades lighter. And that is what we need for our beach. Now to start off with the rocks like we have practiced and prerequisites class, I'm going to start with raw sienna first. Make sure to do this once your paper is completely dry, where you have already added this guy. Here, I think my paper is completely dry, but I will manage to fix that mixed mistake later on. Now taking some greenish, amber, I think some indigo to the steam mix and continuing to add it as part of our shadows. Make sure to leave some white spaces or some transparent. First wash off your rock. They're else, it will all look simple, flat rock and we do not want that. We need to show some depths and structure to Iraq. We have practiced instead of raw sienna, I'm just showing the same with different shades of green and blue here. Since this is a very behind all, it's now very background. I won't be showing specific plants formed on these rocks. But if you want, you can always add that as well and keep the color composition of these rocks same as to what we have done in the prerequisites class. I'm also lifting some of the pigments, as you can see, in order to create that different structures onto my rock. Okay. Now for coming to our midground rock, it would be completely in a darker shade because I assume there is a lot of we can just see the reflection or the backside of the rock where there is no sun rays falling upon. I would use entirely indigo in order to paint this with the help of indigo and different tonal values of indigo, we can create the textures on this rock as well. Make sure to move your brush in the same angle in which you need the rock structures to be visible. That will really help once your paint completely dries off. Okay, so in my first wash, I'm applying indigo in any way. You can see that the paper was not completely dry. So some of my paints have dispersed back to the sky, but I will fix it in awhile. My adding this rock, I'm not taking a straight line. I'm also taking some strokes with my brush in order to show the harsh edges of this rock. Okay. Now you can see I'm just dabbing my brush across on this entire place. So it lists some of the pains and it creates that it collects some of the Payne's within its stroke, helping me to get that effect once it dries off with a tissue paper, I'm going to remove this and fix the mistake. But if your paper is completely dry, you do not have to worry about it. Taking a concentrated mix and with the smaller size brush. I'm again applying some water where we have to paint the sea or the waves part of it. Okay. Careful enough to not bring the indigo paint from rock onto though C. I'm going to take cobalt, turquoise here for C. And here I'm making sure to go in just one direction and not move it in multiple directions, like vertically or in an angle. It is I'm doing it in a horizontal strokes only because when the paint dries off. It also adds on to over effect of having waves on a seat. Since we're not focusing much on the C part, I just want to make sure the aftereffects of drying, we'll make it work for us. I've left some place of disease still white with no water, no paint there. And I want to retain it that way. Now using my brush, I'm lifting off the paint where it reaches the beach. Okay. And at that pound, I'm adding some bright pink. Okay. Basically, it's, we're trying to mix all the three that is cobalt, turquoise, bright pink, and raw sienna there. But in terms of layering on top of it. So already we have two cobalt turquoise added. And on top of it, I'm adding this mixture. And with the help of my brush and removing it if it is coming too dark. I'm taking some indigo and adding it to the reflection of these rocks fan, of course, our C part is still wet. Taking some emerald green now along with cobalt turquoise, and continuing the same. Just to add one more small layer on the seat. He'll adding a darker stroke offline here to depict the waves. Adding some yellow blue here directly to match it with the sky. I'm happy with the C part, how it how it is looking, and also the beach part of it is now dry. So I'm going to create the border of our wave that is meeting as on the beach with the same mixture of bright pink and raw sienna. Add this border. Make sure to leave some spaces in middle because there is always a reflection of water. So we might not be able to see the entire reflection of the wave. But yes. So this adds another layer onto the wave and helps us differentiate wave and our beach. Okay, so now I have pulled down leaf green and cadmium yellow as well. Just adding some of the leaves here, tropical leaves. We can use this. Also if you are painting any tropical seascape. So adding leaf green and with cadmium yellow, adding on top of it. Now, I'll mix indigo to the same mixture to get a darker shade of green. And you can see this is how I will press the brush and so that we get a larger stroke because I'm using a size eight round brush with a sharp tip. So with the help of tip, I will draw the starting of the leaf and press the belly of my brush to get a broader stroke. Tip of the leaf can be offered darker shade of green. But The body of leaf, you can keep it in different shades of green or a lighter shade of green and yellow. Now, I'm adding a small pine leaf or a coconut, leave you with the same mixture. Just add some strokes, one line and then small strokes of it to show it. To give us the look and feel of a pine leaf or the coconut leaf plant here. Mixing raw sienna to the same. I'm just flattering heel to create my new splatters on the beach. Now to the left side, I'm just adding a border here to the bottom of the leaf. Taking a darker green shade, I'm applying some, I'm just dabbing my brush to create a pointed leafy kind of structures here. All cluster together. Add some more indigo to it to create, to get a darker shade of the same green and continue along. So on top there will be lighter shade and as I go down there will be a darker shade of the same point, these structures. So this is any other plan that we can see on the beach. I'm just trying to add it here. Going to add few more such coconut leaves or the pine leaves. Pine tree leaves. Sorry, in the palm tree leaves. Okay. Make sure to add the pointy tip for these leaves. Now the darker shade of green, I'm randomly add the strokes here and there. Play with tonal values of same colors but with different ratios of the mixtures, you will get a very beautiful tonal value in your paintings or even for the any object that you are using. So here I'm using three colors. That is cadmium, yellow, leaf, green, and indigo. So by changing the how much indigo I'm mixing or how much cadmium yellow I'm mixing. It really adds on a lot. And I get a very beautiful cohesive palette right there for adding or painting any such objects. Now to the same mixture I'm using for splattering here again, adding some bright pink to it and continuing with this flattering to our previous mix, I'm adding some indigo to get a very dark tone of it and adding a lot of water. With this, I'm going to be adding the shadows of these plant structures on our beach. Okay. So adding a random palm leaf, he'll make sure to start your reflection. Sorry the shadow from where your palm leaves are ending. You can add the leaves randomly, but makes sure to add something, at least a line or something where it reaches the beach. Some shadows here as well. Now, with my liner brush, I'm going to add a very distant cruise or boats. You can see how with a long pole for there. Boot. I'm doing this with indigo color with the same liner brush. I'm adding depth again to our wave only at very random and less number of places with the darker shade off burnt sienna. If you do not have a liner brush, you can use a very small round brush or small sized round brush with sharp tip. The liner brush really helps you to get the minute details and very crisp edges. Okay, so now I'm happy with this painting. So let's start removing the tape. Make sure your paper is completely dry before removing or there is always risk of tearing it up. I heard a lot of fun painting this. And hopefully you will try it and post it in Project and Resources section along with the prerequisite class. I'm really hoping for to see all your entries there will meet in our next class and the next continent that we'll be exploring is any guesses. Okay, so see you in the next class. 7. Continent 2 Oceania - Prerequisite: Welcome back to our second continent, and in this prerequisite lesson, we are going to learn how to paint a beautiful way. Okay? So here I'm taking a pencil and a piece of paper. This is also a 300 GSM cotton people for practice purposes. So here I am just doing a rough sketch off the wheel. This is very much similar to what veil I'm going to draw in my main class project as well. I wanted you all to practice the strokes or the hand placement that would be required while painting the actual class. So once the body is done, I'm starting with the first flipper. And this is the second lipo, the other side of it. And this is the phi1. Okay, I have also drawn the flakes and here I have kept body of the wheel a bit bulge, bulging. We can take any other wheel for reference for painting this lesson. I'll also, once this is done, I'm going to apply water. Make sure you're not apply water onto Complete parts of the villi. It is just where the body of the wheel is and I'm leaving the flippers without water. We will be approaching it with two different phases. In a first, we will try to attempt to paint the entire body with three different shades of the colors. And then we'll come back to flipper once the body colors are completely dry. I'm starting with indigo first. That would be going on bottom of the main reason for adding indigo here is because we are going to paint a underwater scenario in the coming project. So what happens when the veil is swimming and it is horizontal to surface? It will be in the shadows for the lower part of it body. And I'm trying to depict that with the help of indigo color. Okay, So starting from its face on the block until the flakes, I'm going to apply indigo itself. Once. After Indigo is completely one layer is done, mix it with cobalt, turquoise, you can use any other light shade of blue that you have. This will become our middle ear. Okay? Before indigo completely dries off, make sure you mix them directly on the paper. This is wet-on-wet, as well as mixing the pigments directly, smudging them on the paper. So careful along with the flippers. Once this is done. Now for the top part of it, which is nearby to water surface, it will be a very light shade of the blue. I'm using cobalt turquoise here, whichever you are using user lightest shade of it. You can also choose to leave some white spaces in between so that we can see highlights here and there. Okay? All of it can depend based on how the light is reflecting off your reference. Or each wheel differs. So need not have the same scales are same highlights as how it is coming out in my painting. Now coming back with these small brush to add some depth and give a visible boundary to the whale. Because we know it will dry one shade lighter. We want to make sure that it is having equal amount of depth that is required in our wheel. Now with indigo color itself, I'm going to add some pigments here and there, so that when it dries off, we get a very cool shades on the wheel here and there. And with these circles strokes, I'm trying to depict the shape of the veil where it converges so that once it dries off, we feel like there is a bulge or the shape of the wheel becomes cylindrical. Dropping some paints here and there, and mixing it with a damp brush because we do not want it to be very much prominent. We want it to mix and merge with the background and just be a spot urine there. Now, again with indigo, I'm adding. Filling up the flakes. This you can also do once your painting is completely dry. I'm still doing it. When the body is still having water. It's totally fine. Now, adding those pointy structures back there and coming to fend for these both. I'm taking the darker shade or indigo in my case. You can use the darkest shade of blue that you are using. If you denote, if you're using just one shade of blue, I would say add some red or orange onto it and use that color there. It will give you a good depth and darker shade variant of your view. Once the body of the whale is dry, I'm going to start with the first flipper. This flipper is towards us. So we can see some of the colors on the way. So I'm going to first apply a lighter shade of blue all over, leaving some spaces here and therefore highlights. And once it is done, little bit darker shade that is mixing it with indigo, I'm going to add the second layer. Okay, now for the back of the flipper, it will be mainly reflecting back the watercolor, which is, we are going to use, assuming that it should be one of the darker shades. I'm going to apply indigo here because backside of the flipper is usually white in color. It will just reflect whatever is the color of underground water. Hence, I'm adding indigo there. You can also use Payne's gray if you do not have indigo. Now I'm just doing an outline on the flipper, those pointy structures over there. Now with the liner brush, I'm going to add some details here. You can use any of this smallest brush that you have, even round brush with sharp tip. So these are the three colors used. First is cobalt turquoise, then the mixture of cobalt turquoise and indigo. And my last layer is indigo. We will be using these three same sheets in the next class project as well. But this is the color gradient that we want. Now, I will wait for it to completely dry and then come back for adding details. With liner brush. I'm going to add the details. This is how, this is how thin my liner brush is. So on the body, I'm just adding some scales here and there nearby it's flickers as well as the I part of it. These lines can be just outlining the flipper boundaries. And you can add up to five to six lines based on the size of your wheel. Since mine is a smaller one, I'm going to limit it to five hour, I think four lines here. Now adding the outline for iPad from the mouth of it, you drag a straight line and create the eye. Adding some more details here. All these lines can be completely changing based on the wheel that you are drawing. Feel free to stop right here or you can also add additional details. You can extend these lines up to entire off its body. It's completely your choice. So I'm happy with how this has turned out. Let's do the continuation of it in the next lesson where we will be painting a beautiful underwater landscape. 