Watercolor Spring Challenge - 10 Easy Exercises

1. Introduction: Spring is the season where flowers blew, but it fills our heart with a lot of choke. If you two are in love with the spring season, then this easy watercolor challenge is failed. Hi, guys, I am Gara, an artist instructor, mother, brand owner of Fibrin parcels, and Top teacher on Skillshare. If you do join me for the first time, then find all my works on Instagram by the name Watercolor T Illustration et as well as on YouTube for the same thing. I give out videos on YouTube every week, and this ca n Skillshare class. As people say, you should always take some time out from your busy lives and smell the flowers. In the similar way, I want to give you this challenge of working with one of the most exciting mediums known as watercolors. We are going to work on small pieces of paper, a postcard size, and for next ten days, I'm going to paint ten different spray paintings along with you. All the projects that we are going to do are bigger friendly and usually the time is around 52 painting minutes. We will start with our basic materials that I have used throughout all these paintings, moving on to some basic techniques like variegated washes, lending, et cetera. Then moving on to our first project that's going to be a real time project within 15 minutes, which you can work it up. So come and join me and let's work through this entire challenge of spread. 2. Before we start the Class: Before you start this class, I would like to tell you a few important things. All the paintings are done on a smaller size of paper, which, in turn, can help you to not think much about the colors, paints, et cetera, and just go with the flow. Enjoy painting and enjoy this watercolor. Along with it, I would ask you to watch it on a picker screen so that if there are even spacial details like blending or some cauliflower effect, which I did it and give a good mix later on. These kind of smaller mistakes that I'm fixing through the entire painting can also be seen in a cod. Would request you all to go for 100% cotton paper. Though I have used s185 GS, 100% cotton paper, but as I know in India, the dramatic conditions have changed to a greater extent and a 300 GSM paper might be of much more use than a 185 gSM paper. I will request you guys to see as per the glatic condition what suits the most for yourself. I'm mostly using very limited brushes three to four in all paintings. You can go ahead with any brushes and any colors that are available with you. Most of my paintings are done with escota and silver velvet brush, but you can go ahead with any brushes that are available with you and any size. You can also paint this on a bigger size paper if you are more comfortable using a bigger size. All of these lessons are bigger friendly, so anyone can take it. But before you start out with any of these projects, please do go ahead with the technique section as that will help you to elevate and not make any mistakes, which we usually do in Boakles. Start by knowing all our materials. 3. Materials Required: Understand what are materials we need for completing all these paintings. You can see that I have a 16 by ten centimeter paper. This is close to a postcard size paper which you can go ahead and have for yourself. I have made all my paintings on these. L et me tell you the paper which I'm losing. This is arches, 185 GSM, 100% cotton paper. Now, why I have taken 185 GSM paper now. I have really small paper which I need for all my paintings, but 100% cotton is very, very important and therefore, I have used only 100% cotton paper for my paintings. I would prefer you guys to use 300 GSM paper in case you are staying in any place which has really extreme climatic conditions like as it is going on in India now. Keep a pasta marker with yourself. If you don't have a Posca marker like this, you can also have a Jery row pen like this one. This is not needed in all the paintings, but for a few of the paintings, you might need it. A black pen, then a pencil. And eraser, you need a small tape like this. For taping down your paper from the top and the bottom, I will keep a wash brush, which is size ten, the inc, then a silver black velvet size six brush. Silver black vet size four brush. If you are not using silver black velvet size six brush, you can alternate it with your scada optimal brush. Keeping a very small and thin brush for yourself is always great and something like this can be really good like zero, zero brush or any of the thinnest brushes size one, et cetera can be good for all your buildings. These are all from the brushes, which I'm going to use. Let me tell you about the colors. I have a palette for myself. I will be using a few colors from here and maybe some extra colors from the set that I usually own. I have some loose tubes like these two. I use the colors even from here. Every penguin will have its own set of colors given in the beginning of it. Keep a ceramic palette handy for actually going ahead and mixing your colors or putting your colors over there. Tissues are very, very important. I would say tissues are always your best friend. If you have tissue by your side, you can lift up or you can just use it to dab off extra pains, clean up the edges of your tape. This is a very, very important thing that I have used throughout my entire watercolor journey. I'm keeping a white ah. This is basically a bleed proof white pH matin. This is opaque in nature and hence I'm keeping this. If you have white ah, that's great to go ahead with. If you have opaque white watercolor like titanium white, that's also great. I have two jaws of water, one for taking off the extra colors and one for just a fresh supply of water whenever it is needed. I always keep two jaws handy for myself. This is it from whatever we need from the materials perspective. Next, let's go ahead with our first lesson where we are going to learn everything about arb techniques. 4. Techniques Part 1: There are a few basic techniques which all of us need to know for progressing with the class. I'm starting out with the basic one and it is wet on wet that I'm using right now. I will apply a clear wash of water on top of my paper, and then I will go ahead with two colors for blending. There has to be a seamless blend. Seamless blend is easier to get in a wet on wet background rather than in a wet on dry background. We will be working on wet on dry as it is a smaller piece of paper. Both part size papers are usually very small. It is four inch, so nothing big as such. Four by 3 " usually the size or a bit smaller. Hence, going with my Naples yellow no for the bottom part and towards the top, it would be in acrodon coral. Whenever you are blending, just keep in mind that we should not have any lines or patches that appears in between. If you have this simple idea in your mind, then I think you will have a seamless blend. When you are taking the colors, you will take the colors from the lighter values to the darker values. That way you can really save in terms of your lighter value colors or else the colors might move from your darker values to the lighter values. How it usually happens if you have more pigmented colors and they are darker in value, like the pinacrodon coral over here, it will flow into the colors that are lighter in value. Hence the colors will mix up with each other and not giving you or not leaving any kind of space for your Maples yellow that you have applied towards the bottom. You can go ahead with any of the other yellows. It doesn't need to be Naples yellow altogether. Whatever is available with you is great. Just that the blend should be seamless as you observe over here. I am pretty happy with how it has turned out. If you want a natural way of the colors to move around. This is a way you can use your board and just allow your colors to move. Now there's a small catch over here. If you have colors on the sides, they might also move into the paper. I mean, if there are any colors that are there on the pape, et cetera, they will also move around. That's the only thing you need to keep in mind. The second one is a bit more I would say different than what we have learned earlier. This is the blending, which we have learned first. You all know about flat wash. It is a single color wash on top of the paper, which is you create a flat wash. There is another, which is known as variegated wash. Now, variegated wash is very simple. It is just to go ahead with the colors of different I mean, either you can have one, two, three, four, how many ranges of color it's absolutely fine. You do not follow any pattern. You may not apply all of it at one place. You can have a blend like this. Then go ahead as per your choice to apply the darker lighter values wherever you want. Some of the places I will add some dots, some of the places I will make darker lighter values. This is a variegated wash, which I'm doing right now. On smaller pieces of paper or on smaller backgrounds, when you are doing variegated wash, it will give you loose field like structure, which we are going to create in one of our future projects, and hence this becomes very important. I will drop in a few dots and just follow me for adding the darkest of the value towards the bottom and then making it more lighter as we co towards the top. That's how I follow it. You can also have lighter, dark light, I mean, whatever colors you want to add. You can have bigger pieces of paper. You can go ahead with more experiment in a way you want. I am putting in more of dots here and there. This is more of a change in the variegated wash that you usually might have observed. It's like 23 colors together. They come and then you get various sheets, et cetera on the paper, whereas over here, we are having a more controlled approach, even if you are doing a variegated wash. I will go ahead with my yellow and leaden mix with the green that we have already applied as the green is pretty dominating in few of the places, I will like it more natural. So I'm again going over the yellow space, which we did create initially. With the help of our Indian yellow and create something which looks more loose and beautiful. This is all with experience that I have been working with. You can do it this way. You can also do it any of the other ways like wet on wet. This can be also known as a wet on wet technique that you must have followed earlier. There are various ways of expressing a same technique. So I might have one. You might have learned something else. It's absolutely okay. Going with yellow and green towards the bottom. This will help me to actually show you how a splattering effect works. Splattering effect is great for getting textures in the grounds that we create In our painting, I will go with some clear water or any kind of water that's available with me. It can be the same water which you have used for washing your brush. Once you have the colors laid over your paper, just platter the water of the brush into it. That's the simple way of going over it. This is the splattering technique. But I will take you to a bit advanced level of splattering technique where we are going to use some white ash to create beautiful florals. I will show it to you in the next part where we are going to create some loose florals. I will just go ahead and cover up the area on the top side, because I don't want the platters to reach there. I'm going ahead and splattering clear water on this part. You can see how the water is allowing the pigments to get displaced from that particular part, creating a loose texture like effect. This can be used even for the grounds, or else it can be used in any of the other paintings like grasslands, et cetera. It has got multiple uses, even in skies, doors, windows, et cetera, whatever you want to paint. It has got a use in it. I will go ahead with my last part and that is all about painting my loose florals. This is just the technique. The final painting is very different than what you learn over here. It might be a bit more controlled, et cetera, and I might go ahead and change my brush. I don't need such a bigger brush over there. Just adding a clear layer, and then we will go ahead with some of our clear water on top of it to create some splatters. Now, these platters, of course, are great. You can see how I'm creating splatters over here. Once the platters are created, you have to go ahead with some of your white ash that you have. Go with a thinner brush as we don't want the colors to move a lot. It's time for adding some of the whites into our paper. Now, this white will also flow. I usually touch the areas where I did add the water splatter. You can see how the colors move and how beautifully they appear like loose florals. The similar approach will be taken in our first painting. There we are going to create white lilies. For the white lilies, I would be using this kind of c techne. Overall, I would say that you need to leave some small dots here and there. Do keep in mind to leave those dots too. Everything will not be loose and everything will not be precise, like wet on dry method. Some will be wet on wet and some will be wet on dry to get the correct balance which we are trying to get over here. Now I will see you in the next lesson where we are going to apply all these techniques for creating our painting. 5. Day 1 - Watercolor Lily: Let's have a detailed look at our colors. It is quinacrodon coral, ultramarine blue, don three blue, yellow green, hookers green, sap green, or olive green, burn Ciena, n dike green, or any of the darker value of green like forest green, which is available with you. Let's start with our first postcard spring challenge painting. I am going ahead and marking out my horizon line. You have seen that I will never mark my horizon line in the middle. It's bit towards the top. And then we will mark a small hill towards the right, as well as towards the left. It's a very, very simple painting. Just follow along, and within a few steps, you will get a beautiful outcome with watercolors that has white florals in it. Going ahead with my Quin Acrodon Coral. This is one of my favorite colors from the brand, Daniel Smith, and then I will blend it with my blue shade towards the top. You can use any blue of your choice. For me, it's always been ultramarine. I am already in love with this shade for I don't know how many years now, and it just makes the painting come to life very quickly. The blending is the key at this moment. You can see that there is a simple gradient wash that we are creating from the blue to the quinacrodon coral, or you can move from quinacrodon coral to blue. If you move from quinacrodon coral to blue, you might get some colors of purple here and there, but that's absolutely okay. Whenever you are blending your colors, you may get different shades if the blending happens on the paper. Go ahead with some of my ultramarine that you see on the left side. I have picked my size for brush from the brand the silver vevet. I'm going ahead with it and just painting my first hill that is there in the background. The foreground here, which is a bit towards the front compared to the one that I have on the background, will be something that would be way more darker than what we have right now. I'm adding a bit more of darker values here and there. But all I can say is that you cannot make it very dark, so some of the places will be only dark, and some of the places would be really light. Going with some more of my blending over here. And then we will pick up our green shade. You can go ahead with any green of your choice. It can be olive green, hookers green, or else, even some of the other shades like Sap green. I don't have any particular color in my mind. It's just a lighter value of green rather than it being a darker green at this stage. Though we might go ahead and make it way more darker as we progress in our watercolor with this small hill that we have painted over here. I'm blending it with some darker values of green as we go towards the bottom area. This blending is, again, a very simple blending that we do on top of the paper. It's not being done. You can say on the ceramic palette, and then we take it over here. It's just starting on the paper and then working through the blending on top of that particular area. I have make some amount of my ultramarine into the bottom part as well as towards the right part of the green area. Ultramarine has a very good granulating effect that makes the painting very beautiful or any particular area, wherever you are adding this ultramarine, there will be some amount of granulation which happens, and that granulation really helps the painting to have a edge over any of the other parts that you paint. I'm going ahead with my yellow green and then blending it with some of my sap green hookers green, any shade that you have of your choice. This color is very pretty, which I have as of now, and I am already in love with it. If you actually blend some amount of your burn Ciena into this hookers green or your sap green, even Ove green is great, but olive green actually has some amount of burn Ciena, which gives it way more darker value compared to what you usually observe. This particular painting is pretty bright and vibrant, though all the other paintings that you would be doing may not have the same kind of an effect. I will go ahead with some of my ultramarine as I go towards the bottom, and the middle part, you can see we have added some of our forestry. Forestry is from the brand cenar. I have been using this green very often. You can also use vent dike green. That is one of the very dark shades of green. Now I am splattering some amount of clear water on top of the paper. This is a very beautiful textured effect that we can usually observe when we are doing any of our floral fields. I have been using this technique very often in many of my paintings, and this particular painting, I am using it more often so that we can get floral like outcome. You will observe it as we progress through this entire part of the painting. But before that, I did splatter some of the colors on this small hill, and I'm just going over the shades again to just blend it. These kind of accidents do keep happening in my own watercolor journey. And I just go ahead and fix it. I will use a bit of my white quash and let it spread on top of the areas where I did splatter my clear water. I am pretty happy with the outcome as of now, and I might have to touch it in few more areas, as you observe me doing it with the help of my size six brush. Now, this is from the brand silver Velvet. I would be using very few brushes throughout the entire series. It is size six size four size ten flat brush and one of the 00 brushes for all kinds of detailing that we are going to do. Almost the painting is set in terms of the blooms that we have to create. Now I am adding the darker value. Now, this particular