8. Continent 2 - Underwater with whales: Our second continent and our voyage is ocean Neil, and we're going to paint this beautiful underwater picture along with the wheels. So colors used in this class are indigo, cobalt, turquoise, and peacock blue. Here I have taped down the pupil like I have shown in our paper prep class. Now, I am keeping my kneadable eraser out because we need to draw two wheels, mother wheel and the calf. So similarly, how we have also practiced in our practice on the prerequisite class before. It's same. You can also tweak the enlarge the body part a little bit in the mid portion. Or you can also keep a fence in a different angle if you wish. I'm going to enlarge its body a little bit more. He'll absorb my hands. They are in an angle and it's just trying to make that arc, which comes with though slant cove that we want. You can also tilt the paper if you wish. If that helps with the drawing. Before drawing defense, I'm going to draw the cough. So it is trying to swim up the words. It's my door. So again, just with the one swift motion, you can get this done. You can also practice these strokes if you want. I have attached the rough sketch that my completed sketch as part of resources section. Or you can also pause it and trace it out. If you wish to. If you do not wish to see the entire process of drawing, you can always adjust the speed of video from the Settings below. I'm just making sure to keep. V structure between its flux, the fins are called flux. So I'm just trying to keep, retain that V structure, which is very much deterministic in Wales. Fixing the flipper for both of them. Now coming to the eyes. Here, I'm just trying to make where the eyes would fall. And now I'm coming to the fin, adding detail with the pointy enough cause I've pulled in all the paints that I had told about. Now to start with applying of water onto it, I'm going to apply water on the entire paper because it's going to be a wet-on-wet technique. And also, I'd not have to worry if the paints are coming onto the wheels. Because it will be structured in such a way that the watercolor is not overpowering when I start painting the wheels. So you can go ahead and apply water to entire of your people. Now with a flat brush, I am spreading the water evenly. This painting is split in two parts. First, we'll paint the background. That is the underwater with the rays coming in. We'll paint that first. Once it completely dries off, then we would start with painting of wheels. Similarly, how we had done in our prerequisite class, just adding a layer on layer. The three differentiates that we have seen, we will do the same for both of the wheels. So make sure to have enough of water in your paper. You can paint the entire background or the underwater part of it. I'm tilting my board in an angle here so that excess water flows out and I can wipe it off with the hypophyseal paper, cloth or tissue paper. I'm creating an elevation here with type of an object so that excess water flows down. I'll start by taking cobalt, turquoise. I'm applying water onto my colors here so that they can be activated. Okay. Starting from top of my people, here, it is nearby to the surface of water, so the pigments are lighter shade. I'm also leaving some white spaces here and there. Make sure you also leave some white spaces because we want to detect a white light rays coming in. So that's the reason on top, part of your people leave some white spaces and then fill it with a lighter shade of cobalt turquoise. Extend the same till down. Once you're coming down, you can make some of the peacock blue and continue with the same strokes. I'm going to apply peacock blue to the bottom side of my people. Make sure you follow one single direction in which the strokes are going. Going to add indigo to it. From the bottom of my paper. From when you see a picture of underground water, we see light rays coming from top and the bottom part of the picture is a bit more darker. So we are trying to create the same effect here by applying more and more of indigo at the end of the paper. So we can say that my top of the paper is more of white and cobalt turquoise, mid region of the paper is more of a peacock blue. And as I come down, it is more of indigo. Now. Take, and now with the same fresh start applying some visible strokes so that when the paper dries off, we can see structured in the water created. That is starting off from left on the slide, but gender bush in the middle part, and again, taking it off, I'm making sure to leave some whitespace below the body of the memorial because we want to show some sense of light still being there with the same peacock blue and mixture of indigo. I'm also adding the shade on the corners of my people. These strokes will definitely help you get that sense of underwater once the paper dries off. So make sure to add it all in the same direction. I mean, now we are doing horizontal, right? So make sure you put it in the same direction and not change or switch the direction of your brush to vertically or in any other angle. So it can all be in a straight line kind of direction. But of course, of different lens and of different pressures. I'm switching to a smaller brush now. This is size four, round brush. And I'm applying the same technique of the strokes here with different tonal mixtures of all these three colors. So you do not have to worry how much I'm mixing which particular shade here. It is with different tonal values. Mixed all the three colors. And with different tonal values, you can just keep adding onto it. Even if you do not have cobalt, turquoise, any blue shade that you have, mix it with indigo and tailor blue and yellow green, and just get different shades of it and start applying these brush strokes. Some darker shows. Some darker strokes in the top portion of my painting as well. This I am doing then maybe put a still wet, make sure your paper is wet. Else if there would be harsh edges and it might still look very good and underground, but it will be looking a bit different than my finish off the painting. I'm adding this darker shade only to the left and right of my paper a bit more. And still retaining the light shades off the colors in the entire middle part of my painting. Okay, when the paper is still wet, we will lift the brush strokes. I'm taking a flat brush. You can take any brush that you have. And with one swift motion starting from the white space that we have left on top. Drag it down. Clean your brush. Repeat the same process. So we apply pressure on the people for lifting it. Bring it down in one swift motion, and remove the painting with the help of paper clot. If you want, you can also take some water and so dip it in water, remove excess of water, and perform the same activity. Once this is done, I also want to create a border for my rays that are coming in with cobalt, turquoise, a very light shade. I'm just adding the Deaf Night border to the rays that are coming in. It's very lighter in she'd make sure to keep it that way only. I'm creating some highlights within heal by lifting the paints with help of size four round brush. For lifting, you can always start from the tip of the brush, apply pressure onto it and remove it. Dab the excess of paint that is there in your brush onto paper, cloth and continue with the same process. Adding some strokes of cobalt turquoise here. So that when the paper dries, it shows hint of this color. On the first layer. I will leave the people to completely dry off. So now this is completely dry, as you can see. And our final strokes with cobalt, turquoise is also completely visible. Now we can start with painting the wheels. So first I'll start with mama veil. So with size eight round brush, I'm going to very carefully mark the border like we had done in prerequisite class. Okay. You do not have to vary. The paper is not wet, but we can still activate the pigments like how we have done. So make sure to take your time. The paper is already stretched. One's it is it was completely wet and then it has dried off, so it is stretched at least one time. So it is okay, you can go ahead and carefully mark the outline with indigo. Retaining the shape of flukes here. The same mixture. I'm adding cobalt, turquoise, and adding the top layers are sorry, adding the middle layer. The only difference from our prerequisite class to here is there is another baby whale that is there in middle. But since we have practiced along with the flipper, I think it is almost similar to it. Now adding more of cobalt, turquoise, the same mix I'm adding. A small layer above it as well. This will help us create that radiation that we want. A smooth transition from very light shade of cobalt, turquoise on top because that is where our light is coming from on top. So it will be reflecting off the whale's body. So we want that part of it to be more lighter in shade. And then as we see down, there is no light to reflect off. So hence, we see a darker shade and we are depicting that with help of indigo. I'm applying peacock blue are very light shade here mixed with cobalt turquoise. Taking some more cobalt turquoise towards the face of it. Switching my brush to a smaller size because I've started with the mouth part of it. So it is a bit more detail, right? I mean, the surface area is small, so I want to do it with the smallest size brush, just mixing everywhere. And the same. I'm coming back heel. Bit of indigo extending get a little bit towards its mouth curvature and also near the flipper. Now I'm adding a few additional strokes on the body like we have done. Um, so that when it dries off, we can see some texture or some colorfully happening on the body of wheel. I'm applying indigo on the fin. Adding some details here too. It's flukes. With indigo. I'm adding some lines here and there. This can be completely different in your painting. You can choose to not add these extra strokes, or you can choose to add it in any place. It is completely it changes to each wheel. So yours can be different. Taking some cobalt turquoise to mix the excess indigo that is there below. Now I'm switching to my liner brush in order to add the lines that we usually see. And also the ice part. I will dab it off on my tissue paper and also try it on the tape so that it doesn't have more water. It is, it will ruin the painting with water blooms. The paper is semi dry. Now. You can do this after paper is completely dry as well. Just so that to make sure there is no excess water flowing and beans are not getting disperse. You can also wait till paper is completely dry in order to make this. Adding those minute lines here. Even on top of flipper. And now to the ice part, just a tiny circular shape. Coming to fence. I'm starting with cobalt turquoise. That would be my first layer. This is towards the outer part of flipper. There are two flippers. One that is visible completely to us and the other one, we can just see the backside of it. So the backside of lipid is usually white in color. But since it is underwater, it will reflect though watercolor and we will paint it with our watercolor that we have. Okay? So for this flipper, it is going to be more of different shades of blue as it is in its body. I'm just taking indigo and adding the border of this vent. So you make sure to add those rough edges to its flipper fins because that's where we can show there are there are some muscle actions or that is going there. I have left some whitespace in the middle part there in order to give some a natural highlight. Now for the backside of the second flipper, I'm going to paint indigo because our underwater here is more of indigo on the right, so it will be reflecting off that color itself. So I'm starting off with indigo on top, and gradually I will mix more water to it and reduce the tone. Here. Also, I'm adding some cobalt turquoise to reduce the tone of it. You can just add some more water and reduce the tone. I'm doing this with a size four brush only. I'm happy with how memorial has toned. Now, let's start with the cough. Okay. So again, indigo first and with the outline, just with one single stroke, I'm doing this. You can also take your time and get a Deaf Night border there. Now, painting the flu, soften it with retaining the V-shape there. That's really important guys. Now, mixing the same indigo with a bit of cobalt turquoise. I'm adding the second part that is made region of the body. Switching back to Indigo for top part of it to my flipper. Adding border to the flipper and extending it to the body. Taking more of cobalt turquoise now and adding it completely on top of the body. So you can see here also, there is water. There is sunlight or the rays that are coming on and falling onto this golf, right? So all those places we need to highlight with a lighter shade and even keep some places white in order to show highlights on its body. Creating these scales on top of it. Adding it this way creates a 3D effect and we get to see there is a bulge on the body. Okay? So it will look good. Make sure to make it, make the strokes in a vertical order perpendicular to the paper. And just make very small strokes there. Since the wheel is trying to reach top, we can assume that it is twisted in such an angle that we can see bulge of its body. And that's how we can show it with the help of small brush strokes. Adding some random lines here and there. You can skip this and, or added any other places as well. It is totally different to each wheel and cough, so you can do it on your own. Switching back to my liner brush in order to add the lines or the I part of it, testing it before. And from the mouth. I'm going to drag one straight line towards the eye. Now to start with the flippers again. So taking a diluted wash off cobalt, turquoise, and adding first layer, leaving the white highlights there. You can see if there is excess water. Make sure to quickly dab it off with the help of tissue people. And again, for the second flipper, we were just seeing the inside part of it. So I'm going to apply a lighter shade of indigo there. The head both liner brush. I'm adding details to the flipper. Those codes that depict their unique fins. You can do this with the help of any smaller sized round brush with the grid as well. Only thing with liner brushes are we retains good amount of paint and water, but we need to make sure that it is not adding fin to it. With indigo spelled very small, tiny fan. You can see highlighting I a little bit more here. And some details. Make sure to add these details as well, because once the paper dries off, we can always see the layers in watercolors. So we'll definitely see those lines that are formed. Memorial is completely dry, so I'll just go ahead and add one more layer of those lines on there. Because details really add onto the painting and that is bought makes it more realistic and beautiful when someone tries to observe it a lot. Adding some more details hill towards flipper. This point D shower flippers that they have, adding a border on to it. Finally, I'm happy with how the half turned out. I had a lot of fun and this is by far my favorite painting. I hope you were able to follow and learn a lot of different techniques along with me in this. Make sure to post your work in the project and resources section so that we can all admire your works. For any further queries. Feel free to reach out to me on Instagram or on the discussions heal. Our next point and it is going to be exploring Antarctica along with penguins. I cannot wait to paint that along with you guys. So see you in the next continent. 9. Continent 3 Antarctica - prerequisite: Welcome back to the prerequisite class of one-third continent and article. In this class we're going to see how to paint Nice cape using just one small reference of one of the ice sheets with the help of a tissue paper will create textures and see how to do the wet on wet lifting with hypoxic tissue paper, as well as layering of the watercolors and lifting. Again. For that reference, I'm going to draw a rough sketch of one of the ice sheets. Now adding some texture on the eyes that we usually see. So I'm just adding some texture on this ice sheet, assuming it is broken off a long, long time ago. But still, it would be in a different structured way, not with a plain, nice cut off the ice sheet. Hence, I have shown some random grooves here and there. You can have your own designs to it or the cuttings wherever it goes. It can also keep it to less number of cuttings if you want and keep a plain ice sheet as well. So starting off, I'm going to take cobalt turquoise here. In this prerequisite class. You can try it out with other different shades as well, like just with indigo or with any other shade of blue. To understand how it is. Keep a tissue paper ready because that is very, very important in this class. So here you can see, I've already used this tissue papers, so it is completely fine if you'd reuse one of your tissue papers, crumble it in such a way that it creates a random texture on the paper and keep it ready. Okay, now I'm going to start by applying first layer of the paint. Here you can see that I have not applied water. So it is the paper is dry but I'm applying paint which is having a lot of water in it. Okay. So before it dries off, just use the tissue and debit. We have to be quick. So you can see it creates this random. It lifts off the paint at random places and giving the texture of a broken ice effect. Now for those second, I'm remember we had drawn the pencil sketch for some of the groups. So I'm mixing some of the Indigo and adding onto it just a little bit so that we can see the depth in that ice or cutting. Drawing the outline also for my eyes heel. You can mix your blue with a tint of orange or red as well in order to get a darker shade of the same blue. Okay, now once I'm done with this, I'm again going to apply for second layer of cobalt, turquoise mixing a little bit with viridian or yellow-green here. And you see going ahead with the second layer, do not worry if your first layer was completely dry or not. With lifting what we had done with tissue paper, it would be dry. So I'm just going to apply another layer and again lifting it off. So here what we are doing is first layer already created a very highlight of the paper. And on top of it, I have added one more layer and lifted it off. So there is some pigments that are, that is cobalt turquoise from our first layer as well. So this adds to a lot of effect of the ice structure that I want here. Now with the liner brush, I'm going to add some random lines here and there. So what we did is layering of the watercolors so that I can still see the first layer of cobalt, turquoise even after I have lifted off the pains. And the second layer, which is having mix of cobalt, turquoise, and the yellow-green, is also there at some places. So with the help of lifting as well as glazing method, I'm going to get a very beautiful texture and get the effect of the eyes which is cut using the tissue paper once again, just to smooth out all these harsh edges that I have created. You can try with multiple layers or stop at the first layer itself. It is completely your choice. Now coming to the top layer of the ice coating, it is mostly it will be shiny white in color. Instead of just putting it white, I'm going to give a subtle tone of the sky color, which is, which we might add. So I'm going to add a light shade of indigo here. Just at random strokes places, not a completely filling up, filling it up with indigo, just random places. I'm adding this ice so that when it dries off, we get the effect of ice being smooth at some places and ice being curved at some places. Again, this doesn't have to be same as my painting. It can definitely differ from mine to yours. Now coming to the water part of it, I do want to keep it in a very darker tones of the color. So if you have Payne's gray or a darker shade of indigo, you can directly go ahead with it. If you want to try it out with the turquoise color for the C, you can definitely go ahead with that as well. I'm just giving different options for you to try. But I'm going to be using a darker shade that is a mix of indigo and dad, medium red light so that I can get a darker shade of indigo. In fact. You can also use Payne's gray if you do not have cadmium red light. Again, this is not a wet-on-wet technique, so I'm going to do wet on dry. That is, my paper is dry and I'm going to apply the pigments directly. Make sure you keep the pigments ready before you start with this. Lc will have to spend more time on mixing the pigment and it might start to get dry quickly. Now, where the place, the place where isis meeting the sea. I'm just adding some texture here and there because we can definitely see some cuts happening in the eyes, right? It can, it may not be playing straight line. So I'm adding some textures. You're in there with help of the brush itself. Now, assuming it is already having ice layer on top of it, I'm going to show you how to create a broken eyes effect with a liner brush. I'm taking some water onto it and running it across the paint when it is still wet. Okay. So since it's a liner brush, it is having less amount of water and in the straight line it is coming across beautifully. You can see in this way, I also get a feeling of the rivers layer of ice or layer and it is broken at some places. Hands giving this effect. You can choose to stop before adding this if you feel the pressure using is not suited for it. But I would definitely recommend a try with any round brush that you have with the smaller size and taking less number of, taking less amount of water in it. Here we can stop and call it the painting is complete. But I'm going to add something to the sky part here just to get an understanding before my final class project of how the colors are combining with each other, I get a sense of it. So I'm going to add background here for a distant mountain or a sky. So let's see how that goes. For this. I'm applying water on that only on that part of the people. This is going to be a wet on wet and I'm just dropping some distinct maybe ice structures already stained mountain here and there. Okay, This colors a bit too blue for it. So I'm going to add the mixture of indigo and cadmium red light again in the back. Do not worry if you have also dropped a lot of paint. I'm going to show how to correct it in a while. But I'm just adding, dropping the pigments here and there, just to give a sense of something is there in the background. So I'm digging that tissue and removing it. Again. This is because I felt it might it might be darker in sheets, so before it is completely dry, I'm going to lift off. So here you can see there is a sense of some elements in the background without being our center focus. So this is about a prerequisite class. Let's paint a beautiful I escaped seen in our class project. 10. Continent 3 - Exploring the icescapes: Welcome back to avert third continent. And today we are going to paint a nice Keep along with the penguins. And Antarctica is required for this class are I have deep down the paper like shown in the paper prep class. So I'm going to draw a rough sketch of our seascape, or I escape. So I'm going to draw a line, almost half of the people. This will be our first eyes avert it is meeting the sea ice sheet and that we also tried in our prerequisite class. And this is the top part of the ice. Okay? This is some distant mountains or snow field mountains at far. So just drawing a rough outline for that too. I'm going to add one more. Iceberg Hill are very tiny one. So going to retain the triangular structure for it. This is another ice layer or the ice sheet. And we will be having a penguin standing on top of this, just looking towards the other side. Okay? Since penguin is not the major, whatever focal point here, I'm not going to spend much time on its details just trying to get the structure right. Once my sketch is ready, I'm going to take my kneaded eraser and just run it across my painting. This entire painting is going to be done on the dry paper. So I'm not applying water anywhere yet. We will apply water only to the places that is required. I'm starting from sky here, so only for that part, I'm going to apply water. Taking a brush and evening out the water. I'm going to use moon glow here. This is a granulating pigment, adding little bit of indigo to it so that I can get a darker shade. And applying here with the strokes. This is to show if there are some clouds structure available in there. But you can see I'm leaving a lot of whitespace in between and just dabbing my brush across so that we can give the essence of clouds or sky over there. If you do not have this granulating pigment, you can always just use any shade of darker violet or just indigo and or pines gray as well. Now to start with the distend or the background mountains, I'm going to take Blackstone genuine and mix it with the same mixture that I had. Adding some more indigo to it. I'm going to add the existing Bordeaux with this entire mixture. Randomly adding some texture onto the mountains here and there. This is one of the other mountain endings that I have. I'm just going to apply onto the top part or the peak of the mountains so that the bottom part of it, I want to depict this. It is covered with snow. Okay. So only the peak of it or the top part of the mountains. I'm adding this sheet. If you do not have Gladstone genuine, you can also use a brown, any shades of brown or CPR as well. Now, I want to add texture onto these mountains. I'm going to do a dry brush technique. So removing excess of