green is on the left side, as you observe, and I'm just going ahead and adding it on the wet surface, which is there. To be precise, my paper stays wet for quite some good amount of time, and I'm using that time to my advantage. You can't do this exercise. Your paper is p Detroy. So do avoid it if you have done it. It's fine. If you do have your paper wet, you can continue with this exercise, or else just leave it as. I will show you another painting where we are going to paint sub orange, beautiful florals, and I have used another technique in that particular place to add the darker values towards the bottom area. Add some dots here and there. You know, these dots really acts as leaves or loose grasses, and it really gives you a lot of edge into your painting. I will just blend a bit on the right side and add some of the darker colors if it is necessary, orals just blend the colors as is. Some of the areas needs to be in a bit more white shade as there are white, beautiful florals. Now these can be white flowers, it can be daisies. For us, it is white lilies. So you can go asper your imagination and draw any kind of white flower of your choice. Some people may even like to paint white poppies. So it's up to you what you imagine and how you paint. Towards the top area as you progress, it would be smaller dots. Anything that is closer to your eyes, as per perspective, they would be bigger in size and shape. Anything that's far away from your eyes would be smaller in size and shape. That's how we go about it. I will add a few more dots, and then it's done. You can observe that I have got a coliflower effect towards the top area. Now, this califlower effect is really not very healthy for any painting like this. And hence, we might have to go ahead and blend the colors a bit more with the darkest value of the green that we had on the palette. You can use any brush of your choice to do it. I'm using my Size six brush. Size six size four brush are good enough to work on a postcard size p. All of these paintings are rear time, and I have taken about 15 to 20 minutes to complete most of them, except a few, where there are some kind of houses or small detailing of fields, et cetera. It might have taken a bit more time. Having said that, the easier paintings will pave the way for a bit more detailed paintings. I am blending some of my blue color towards the top area, and now I have taken some of my indoor train blue. And then blending it with some clear water. I always use a damp brush to blend my colors. Now, this is a great way to actually blend your shades, or else, what happens is that your colors will move into each other, and they will not give you the exact shape or the exact flow as we did end up getting a cauliflower effect on the right side of our hill, we may even get it again on the left side, which I really wanted to avoid. Okay, great. It's time to start out with some of our detailing part. O paper is ted towards the bottom ere. And it's time to just draw some slanting lines. And these lines are basically the particular white lilies are flowing in the air. I will go ahead and start making some more lines. This is more of detailing at this stage. We have detailing to a greater extent now compared to what we did earlier. I am going ahead and making some more lines as you observe over here. Some of them will be smaller, some of them will be larger. They will give you a sense of the breeze that is flowing in the wild flower garden. Or it's not a garden. It's basically playing grassland, and there is hills that you can observe, one of the most serene paintings that you can actually paint. And something that I have always fallen in love with. It's pretty natural how you get it. You really don't need to do a lot in terms of going a and only painting with white. Most of it you have created with textured effect of water and going over it with some white to make it look loose, nice, and pretty. I will continue with the process of adding more and more lines as we progress. And then I will meet you at the end, where we'll just do a quick recap of what all we did in this painting. While I continue to fix the top part of my hall, which you may not also do and just avoid the step. We will do a quick recap of what all we did learn through the entire painting. First was all about the gradient washers and the various colors you may achieve while you are doing a gradient wash with two different shades. The bottom part, we again did a gradient wash with three to four different colors. It was more of a arcated wash rather than it being gradient wash. The third was all about splattering water onto the field area. And the fourth one was all about what we did about fixing our effect of Coli flower. Using my flat brush to give a precise edge to my hill. 6. Day 2 - Mustard Fields: Dato is here. Let's learn all our colors. It is in in yellow, hookers green or sub green, ultra menin blue or done three in blue, violet, naples yellow, composed opera, or quinacodon Cora. These are all the sheetes that I've used from my palette, but whatever is closer to these colors, you can use those for completing the painting. Let's start out with our sketch now. I will go ahead and first mark my horizon line as you have learned from your dig one, that the horizon line is somewhere towards the top or towards the bottom, it's never in the middle, and we will follow the same over here in this painting too. I'm going ahead and marking a few more lines. This is basically the area where my foreground mustard fields will be there, and then there are further more background mustard fields, which I'm going to paint. I continue to build upon it slowly and steadily. Aw if I am confused or I don't like the idea much of the sketch, I will go ahead, erase it and again go over it with one more round. Okay, great. I guess it's simple. You have to just drop in a few lines, and once this is done, we will start with our basic watercolor painting in this. I have again, kept the dat as a simple one. Most of these paintings are simple, but yes dat two is a simple one. So let's start out with our Indian yellow. That is the lightest value, which I am going to apply for my fields. I'm starting with my foreground fields. So many of you like to move from top to bottom. As we did in our last painting. But for this painting, I will go a bit area wise. I will let a particular area dry off before I actually touch the adjacent areas. Okay, great. I will go ahead and continue to add more of indian yellow towards the bottom and then add some amount of my green. Now, green can be any green, it can be hookers green, yellow green, or any of the other greens that you want to apply right now. I'm applying my yellow green over here. With that, I will just go ahead and apply some of my hookers green, and then you can even mix your ultramarine into it or burn Cena into it. If you want more of di colors, then it would be burn Cana. If you want more brighter colors, then it would be more of ultramarine that we will go ahead with. My paper is di wet, or the area on which I am painting is wet because of which my colors will flow. Now, whenever you are going with a more pigmented color, it will move into the areas, which is less pigmented. So you will see that my colors will easily move into the yellow, all the greens that I'm applying right now. You continue to add a few dots here and there. And once those dots are done, we will add some of our darkest value. This can be forest screen or mix some amount of ultramarine into it, and you will get a shade that is very, very dark towards the bottom. I'm using my size four brush right now. You can go ahead with another brush over here, which I've introduced, and it is my escudo optimal size six brush. It has got a very nice tip because of which I just thought that I can swap it with the size six brush of silver vevet, and use it over here. Most of these paintings are done with three to four brushes. That's it. We have a really needed throughout all our painting. So yeah, I am now going ahead and just dropping in the darker dots here and there, mixing some amount of my ultramarine, as you can observe, making it darker and adding the darkest of the values towards the bottom area of the foreground. Now, why the bottom area of the foreground, that is closer to our eyes, and some of the detailing, if we are even adding, should be only added there as we can see the number of flowers or the detailing in a better way of This whole painting has done pretty much loose. There is less of detailing, which I have added in this painting, which makes it even more interesting. I would say, for at least myself. It was very, very interesting. It was breaking my own way of painting, and I like to be a bit precise in most of my paintings, but here, when I was painting a loose, I just went with the floor. There was nothing that I wanted to stop myself with Okay, adding some of my hookers green towards the bottom, and then just blending it with the yellow towards the top. Now, this is Indian yellow from the Brands in gar, as you dain know. I have been using this Indian yellow for many, many years now, and hence, you guys must be used to it. Okay, great. I guess I'm happy with how it is, maybe a bit more of blending. Now, this blending is easy. It is more of a gradient wash that you were doing. Darkest value towards the bottom and lightest value to with the top. While you were painting the bottom area, absolutely of the fields, it was more of a variegated wash, where you are not going ahead with a clean way of adding the gradient. Some of the areas are way more darker, some of the areas are lighter. And we did even add, a few dots here and there, which is making a way in which the painting looks more like the mustard fields, and there are more detailing into it. And you can see some of the greener areas, et cetera. Towards the top area, you can go ahead with lane or you can even paint it with the same yellow shade which you have. Olan is a beautiful shade from the brands and alla. This is an alternate color, which you can also use. One thing that you need to only keep in mind while you're using lane is, len actually moves a lot with water or any of the other pigments that you're using with it. And that's one of the reasons you may skip this color rather than using this color altogether. Again, I am pretty happy with how it has turned out. Now going ahead with my shade of the sky, which is a very, very beautiful shade and my favorite that is Naples Yellow. Once I have added the Naples yellow, I will go ahead with some of my Quinacridone coral. This is a very pretty shade from the Brand Aniel Smith, as I did mention even in the last painting. Either you may go ahead with this or else you can also take car mine. I would leave that decision up to you whatever is available best with you. Go ahead with that shade. And then towards the top, it's the blue color train. Simple gradient washes is what I'm looking forward to. I don't want to complicate my sky at this stage. It is majorly we are concentrating on the fields that we are painting. It is springtime, and I want the feeling of spring to be here. Once your paper is dry in and around, as I did tell you, you will go ahead with another field area and then blend it with the green towards the bottom. This is what we have been doing, and we will repeat the same process in all the field areas which you are going to paint. Great, Let's make some amount of our hookers green or even you can add some sap greens or olive greens that is available with you. I would leave that decision up to you. You can always experiment with watercolors. Watercolors is a medium that should be experimented with or else you will never get a beautiful final outcome, as I always say. Continue to work with it, and then your colors are moving into each other. You can see that the colors keep moving into each other. So a bit of blending may be required with the yellow towards the top. Having said that, the green is highly pigmented and it will move into the yellow that we have added. It is less pigmented color as well as it is in lighter value. When the colors are transparent, they will always move into each other. If your color is opaque, then there is a possibility that they are not actually going ahead and mixing with each other easily. You have to keep that in mind when you are choosing your color. Every shade that you choose comes up with their own various options, like what pigments they are made out of. What is the light fastness of that particular pigment? Can it be lifted or not, how much sinedness it has, as well as the opacity. If it is opaque or not or if the semi opaque, the kind of information is always available on every tube that you buy. I will go ahead, pick up a very thin brush. Either you can go ahead with your 00 brush or else you can also go ahead with your size six brush to do this exercise. I have a very nice tip of this Size six brush, which is optimal. I've been using this for many years. You guys have seen me using it in many of my paintings that I have given as classes on Skillshare, and I'm packed with this brush. Any good brush that you buy actually stays with you for at least five, six years or more. Um, I have been using this brush for about four to five years now, and still it is a very beautiful brush. I keep adding new brushes to myself, and that I mean, to my whole collection of brushes, of course. And it gives me a lot more I would say options to use what I want, but this brush is frankly my comfort brush, and it has always been. Adding some more lines. These lines are basically feel like structures that you may see in any painting that you do or you may see in direct photographs. Okay? Whenever you are observing photographs, you will see that there are a few lines, these are basically the spaces in which the people walk and they lay these mustard fields, et cetera. Okay, fine. I guess I will continue with this process of adding these lines even on the left a bit and then add a bit of darker colors towards the bottom, just to show that there are a bit of bushes. The paper is still wet. That's one of the reasons I can do it, or else you will get a bit of dry patches. Not exactly patches. It can be your dry brush strokes that you will get or something which is not soft enough like what you see over here. That's also okay. We are not behind something that has to be absolutely wet or wet. It can be wet or dry too. Go ahead with some of your blue and start adding a blue hill at the background part. Now, this is a very, very small hill, which we are going to paint in the background area, and then extend it to the right. I'm using my size four brush. Again, it's silver black velvet, size, so you can go with any brush that you have of size four to do this. It should just have a nice tip so that you can get thinner lines, even when you go towards the right side. The middle part is still empty. You can see. I'm using a bit of violet. I will leave this decision up to you. It's a very, very small area. If you want to explore with violet, you can or else just please. The middle area, which is still in white, I will go ahead with some of my greens and then add my yellow towards the top area. I can see that my color did flow into the yellow. So yes, I had to actually manage that particularly, then go with by yellow on the top part. Once this painting is complete, you can see that we have worked out with basic technique like gradient washes, mostly and just adding the darker value in some of the spaces to create that elusion of feels. So while there is a bottom area of this particular hill, you can see we did paint it in the greener part. And then while it goes towards the top, it is again yellow. That's how we manage the lighter and darker values. Then just created the illusion of fields. It's simple, easy, and let's have a quick recap of what all we did in our painting today. L et's do the recap. It is first is gradient wash, and this time, it's three colors gradient wash that we did for the sky. Then is the varicated wash, which we did for the bottom area. The third is basically creating an sion for the fields. It is changing the values. Some of the bottom area would be darker for the fields, and the top area would be lighter. And again, we will repeat the same process for all the fields that you see appears on this painting as we go away from the foreground fields to the background. The last one, it's about painting loose. Now, painting loose is something that I have learned over time. It doesn't come so handy. We are always had a position where we want to have all the control and we want to paint precise. But painting loose is a very, very interesting concept when it comes to watercolor. Hence, we did only apply some green values towards the bottom to create the illusion of grasses and flower. 