water on the tissue paper and try and get on my masking tape here. This looks good. So now I'll go ahead and added at some random places just to add that additional texture. Once it is done, I'm going to use my spray bottle and add some spray, some water there so that it so that the pigments flow along with the water and do not form harsh edges at some places. You can skip this step if you do not have a spray bottle or you can also drop some water droplets here and there in the mountain region as well. Now with a very light shade of the same mix, I'm going to cover the entire part of the mountain, leaving some highlights, of course, for the highlights that is bouncing off of the snow. Now to start with the ice sheet, I'm going to apply some water here. Make sure to not apply water wet. The tip of our other iceberg is just for our first one, which is at the back. In a scene. I'm going to apply water. Now, taking some turquoise, cobalt turquoise and adding the first layer. Similar to how we had done in prerequisite class. I'm taking wet on wet route here because this is a bit behind in our painting. So it's in the background when compared to two off over icebergs. So I do not want to have a very harsh edges on this. I'm doing a wet-on-wet technique, but I would still be lifting off or how I showed with the help of tissue paper. Adding some pink or blue to the same mix and applying it here and there. To add some depth to the eyes. To the same mix. I'm adding some indigo and applying it here and there. As you can see, it's completely random. So you can also have random structures here and there. Now I'm taking a tissue and dabbing it off. So this is my first layer. Now keeping the mics ready. Adding peacock blue into it to the cobalt, turquoise max, and starting off with my second layer. So in this, wherever I want to show there are some cracks in the eyes or those are the structures in the eyes that is created. I'm going to show it with this color. I did some random lines here and they're not straight lines, but some zigzag lines here and there. Taking some indigo to the same and adding it on top of the lines that I have added. This is to add some more depth onto it because at some places that it can be a bit more deeper, the cuts can be more deeper. I just wanted to pick that here. Now for lifting off of the second layer, I'm just applying the paint before it dries off, lifting again with the type of tissue paper. Make sure to crumble your tissue paper in such a way like I had shown in prerequisite class. Because that would give it very unique structure. And it helps us to achieve that effect. Now to start off with the iceberg, which is near to us. Again, applying some water here. And you can see it's very less amount of water that I'm applying. You can also follow how we had done in prerequisite class without applying water at all. So here you can see how I got a very beautiful texture here and there. So I will work along with it and just add some highlights with the darker shade here. And they're retaining the white highlights that was created with tissue paper. Adding some more depth through it using indigo. Again, lifting it off with a tissue paper. Here I didn't apply second layer of paint and just lifted it off after adding the details itself. Okay. There is also similar breaking off the eyes in this part. So it is having same tonal values of the turquoise that I'm using. So going to add this, follow the same process here. I first layer dab off with tissue paper and add some texture here and there. And again, I'm dabbing off. So you can see just by adding this, we're getting the illusion of the eyes has been cut off at that place and wherever I'm using cobalt turquoise. So we want to get that effect. You can either stop at some places, alright, wherever you want. Now, I'm taking some peacock blue and adding the strokes on my foreground iceberg before adding indigo onto it completely. Because I do want to show a bright shiny structure on, on it, rather than just painting it complete indigo color or a darker color. Now, I'm filling it with indigo color with a very light shade of indigo, a lot of water and light shade of indigo. Just adding it so that we can get the illusion of the coating of the eyes on it. Make sure to leave some white spaces there because it will not be very even gray. It will become 2D if you put the entire book with the indigo color. So it is just some places here and there because there will be shiny, they will be matte surface. So wherever I want the mat effect, I'm putting indigo and wherever I want shiny, I'm leaving the paper as it is. So I'm using a synthetic brush here to add some dry brush technique. So taking some pigments, taking peacock blue here, dabbing off excess of water onto tissue paper and running it across the river. I already have the peacock blue pigment on my papers so that I can create the effect. Doing same with indigo as well. And I'm doing it only at random places and limited restricting to some of the places. Only. Okay, so this part of it is complete. So now I'm going to go back to the mountains. I'm going to take some more of Blackstone genuine and going to continue with the dry brush strokes that I'm putting. Synthetic brush works really well for dry brush technique. You can use any of the synthetic brush or even the liner brush for that matter. In order to add this dry brush strokes, make sure there is very less water in your brush when doing this. You can test it out by dabbing it on the tissue paper as well as trying it on any rough paper or on the masking tape. You can see this guy is very beautifully dried up. And we can see the granulating pigment there. Now coming back to the top layer of the ice sheet, I'm just going to add some water onto it. First layer, I'm going to apply it cobalt turquoise, a very light shade. And then I'm going to mix the existing mix of Blackstone genuine and just adding it here. This is completely optional. You can only use indigo here. I'm applying this because it is nearer to our Audi Mountain, which is their back. So I wanted to retain some of the same shapes that I've used for the mountain. Now I'm taking indigo and just adding the last layer. Now to start with the C part of it, I'm going to use the same sheet that is mix of indigo and cadmium red light. I'm going to take indigo dark shade and I'm going to apply wet-on-dry. That is my paper is currently you can see that it is dry, but the paint is having motor. So I'm going to apply making sure that it is not going into the penguin. Oops, okay, it's already it went, but we can fix it later on. If you want. You can also apply masking fluid onto the penguin. But I didn't want to do that as it is not a wet-on-wet technique that I'm going to do here. So. As you can see, it was not a wet-on-wet techniques. So the paper is getting dry really fast and you can see the harsh edges getting formed easily. So I would recommend if you're not following along with me, I would really recommend for you to have a wet-on-wet technique for this. But I will still show how to fix it. How I'm going to fix it in by using layering technique. Okay? So now what I'm going to do is I'm going to lift off some of the paints here with help of my flat brush. This is to show a reflection of this iceberg which is near to us. Okay. So this you can do when the paint is still wet. Even after it is dry, you can apply water onto it and lift it off. Now, I'm going to apply peacock blue here because it's a really good staining color. So I want that color to stick. Hence, I'm applying this and not applying cobalt, turquoise. Okay. So you can clearly see, I didn't use wet-on-wet technique and currently it looks a bit messed up. So I'm going to show how to fix it. Make sure you have good amount of mixed ready of indigo. And again, start from the board from the top. If possible, avoid adding the color on the outline off penguin. Here, I'm making short note added where its eyes and the beak is. Okay. And applying some water so that it doesn't dry off soon. But if you're following wet-on-wet for the same, you need not follow the same steps. Again. Already. You are covered and you can just go ahead and wait till the pain completely dries off so that we can start painting penguin. So I'm again going to apply some paint here. If you're falling, return wet. This is how you can just directly add the paint when you're first applying indigo and that should be completely sufficient. Now with indigo, I'm going to add a straight line starting the meeting point of the iceberg. Just showed that we can see that is a reflection of it. And here, now I'm adding some leaves or not exactly waves, but there will be some ripples created on water. So I'm trying to add it with the type of brush strokes itself. So adding that uneven outline here for the iceberg mates the sea so that there is no Straight line onto it. Now, I feel the penguin was not entirely necessary here. But since we have the border or the outline available, I'm still going to show how to lift off the paint and still have a penguin here. I'm going to lift off only at one of its borders because this is where we need to show white part of the, our penguin. With the damp brush, lift the paint off. So this is the mix of indigo and cadmium red light. I had already created a mix and kept so I'm just taking it out here. And I'm going to wait until, this is the outline for my penguin. Now, I'm just going to wait till it is completely dry so that I can come back and add details onto penguin until it dries. Let me paint this our foreground ice. Okay, so I'm just going to apply some water and add the strokes of indigo so that once it dries, we have a good visual effect of the ice layer here. This is definitely one of the Moody see escapes. I can say. You can see now it's completely dried and it has dried two to three shades lighter, right? So now I can start with painting of my penguin. I would still recommend for you to use the mix of indigo and cadmium red light here. Because using gv Black might reduce the or, or make your painting look dull. Adding its flipper hill. This is nothing but its wings. Since it is modified into a paddle like structure, it's called a flipper. So adding both of its flipper here with the same shade, you can add a darker tone here and there, like the neck part or some places just to show that and not have even seen color everywhere. Now adding the outline onto it so you can see the lifting what we had done with the brush initially that worked well for us. And we are getting a white we are getting that white body that we needed here. Now, I'll take cadmium red light and I'm adding its beak. The final part is just the details. She fixing the shape of its eye. Okay, I'm good with the penguin now. Now with white gouache, I'm just adding some details are that is here. If we want to show fresh snow, it will be in form of crystals itself. I'm just adding that an even layer of this eyes so that it seems like there is some melting snow or fresh snow on on this ice layer. If there are any highlights missing with white, I'm just going to enhance it with white gouache. And going to add some reflection for those ripples that we added here. Okay, we are done with this painting. So this was our Exploring of Antarctica along with penguins. In our next lesson, we are going to explore our next continent, which is South America. We're going to explore the beautiful, majestic surfing wave. Because painting a wave is pretty generic when it comes to learning any seascape. So I wanted to cover one of the topics. So see you in the next continent. 11. Continent 4 South America - prerequisite: Welcome back to the prerequisite class for South America. In this class, I'm going to show how to paint any wave. This is the simple random value that I have taken as reference. So we're just going to practice some brush strokes here. It's going to be wet-on-wet technique. So I'm going to apply water onto my paper. Main things to focus on this while you're painting is the brushstrokes and after once they are painting dries, observe how it has turned out and how you can see the strokes on the paper. Okay. So I'm mixing some indigo with peacock blue for the background of the wave. So this is not the wave part, but the other C which is behind the wave. It's a freehand painting, but you can definitely draw a rough sketch of your wave if you want. Now, I'm going to take a lighter shade of blue here. In this case it is cobalt turquoise. And start from one side of the wave and then expand the same till the end. You can see that I have kept a common focal point where all the wave kind of converges. So having difference in that line, what makes it easier for us to define the, to define the wave. Here I'm taking mixing some peacock blue to the same blue and adding on top of it. Making sure to leave some whitespace on top so that it can be deformed part of it. And I'm just applying some urine. They're now taking a darker shade and just adding the front part of oversee. That is where the wave is meeting the sea. The end of the paper, it's going to be more of indigo. Now you can see it's a little bit 2D. So in order to add some more effect to it, I'm going to take indigo mix that we have right now and add some strokes in the direction of where our wave is flowing. This is most important because this will define the wave shape here for you once it dries off. So make sure to add this in a particular direction are the same strokes for the entire length of the wave. This is just a practice or the prerequisite class, right? So you do not have to worry about how perfect it is turned out. It is just to practice how ideally it should be there. Okay? I'm happy with how this wave currently is there. I'm going to add some highlights with white gouache when the paper is still wet onetime. And once it is dry, I'm going to come back and add more highlights with white. Okay? So here the wave is converging back, that is falling down. So I'm just adding some. And whenever that is happening, there will be a lot of foam created along with it. So I'm just adding it with whitewash. If your paint is running on the paper, make sure to wait for some time until it is semi dry before adding white wash. Okay? Just adding random. Adding more highlight, adding more depth to the part where viva is converging. Now I'm going to splatter a good amount of white gouache onto the place where it is converging or in fact entire of the wave, wherever you want you can splatter this whitewash. We can also use a toothbrush if you are familiar with the technique for applying this platter. Here, first, I'm going to add some water to my brush and then take whitewash and then splatter it. Now the paper is a bit dry. So I'm going to add deformed part again with just whitewash here. Make sure you do not add straight lines over here. They should be in, again, somewhat similar to the angle of the direction where your wave is going. Okay? So here you can see it is inclined at about 30 degrees. And I'm going to keep the same for the entire off right part of my paper. And in the left part, they are still a bit horizontal, so I'm going to still retain the same. So this flow helps us give a very good visual representation of how the wave is forming. From my left side, it is a bit horizontal and as long as it is coming towards the right, it is going to be about the sea and it is then converging back. Adding some highlights with white gouache here. Wherever I feel like the wave is coming back. You can call it as an outline itself with white gouache. Here. When I'm adding white gosh, I'm going to keep it in an angle for half of the indigo where I've applied. That is because they may, maybe there is another set of V which is coming. Maybe if I had people write to it, there is another such wave that is coming and it is still in the same angle off the last wave which I have here, right? So it is not completely straightened out. Hence, I'm still going to add the form in this 30 degree angle so that it gives us the continuation of the endless waves that comes in ocean. With a liner brush, I'm going to add some minute form that gets created or the water droplets that gets created on the wave. You can see that the background water had applied with indigo. It has created some watercolor blooms. That is, the water has dried out coming back onto the pigments. And so we're getting that effect. Since it's a practice class, I'm not bothering much about it. But if you want, you can still fix it by adding another layer of indigo at that place. If the same has happened to your people as well. All these white highlights or the form that we are adding is completely optional as well as it depends on wherever you want to add in your painting. It need not be the same places as my painting at all. Just go crazy with your imagination and add the highlights wherever you feel you want to add mixture in some places you are following the same direction of the wave in which the wave is initially going. That's the only thing you need to be careful about. But other than that, you can add any amount of whitewash on your waves. Here you can observe that the initial layer of cobalt turquoise that we added is still giving a very good effect on the part where the wave is converging back, right? So this layering helps a lot. Not just leaving it at white or the blank of the people of, but adding one more depth of color to it. Still retaining the transparency of our watercolors and giving us the effect of there is a transparent layer of water getting formed. If you feel that currently I'm painting with a bit of a high-speed. You can always adjust the speed of the video from settings. You can increase or even decrease the speed. Adding some more splatters here. Because when painting a wave, you can really add as much as white splatters you want. Now with the same liner brush, I'm going to add some depth along with darker shades of blue on the wave. We need to show some depth, width though background of it, because there is also a wave behind it, right? That's the reason I'm adding some border here at some random places and some more splatters. You can also cover the other places of your paper with rough paper before splashing. So this is all about our prerequisite laws. Meet you in the class project where we are going to pay them logistics or Phoebe. 12. Continent 4 - Majestic surfing wave: Welcome back. And in today's class we are painting imagistic surfing wave from South America. Colors required for this class are. Here. I have taped down the paper, and this is the paper that we had stretched. That is in paper prep class. There was a second sheet where we had applied water on both the sides of paper and left it to dry for about a day. So this is that paper and I have still taped it down. This is not a mandatory step, but definitely it enhances the paper and allows the paper to be holding water for a longer duration of time. And I just wanted to see and show you how beautiful it comes out when we do this stretching technique. Now, I'm drawing a basic outline for the wave. You can take any wave as reference, which is having a curvature in it. So this becomes the top part of my wave and this is where it is curving towards the sea. And in this direction is how the wave is bulging. Now the type of a kneadable eraser, I'm just removing excess of graphite from my paper. This would be a wet-on-wet projects. So I'm going to apply water using my spray bottle. You can apply water on the entire surface of paper using a brush as well. I'm evening out the water that I have sprayed. Now, I start from top of the paper. I'm going to take some peacock blue and royal blue. Royal blue is completely optional here. I'm also mixing some indigo into the mix. You can just go ahead with the mix of peacock blue and indigo. The main purpose of taking royal blue here is because it's an opaque color and adds on to a very creamy texture. When I'm painting. I'll start with the top part of the paper, just making sure that there is enough water before I start applying the paints. This portion would be the background for the wave. That is, it is in the back. There may be some slight waves here and there. So I'm trying to show that here. Do we have to fill this color entirely on top of topside of the people. Leave some spaces here and there and make sure you're not filling the entire sheet with just one sheet. So approaching it with this type of strokes helps us get different variations in the pigments when it dries off. We also get a beautiful effect of something wobbling in the back or a wave kind of effect. Now with a smaller round brush, I'm going to apply the strokes for the wave outline. Basically, when the paper is still wet, take pigments with less amount of water in it and apply randomly here and there. These are straight strokes that I'm going to apply so that once it dries off, it will dry with a shade lighter or so. And it will be easier for me to depict that. It's a wave forming in the back. Continuing with some strokes here and there. Make sure they're all in the same direction. Because when wind is blowing, I'm assuming it's just one side, one-sided video. So all the wave points will be at single direction, okay, so whichever direction you choose, stick to it and create the strokes in that direction itself. Not to start with a very wave. I'm first going to apply a very thin and sad tell Bosch on the top side of the V wave, falling the pencil sketch that we have done. I'm making sure to leave a small outline with white so that when I'm adding the water droplets or highlights with white, it adds up to it. So you can see that my paper is almost dry on the bottom side of paper. So I'm going to apply water and re-wet the entire surface. Just though. I'd not have pigments yet. Now, when applying the wave, I will make sure to have the brush movement along the direction or the shape of the wave that I want. So it is going to form multiple of C type of structures along the wave, how we had done in prerequisite class. So this is the place where it would be lightest. I would say, where there is a curve formed and this is the backside of that garbage is visible for us. So it is a very transparent layer of seawater that is getting formed here. Mixing some peacock blue, turquoise, cobalt turquoise. And I'm starting off with our bottom of the paper. Here. From here is where the wave is actually converging. Okay? So this would be near to see color or the ocean color that we want. So you can go ahead and apply darker shades are the darker tones of your mix here. Okay, Now for the middle part, I'm diluting the pigments a bit more. That is adding more water to the mix and taking it up. Okay. Now to the part where this is the back of our V, where it is actually converging. There is a very good transparent layer of water that I can see. This portion of the wave is the top portion where it is actually converging and forming that curve. It is mostly going to maybe spill into form or it's coming back to the c. So this color can be a bit medium tone. I would say. I like to work with minimum amount of white in my wave, and hence am trying to get different shades and tonal values. But you can stop there and just retain the white highlight of the people as the form. Now for sea foam or the wave form, I'm going to take a mixture of cadmium red light, mix it with cobalt, turquoise. And a little bit of indigo. This gives color which is near to Payne's gray or a darker shade of indigo mix that we have, we have already used in our previous classes. Right? With that, I'm going to add some random structures here and they're depicting that there is a sea foam getting formed on the top part of the wave. So how my brush is and how it is moving. You can do this with any of the round brushes that you have, or even a flat brush if you have. Before the wave completely dries off, I'm making sure to retain some brushstrokes with the direction. In fact, I'm defining the direction of the wave with help of this brush strokes. So as I go from down the middle part of the people, it is in one direction and in the middle it is completely in C, kind of a structure. In all this. There is not much water in my brush and it is not too dry off the pigment as well. Taking some more dark shade by mixing cadmium red light with indigo and peacock blue, sorry, cobalt, turquoise. Just for the bottom part. Now, I'm taking a darker shade of the mix of cadmium red light and indigo and cobalt turquoise. I'm going to reapply on my phone before it completely dries. So this we're trying to add multiple layers with the same pigments so that when it dries off, we get a beautiful depth and structure to our painting. Make sure to add format as well in just one direction. If you are bringing it from the backside of the wave, makes sure there is a curve or a C structure mentioned there, because it is curving in that direction. Again, you can totally skip this step and add all these highlights with white gouache itself. It is completely optional, making sure that it is dropping and some of them as getting merged back to the wave. Like it usually happens. Adding some droplets here in there. Controlling the water flow here is really important. If you have too much water in the paints, it will spread back to your color of the wave and it might create watercolor blooms. So if you feel that there is too much water mixture always to use a tissue paper because it can, we can afford to have a dry brush strokes on our wave rather than having watercolor blooms in middle of the wave. So make sure to use the tissue paper to remove excess of water. And then you can proceed with adding these structures. Now I have started to define our wave. That is, there should be a difference from our backgrounds D and the wave, which is actually over object. So I'm just leaving the small white outline behind and trying to add this structure to it. This is also part of my beef, probably coming from the side. So I'll add a form to it with the same mix that we have. Adding some color in the back in the effort of bringing the wave in our frontend more clearly. Now I'm taking some white gouache onto my palette. Having a fresh squeezed off the paint really helps. Taking some gosh in my synthetic brush and I'm starting to apply it. Wherever on the phone. This is completely random and it can differ a lot from your painting to mind. Remember how we had done in the prerequisite class. We have to add the same form that is getting created in the bottom part of the leaf. Before adding a completely white. Before, I will start by mixing bite with cobalt turquoise and adding a layer on it so that when it dries off, we get two different shades on the form as well. One is white and one is a bit of white. And with the same color tones of our wave. Makes sure to apply white foam as well in the same