7. Day 3 Cherry Blossom: Day's painting is all about cherry blossoms. Let's start out with the colors. It is Qin acrodon Coral, compos Opera purple, French ultramarine, don three, royal blue, yellow, yellow green, and in **** green. You can use colors that are closer to the ones which I am using. This whole painting is inspired from Japan, that is basically the cherry blossom t over there. We are going to go ahead and paint very loose painting. I will start out by marking my horizon line, and then go ahead with another line, which will majorly show a small area that is in between the water and the mountain. And then we have to mark our mountains over here. Once we have marked our mountains, one would be a background mountain and another would be a foreground mountain. That's how we go about it. Again, if you see I'm going with a very light wash of the shade that is ultramarine. I have this shade from the brand incent and Newton, and have been using it for many years now. This is one of my favorite shades. It's french ultramarine. You can also go ahead with it and start out the top area, mix a bit of royal blue if you are someone who likes more lighter values, and you will get the granulation that we are looking forward to in this painting. Using my flat brush to add all the colors over here, and you can see how the colors are getting blended. It's a flat wash that I'm trying to create. Though you can have even darker and lighter values or blending or even gradient washes. I would leave that decision up to you, but keeping it simple is what I think is the best for this part of the painting. You can make some dontre blue or indico into your ultramarine and then blend the colors exactly the way I'm doing. Here it is size four brush, which I have taken. Or else, you can also go ahead with size six brush. I would leave that decision up to you. Two, two, three brushes is usually what we need for completing all these paintings, as I did tell you, in the initial materials part. Once this background mountain is done, the foreground mountain would be more greener in shade, and I am very excited to paint that one. We will be changing the colors. Now, here, what we did was, we did change the intensity, or you can say the tonal values, whereas when we are coming to the foreground mountain, we would be changing the colors that is yellow, green, and down green that we are going to use. Changing the colors really adds a lot more depth into the painting and something that I have always enjoyed while working through watercolors. Add a clear wash of water on the fork ground mountains. Once you have added the clear wash, we will go ahead by applying some of our green shade. You can see that I'm adding a mix of my hookers green or olive green, whatever is available with you and start out from the top area. As I go towards the bottom, I'm not going to apply it everywhere. I will apply it in some of the areas, and some of the areas would be lighter darker or just blending it with clear water. These are the ways in which you can always create, I would say, intensity, depth, darker, lighter values, as well as it helps you to give the perspective that some of the areas have some ridges, and some of the areas are more covered with forest. So all of that comes together even with these simple things that we continue to do. Can go ahead with a very beautiful shade that is quinacridone coral. If you don't have this shade, you can mix some amount of your pink into the red and create a shade that is closer to the one that I'm using. Since my paper is wet, what has happened is some of the colors have flown towards the top, and that's how you are getting this kind of color mix over here. I'm happy to go ahead with these values, I would say, because it is very bright, nice, and this gives the painting such a beautiful outline. Go with some yellow, you can either use Olan yellow or Indian yellow, whatever yellow is available with you, and then blend it with some green. Either it can be sa green hookers green in green that is available with you while you go to the bottom. The areas that are far away from us will be more lighter and the areas which are more closer to us would be darker, as well as the areas which touches the water. That particular area is a bit more darker than what we usually have seen in the other parts. Because that particular area is being always hit by water, and there are some or other algae, et cetera deposits or rock deposits that happens in that particular zone. So yeah, making it a bit more darker is point is always helpful. I am just adding a darker value over here and blending it with the already applied color. Now you can go ahead with forest green add a few drops of it here, and then make some lines, and this will look really organic. Some of the areas will be darker, some of the areas would be lighter as we have always done throughout all our earlier paintings too. This particular painting is a bit more advanced compared to the last two paintings that we did attempt. The reason altogether we have I would say, the kind of detailing over here is a bit more than what we have attempted earlier. Going with some of our royal blue and then blending it with some of our beautiful tram. But before that, you know that we need to create the reflection that we usually see on the top area even into the water part, and I will go with a very, very simple reflection wherever needed. I will just pick up the colors on the tissue and then move ahead with some of my darker values of the green that I observe. This is basically a mirror image into the water area, and I always like to add the mirror image of it so that the painting looks more real. Adding some of our quin acrodon coral because it's mixed with a bit of green, so yeah, it might look a bit darker, but you can always go ahead and pick up the extra colors from your brushes and then go ahead and paint it. The p is not wet anymore, so I need to blend it with some clear water as you see over here. I'm using some of my ultramarine again and adding the darker values over here from the bottom area, and we'll move to the top area. Oh. We need to create some more lines to show the ripple effect that we have and then allow the people to dry off a bit. But before that, we need to complete this ripple effect. So some of the as, of course, would be even wet on dry. So most of them is wet on wet, but the S few areas. You have to work with both of these techniques, as I have understood from my own experience. Some of the areas can be wet on wet and some of the areas can be wet on dry. Though the last two paintings were more on wet on wet kind of technique and it was more loose. But as we have a bit more detail, you do need even the wet on dry method. I'm going ahead and mixing some amount of my composed opera purple into the mix that I already have, and then just sopping in a few dots here and there to show my cherry blossom, of course, flower trees over here, one or two dots, and that is going to complete our painting. Let's go ahead and just use our flat brush. The top part is already dry. What I would do is I will just apply some clear water from the clear I mean, the particular jar, which I have that has the clear water in it. And then start applying some amount of pipe quin acrodon coral now this quinacrodon coral, when you apply on a wet surface, the pigments will automatically move. And you have to do very less job at this stage. Most of the job will be done on its own. I'm using my size brush to do the same activity. I will go ahead with a bit of darker value now. Either it be my opera or quin acodon, like the darker value by mixing some amount of compose opera or even some purples into it to give those same similar kind of color that we have applied for our background. Again, this is basically a branch of the tree that's there, and you can see it. It's completely blossoming. These brighter total values or the colors adds so much vibrancy into the whole painting that I really can't tell you. Try using all transparent watercolors at this stage, and even throughout watercolors are more transparent. If you come across even watercolors, which are a bit more opaque, I would request you to not use those for all these paintings. I would only go ahead with transparent watercolors for these kind of paintings. Going with my thinnest brush, which has got a very nice to tip, I would say. The top area is having a great tip in it. It is the size six optimal brush from the brand Escoda. I have used this a lot of times and many of my other paintings, too. I am again, using it just to create these ripple like ef as you have seen in the main painting when you started off, you have seen, like how it is. This is a very good brush for anyone who is looking for a long term investment. I think this is one of the brushes where you can invest on. Going ahead and making a few more lines and keeping with it, making those lines. This is something that is so beautiful. I really can't tell you how excited I am to complete this painting, taking some brown and just adding a few lines to show the cherry blossom trees of my background and even adding some of the lines for this particular branch of the tree that's there in the top area. You will see that slowly, steadily, even a few dots will do the work. Every time you do not need to continue working with a lot of lines, et cetera. A very loose aspect of drawing it can really help you nail any kind of a painting. I always like adding a few loose dots, even for my trees, and here I would be doing the same with my purple violet for any of the other shades that's available with you. From the purple range, if you don't have purple, just go ahead and make some amount of pink with men or any other blue and get a shade that looks similar to this one. Using my jelly roll pen to draw the line, but this jelly roll pen is really not very effective. And hence, I did not get the white line that I was expecting, so you can always go ahead and even try your bleed proof white PH Martin color or else white ash, whatever is available with you. Even titanium white is mostly opaque in nature, and hence you can even use that rather than using Chinese. Bit Chinese white is not opaque. It's mostly transparent in nature. So yeah, while you use the colors just know a bit about the colors or the setes that you're going ahead and using it. I'm adding one or two smaller lines of white, as you can see, this is a very thin brush, which I am using right now for adding these lines. I'm to create the branches of the trees simple, easy, going with some of my browns, and then using it over here with the help of my thinnest brush, you can also mix a bit of blue to create the darker value into the brown. This I have taught, like in much more detail in one of my audio classes, which was voyage into the sea, where we did mix a lot of blue into our burn Ciena to create various shades and colors of darker and lighter tonal values rather than only going ahead with a dark brown or vent dike brown that's available with us. Adding some more of the lines as you can observe over here, Time to go ahead and add more of our black into the painting. Now, this black is basically adding a bit more detailing into the painting. Nothing much. Small lines here and there. You can use a scale or you can also use any kind of, small card to draw these kind of lines. Remove the pattern angle, have a final look at the painting. I'm sure about it, you will fall in love with it. Let's now have a final meet you again tomorrow with a new lesson. 8. Day 4 Tulip Fields: Let us talk about all the colors. It is ultramarine, Qin acrodon, Coral, burn Ciena, k brown, yellow, green, forest green, olive green, purple, crimson, and keep a few more colors, whatever you think you need for completing the painting. Let us start by making a horizon line. We have done this in the past three paintings, and we are going to start out with the same thing even in this particular painting. We will add a horizon line first and then go ahead and add a windmill. This one is a bit longer compared to all the other paintings that you have done till now, as there is some amount of sketching, which is involved, though it is again a loose style tips that we are going to do, except the fact that yes, there is a bit of detailing that we are going to add on it. Okay, let's make a small slanting line, and then I will make even straight lines. Just follow along and add all of this. You can also go ahead and just see how I have added smaller details into it by watching it on a bigger screen, as I always say, the paper size is really small. So you might have to go ahead and watch it on a bigger screen to get all the details that we are adding over here. Added Zoom in a bit more so that each of these smaller things can be seen. This is a really small paper, and I can't do more than this actually to show you how we are adding each and every smaller details. This is a small house art or whatever you want to say, small construction kind of a thing that's there on the side, and there will be tule fields in the front. Over on the right side, you will observe that I will add a wind. The bottom part, which is majorly your tule fields is not exactly in the middle. So basically, the horizon line is never in the middle. As I always say, I follow the rule of thirds and according to which I never placed my horizon line in the middle. Either it is a bit tilted towards the bottom part or a bit up either in the first half or in the second half part of it. Now going ahead and adding a small windmill, as I did tell you earlier. This is a bit elevated one. As you can see, I have added one more layer of line. Towards the middle part again. And then I would go ahead and add my windmill top area. With that, I will add the bottom area too. Small things do actually make a lot of difference like this one. Over here, if I make the windmill too big, then the rule of perspective would be spoiled. That's one of the reasons when I'm even adding the windmill, I do make sure that it is small, not big one. Go ahead and adding some of the few lines on the left side as well as on the top right hand side, and then adding three lines for showing the windmill. It's not that I'm very confident at this moment how this painting will turn out, but believe me, as you progress with the painting, you get to understand that this painting you can nail completely. You can also just mark the darker areas by shading that part as you are going to add lots and lots of darker values in those areas, too. There is a small door, which I want to add in the middle part and even shade that area. You can see that my pencil is actually the long one, which has a long, sharp edge towards the top or a longer graphite part because it helps me to go ahead and add these details in an easy way. Sometimes I do erase a few paths, which I think is not necessary or I don't like it. And then again, I go ahead and mark the lines in a similar way only, you will see me marking all of it. But yes, it just adds a bit more confidence for me. And I just feel that that really helps me to understand that did I create something in a good way or is the perspective not correct or is something not exactly to the point. Though, you can see over here what I did add now was similar to the one what I did add earlier. But yes, there are a few things that I continue to do as an artist, and these things will remain the same. You do not need to raise anything. You can surely go ahead with the one that you did add initially. Adding a few trees on the right side. So just making four or five lines, it would be an abstract random way that I would be adding. For even the top area. I did just mark a bit of area, which I would be marking in the darker values and shading the areas, as I did tell you, even earlier. This is the area which will have darker values and darker values. Once you apply the darker values over this area. This whole graphite mark usually goes away, and it does show off. Watercolors is a very transparent medium, but darker values takes over these graphite marks completely. It's time for adding these huge lines or you can see the parts, which is basically going to be the windmill. This is the traditional windmill which you can observe over here. I've always seen that the sketching part is a bit tough, or it takes a bit more time than our final painting part because we are painting everything pretty loose. So when you are painting things, you lose, which means that you are not thinking much and just going with the flow. But there are a few areas where you are detailing, and those things that you will be detailing needs to be even marked well. It acts as a framework for you, and it gives you a lot more confidence, as I did say even earlier. It boosts our confidence. It helps us to go in a particular flow. It really helps us to nail the painting completely. Going with small rounds towards the bottom part, you can see. These are basically the small small tulips, which I want to show. I have not gone ahead with any kind of particular tulip, size, shape, et cetera in my mind, as it is not going to be detailed. So I have this in mind always that I'm not going to detail it completely. Though the last few were more on a lose side, this is not exactly a full lose one, but it has an aspect, which is bit detailed, whereas still it keeps the whole idea of painting loose intact. Continue with a few more of these, and then we are going to go ahead with the painting part. I would go with my favorite shade, that is quin acrodone coral. I will start with my Qin acrodon coral and slowly steadily mix some yellow or orange into it, as well as some compose opera. If you don't have quin acrodone coral, you can go ahead with any red that you have, like permanent red, et cetera. That's also good to go ahead with. Some more orange. This blending I usually do on paper. Why many of you might ask me. The blending that you do on paper gives you way more shades or values of one particular color also on paper rather than if you do it on ceramic palette, it will only give you one particular shade, and that only you will apply. So it's more like a flat wash, whereas over here, it comes out more like a variegated wash and a mixed shades, colors, et cetera, that comes up. The only part that's going to take you some time is I did not mask out these smaller round parts. Because of the simple fact, I really don't want to go ahead with any kind of masking on small piece of paper like this. I can go in and around it. This is again, known as negative painting, where you are not painting the subject. You are going ahead and painting it later on once the paper is dry enough. So y, you have the concept of negative painting also being covered in this part of the series. Though you might not find it in the technique section, but as we move forward, there will be a lot of things slowly and steadily that we are going to learn. It would be kind of the projects that you attempt. I would be adding all of the knowledge into it altogether. Everything cannot come as part of technique is all I can say. It will come up slowly steadily, and maybe I'm not naming it always initially, but as we progress with the projects, you get to know these techniques even better. Continue to paint more and continue to add more colors into this part. You can also add a bit of opera, compose compose opera, basically, yeah. And then some of the purples, everything looks so nice and divine at this stage because it is very vibrant color. Vibrant color has so much of beauty in it. I frankly can't tell you how happy I am when I share all these vibrant paintings with you guys. While now I add some green colors towards the bottom, I start with the lightest value of green, which is my yellow green, and then add the darker values of green, which can be any kind of radian green or it can be even forest green. I would leave that decision up to you what greens are available with you. But when you are starting out, it's important to add some yellow green. If you don't have the yellow green, mix some yellow with the green color that you have with yourself, maybe your sap green or all green, and then you can keep adding the darker values of green towards just the bottom area. I usually leave out the areas, which I have to add the tulip over there and then just mark the other areas. It's a very simple one. Believe me, it takes a bit of time because of the sketching part, and then some of the dots that I keep adding here and there. A, I would say that this is one of my favorite paintings from the entire series. It has so. It has amount of learning, as well as the sky is absolutely flat. We are concentrating only on the meadow or the tule fields that you see over here and simply adding some details to make the painting come to life. Mixing some darker value of green and adding some dots. You can use your ultramarine and then add a few dots. As you see over here, smaller dots, bigger