direction in which you had added the wave strokes. In the bottom part, it was all going in this 30 degree angle. So I'm retaining that. If I'm applying the same form in middle part of the wave, which is in C, a structure. Hey, make sure to add it in that direction itself. This also gives a very cool dry brush technique with water just being spread across unevenly in form of the form. Now it's time for these platters. You can use your favorite method of using a toothbrush or using just a round brush for adding splatters. Even splatters can be very well. You want to add, it is completely your choice. Ideally, if we were trying to paint a realistic wave, the form color would also be similar to what we have added in the the mix of cadmium red light, indigo, that gray shade. But since we just want to give the effect of form being created, I'm going to go ahead with quash here. You can also apply masking fluid at those places and then later on, come back, remove the masking fluid and add the same mix there. Now for the final touches, I'm adding some white gouache on the highlights are tip off the waves to give the illusion of water being reflected off at certain angles. Of our first layer of Homer's dry. So I'm going to go ahead take a good amount of white gouache and just apply some highlights here and there. It is really difficult to decide when to stop when working with white gouache and applying it on water. So just go with the flow and you can stop when you feel like it is complete. For splattering of white. I do have a lesson covered in Milky Way challenge. So you can go through that lesson to understand how you can better splattered these white gouache if you do not know how to splatter with just one brush and finger? I'm still using a liner brush for splatters because it gives me that minute droplets that are required. So that's why I'm adding with them. Okay, so this looks good. I'm really happy how the wave have turned out and I really hope you're enjoying the series and the voyage along with me. Make sure to post your work in the project section so that you can all see an admired your work and see you in the next continent where we'll be going to one of the sunny beaches and California. 13. Continent 5 - Sunny day at golden gate bridge: Welcome back to voyage around the world. And today we are in our fifth continent, right? And this is not America. We're going to paint this memorable scene from Golden Gate Bridge seashore. The colors required for this class project are, I go ahead and put it into two speed while I draw. If you want, you can always alter the speed of this class by going to settings. If you're planning to trace out from the reference image that is shared in Project and Resources section. You can trace out the entire drawing and then, and then apply masking tape on all the sides. But here I'm going to just do a freehand drawing, a very basic one. It is going to be time-consuming if you're trying to sketch it out. I'm not that good with the drawing. Hence, I will not be sharing any tips here. But definitely you can trace it out by keeping your people on top of your laptop or system screen. But really helps to get a very rough image of your reference. Here. My sketch is ready. And I'm going to start painting. And it is going to be a wet-on-wet technique. So let me apply water onto the paper. I'm using a spray bottle here, but you are free to use just brush and water directly from your Tumblr. Okay, I have applied water. Now. I'll take my bright blue or intense blue for Sky. I have taken the mix of intense blue here. And starting from this side, you can use any other bright shade of blue in a very diluted consistency for your sky as well. Doing to revert the pupil to avoid some harsh edges. And now what I will be doing is I will let the paint flow on my water, what is already there on the people. This will ensure for a very smooth gradient. And since this color is highly staining, even when it dries off, I will get a very good, vibrant shade that I'm looking for. So I'm just going to add the colors and let it flow. Taking some very light shade of indigo, just I would say indigo and lots and lots of water. And applying it here. Okay, turning it around so you can see how beautifully it flows and we can continue this. Okay, I'm good with that. So now to get started with distinct mountains which are there, I'm going to take some raw sienna and start applying it in the bag. I want to retain a very good read on Golden Gate Bridge, so I'm trying to avoid painting on top of it. Mixing some greenish amber to burnt sienna and continuing. I'm having a tissue ready to remove water if it is flowing inside the boundary of Golden Gate Bridge. Adding multiple different shades and strokes here so that we can see some texture forming around the mountains. Now I get started with painting over c here, because it's a bright day. I'm going to use brighter shades for the sea as well and make sure to add reflection of the Golden Gate Bridge. Once the paper is still wet. So I'm going to revert the people making sure the water doesn't go back to our mountains part. I'll start with taking cobalt, turquoise for C and applying a light wash everywhere. Adding some peacock blue to the mix and adding depth to the scene. Just fit some strokes here and there. Adding paler green to do same mix of peacock blue. And also giving shade off. Okay, before it dries off, I'm going to mix indigo with cobalt, turquoise for our shadow part. And I'm just going to add it Hill. We can also see there is some, you can also see the reflection of the Golden Gate Bridge here. So I'm just going to add it now with a darker shade mix of viridian, peacock blue and cobalt, turquoise. I'm going to add some strokes so that they are visible like waves. Once it is dry it off. Mixing some indigo to the same and adding it at the corner of the paper. The liner brush. I'm adding some strokes so that we can get the visual effect of waves over there. I'm lifting off some of the paint where we want to add there. We want to add the rocks part and the waves part. You can skip this step and also use white gouache in the end. I'm taking some sepia here and adding it for the rocks part. You can also use Payne's gray if you do not have sepia. Now, I'm going to take some raw sienna and apply it here. Once the paper is dry here, welcome back to the base of the bridge. You can spend enough time here and make it completely perfect. Or I'm going to just add some structures here so that we feel like it is the base. And I will not work on too many details. Adding some bright pink or opera pink and permanent red here. This makes, would give the orange, exact orange color or the shape that I'm looking for. Painting the bridge. I start by adding the straight line for the bridge here. You can also paint this using a flat brush if you have. I wanted to show how to paint it also with the round brush. So hence, I'm trying out here. If you feel that the straight line is not easy to attempt, you can put masking tape once the paper is completely dry and painted here. I'm just going to turn it around so that I have easy access to it. Yes, this looks better. I'm going to increase the speed of this by two times. You can come back and adjust the speed in Settings below. Now, I'll make some indigo to the same color and add it to the other side of the bridge so that we get the 3D look that is usually there. It is just 2D with one sheet. We do have to show the shadow part and the 3D cuboid structure. So I'm going to add indigo for the same color and add it with the same shade. I'm adding the back of the bridge because it is further behind and the shade will be a color darker to what it is. They're from our foreground. Now for the road part, I'm directly going to mix the same shade with indigo and use it here. Now very carefully, I'm adding the connector lines here. It does have a very specific goal, So I'm just worried that it should not be ruined. If you want, you can do this with the help of a sketch pen as well with the red sketch pen, oil red pen. I'm going to attempt it with one swift motion here. Yeah. Did you see me trying to practice before the week the way the hand goes? I would highly recommend you also to do that. So that in the first try, we might not get the exact curve that we want. So it's better to practice at least in the air sometimes so that our breast movement is recorded. And then you can opt into it. I'll take a small liner brush off size one to add all the suspension cables here. Okay, though straight cable ones that are coming from the major suspension cables here. So before you do this, I would highly recommend, again to practice drawing the lines. If you're not comfortable with it. You can just add these lines with the help of a black pen and a scale. You do not have to add the lines through the brush. I'm going to rotate my papers to the VM comfortable with for adding these lines. Adding some details on the road. These are mainly the lights that are coming the road. Adding final touches to the base of the bridge. Here I'm using against here now with little bit of indigo to it. Seems like I have missed this small part here while painting. So let me go ahead and she'll have to fix it. If this issue has not happened with you, you can totally skip this step. I'm taking some pigments that is makes off greenish, amber and raw sienna. And adding it here where there is whitespaces. Make sure to have very less water in your brush if you're feeling such small spaces to avoid watercolor blooms or water, ruining your existing painting. If you feel like there is more water, use a tissue paper and lift the water off immediately. Adding some final base here for the heel using indigo. Finally, with white quash, I'm adding small boat here, adding a touch of indigo on it in order to show some shadows. And the boat is completely in indigo. Okay, this seems good for me. So here we have completed our scenic view from North America, sealing the next continent. 14. Continent 6 Europe - prerequisite: Welcome back to the prerequisite class of Europe. Here we will be painting a small boat immense of ocean. Here. I'm also going to create some effects using salt. So make sure you keep that ready. I'm going to just create a small rough sketch off the boat. This one line here and two curved lines. This is going to be an aerial view. So this is sufficient if you just have this basic structure in place. When we are adding detail to it, that time, we will make sure to add some 3D detail into it, okay. Now, I will not be adding water onto that part of the paper so that I can retain white. So that I can read in the whiteness of the paper here. Okay, this is one of the ways in our main class project we are going to use masking fluid. You can go ahead and use masking fluid here as well if you are comfortable. But I wanted to give both the options to paint this. Okay. This is going to be a wet-on-wet, so make sure to apply NFO photo. Now I'm taking some cobalt, turquoise mixed with yellow, blue and starting to apply here. It creates an amazing sheet and it ran elites as well once it is completely dry. So at one part of the paper, I'm also applying little bit more of the low blue, sorry, little bit more of Taylor Greene. And to the other side. I'm just adding some mix. You can use any blue shade here for your project. Okay? So once I'm done with this, I'm going to splatter some I'm going to splatter some paint here. The main reason for this is to depict there are some underground rocks and their shadows forming. Okay, so for that, I'm going to mix indigo with cobalt, turquoise and take good amount of water in my brush and start with the splattering. Make sure to cover your boat so that water so that I was plateaus do not go in there. Now I'll also add the reflection of this once the paper is still wet. So here I'm going to take the same mix and adding shadow. It is completely okay if the shadow is merging with the background because that is what we want. It won't be, you know, sharp edges in the shadow. So that's why we are adding it in the paper is still wet. Now onto this, I'm going to add some salt. Just drop it. Urine. They're variable randomly on your people are where the rocks are created. Now with the concentrated indigo, I'm going to splatter again. The previous platter that we did works like the shadow of it. And these platters will be working like our actual rocks underwater. So there are some splatters that went in. I'm going to lift it away with the help of a tissue paper. Okay. It looks like they're going to stain. Nobody's let's see how we can cover it. Okay. Let it dry for some time and then let's come back to paint over boot. Now this is completely dry. You can see that stalled has created this beautiful and amazing structure. And I'm going to remove all that salt using another brush. Since we have used just one layer of watercolor and on top of it we have added the salt. We can see this structure is getting created. If you had applied a darker shade of color and two or three layers of watercolor, the effect that you get will be different. Okay, so if you're wondering why yours is not same as mine, That's mainly because of the different colors or different layers of paint that you have applied. I'm going to take some cadmium red light and start with painting the boat, adding the tip and the back heel, and then to Cedars, cedar planks for rowing. Okay. Now I have added though top border for it. And I'm going to mix the same color with a little bit of indigo to get a darker shade of cadmium red light. And with that color, I'm going to add the bottom part of the boat. Now, in order to show some shadow on the boat that is getting created with some object. I'm going to mix more of indigo to it and then add it here. Again, make sure to look out for where your shadow is. So here my shadow is at the right side, right? That's why I'm adding shadows here as well. You cannot be adding shadow on both sides of the boat depending on where you have added your shadow, you will have to mark this. Now adding some lines with it. Using a liner brush. I will add details. Using white gouache to add some rope structures. Heel. This looks pretty good. So see you in our class project where we'll be painting beautiful images and Europe. 