dots, whatever you might like to add. And then towards the bottom right corner and left corner, you get these dots. Blooming as such, as the paper is still, and I can continue to work on it. That's a very good thing when you are using 100% cotton paper. The water stays on top of the paper for a longer period of time. I have used 185 GSM paper, though you can go ahead with 300 GSM paper, which is the best thing to do at this stage. At least this year, I have seen that the weather is really hot, and you might like to go ahead and use a thicker paper to get a good outcome. You can use olive green, sap green or mix a bit of brown into the dian green, whatever is available with you, get a sheet that looks closer to the one that you observe me using over here and then blend it. I'm using my size six brush at this stage to add the colors. You can also go ahead with Size four brush if you are not very confident of using size six bruh. So that's also absolutely okay. It's up to you how you want to do it. The p in the bottom area is also not. So all I can tell you is, if you're not very confident, let the bottom area dry off and then only go ahead with this part. Though I did take a bit of risk as I was not ready to wait anymore. This painting was so attractive to me that I wanted to go ahead with it and go with the floor altogether. Oh. I'm making a shade that looks close to red violet. What I did is that I took any kind of crimson, pink, et cetera, whatever is available, Mix a bit of violet into it and make a color that looks like red violet. And then add these small dots. This is great when you want to add some details. Make it lose. Yet the whole painting will look like as there is tulips which are blooming and of different shape, sizes, et cetera. That's what I have been following for many of my other paintings to whenever I have painted meadows. This particular painting is something that is really, really exciting to me. I love to paint tulip fields, and this is so much less effort that you need. While you go towards the top area or near the horizon line, what happens is they will become smaller or the dots will not be bigger as you see towards the front part. And the more you are towards the bottom area, we have these white areas that we have left out for the tulip fields. I'm going ahead with a very beautiful shade as such, which is again, ultramarine, my favorite shade. I use it for covering the entire sky area, leaving out the part where I want to paint my small small. Okay, great. I guess I'm excited. I have created a gradient wash. If you are not very well versed with a gradient wash, you can also go ahead with a flat wash, but you can do with very, very easy technique that can be followed in. I have attempted the sky last as I wanted to work on the difficult part in this painting first and then move to the sky area, though we did the other one. Other part for the last painting that is cherry blossom. O I am tilting my boat and then applying some clean water. Now you can also go ahead and do the same. That way, what happens is, you can get a good gradient wash wherever you think that there is extra colors, you can remove that and let the water play a major role at this stage rather than you going ahead and trying to push the color, the water will only push the colors towards the top and then again move from top towards the bottom. Do clean up the sites wherever it is necessary. My sky is still wet. Now, since my sky is wet, it's good to go ahead with a darker value of green and create the trees that we see just near the horizon line. This is a very, very good thing that you can always follow. When your paper is wet, use it to your advantage, create these lines, create these loose kind of trees, which you want to add in any kind of painting that you have. Continue to add some more lines as you move towards the right side, and as well as, you will add some of the darker lines even towards the bottom area. Follow, I would say that at this stage, I have less to explain. Just follow along and you will see how beautifully the whole painting is getting done. I am a person who loves to add at least one or two smaller details of lines, et cetera. This is something that I have always loved doing, and I am doing the same even in this part of the painting. I will go ahead and take some orle color over here and mark it with my thinnest brush. Though you can go ahead even with indian yellow or any other yellow. I don't like the white part that is being seen. This kind of color actually just takes off all the white from the paper, and it looks even better. I use my flat brush to practically blend the areas well and not have any hard edges. That's how I always go about blending my colors with my flat brush for no hard edge. We did mark a few areas on the right side, and this area is majorly the trees. The smaller trees that I want to add, use a size for brush to mark these trees, and then we will again go ahead with a darker value of green to add the shadows. Of course, the shadows is following a very simple thing, which is the left side is w and the right side, there is sun. If you are creating shadows, just go with one simple rule. Either your sunlight has to be on the right or it has to be on the left. Now if it is on the right, the left side will be in shadow. If it on the left, then your right side would be in shadow. So that's the only simple rule. You can keep in your mind and continue to work with your water colors. The bottom area is dry enough now. I am going ahead and adding some colors in the white areas, which we did leave while we were painting the meadows. Once we have added these colors, I would go ahead and mark some darker area. Now, while the darker area, darker area basically as the amount of depth that we need in the painting? A small amount of depth is great and good to go ahead with. We will even add a bit of our purple, just the way we did for the loose meadows, which you can see in the painting. Continue to work on these smaller tulips and just follow along. I think I will just add a bit of music for you guys. It's easy. There is nothing to explain at this stage. Oh. And to add the stem of the tulip fields. And basically, each and every tulip has quarter stem, and we would like to add that for all the ones that are there towards the bottom area, we will add a few more extra here and there. That's it. Continue to add all of it, and then we will see how the ting. Small small details actually add a lot of difference to any kind of painting that you are doing, and this is one of them, which I have added for my painting. I hope that you are liking the flow, and this is not really a tough one, though it might look initially, but it is really not always always think very positive when you are doing watercolors. Watercolors is a medium, the more you think positive about the medium, the more rewarding it becomes. If you think that you will be in a position to nail it, you will absolutely nail that painting. If you are thinking that you may not be in a position to get a good outcome or so, it even happens the way that we are unable to achieve it. Watercolor has a mindset of its own, and I think that mindset really plays a great role when you are working as an artist. If you have a lot of gap between your daily practices, of course, everyday watercolors might not look great. But if you don't have much of gap while you are practicing watercolors, I think you will be in a position to nail any kind of painting that you are attempting. Go ahead with some Naples yellow for the windmill part. This is basically the lightest value that I'm adding on the windmill, and slowly, I will introduce some of my darker values too. I think few of the areas needs to be a bit more green, as you can see for our background part too. So I'm adding that green and just taking off from the middle part because that was again in yellow. And I don't want to spoil that part for sure. One more layer is always good to go ahead with. It's not that everywhere I add that layer. It's just in a few places we do that. My windmill is still wet. I'm going ahead with some of my burn Ciena to add the darker values. The left side, of course, is darker and darker as you can observe, and the right side is not so dark. I would leave the right side as is in the Naples yellow color that we did add. Mix a bit of blue into the brown that you have or directly use some amount of your n dike. Brown and add the darkest value. You can see that we did add some graphite mark shading, but that's all gone as the darker value has taken this spot completely. And even with a transparent medium, we really can't see where exactly we have marked the shading or the graphite marks and not beings. Watercolors, I'm very very specific about where I'm adding the shading and where I'm not adding the shading. If you go ahead and see through it, it becomes stuff. So we cannot have graphite marks being shown from the waterm area. That's one of the reasons. Even when I'm applying my graphite marks, they're way more lighter. I go ahead with only two edge pencil to add all my graphite marks. Though I've seen many artists even going ahead with the darker pencils, but they do remove the graphite marks later on with the help of a needable eraser and make it lighter when they paint. The smallest of the details like adding some shading even for this small t that we have added on the left side is important. We are going with a very thin rush for doing it is zero by satin rush for adding all of these details. Oh Now detailing my windmill in few of the areas, wherever I want to add some darker lines. That's it. I'm going even with my I K Brown to add the small dot, which we did add in the darker value and taking the darker value even towards the bottom part. This way of painting is something that is absolutely lose and may take a while to understand. Believe me, when I did start out, I was not very well versed with these kind of paintings, but over the years, I've realized that this is one of the best ways to go about when you paint even on smaller areas like these. T adding the blades of the windmill now. And here, I have nothing much. Just go with any darker shade of your brown and add these lines. Some of the lines, you will add it, some of the lines you may just leave a bit of gap or not. Add that way, we're not detailing everything and going with the absolute of which is like, this is a line, which we need to add, all the lines we need to add. Genuinely, is a medium. You can use a how you want to perceive it. If you want realism, you have to go ahead and add every detail. But if you don't want much of realism, and it is more to just interpret in your own way, I think this is one of the best ways to work around. Watercolor gives us so much of freedom. I think many or very, very few mediums have that kind of way to go around it, and you can actually use watercolor the way you want, which would be hyper realism or realism, or not realism at all, go at, go absolutely. Everything can be followed, and you can perceive how you want yourself to be an artist and make it. Adding some smaller dots here and there, then removing the tape pattern angle, writing that these are the fields in Holland and have a final look at it. Met you again tomorrow. 9. Day 5 Lavender Fields: It's all about painting the evendo flowers field from France. Let's check out our colors first. These are Naple yellow, ultramarine, greenish yellow, Indian yellow, quinacridone Coral, compose, opera, purple, forest green, and a few more, whatever is available, including Burnt Sienna and your Pendyk brown. It's all about painting Lavender fields from France. We are going to go ahead with a very simple line, and that is going to be the horizon line for our Lavender fields. Of course, you would have seen that most of these paintings have a horizon line and then they may have a background mountain. Those things will continue to work on. And over here, I have taken the levender fields a bit more larger, or you can say my horizon line is a bit tilted towards the top area compared to it being towards the bottom. So those one or two things you will keep in mind, and we will make two straight lines as you can observe over here. Once you have made the straight lines, we will join with a curve like structure from the top and then it would become a cone. This is practically a very, very simple structure that we have added from a countryside in France, and I just wanted to have that feeling of beautiful vender fields, countryside, et cetera, altogether. And this, I think was a perfect match for it. Go ahead and doing the sketching. Once you are done with the sketch, we will start with our painting part. The Lavender field is done in a very, very loose and simple way. Nothing much in terms of what you have to do or how you have to go about it. I have very simple process, which I would be listing down for you guys, and there will be more of loose painting that we are going to do and how less detailed paintings can also actually show beautiful Lavender fields is all I want to express through this painting. Continue to add one tree that's there just near this small structure, which you have added. You can add this tree in any way, do not worry at all. Even you may do it once you have painted this part. Just that I was not very happy with how this structure was looking altogether, and hence I wanted to go ahead with it once more. These kind of things I do very often in many of my paintings. Sometimes I'm not sure of how I want to go about it, or the structure did not work out exactly like I wanted to And, to my surprise, most of the time, what structure I've made at the beginning is actually the structure I make even after that. There's nothing much of a difference that I create, but still that kind of perfection, it's there in your head. You want a good sketch. Because if you want to have a good sketch, you can have a great final outcome. So all of that keeping in mind, yes, the need for perfection, getting the correct outcome and all really forces me to go ahead and have a sketch that I am satisfied with to an extent. Okay, great. Now, let's make a few windows. You can make a few windows or even a single window that can work for you over here. Once this window is done, we are going to draw the tree as we did in the last part to Marking a few areas a bit more darker just to say that that particular area, I would be making it in the brown shade or the other colors that we are using rather than using all the shades, et cetera, which we're using for the sky and all the sky is going to be amazing. We are going to use two shades for the sky. So be ready with me and we are going to experience a real magical vender field over here. There are only two lines. Now these two lines are basically going ahead and meeting at one single point, which is majorly known as the vanishing point. That's all I keep in mind when I am drawing it. I don't want to complicate this whole painting to a great extent. Hence, I'm keeping it very, very simple at this stage. Trying to just show you the basics of drawing and sketching. Because, uh, In this particular painting, I will not say that there's a lot of difficulty. I think the last painting which you did was a bit more tough than what we are going to do over here. Only the play of colors, of course, is a bit more tougher in this one compared to the one that you did in the last one. So yes, somewhere or the other, we are trying to improve with every painting that we are doing, and hence, yes, you will find something or the other new coming up in the paintings that you are planning to approach. I'm starting out with Naples yellow for the bottom area, and then we will go ahead with ultramarine for the top area. This is a simple blend of color, which we are going to go ahead and do in it, and it's basically not the gradient wash, but blending. Now gradient wash can be done with two colors. It can be done even with a single color. So if you are doing it with two colors, then the kind of gradient we get over here, can we also toll as a gradient wash or you can say simple blending between two sheds. That's also okay. I am not creating any blend over here, only on any gradient of wheel. It's just that you are coming from blue and going towards the Naples yellow. Naples Yellow doesn't react with ultra may and give us a shade that looks greenish, which I always always like to avoid in my watercolor paintings. Sometimes I really don't like the kind of blending, which I have done for any kind of a painting. And hence, what I do is that I would go ahead and go over with the color again. The same color, which is our on Naples yellow, and then try to have a blend. That is up to my liking. Believe me, it's not important. But it's just a process which I have been following to get that perfect shade perfect color. That I expect but in watercolors, there's no perfection. The more you let it lose, the better is your outcome. Only keep in mind that you don't want puddles of water in your sky. If you have puddles of water, it would become really tough for you to control the colors. Whenever you are applying the colors, try to apply it with a flat brush for the same reason. I think this is great. Now, we can go ahead and apply some clear water on the bottom part of the painting with our flat brush. This is a size ten, the Vinci flat brush. I'm applying the water and then I would go ahead with lighter to darker values to make the lavender feel. What is the first color that I'm going to apply? It is basically the yellow green. Now, this yellow green you may not have in your palette, you can always go ahead with some ooline and mix a bit of green in it to get a shade that looks closer to the one which I would be applying in my paint. As you guys know, both of these lines converge to one single point, which will actually meet somewhere outside the plane of the paper on the right side. Now, these kind of lines are usually known as invisible. They will join to one single point, which is called as invisible point. And it may lie on the horizon line. It may not lie on the horizon line. So this is a small information, which is good to have, and hence I thought to share it with you. Go ahead and adding some of my yellow and quinacrodon cooral, along with it, I would also use compose opera and purple. Now, why compose opera purple? Because these are basically the colors which I usually see in a lavender flower. Though I would say that I have not literally seen any single lavender flower. It's just in photographs, fields, et cetera, and this is the way I perceive my lavender fields, which I wanted to add over here. Adding some of the purple again, I will make a mix as well as on the left. Top corner. We will also add it. Right now, you frankly can't see how the whole painting will turn out. Believe me, at this stage. I also did not like this painting. I was like, Okay, where to settle going ahead. And can I actually get a good outcome? So never lose your heart at any point in time in watercolors. You continue to add your colors and then see where you like that. Now I have added some darker value of green, and this is usually my beautiful forest green, or you can also go ahead with olive green or something like that to get a shape like the one I have added over here. Great. Let's again blend some of our beautiful shade of purple into the fields. It is on the left side, and then we will just blend it with our background. I do take off any extra color which I find on my paper. Then blend some amount of darkest value of green to create the shade, which I'm applying right now. You can always add blue into your green to get the darker values of green. Believe me all the sheets and never there in anyone's palette. Even in mine, I don't have all the colors, which I always like to add. So it's kind of something that I carry on with, I mix my colors and get a shade like this. I am pulling the paints at this stage, which means that I am pulling my colors from the bottom part till the top. And once it is done, we will go here with some of our darker values of purple to create these loose floral kind of effects. You have also done it in your first painting where we were attempting a floral of course, a flowal field. And you did it when we were adding the darkest value of green into our meadow. Some of the places were a bit dry and hence, I would use my brush. To make it a bit more wet and allow these colors to move into each other. Over here, my paper is still wet. That's one of the reasons I can easily do this job at this stage. I will blend my color a bit and pick up the shade as I feel that it has become too dark and it has blended completely with the yellow. Maybe a bit of pickup of these colors would be good for making this whole painting come to life. Now, coming back to the painting, there are one or two small more dots, which I want to add. Once these dots are done, then I guess it's important to just let this paper dry off. You will see how we continue to work on these simple and easy. E is done in a very loose manner, which gives you a lot more opportunity to play with water colors and water will do your job rather than You doing your job was. I will do the same process even on the top part. As you see, I'm going ahead and adding one or two smaller dots of the purple into the meadow. Now, any meadow that you are painting, it can be a lavender field. It can be any kind of other blue florals or poppies, et cetera, anything is possible. And hence, you should always keep in mind that let it be any kind of flower. What you are going to do is make it a bit more loose, which gives you a lot more opportunity to play with the shades, to play with the colors, as well as It actually helps you to develop the mixing, then different kind of shades come up within that particular part of the paper and all. So yeah, that's my approach, and I'd love to share it with you guys. Hope you are liking it. And we did learn a new thing over here, which is majorly pulling the paints. Though there is not a lot of application, but still there's a bit of application. Again, in green, I'm adding one or two dots, and I'm going with my thinnest brush at this stage. I guess we can literally differentiate these rows of levender flowers. You can see most of the areas wherever you have these lavender flowers growing. They are in a row. Hence, I guess having that particular row in place is very important. Showing it off is good, so all of it put together. I'm very happy with how this painting is turning out. Lifting is always a process. Second process we have learnt in this particular one is lifting. Though lifting technique we have used a lot even earlier in many of my other paintings, if you've taken my classes. It's a general technique which can be used for all your watercolors, and it really helps you to elevate or even to fix any kind of mistakes which you have done. You can lift out the colors with your brush or even with your tissue. These are basically one of your best preses all I can say. I'm adding one of the background mountains. It's basically a bit in blue and green as you can observe over here. I'm going from the right side and even I would like to add it on the left side of the paper. It is a background here mountain, whatever you want to say, and it really doesn't matter much. Just that I want to keep it in the blue shade. As it is contrasting with the color that I've already applied that is for the sky, which is majorly your Naples yellow. And hence, this particular part of your mountain or hill will be even seen well. The amount of greenery, which we usually have on these mountains. Adding that blue also doesn't take it off from there. If you're adding only brown or yellow, it is a possibility that you are wanting to show it that it is absolutely rock. You or something like that. But here it leaves you with more opportunity or just a way you can interpret the painting. Time for a bit more of detailing now. Now, this detailing is majorly to do with the part which is in the middle. And this is a smaller part. What I am more interested of is the brown small building, which we are going to paint, really, very, very exciting. I can't tell you how excited I am, but before you do any of it, make sure that your paper is completely dry. Let's have a closer look at it. This is something that I always say that few of the places where there is more of detail, I like to go ahead and just zoom in a bit more. Once you've added the lighter values, it's time to add the darker values. You can go ahead with a brush that has got a very thin or nice tip on the top. I like to do it that way, but you can also go ahead with a thinner brush. That is size zero size one size two, whatever is available. Most of the paintings that I've done, I've always told whatever is available with you, please go ahead with it because the idea is never to buy new things. It's only to paint something beautiful. A Starting with my burnt sienna and blending it with some water. You know that we have already applied the Naples yellow, which gives an edge in this way. You don't need to do much of work. Just blending with clear water will only help at this stage. I would go ahead with my darkest value. That is nk brown and then add it on the right side. As you can observe over here, It is slowly that I'm adding it because I don't want that it spreads to the entire part. Only to some of the part, I want to go ahead and add it and rest of the part, I will just blend it with the burn sienna, which is already applied. This is a small piece. But when you work on a bigger piece, there are a lot more things that you need to work or think about. One part of it is the light and shadow effect. Over here, the darker side is on the right and the lighter side is on the left. That's exactly the way we have also painted our lavender field, which is a great part or a great thing to always look into. Your light and shadow should be exactly the same way you go ahead and paint each and every detail in your painting. That way, you can frankly keep the basics of the painting ind. I'm again going ahead with Burn Ciena and then adding it on the bottom part of this small heart. CVID some burnt umber or maybe some amount of your dike brown to create these darkest of the values. I think the left inside has become too dark than what I would have liked it to. So I just took off any extra pain that I had on the brush, went ahead with clear water to apply the c. Sommer Burns for the middle part of the window, and I am using my hands. Yes, I do use my finger hands, everything for a painting. So just let it be you have to your hands if you really want to have a good outcome. These kind of things keep happening in what, yes, also enjoy the thing. I think this right hand side has become quite dark as I waned and looks, I would say weired out over the years. It has been used, so that's something that I always always keep in mind. The building, which I am adding should be worn out to a great extent, rather than it being intact, like the way would have never wanted it to be absolutely brand new buildings. We don't want. It's countryside. There is sunlight, there is snow, there is a lot of weather change, which continues to happen and every time you don't go ahead and keep painting all these buildings, right? I would go with the same way over here. Adding the tree, which we did Again, ad during our sketching session. Once your paper is dry enough in the bottom part, you can go ahead and add these branches. Go with some of your greens very simple way, add some dab of it here and there and that's it. You need to just go with a bit of darker value on the bottom part and then lighter value on the top part. That's usually how we even observe our trees. One more minute of detailing, and then we are done. Yes, I am super happy with how this painting has turned out. Very less detailing, very less work, and still a fantastic outcome from the lavender fields, et cetera. Let's now allow this painting to dry off. Remove the tape at an angle wherever it is necessary. You can add these kind of details. You know, I don't like to give up at any point in time. Whatever so happens. Once my paper is again, I'd like to add one or two small bushes at that I want to show of. These kind of things can also be avoided if you want to avoid it. And if you want to continue, please please do go ahead and add these small dots. I would remove the tape right, these other Llevender fields from France and have a final look at it. I will meet you again tomorrow with another new lesson. Let's just do a quick recap of what all we have learned. Mainly, there are two techniques. One is pulling the paints. Now, you did it for this middle part of the lavender fields. And the second one was picking up the colors with the help of your flat brush, wherever it has become darker, we will make it lighter with a fresh click damp brush. 10. Day 6 Poppy Fields: Let's know all our colors. It's Naples, yellow, burn Ciena, quincodon, Coral, or red, or any kind of orange, purple, ultramarine, yellow, green, forest green. Keep a white gash and black pen handy for highlight. Hi, guys, so today, it is all about painting a very beautiful poppy field, and it is somewhere from in Italy. I would love to paint this one along with you very excited, starting out with a horizon line and then making a few houses on top of it. Now, why do we make a horizon line? It is important to differentiate between the sky and the land area. Whereas we will have a few houses in the distance to show the countryside in a better way. Now, these are the loose poppy fields which we are going to paint and a few lines that you can, of course, see. We will just zoom in to have a better view at what we are drawing right now. I've already told you, it's better to watch it on a bigger screen. If you are someone who hasn't still watch it on a bigger screen, please go ahead and just see it on any bigger screen which you have, like a laptop, i pad, et cetera. I'm going ahead with the top part or basically the roof of any kind of a art or you can say these are small cottages that are there in the countryside, and we will draw a few even windows in it to give it a more nice and an actual realistic look. Is all I can say. I will continue to add more and more houses. Of course, ordering the size of these houses as well as how they are made, so that it looks way more it has way more realism into it. Is that what I'm trying to add into this painting. It's not that we have to actually go ahead to a particular place and then only paint it, you can always enjoy painting. Anything of your liking even when you are sitting at your home or at your own place where you are enjoying watercolors, you can paint in your studio. Wherever you are more comfortable with watercolors, I would say that's the place you should always use for any of your watercolor paintings. I'm really comfortable when I'm painting in my studio, and I can do hours of painting, but when I'm doing an outdoor painting, it's very different than what I do in a studio. Hence, when we are starting out, it's great to do studio practices, and everyday practice is always the key. That's one of the reasons I have so many of these challenges on my as a skill share class, and there are many other classes where you will see there are 20 days, 21 days, 14 days, et cetera. Every class is very different from each other, and if you go ahead and try them out, they have something new that you can learn. Some of them are a lot wet on wet. Some of them are a lot wet on dry. Whatever you see, some of them will be postcards, some of them will be small pol write paintings or something or the other different scheme that you continue to learn. And not only that's a great experience with watercolors, but also gives you a hang off like how this whole medium works. So the first thing that many of the people don't know is a watercolor paper, and I've been very particular that you need to use only 300 GS 100% cotton watercolor paper for having a good outcome. So that's something which I always always say yeah, now I think almost all the houses that I wanted to make is done. As we continue to talk, you can just add these houses. There is less to explain at this stage because I don't have much of any kind of, you can say vanishing point or more than horizon line. There is not much to explain at this stage, which is one of the reasons. You will see that the sketch is not taking a lot of time than what it should have taken in other paintings. Going ahead and making a few loose trees in front of the houses, this will come up later on in the painting. Going ahead and starting out with basic wash. This is basically for the floral fields. Floral fields have been one of my favorite, and this is a poppy field, which is again, my favorite. Though there are many kind of colors and flowers available that you see you like or maybe meadows that you like. This is one of my own favorites, whether it be a poppy paint thing or whether it be a complete meadow of poppies. I think I love to paint everything. Going ahead with some amount of my greenish yellow, you can also use len if you don't have this greenish yellow shade with you. And then we will use either quinacodon coral, red, or some orange. Now, these are basically lighter values I would love to go ahead with initially, and then slowly add one or two Dots of darker values. It can be even dark brown, blue, et cetera, nothing would be seen as such. It's just that a dark small dot will be seen somewhere. It's straight line as of now, but believe me, we are going to add texture, which will look more like florals. I am not only excited about this painting, which I am always about most of the paintings, but I think this has a lot to learn in terms of how to balance out your composition. It not only has how you can go ahead and go wet on wet, like you are doing right now, going with some dots. Since your paper is wet, your colors will flow. You can go ahead with either red, permanent red, or makes a bit of karma into it to get a bit of a deeper value if you don't have the exact red of your choice, and then add a bit more of the darker values and few of the places wherever you want. The dots will become smaller as they go away from us because that's how the whole of the field always looks like. As you go away and away, they will become smaller and smaller as you go near to it. It will become darker. I have mixed some amount of purple into it and got a color that looks more like a red violet, which is also good. You don't need to think much when you are adding these shades. Now going ahead and adding, either you can use olive green or s you can use even dian or any of the other greens that's available on your palette, maybe olive green, sap green, or even Varian green, whatever is available. I can make it a bit more early if you mix some amount of burn like cure burn CNI to it. But it's not required at this stage, so we will go ahead with whatever we have as of now, and if we need it, of course, we will add the darkest of the values as you continue to see over here, which I am adding right now. Started out, you would see some lines. But as we are progressing, you can see that we are using a very, very thin brush to create all the textures, which you might not have seen earlier. This is how we continue to add more of these small dots. But sometimes I do even use a bigger brush to just add those dots because all the places will not have the smaller dots, as well as all the places will not have the bigger dots. You have to keep in mind that you need to even alter the size, shape, et cetera of any kind of floral fields and all that you are trying to go ahead and Okay. I guess I'm pretty happy with how this is turning out. We will have some more of these added on to the I mean, near the horizon line. All of them, of course, will not be equal, or they all will not be having the same greens and reds, et cetera In an equal amount, it's a meadow. Some of the places might be having more of green, grasslands kind of stuff, and some of the places might be more occupied with the florals. Some of the parts will be more butting or they have the full florals turn. Some of the places might not have it. So keeping nature intact because nature has quarter on like lots and lots of randomness and it hence, we will try to keep it as a I think I have gone a bit into my houses too. So I might need my flat bruh to remove all that green color that have gone into these houses. It's okay. We all do these kind of mistakes, and it's always great to use a damp bruh. Damp flat brush is one of your best feels just like any tissue can work. This can also actually pick up most kinds of colors which you want from any painting. I did add a few dots as you have seen. Now, you can also go ahead and add more of these dots or some of the green wherever you want a few lines. A few more dots. These are mainly for adding textures. Believe me, it just looks like a meadow, more with adding all of this. And if you are just adding a random wash, it's more like a variegated wash, where we don't have any kind of textures or florals being seen so well. T hough there are many techniques of adding this florals, some of the people even use splattering technique for creating florals. To, I am a person who loves to have short florals or not a very, very loose one, but something that is loose yet has the beauty and understanding of being a poppy field. It has the discrete amount of details that we need as well as the loose, attitude of the painting that we need. Okay, great. I think it's all about a mindset for watercolors, and the mindset if you have, you're going to any kind of painting that you do. Go ahead with one of my favorite sheetes, which is Naples yellow. You