15. Continent 6 - Yatch ride in Europe: Welcome back to our six continents and today we are going to paint a beautiful yard on the turquoise water in Europe. Colors required for this class are, okay. I have taped down the paper here as shown in the paper prep class. I have squeezed out all the paints as well. I'm also keeping one empty pan which would help me to apply masking fluid. I would be taking some supporters into this full pan and using it while applying the masking fluid. Okay. I saw two boats here on the people. I have sped up the process so you can adjust the settings of the speed from fitting the option below. Now using the kneadable eraser, I'm going to remove excess of graphite and start with the painting. So the trick for adding a masking fluid here is use an old brush which is almost miss. You are not using usually depicting two, so border and then take masking fluid with the same brush. This makes it easier to remove masking fluid or the excess off masking fluid that is left out after the application. Okay. So I'm using a CAM Lynn synthetic brush here for applying so that I have not by mistake also affect any of my other brushes. Once the masking fluid is applied completely, make sure to leave it to dry and then only come back for painting. So it took me about 1 h to completely dry off. I didn't want to apply water before it dries as it might buckle up a lot. Okay. Now it is completely dry, so let me start by adding water onto the paper. I'm using a spray bottle here for application, you can just use any other brush that you have. Using a brush, I am evening out the water that I have applied. As this is going to be a wet-on-wet technique, we need to make sure that the paper retains lot of water. Now to get started with, I'm taking cobalt turquoise as the first layer here. Adding masking fluid is completely an optional step. You can also paint the boats how we have tried in prerequisite class. Okay, so adding cobalt, turquoise as the base layer here. This is a granulating pigment. So once it dries off, you can see a beautiful texture created. It also gives an illusion of water waves that is forming gone. So it really turns out beautifully adding some yellow green to the same mix and applying it some places. It can be random as per your choice. If you feel like the paper has started to dry, apply some water, they're using a spray bottle or even just with your brush just to make sure that it doesn't dry off quickly. Now I have taken some indigo and applying it to the side of the people. I'm doing this when my paper is still wet so that it can mix back with our cobalt turquoise wash, which is there. These are some of the underwater rocks that we can see from Sky View. Make sure to apply some strokes here. Liftoff the brush once. Make sure to dab the brushes at certain intervals so that it forms bit of a structure so that once it dries off, we get to have definite or some shapes to the rocky structure and not just a flat line of indigo. Now I'm adding some cobalt turquoise to indigo here and using that mixture for adding the under underwater rocks for left part of the painting. This is just to show some variations in the depths of the colors. I'm again applying some water, just bring it here and there. Since it's a granulating pigment, the cobalt turquoise is a granulating pigment. I want to make sure to add some water so that it activates and settles in tooth off my paper and gives us nice amazing granulation. Now with the same mix of cobalt, turquoise, and indigo, I'm going to extend these rocks to some places, adding depth that is using the same shade, but with different tonal values. Adding depth to certain places is very important in these paintings where we are using just two to three colors. It enhances our painting a lot once it dries off in watercolors. Now I'm adding some rocky structures, heel. Okay, so now I'm getting ready to splatter. So I'm taking some water in my brush, dip it into indigo paint and splatter it. Do not vary. This platters will also dry one or two shades lighter, so it will look good ones it completely dries off. Now I'm mixing cobalt turquoise to the same mix, and I will continue with the splattering. But the small round brush, I am just adding details here and there. We need to show that it's not 2D rock, but there is ending to the rock as well. So there is a gradual decrease to it. That's why top part of these rocks can be a bit darker shade and the place where it is mixing with cobalt, turquoise, you can keep it a bit lighter in shade. I'm using a tissue paper to make sure there are no blooms created with this color. So that we do get into finite rocks, sheep or the edgy structure here. Okay, So I'm good with these rocks here. Next step is to add reflection of these boats. When the paper is still wet. It will create harsh edges, which I do not want. Since it's the shadow will be underwater. There will be some it can be pointy structure there. So we need to make it happen when the paper is semi dry. Now the paper is semi dry, so it's good time to add this reflection part. Make sure to not have too much water in your brush. Take the mix of indigo and cobalt, turquoise, and start adding it in this direction. I'll continue the same for about one as well. Here also, you can show some differences in tonal values. One can be a bit darker, one can be a bit lighter. Okay? You can see that though. Shadows are added. Now for the next part, I'm going to add some minor ripples with the help of a liner brush. This step is optional. You can always come back and add it with white quash later on, once the paper is dry. Here, I'll be just drawing some lines to show us the ripples forming. Since it's so bird view reference, these ripples or sorry, these waves will be very tiny. That's the reason I'm just adding some brushstrokes when the paper is still wet. Now it is completely dry, so let's start to remove masking fluid. You can use your favorite tool. I'm here using my flat brush, which has a pointy tip in the bag to remove masking fluid. You can use a palette knife or even the round brush tip from the back to remove masking fluid. Okay. So I have removed all the masking fluid from my people because I want it to retain a white boat or Yacc structure here, I had applied masking fluid. If you are planning to have a different color boot, you can just go ahead and paint it without masking fluid, and then come back and add the opaque color that you are opting for. I'm adding some structure with the pencil, maybe a deck or the anti-nodes, the bowl. All those I'm going to add here for reference. Now with a very dilute wash of indigo. I mean to say that indigo pigment and lots and lots of water in it. I'm going to start painting the arch. So here's my, this board is completely white in color. Only the shadow parts of it. I want to paint with this light shade of indigo. So I'm just keeping all of these at one direction that is too bad. We have added the shadow. So currently the shadow here is at the right. So again, on the boat also shadow will be on right itself. Make sure you keep in mind about that perspective. Seed with just some strokes, we can give a 3D effect to our boat, right? So that's what we wanted to achieve. I'm adding one genuine line here so that we know that is the structure that is creating the shadow. I'm doing a wet on dry. That is, my paper is completely dry and I'm using paint with a lot of water and applying it on here. If you feel like they shouldn't have been some paint you can directly lifted off with the help of tissue paper. Starting off with my second boat. Now, this is going to be with raw sienna color. So I will not be trying to retain white colors for most part of it. I'm going to let it dry all the shadow pass before I come back for detailing. Okay, so now it is completely dry. I'm going to take some raw sienna and start with the outline off the boat. You can use any other color here of your choice, some other easy combinations, or cadmium red light or CPL. Been Dumbo, yellow or you can use any other color for here. Or even just indigo. In the case. You want to have a single tonal painting adding some random strokes here because there will be places for the poll and other things using same color on the other boat as well, with very minimal paint. Now adding it's motor, so that is mainly very dark in sheets. I'm just going to apply integral all over it. I'm making sure to retain some whitespaces like highlight. You, you can come back and add it with white gouache later on if you have already painted it completely black or indigo. Now to add the faint mirrors that are available on deck. So I'm just adding some dots here. This is all done with indigo itself, but this is with a concentrated mix, not the dilute mix. Adding a pole here. So that looks good. You can always use of pen. You can always use a black pen and scale in order to add these lines. If you're not comfortable with using brush. Adding some tiny pools here which is embedded. Or this can also be overhead. Or this can also be underground observers. But the transparent deck view that we usually have in boats. Okay, this looks good. I'm also adding some other pole structures with white gouache. I'm adding some details with lineup ratio. You can spend any amount of time you want on details if you are a very detail oriented person. Since we are very less time in order to paint our background, I'm going to work on details here. And one reflection here of the bowl, again towards the left, sorry, again towards the right of it. Okay, this looks good. So we are done with our six continent painting and I'm absolutely in love with distances by far my favorite. Meet you in the next continent. And our final continent, which is Africa. 16. Continent 7 Africa - prerequisite: Welcome back to our last prerequisite lesson, and here we are going to learn how to paint and underwater waterfall. This same technique can be used for achieving a stream step-by-step effect where water is flowing on different steps or there is a big rock or a boulder and water is falling through it. You can use the same technique there as well. It's going to be a wet on wet. So I have applied water all over the paper. And to get started with, I will first start with where I want the darkest shades in my painting. And then I'm going to add lighter shades so that it merges. So for that, I'm going to take indigo and start off with where there is no visible background at all. So maybe this is too deep or too much behind. And there's lot of shadows in there. Those places I'm depicting with the help of indigo. Okay, So for reference, you can see in my About section or in the class project section to see how define a look is to understand how I'm approaching this. So I'm just adding some places where I feel there will be a lot of depth. Mixing some cadmium red light on the way to get a darker tone as well here. Now for the rocks, assuming there are some rocks and water is falling on it, I'm going to take moon glow and apply it here. Once it dries off how we have done or learned in the prerequisites of our first continent, Asia, it will create those structures that I'm looking for a rock. So once it dries out, it will be giving a good granulating effect. So I want that heel. Hence I'm adding it some places here and there where I want that rocky effect. Now to start with cobalt, turquoise, I'm mixing it with little bit of viridian or MNR, green or yellow, green and mixing all together. You can see in the direction in which I want to show that the water is all falling. It is true that shadowy place wherein we have added indigo. So everything is coming and converging towards it. So your brush strokes should be in the same manner. Wherever it starts from. It should all come and then gradually increase the angle. Maybe this is completely 90 degrees, right? It came in oh, L-shape or probably a sub n shape wherein it is horizontal on the top and while coming it is perpendicular to the page. Make sure to depict that with the help of your brushstrokes. Now with smaller brush, I'm just mixing it off directly on the paper itself. Do not worry if your indigo is going back, it's totally expected. And that is why I added indigo first. So you can just they call mature indigo. You want back to the colors? I'm keeping a tissue ready to remove excess of paint from my brush while mixing or as it keeps missing mixing again and again, they're either not want that to happen. Now, I'll try to add a layer on top of moon glow vote. I've applied. It's kind of a glazing effect that I want to achieve here. So