have been using this shade very often for many of your paintings, and I'm going ahead and adding it for the total area, which is majorly the house area. You can go ahead and add it in all the places. Let this part dry off, and then we will go with our sky. This is more like a flat wash. Just go ahead, add it. We will later on work on the other parts, whether it be the roof or any kind of smaller windows that you want to go ahead and paint. Adding one or two simple lines of the darker value of green near the horizon just to make it a bit more I would say, look like real and so that we can differentiate. That's it. This place is still wet and I can go over it with my wet colors to create the smaller lines, et cetera. I continue to do it in few of the places. Though I say it is not much required. We are almost done with most of the details that we wanted to create for the meadow area. L et's go ahead and blend the dark green color into the background meadow. And near the horizon line, I'm going ahead with one of my favorite colors, which is At mary. You know, I do stick to my regular colors. Do people say that you should experiment and work around with new colors. But I just feel that working with the same old colors, creating new patterns or maybe even some dramatic skies is great. And when you have something which is more like you're concentrating on meadows and That is your main subject. Then I really don't like to spend a lot of time at least for my sky area. I keep it as simple as possible. Most of the skies that you have done till now have a simple blending in it or two or three different colors that we have applied and created a gradient. You can see I am adding a few more darker green values and just adding in some dots here and there. Um I think I continue to touch. Most of my paintings, I will not say that I'm a very good person who doesn't touch most of the paintings in some of the areas I continue to touch and then blend it. If my paper is not wet anymore, you will see I will go ahead with a damp brush and then blend it in the areas where I think it is necessary. Just the way exactly you see over here. Sometimes the colors that I get, I'm not really happy with them, and that's one of the reasons we go ahead with this kind of shading. Though as you go far away, the colors of the green, pink, et cetera, every thing should become a bit er, and that's all you should keep in mind. Even if you are adding any kind of colors, make sure that you do the blending absolutely in a way that it doesn't look like there are any dry marks or there are any not so good edges that you have created. So those things just to keep in mind when you paint. F Go with my burn Ciena and adding the colors for the top part of the roof area. You can also go ahead with a bit of orange so that this area really looks very nice and pretty. I really like these orange burn Ciena kind of colors that we usually have for the sky. I'm super excited for those paintings, and every time I do, I'm hay to have a look at each one of them. You can also go ahead and alter the values of the roof. Now, the changes in the value of the roof will be very helpful in any kind of painting where you plan to have some of the roofs that are more weired out. They are more older compared to the ones that you're painting now, keeping all of that in mind, you can even alter the values of the roof. If you are not much aware of the values, the darker and the lighter colors, et cetera, you can always just take one single shade, whether it be burn Siena, or any of the darker orange muddy kind of shades, where you can create a darker value where it is more pigmented, and as you make it and a more and more water, you will get more and more lighter values. So that way you can continue to bed in. I'm going with a bit more of the darker colors that we did add for our florals only for my roof area. I usually like to use the colors that I have on my palette to great extent. I have been doing it for very, very long time now and sometimes just mixing some blues and even the pinks can give you a shade that looks a bit more like dark brown. Adding it on the wet surface will let it move to a good extent, not that all of them will move to a lot extent, so Most of them will, and most of them might not keep that in mind when you paint with the watercolors, at least for your roof part. Working on some of the important aspects at this moment. It is basically creating a few lines just to show the dimension of these buildings. So some of the roof area would be darker and some of the roof area is lighter, as you can see, some of the areas I've added more lines, and on few of the parts I'm making it more darker. That's how I go about it. I always keep one of the sides shaded compared to the other side, which is more lightly shaded. I'm even shading the whole of these windows and doors. You can also do the same for your painting. When your paint is wet, we will go ahead and add some darker line as you can see over here, and even for the roof area, you can see that I'm adding a few of my darker values. Once I've added these darker values, I will go ahead and starting the lines for tree part. Now, this tree part, of course, is something that I would say is very important and it helps to balance out the painting in a way that trees gives the whole feeling of nature, and there has to be some trees in and around a countryside painting. So always go ahead and make a few smaller trees as well as it can show the perspective in a better way. If it is far away from you, they would be smaller in size and shape. If they are closer to you, it would be larger in size and shape. That way, it is a great idea to create the illusion of perspective. I will use my thinnest brush to create the complete tree, along with it, even the smaller and thinner branches that we want to add in. The greens, of course, would be as you can see. You can add a bit of burn Ciena into the yellow green and then add it. A few drops of forestry while you go towards the bottom part of these tree leaves, et cetera. That's it. I'm not going to complicate it, but we will be adding a few fences as we come to the fork ground part. So that is one of the parts which is a left. As well as tagging off the, writing the name. So those are one of the important parts that's still very, very important in any watercolor paintings which we are creating in the sports card series. This is one of my favorite series because it has such bright, beautiful, vibrant colors in it that I can't tell you how happy I am to witness all of it. Fences are one of the most favorite parts that I love to create in all my watercolor paintings. It is in between the meadows, we are going to add though you will not see me adding fences in every painting. Of course, then the whole charm of adding the fences goes for a tos, right? Only added where you think it is necessary and it can give a better outcome in your painting, or it helps to balance out the foregrounds and the backgrounds in a better way. Do not add, like an equal distance or do not just go ahead and add everywhere. That's really not necessary. Only a few of them, four, five of them is great, and the final outcome will also be very good that way. Few of the pants I would be highlighting with the black pen. Make sure that your paper is completely dry before you go ahead and do this. You can also use any kind of a very thin brush to do this part. You know, black pen, it just becomes a bit more easier and it's quicker compared to if you are going ahead with some kind of darker to add all of these lines. O M Adding some more darker value of greens over here as tots as well as light lines. You can see how it progresses and how it looks very distinctive and gives a balance for this in and around the horizon line. Countryside will have lots of greens, and it's great to balance out the greens in between all the florals that we have made till now. And to add some white as now and make a few lines and dots wherever it is necessary. No that we are going to touch each and every fence. It's just a highlight that you are going to add for some of the parts of this fence. One or two lines, dots, et cetera, and I guess the whole painting comes to life that way. Let's have a final look at it. Once the paper and remove the anger. I'm going to meet you again very soon tomorrow with a new painting. What we actually learned is creating textures for our poppy fields using wet on wet technique and adding trees for showing perspective, which is very, very important for any watercolor painting that you are doing. These are two important aspects and keep that in mind when you are doing any further projects of your own. 11. Day 7 Wild Flowers : Let's discuss the colors. It is Maples yellow, compos supera yellow green, green, forestry, orange, ultramarine, and violet. The seven is going to be even more interesting than all the other days which we have done. We are going ahead with our first horizon line. And once we are done with the Hrizon line, we have to go with a small hill in the background. Whatever we have learned on various different paintings will all be put together in one single painting is all I can say to you. I'm going ahead with another line, which will show basically the foliage that's there in the far away land. And then we will continue to add the next line just below it. Once we are done with it, you have this another line coming up. Divide the bottom part into two equal halfs and the top part will basically fields, and they are running to one single point, which is called as a vanishing point that appears on the right side. Though this vanishing point, we cannot see on the paper, but You will see that the convergence of all these lines will be to this one point. Time to make some flowers now, as always, I will break up the flower into simple and small circles. Now, that's how I actually see the shape and size of my flower. I always try to divide it into simple shapes and sizes rather than it being s triangle, rectangle. Let it be a small circle or a bigger circle, smaller circle, whatever it is, but in a circular form. So that we can keep it as is and continue to paint in and around it. Now, this is majorly of foreground. It is basically wild orange flowers that are growing in California. I have seen somewhere a painting, like, basically a photograph like this, which I really wanted to convert into a painting, and I did it for myself. So I'm sharing the same experience with you guys, how beautifully a painting can be even made. From any photo of your imagination, or if you have anything that you have seen recently, from any of your trips, et cetera. Just go ahead and convert it into your sketchbook practice, exercises, et cetera. Making a few lines as you observed over here and taking it below. I am just dividing these wild flowers into a few petals, and even the other one that is just adjacent to it, I will repeat the same process. There are a few more flowers which we are going to address, and rest of them, we are going to keep it as a circles. As we progress, we will address it separately or maybe just have as of colors. That is an orange like orange. Just add on to it and that we are to. I will keep the painting really simple, going with my composed opera initially. If you don't have this color, go ahead with carmine or any of the other pink colors, which you have with yourself. Add some amount of Naples yellow towards the bottom area now. I did freshly add some Naples yellow into my tin, and that's one of the reasons that you can really see that the Naples yellow is very beautiful, fresh, and looks a lot more yellow than usually what you see me applying on the paper. I am really happy with how it is turning up from the bottom till the top. It is a beautiful gradient wash. You already know about these washes, and we are going ahead with a simple technique of gradient wash for our sky. Once we are done with this, we will go with the bottom part, and this is majorly my yellow green that I'm adding for the top part and then blending it with some of my water. This is a wet on dry technique that we are exercising over here, and as we progress below, we will make it more and more darker. All the lines will converge to one single point. This is either some olive green or any of the other greens that you can think of. Go ahead and add it while you are towards the bottom part. Do leave out the area of your flowers. I do not want to really mask it. That's one of the reasons I just did leave it like that rather than masking any of the areas for my flowers. It becomes easier that way to go ahead and work on each one of them rather than individually going ahead, masking that, letting the masking fluid dry, and again, coming back to it. So overall, it's a bit more I mean, a longer process, if you mask and you go ahead, let it dry, coming back and all of it. So that's one of the reasons I just thought not to mask any of the parts and just go with the flow. Pick up a bit of a darker value at this stage. You can mix some of your darker value of brown into the greens that you have on the palette, and then make a few lines. This is going to give you a bit of an thy tone. Now, the earthy tone is basically the olive green kind of a sheet which you are going to get or any of the green sheets that looks really towards the with how it is turning You can also make a bit of your dark value of green, that is majorly your forest screen. While you are towards the left side of the paper, when you are adding the line, it would be way more broader. And when you are going towards the right side, it will converge to one single point, which is going to be way more thinner. The paper on the left side is still wet. That's one of the reasons. M lines are becoming a bit more thicker, and I'm happy that it's going that way so that I can show up the field in a bit better manner. Adding some more lines as you see the progress happening over here. More and more lines, more and more darker values appearing, and some of it is only a bit of I would say, darker value to lighter value gradient into which we are pulling the paints from the bottom area towards the top au. Paint is a very, very important technique which you can always always use. If you have darker values applied somewhere and you want to pull the paints from that darker value to the lighter value. You can take a clean damp brush and start pulling the paints from the darker value to the lighter value. But always always note, all these techniques can be done more when it is wet on wet rather than it being wet on dry. At that stage, all of these techniques usually don't work. I will go ahead and apply some of my green colors while we are towards the bottom area. Mix a bit of my brown into it. This is basically my dike brown that I'm going ahead and adding. Various kinds of greens you can use. One is your yellow green, ando would be your forest green, and other can be your olive or any of the other greens that you like or that is of your choice. I would leave that decision up to you and make a bit of brown into it to get any or the tones which you are willing to act to this painting. I love to mix my greens on my paper. There are two kinds of mixing, which you can always do. One is on the paper, and one is on the ceramic palette. For me, mixing the greens on the ceramic palette is wi, all I want is a bit into the greens that I have on the. As well as different or various kind of colors which starts appearing when we mix different kind of greens on paper. I always like to mix my colors on paper. It leaves me with various or way more shades than I would usually get if I go ahead with a flat wash of these greens or any of one single color or green or mixing any greens on the ceramic palette and using it into my painting. While you leave these areas of the circles, I know that there will be a few times where you might end up covering some of the areas that you don't intend to. It's absolutely okay. Go ahead and cover up the areas, not at all an issue, except the broader and flowers. The smaller flowers, any ways we can use a very, very thin brush with concentrated orange cor red color into it, and then add onto our paintings to get the bloom kind of a shade or color, et cetera, which looks more like loose floral fields for ourselves. Now, going around the flowers. It's a way more tougher, and it takes a lot more time. So give it the time that it means for completing this painting. This is something that I always say, take your time, understand the painting, understand the composition, and then go around with it. You will never see that I am concentrating on a lot of things in the top part or in an absolute bottom part. I usually keep my bottom part pretty boring, but over here, my whole of the composition is concentrated towards the bottom right hand corner. Not exactly like the absolute bottom bottom part, but mostly it's the bottom part. And hence, I have to keep those areas a bit more interesting. I continue to cover up the whites of the four grounds and then apply the orange shade as I did guide you earlier. I'm using cenllar orange, or you can also use permanent red if you don't have the cenllar orange. The paper is still wet. That's one of the reasons. It's not wet, exactly. I would say it's moist or damp. Now, there is a difference between being moist, damp compared to being wet. In wet, your colors will become plumes. So any touch of color will become big, big plumes, which we really don't want at this stage. So it's important to understand that you have to work only on wet on tamp rather than working on wet on dry kind of a situation or wet on wet kind of a situation. So it is in between wet on wet and wet on dry. So you have to wait for about 50 seconds or a minute before you get this kind of thing on a 300 GSM paper. Now I'm working with 185 GSM paper because of which it is easier for me to achieve, and the season was really, really difficult as it is very hot, so my paper is also drying up very quickly. Going with the bottom area where I am adding some amount of ultramarine, and then on top of it, I will add some amount of my purple color. Now, I really like to always mix my purple and blue wherever it is necessary. I continue to mix those colors and then get a final outcome. Let us now go with some darkest value of green. You can create it with some dark green and mixing a bit of brown into it. We will get a color that looks more and it is green, but darker shade of green. I will go ahead and add it into the wet surface that I did add for my mountain. And the colors will automatically flow. It is not exactly wet. I would say it is kind of damp, and you can go with a smaller brush over it to create some of your smaller I would say lines, which will look more like trees, removing or lifting out a bit of my darker values from my mountains as they were just a lot of darker values compared to