after that layer is a bit of semi dry, I'm going to take little bit of water, more of pigments, and just applying where I had left some spaces. So what will happen? Even cobalt turquoise will go there and settle down. It will give a good vision of the reserve layer of water on top of it. Okay. Now with indigo, I'm just adding depth here and there. We have learned that indigo dries two to three shades lighter. Right now, it might be looking too dark. But once it dries, you will definitely see the strokes of brushes coming there. Make sure it is always perpendicular because that is where the water is getting accumulated. There is shallow region there. Now in this place wherein here there is a curve where in water is coming from all the places and then there is water coming and following, falling also from the straight line on the paper. In order to depict in a 3D way, I'm going to add some U-shaped stroke here. This will give us an illusion that water is coming from either side, left and right of it. So just for that, I'm adding it here. Now at the different shades of moon glow or indigo, I'm just adding few strokes here and there. Synthesis, a prerequisite class. I'm not focusing much on the structure and how it should be. Be free to explore however strokes you want and observe how it dries and what changes you need to do so that it helps you with your final class project. We are going to use the same Technique. They're just adding getWidth, just extending all the sides to, towards our final project. Now with the liner brush, I'm taking some water and trying to show the highlight or the transparent layer that creates because of reflection or the sun. Reflection. Basically. You can see how beautifully this creates. If you feel like your paper is already dry or you do not want to add water because it might create watercolor blooms. You can also wait for it to completely and then use whitewash and add these strokes as well. Just make sure to add all these strokes in the same direction. That is, it is coming from the left and then curving in the middle and then straight line. Similarly from right, it is coming straight, curved and then street that is perpendicular to the paper. Okay. So I would wait for it to dry. And then adding some highlights on the rock as well. This is because there will be some protrusions or structures in rock. And when water falls on top of it, it creates a mini, a collection of water and we get a lot of reflection out of it. So in order to show that, I'm just tilting my brush in this angle and pulling it across. So you can see how beautiful we get this structure of water being there and the reflection of it. Or we can assume that sun, it is around 12:00 because we are seeing reflections on all sides of the painting. Right? So we can assume that it is evenly, there is light. I'm adding it more with white to show how you can also add these lines with white gouache. Okay, this looks good to me. So make sure you wait until it's completely dry before going into next class project so that you can observe and learn from this lesson. See you in the last and now our final class project, where we will be expanding the same and completing our scenic view from malicious 17. Continent 7 - Underwater falls in Mauritius: Hey everyone, welcome back to our final continent on the voyage. And today we are visiting Africa to paint this gorgeous underwater waterfalls Americious. Required for this class are. I have taped down the paper. Now, I will start with a rough sketch of it. Main focus for us here is going to be the underwater waterfall itself. I'm adding the mountains and some land structures as a support to this underwater waterfall. So this is my rough sketch and I'm happy with it. Now, my underwater fall will be the dropping 0.4, it would be here. So I'm just drawing roof lines for it as well. Here goes some off the rocks. I have just added the perspective so that I know where the rocks are. My brush strokes should be therefore the rocks. I'll start by applying water onto the paper. It's going to be a wet-on-wet technique. So I'm going to apply water for entire surface of my people. Evening out the water with the help of a flat brush. I'll take my time to apply water, wet the paper and spread the water across completely. It's going to be a bit on wet technique and I want my people to retain water for a long duration of time. Okay, so to get started with, I'm applying the first layer of my light shade that is cobalt turquoise. The color of my C would be with cobalt turquoise and blue here and there, with the hint of the yellow-green as well. Most part of this data would be filled with a darker shade, indigo. Okay, so I'm mixing some yellow green hill for the other side of the sea. I'm leaving some spaces where the rocks are to be formed. Now I'm coming back with indigo to add the hollow part where there is a waterfall. Okay? So we can assume that there is a depression in the under water land there. Hence, the sun rays are not reaching it entirely. That's why that place is going to be completely dark. So applying indigo there would help with about this. I'm merging all of these colors directly on the paper rather than mixing them outside of the palette and just applying of one layer of those colors. That is because since it's a waterfall effect, I want to show different shades and layers in form of brushstrokes itself, the two vertical best brushstroke. Now to add that you point where both the sides are meeting, like we had practiced in the practice class, prerequisite class So I have started with the U there and I'm continuing that heel. Now in the lighter shade of indigo, I'm adding the other parts of my painting. You can also make some royal blue here if you want, or any other pastry shade of blue. So that even lavender if you want to get a good mix that I'm currently just using, indigo and cobalt, turquoise mixed with a lighter shade. The exam cobalt, turquoise, yellow, green and adding some strokes, continuing the same strokes with indigo will observe me doing this with same color palette, but different tonal values and adding different layers of water. Here. You can, it is up to you how many layers you want to add, or how many lines you want to add with differentiates. To start off with the rocks, I'm taking some moon glow and applying it here. Okay. So it's a granulating pigment, so once it dries off, it will completely dry. But instead of just putting moon glow, I'm applying a layer of indigo as well on top of it because the rock is not directly exposed. It is having a layer of water on top of it. Okay. So I'm applying moon Lu and I'm also applying a layer of thin layer of indigo on top of it. Next, with the help of Gladstone, genuine, I am trying to add the rocky formations are the protrusions of the drug. I do the same in other side of paper as well. So adding some rocky structures here with Blackstone genuine, adding indigo again on top of it. If I observe that might be bird is drying up. I'm going to add some water with the help of a spray bottle coming back here to add more strokes of indigo before it completely dries off. Because we know that it will drive one to two shades lighter, right? As adding more strokes at different time intervals will help us to retain the intensity of the strokes. Again, going back to rocks, I'm taking some Gladstone genuine and going back here, adding some moon glow as well. If you're not having this granulating pigment, you can also use some salt and apply any shade of brown or CPO and initiate of purple. And you can splatter some salt in a concentrated form. At some places where you want the rocky formations to be more evident. Once the salt absorbs all the water, it will also create the unique texture that you can try to depict the rocky formations. Again, applying indigo strokes here and there. This is supposedly my third or fourth layer. You see now might be pretty semi dry on the other colors as well. So when I'm adding indigo, it is getting mixed neatly, but it is not merging entirely with the other color. So this is a good time for me to extend my strokes to other parts of the paper as well. When the paper is dry, I'm also adding some concentrated mix of Gladstone genuine or moon glow here in there so that once the paper dries, we do ghetto difference in tonal values. Extending the indigo color on top of the sea as well. So here you can see that I'm not doing the technique that we did in prerequisite class, where I will be adding some water with my liner brush to depict the reflection of water on the falls. That is because I'll come back and add the same with white gouache. If you're comfortable doing that with water, you can go ahead and do it when the paper is semi dry. Final highlights, I'm taking some, I'm also taking some cobalt, turquoise and adding it as the final layer at some places. Okay, I'm good with this now let's get started with the other parts of the painting as well. So for land, I'm taking raw sienna and adding one layer of it here. You can try with differentiates like a lower or just different shades of green here as well. Mixing some greenish amber onto the scene directly on people. And adding the hills part. Now taking some greenish amber for the other parts of mountain, you can continue with any other green that you have. I think my first layer with leaf green, and I will top it up with different shades using greenish, amber or indigo to show tonal differences in the mountains as well. Since these are not my main focus in the painting, I will not be working on too much of the details of how mountains are going to look. Now with indigo I'm going to add some random structures over the land part, mostly using CPR Hill. Adding indigo onto this green mix will really help to bring the entire palette together. Because we do have shades of blue on bottom part of the paper. We will also have the same in the mountains as well. Now to get started with the Skype bot, either apply some water there, I will leave it only that area of the sky where I want to apply paint. I'm taking some peacock blue here and applying it. It's a very, very light layer because it's kind of a clear sky day. So I do not want it to be a darker shade. So I'm just applying a very thin layer of peacock blue. It's a good staining colors. So once more layer should help us achieve this guy that I need. And extending it to the other parts as well. You can leave some whitespace is completely because we can say that there are clouds with that color. And you can still keep white whitespaces in the people. In order to create clouds, I will use a tissue paper and lift off some of the Payne's. This created a very harsh edge, but I think I'm good with it. I'll just go ahead with the texture tissue paper has created here. Once the paper is completely dry, I'll come back with white gouache and add some waves here. I'm using a synthetic brush for this. This is a dry brush technique that I'm doing with white gouache on my synthetic brush. Make sure you do not have much water in it. Dab off the excess of water and then come back. I'm keeping my brush in this almost. I'm keeping my brush in this ten degree angle as you can see, because I want my I want to paint so that it helps me apply paint in a very easy way. I got I get more of surface area if I keep my hands in this angle and out. Now with the liner brush, I'm going to apply the minute details once it is, again completely dry. So I'm taking my liner brush and adding the details first with whitewash for the waves, distinct waves. Okay, some more ripples on the rock formations. As you can see, I get even more surface area with this, right? And it has very less water as well. So I like to add these highlights with liner brush Adding some more highlights on the rock part so that we know that water is bouncing off of it. Mismatch of details, look good. Now I go back to the land part because I feel it's a bit incomplete. And add more details with liner brush, again, taking some CPR and adding further details onto it. Making sure there is a specific outline and shadows to bring more perspective to the painting, rather than just leaving it as a plane structure in the background. Adding some dry brush strokes for the mountains part as well. You can choose to not add these additional details and call it that your painting is done after our first part itself. But I just wanted to add some more details because it was not enhancing my painting that well. Yep. I'm completely happy with this. And this was our final continent painting. And I'm very much happy that I'm ending it on such a beautiful scenic view and a very unique view as well. Underwater waterfall from Africa, Mauritius. Hope you also had a lot of fun and learned a lot of different techniques along with me. Thank you for joining my entire voyage and make sure to post your work in the project section so that we can all see and admire your work. See you in my final thoughts video 18. Hop off the Voyage with amazing learnings: Hello. On my final loans, I want to thank each and every one of you who have been part of this journey. Hopefully, this void has been very fruitful for you and you have got to learn a lot of new techniques and learn the different ways in how you can capture each landscapes around the globe. Please make sure to post your work in projects and resources section where all of us can admire works. Until I find something fun and exciting. Next time, Chao