what I would have liked to have it. And hence, removing it would be great at this stage. Once I have removed the darker values, I don't know why I did add it again. But it was just small like an experiment that whether it looks good or not or how it is. I have this thing of retouching it at some point in time, but I do keep in mind that my paper is moist when I'm retouching it. Hence, that is the only thing I want you guys to keep in mind when you are retouching any of your paintings. Go with the darkest value of our green for creating the bushes in our background area. Now I will add some of my greens towards the bottom part. As you can see, I am trying to actually make this area, which is working for like, like the greens that we have a bit different than what we have in our foe grounds. The four grounds are majorly wild flowers, and I'm just blending the green into the green that we have already added. Okay, great, let's go ahead and now start painting our orange, which we have towards the top area or the area where it is more broader and it's still white. I want to paint that area in orange, red, whatever color you like. I am a fan of orange, so let's go with some of our orange more. I have taken a bigger brush and just added some of my Indian yellow into it to get a shade that looks more orange. Okay, cool. Continue to work on it, and then we will add a bit of pink to add the darks into these. Smaller flowers. They are wild flowers. You can actually paint in any shade of your choice. I like to keep them warm and pretty rather than it being cool though we will have even fields which are having blue color in it. So you'll see a lot of fields coming up where we have blue florals, and we will be painting the blue florals. All of it, having said that, let's continue to work on this painting first, and then we will move on to the others as we progress. Continue with some more of the orange as you observe over here and add it for the floral part. Once I've added the pink, it would be time for me to add some of my greens. Now these greens that I would be adding will be some basic lines. Now these basic lines is going to actually depict some of the grasses as well as tents of these flowers for our folk grounds. I will also add some of my darker value of greens for my folk grounds, as you can see that my folk grounds, which is just towards the bottom area is not as dark as I would like it to be. I can do it very easily with a wet on wet technique, though I don't want the wet on wet to take over the entire place, but I will show you a very, very easy technique that you can use by fading out the colors into the background. So that is a great technique which can be used in any kind of watercolor painting that you are trying to achieve. Add a few more foreground lines as you observe over here. Some of the lines are basically what I would say is that trying to join the flower with the bottom area of the grass. And we continue to add that to our painting part. Great. Let's do it, and let's see how this works for us. You will see that your foreground has turned to pay than you might have thought it would. At least for me, it did, and hence I have to go ahead with some of my darker values over here. I'm not going to add a lot of lines touching the top to the bottom. It's just in the air somewhere where I want to show off. No defining everything is very, very important in our watercolor painting, and I will continue to do that to achieve the final results. As I know that the area has become way more darker right now, if you see, the grasses are not coming out well on the left side, and we might have to go with some of the darker values over here. Either you can go ahead with a splattering technique, but that really did not work for me. The paper is already dried off, and splattering at this stage will not be of much help. So going with the darker value and then blending it with a clear damp brush is very important. Once we are done with the blending with the clear damp rush, then we have to go ahead with some of the other areas to where I'm adding the darker values. Either you can go with a clear water supply and add it on the foreground, as I'm doing right now, that will help you to ease out this technique way more easy compared to the fading out that I did tell you and which we did apply for this part of the painting. M per is qu. You can go over it with the value of green and create the shade which you want, and you really like to add for your fo grounds. Some more thing that I would like to say is while I detail, I will add one or two dots here and there of these greens, just to show the loose leaves and loose lines of stems, et cetera for our fo grounds. The Let's do a quick recap of whatever we have learned. One important aspect that we did learn over here was pulling the paints. So that's a very, very important technique. Lifting out your paints was another technique that we did for our mountain area. And the third one was how to use your feeding technique for the four grounds. So these three put together, I think is a great outcome whenever you want to put all of it together for any painting and even help in your final other projects of your choice. I'm using a indi cap brown just to create the small birds for my background area. Met you very soon with Day eight, and let's have a final look at this painting. I'm super happy with how it has turned out. Hope you're also exactly happy with your projects. Do not forget to upload it on the class project. 12. Day 8 Pink Flowers: Let us discuss the colors. It is ultramarine Naples yellow, burn Siena, dake brown, compose cara olive green forest green and permanent trey. I'm starting with a basic sketch that is marking the area where exactly my small monument would be. This is ten mines in Cornwall, and we are going to add a small drawing. It is basically an architectural drawing. Simple, easy. Just draw 34 lines as I'm doing right now, and then we will even use a scale. Initially, when I started, I know that I have used a lot of scale, but now I try to avoid at least when we start out. I don't like to add much of scale. But as we progress, sometimes if it's needed, I will add the scale to my advantage. I would give that or I will say that for each one of you. If you think that scale is important, please go ahead and use it. No one is going to judge you. At this stage, it is all for your own help. You are going to go ahead and try out things and see if it works for yourself. Going with another part, which is majorly to understand how we can add small little area, which is basically going to be my monument kind of a structure on the right side. It is based on three to four lines. If you see that I am adding a line, which is on the left side and then making it more straight. As it comes on the right. This is broader and the left side is shorter. Though I haven't thought much about what a spanishing point and how you should actually go ahead and check these lines. But these things are really simple. That's one of the reasons I do not want to get into a lot of deterials about our urban sketching. Here you need really less knowledge if you tell me for urban sketching, and hence we can just do simple sketch, and that's it. I would go ahead and make a broad window. Everything that we are doing right now is simple. But with that, you have to keep in mind that the window has to be small enough. We are not going to add a lot of colors on the window. It would be majorly dark area. That's it, we are going to add and there's a small little dark color area even just below that. I'm marking it in a rectangle, and then I will go ahead and start adding my mountain area. Now, before I add the mountain area, I want to add a few rocks, but the rocks did not turn out well, as it was at a distance, and we frankly cannot add lots and lots of detail into it. So whenever you are drawing anything, which is at a distance, do not try to add lots and lots of details into it. Keep it more simple, easy for anyone to understand. As I add them hill on the right as well as on the left, you will see that we are going to add this small wall kind of structure that's there and then join it in the middle part. Go ahead and add the hill even on the left side. The bottom left hand corner will have all of these flowers. I'm just marking out the area from where I would be adding the flowers. I'm starting out with the ultramarine on the top part, and then I will even add the Naples ellow. Naples yellow, I would be covering the entire monument area, as well as the bottom area. Once I've added the ultramarine, I will wash my brush and then add clear water. I always have two jars of water with myself because one jar of water is for washing the brushes, and another jar is for all the clear water supply that I need whenever it's important or whereever it is important, I will use it. I am blending it with the blue that I had on the top and the traming color is flowing down. As you observe over here, I will now take some clear water and just blend the bottom area, which is majorly Naples yellow, and I'm just blending it with some of my clear water then going ahead and blending it more and more. As you observe over here, I will continue this process and then once my paper is completely wet. I will go ahead with my thinnest brush to make some of the floral like structure. I've just marked out a bit of areas. If you can see on a bigger screen, it is easier for you to understand where exactly I would be adding my florals. I'm using my compose opera measure and then mixing it with a bit of blue that I had on my palette. Blue and this compose opera will mix to get the purple, though I don't want the purple florals. All the colors that you see right now will become at least one to two shade lighter as we get the outcome. Now, you should always keep in mind, any wet on wet painting will become at least one to two shade lighter as the water will completely dry off and the pigments will also dry off with it. The pigments that you see now because of the water if you're more brighter and vibrant, but later it would become more lighter in your color shades, et cetera. So make sure that whenever you are adding the colors, few of them are a bit darker compared to the others, which may be even lighter. I will mix some amount of orange and add it on one or two of them. As you will never see that everything is in pink, even if it be for pink flowers, some of them will weather out, some of them will be lighter, some of them have in bloom, so all of it put together. We will work like that. Once I have allowed the paper to dry off, we will apply the clear water again on top of the paper and then apply the green areas or you can then apply the green color onto this painting part. I'm super excited and super thrilled to actually paint this along with you. We have done something similar to this earlier, but not exactly what we are doing right now. All the colors or all the florals are enough for grounds, and the rest is all background. I would go ahead with any thin brush of mine. It can be size four brush or a size three, two brush, whatever you have available. And it all depends on the size of the paper. So I have a really small paper, which is 16 centimeter by ten centimeter, 10.5 centimeter, just exactly the size of a postcard. And therefore, I am using some of the smallest brushes to apply all my colors. Go ahead with aridan, or you can also mix this whole of the color sets that we had on the palette, majorly your composed opera and some of the blue to get a shade that looks more dy in nature. I'm even covering some of the white spaces which we had in between. Once this part is done, we will go a bit towards the top area and then go ahead and blend my colors with my background. Adding some of the darkest value in the areas to get a great, great, final outcome, I would say, is something that I always always urge for every one of us who is doing watercolor painting wants to have a great outcome, but every time we don't And one thing that I've learned from this painting, particularly is, even if you are getting any kind of califlower effect, that is also good. You will see as I am progressing with this painting, I will myself add some califlower effect into the hill area to get the texture of some of the grasses, et cetera in it. Though it might not be the best case possible, or I haven't done this kind of thing earlier. But as we progress with watercolor, this is something which I have learned every time, you have to experiment with more ways, the more textures or some or the different outcome, happy accidents, et cetera that you get, and even ali flood effect is good that way. I've mixed some amount of burn Ciena into the green that I already had and now I'm applying it. In my foreground greens as well as some of the areas I'm even extending in between these pink flowers. Everywhere, of course, your greens are not visible and I do understand. Most of the paper that we are using for the bottom part is still wet. That's one of the reasons. It's easier for me to actually go ahead and apply the colors right now than going ahead later on. I'm even applying some of this the green shade on the top part. I love to add the shades always. It makes the painting look so much more subtle and beautiful. That you will understand. It is something that is very, very, I would say, soft and it makes your landscape come together very, very quickly with a detonal values not so vibrant, yet very appealing to the eyes of anyone who is watching it. I have ten some amount of my forest green and then in it. I am a few dots here and to alter the values of even the grasslands, florals, et cetera, which we have. This is something that I have learned over time is you should alter the values to have a better outcome. If you continue to have the same values everywhere, then the final outcome will also be pretty much plated. M I've used some amount of blue brown, et cetera into my mix to give a very dark color right now that can really see through the colors which we have already added because we did have a lot more darker shades also, even with the brown when we're adding it towards the bottom area or even towards the top area. So right now I'm again going with a very, very dark shade to add a few dots, leaves, et cetera. Once these dots are done, I would go ahead with some of my pinks like this. The paper is still wet, so adding the pinks becomes way more easier. Some of them, I do make it in clusters, and few of them, I just leave it, there's some gap in between them. Wild flowers will never grow together everywhere. There will be some gaps. There will be something that you cannot always see that they are equal in every space because it's not manmade. They're wild in nature, and they will never appear everywhere in the same I mix some amount of Naples yellow, as well as bird Ciena for the monument pot. You can go ahead with a wash over there. But before we do that, let's add this wash to our um for ground area, which is majorly my hill area. Or the grassland area. You can see there is a colifler effect, which I've got. Still the whole painting looks so nice. So Califler effect is also good. Having said that, we should know exactly how to use it and where to use it. We're not going to use it everywhere, only sometimes for creating textures or greeneris, et cetera. It comes out really well. Adding few more dots and adding few more smaller grasses here and there, which alters the values of these parts very well. I will add one or two dots just very loose to make it look more organic as if they are everywhere, but the dots on the right did not turn out well, so I'm blending it with the background part. These things we do just to pick up the colors or to not add it everywhere, leave it as is. I'm using the same mix of this Naples yellow and brown to apply on the monument part. And once I'm done with this, I would go ahead with some of my darker brown shade on the right side because the right side is in the darker area or the shadow area. The left side is on the left shadow part, and it is more bright and vibrant. I would go ahead with some of my ultramarine blue and mix to get some of my darker value colors. You can see I'm picking up blue directly on my brush and applying it on the paper. Tip of my brush is not so good now anymore. It's been like years that I've been using this brush, so, yes, the tip is a bit spoiled as I see now. I might have to go ahead and purchase one more of this size four brush. It's one of my favorite brushes from bran silver velvet. I haven't used it much as of, like, now for quite some time, but I am again going back and using it as I was too much into the Vinci Escoda, those are two of the other brands which are my favorite. But yes, keeping these brushes. Just like that doesn't make any sense. And hence, I'm going ahead and using it alternatively. The more you use a brush, you can really keep it as is and will. I did not like the blue part over here, and I'm blending it with my brow. It's okay. Sometimes whatever you paint, you may not also like that. And there are chances that everything that you paint will not turn out exactly the way you would have imagined it to be. There is an imagination that we all have. It may turn out well. It may not turn out well. It's part and parcel. I've added the darker value. Now I'm blending it and with the clear water on the left side. On the right side, I'm making it. I will add some of my brown to this part and then pull the paints to them. The paper is wet, so it would be easier for me to attempt it right now. Let us just go ahead and now try to add some more lines to make this look like all the pieces are joining together. Now, this is something that I always love to do is add a few lines, add so much more structure to any painting or any part of the particular area which you want to go ahead and show it has re light values, and hence, you can make it a few lines and just Show that they're darker in values. Okay, great. I guess this looks fine. I've just blended a bit of the colors that we added on the right bottom part with my blending brush. I am not happy with how the small door has turned out maybe or that small darker area, but I have just blended it a bit more. Now going ahead and adding lighter value color. Now this is basically mixing it with the yellow blue that we had already. Now, this blue, if you see, it will give you a really dark shade and value. Wherever you want to add it, you can go ahead and add it on the top. If your paper is wet enough, the colors will flow, and we are adding it even to show some of the lines. As I always say lines, really adds the perspective and puts the painting together very quickly. Great. I guess this is it and some on lines, addition of a few areas where I want the colors to be a b. And then we are ending this painting. S that we have done. But yes, less is also more, as I say, going with some of our red, putting a few dots. This is the permanent red, I guess, and I've not used it much, but sometimes only for a few dots, et cetera, I use it. Now this time, I really like to use it more for this particular painting. O Finally few detailing. All you have seen throughout this entire painting is that we are not going to detail our flowers. They are kept as loose as possible from the beginning. I have gone ahead with the similar look and feel. I am not going to change it. I will just add bruh. Into the monument part and then we are done. Except the fact that there might be one or two more lines that we need to add for this to look a bit bit more better, I would say. That's it. Now there is nothing much to do as this. You have almost added all the colors, et cetera to all the parts that was needed at least for this painting, we are done. I'm not going to complicate it even more, so adding a bit of red here and there, as I always say, and then just go ahead, remove the tape at an angle and have a final look at it, how it looks. L et's do a quick recap of whatever we lot less is more, so make things more loose. Don't try to detail it every bits and parts. And for the monuments, always keep apart, which is more on the darker side, that is in shadow and another in light. It will show the contrast effect. See you again tomorrow with a new lesson. 13. Day 9 Blue Bell Flowers: The colors are ultramary, royal blue burn Ciena, k brown in north, sprain aridian, or you can also use forestry. Let's start out with our basic sketch. So this is a painting from Scotland where we can see Blue Bell flowers. I will go ahead and just draw a rough sketch of the castle that I want to paint. It's going to be a far away castle, so not much of detail. I'm going to add into it. Simple, small details, and that's all we are going to paint in our second last painting. Yes, we are so close to our date ten. And I'm so excited to teach you all these last three paintings. It has an element of urban sketching into it. And yet, It is easy to approach. Go ahead and adding these lines. Just see how I am sketching. Make sure that your perspective is correct at this moment because everything that is closer to your eyes, which is basically the blue bell flowers will appear bigger in size, whereas the castle is far away from your eye. That's one of the reasons it might appear smaller in size and shape. That particular thing you have to keep in mind. Do not try to go ahead and make it very big. That's going to really spoil the beauty of whole of the painting. I will complete the sketching now. And along with it, I always want to tell you that whenever you are trying to sketch with a pencil, it has to be a two edge pencil or a pencil which has very light refied marks do not cohit with dark refe marks as you're working with a very transparent medium called as watercolors. And watercolors compared to any of the other mediums and all these lines can be seen very. Continue with some of the other areas, which are majorly the hilltop like area, and there is a small lake sea, et cetera, whatever you want to say associated with a small water body in and around. Once you make that water body, we will start with our painting after that. We're going to do very loose blue bells. I just want to experiment with this flower blue wells, and it just came out so well in the whole of the painting. I'm ally very, very excited to share it with you, guys. I am going to go from the top till the bottom. As many of you have asked me, can we not paint from the top to the bottom? Yes, we can always paint from the top to the bottom. I'm going to show it to you in this painting. How the color from the top can flow exactly to the bottom and how the whole painting can come together and not only you are applying colors to one single or smaller spaces. If you are becoming more and more mature in your watercolor journey, you will understand that many of the top artists go from top to bottom. That's how the whole of the painting slowly and steadily develops and that's how the whole painting comes to life. And to go ahead with the shade royal blue. This is one of my favorite shades from the brand senala. You can go ahead with any light shade of blue. It has some opacity in it, so you might find it a bit opaque compared to any of the other colors that you might have applied. It will really turn up one shade lighter than what you're observing right now. I am using my flat brush to apply the colors on total area of the sky and then take clear water to the bottom of the paintings so that I can go ahead and apply some of my beautiful blue color ultramarine shade, basically. I love using ultramarine shade for most of my paintings and here also I would be using my ultramarine shade. I did speed up the video from here because I'm applying just clear water till the bottom, as you already know. Use one of your thinnest brush and start applying small small dots here and there. Some of the places will be more concentrated. Some of the places will be less concentrated. While it is to with the bottom part, I would like it to be more concentrated and as it goes far away from the bottom part, it would become less concentrated. That is how I go about it. Secondly, this is more of loose floral feels. Even the blue bells, which you see over here are loose in nature. That's one of the reasons. Whatever you see, I do it in a wet on wet technique rather than going with a wet on roy technique. I will go ahead with some more of my concentrated colors over here and apply it a few more dots. Once I have applied the dots, it's time to start painting two major important things. One is the background altogether, which is magically in green, and another would be my castle. I'm very, very interested to teach you the castle because this is that I have loved. There is great element of your beautiful urban sketching into it. I am preparing a more dy kind of a shade for my sap green, you can say. If you have sap green well and good, but if your sap green is more like gradient or something, you can mix a bit of one CNI into it to get a color that looks similar to the one which you see me applying over here. I will go ahead and apply the colors from the top. You can see that I'm applying some of the shades and I will blend it with some of my yellow green that I'm directly picking up from my palette. Yeah. I think this is one of my favorite paintings. Most of the places are still wet. But yes, some of the places are dried up, too, it's okay. Some of the places we will work and some of the places will be wet on wet. Going ahead and applying some of my forest green in few of the pieces. As you see over here, a few drops. Few drops, you know, always mixing the colors on the paper is always a great idea rather than mixing it on the palette. Now, that's something which I always always use for my other paintings to mix your colors on the paper rather than on the palette I'm going in between the flowers, as you can see, to fill up some of the spaces which are there in white. I don't want to keep a lot of white spaces over here. They may act as a highlight, but a lot of space looks like they are either white or I don't know. Whether we have just left it intentionally, like that. So try to cover up some of the spaces in particular for sure. The green that I have added is still wet and because of which I can go ahead with another darker layer of my forest green mixed with a bit of burn Cena or blue into it. I would leave that decision up to you what exact color you want to add. Over here, for me, adding a bit of burn CN and blue is always good. Blue means the ultramar blue and adding a few wherever it is. That's how we go about it. I'm picking up some of my darkest value of ultramarine and then adding a few dots on these blue bells. It is not needed just for a bit of highlight. I think it is good to go ahead with adding a few dots one after another and not touching all the areas. That's something which I have always kept in my mind. I do not want to touch every area that you see over here. Once this part is done, I guess we are good to go ahead with the other greener areas. That is majorly our background. Now background would be a bit more lighter as I want to alter the values between the background trees and the fground trees. That's all I guess we need to keep in our minds when we are adding any of the colors. I'm adding a bit of the darker values towards the top area. You can see that some of the areas are still wet and the colors are moving a lot. That way, you can fill up the area completely or just add in a few places like I am doing over here. Let's just wash our brush and move to some of the areas where it has become way more darker than we thought. So picking up the colors from a few areas, and then we will start with our castle. I'm very, very excited about the castle. You already know I have mentioned it so many times. But picking up the colors is always a great idea. If you want to lighten up your values, you have to just use a clear damp brush and pick it up at any place wherever you think you wanted to pick it Okay, going ahead and adding or extending, pulling the same paints from the top till the bottom. That's how I like to go about it, not to add paints everywhere and make it darker and darker. Only to add it in a few spaces and then pull it in the other areas where I want to keep it lighter. I'm using a flat brush to just add some blending, and now is the time for the beautiful, beautiful Burnsena. Burn scena is one of my favorites, and when it comes to these kind of areas, where I'm using the Burn sienna for adding the darker values or even in the areas where there is a castle. I guess I am very, very excited to do it. Go with my smallest brush to add a few lines in green as well as, use any of your darkest value of your brown to make the green look a bit more dy. As I say, adding brown to your greens, make it makes any green look more and more early. You like the D shade. You can always always add the shade or else leave it as is also. I would leave that decision up to you. All these learnings that you are having in this particular painting can always be applied even in your future projects that can really help you to a through any of your other watercolor, I would say any kind of other watercolor paintings that you are doing in a better way and it can help you to go ahead, practice anything and everything that you want. Adding some of my darker values of brown, you can see how I'm adding my brown, and then creating a few lines, lines is, Oh, my God. Something that I really real really love to add anywhere and everywhere. These lines help to define the shape and size in a much better way. Okay great. I guess Bersana is all we want as of now and then add it in a few white spaces like a darker view dots. I can see everything looking much more organic, real. The bottom part is almost done. We have to work on our castle. I'm using an absolute burn Ciena shade to start with our castle. I will mix it with some amount of our CPA or vendi K brown, whatever is available with you, and then apply a bit of glue to create the darker values. I will change the values in this particular place only. I will not go ahead and apply it on our palette and then take it to these spaces. Going with some of the CPR or vent IK brown, whatever you have on your palette, as I did tell you even earlier. And you can see now I'm adding some of my ultramarine into it. This is what I did tell you earlier. I love to mix my colors and then add and however, it is necessary. I my size brush to apply all these colors. As I go more towards the right, I will just make some amount of burn Ciena and end the painting. With that, make sure that you are adding some of your burn sienna, even on the left as the castle is extending a small piece of land and to define your horizon line in a better way. Even on the top part, we will add a bit of a burn sana color on it for a better definition. My castle is still wet. Adding some of my darker values will be a good idea. Either you can go ahead with the darkest value like Ben Dike Brown, a very concentrated color of that and apply it as I'm applying it right now. Or else even work with a very thin brush and add these shades wherever it is necessary. F To create any of these windows that you can see in every castle, I will use my thinnest brush and apply those small dots as my paper now in a semi wet condition. I did apply the colors maybe about 2 minutes back or 1.5 minutes back. And when I now apply these shades of the darkest value on top of this moist paper, the colors will move only a bit. It will not give me any dry patches, nor it would give me any absolute wet or wet, gloomy, or you can say a puddle like approach. So those are also gone. Adding some smaller lines with the help of my thinnest brush as I'm finishing the painting now and detailing every aspect of it, wherever it is necessary. Adding some more lines on the left, as plus on the right, and then extending it till the bottom area. And to work on the water area. We will go ahead with some royal blue and apply it on the clear white space. Though the sky is also white and we could have kept it way more lighter, but I just wanted to apply this particular shade for the bottom part of this small water body that's near this castle. This castle of from Scotland, and I wanted to keep the intent and the beauty of the Scotland intact in it with the florals, countryside kind of an approach, the small hills, green pushes, grasslands, as well as the beautiful flowers in it. Overall, I think I'm very happy with how this has turned out. You can add a few birds towards the top, and we are going to end this painting on that note. Let's do a quick recap of whatever we have learned throughout this painting. Though this recap might be similar to the one that you have already seen maybe in the other paintings, do. Pulling the paints is a very, very important technique. Wherever you are making a background or a foreground, that's something that I've always loved to do. The second part that I would say is a very important aspect is The water is always a reflection of the sky. If your sky is blue, make your waters also blue. If your sky is in multiple shades, your water has to also reflect the same. Let's go ahead, remove the tape at an angle and have a fin look at our painting. I think I'm very, very happy and very, very satisfied with how it has turned out. Can't wait to see you cys again tomorrow with a new painting. 14. Day 10 Multicolored Flowers: Multicolored wild flowers. The colors are yellow green, olive green, forest green, paints gray, Burn Ciena, Vendi K green, Opera, orange or red, tramarn, and royal blue. Let's start out with a Basic sketch. This is going to be the last painting of the series. It's exciting as we are going to go ahead and draw a lighthouse on this painting, and there will be multiple colored florals, that is more of wild flowers that we're going to add over here. I will start with a straight line. And once I've added the straight line, I will go with a horizontal line and then start adding the whole of the structure for my small and beautiful lighthouse. I'm pretty excited about how it is actually shaping up now. The whole of the series, and this has been only about painting the loose florals and beautiful flowers for the spring season, and we are almost going to finish it off now with this particular painting. Along with it, we have learned a lot about the sketches, as well as some of the important techniques that stand a lot of importance in a watercolor journey. Okay, I guess it's important to now go ahead and just mark the areas. I'm going with free hand line drawing. You can use a scale for your reference. This is something that I've always said that if you are not very comfortable with free hand line drawing, please use your scale to your advantage. Making the top part a bit more spherical and then adding one more spare on top of it. I usually use a two edge pencil. I don't go ahead with very dar graphite marks for my painting process as it really does change the whole of the painting process to a great extent. You have to understand water colors is very transparent, as I've always said, and it's important to maintain the transparency throughout the whole of the painting. I didn't even use my scale to actually darken up some of the areas, where I really wanted to be more darker compared to the other areas which are really light. Maybe just a rocky terrain and all which I don't want such dark areas. I will go with a small door and opening on the right side and a small window on top of it. It's almost a similar wave you draw any kind of lighthouse, and I'm keeping it as simple as possible. I do not really want to go ahead and make it more difficult or tough. L et's just go ahead and make it as simple as possible for anyone to approach. I always believe the fact that simplicity is the key. If you make things more simple, you have a better approach, and you can frankly have a better outcome. I usually take some good amount of time for my sketching part. I like to sketch it as well or good as possible because I do believe that sketching is a very, very important aspect of watercolors. Even small sketches have a of importance in watercolor one. Altogether, I have realized, but many years ago, Only with the help of watercolors, we will not be in a position to succeed really well. There is some amount of basic sketching that we should always always go ahead and understand. For ourselves, there are other lessons or there are other classes of mine where you can go ahead and understand a bit about sketching, though I would love to have a more detailed class on sketching, which will come up in future. So yes, you can hold on till then with all the easy exercises that has been the norm for this series. Okay. Adding the background mountains and these background mountains are majorly in the brown shade or the color that I have been waiting to add over here. Now, this background mountain or hill is basically going to define your horizon line in a better way. We have a small water area. As you know, lighthouses are near the water bodies, and hence, we are going to keep that as constant. I would go ahead with a very light wash of my beautiful royal blue from the brand senalar. I have been using this blue for quite some time. It is a bit opaque in nature, though I use it in a very, very transparent way. That gives me a lot of freedom to go ahead and have a color that looks absolutely nice and beautiful. As well as it doesn't have any kind of staininness on the paper. You can see that I've applied this color in all the places. I would go ahead and remove the color with the heap of a damp, clean brush. I will repeat this process for two or three times, you will see and then blend it with clear water. As we are going till the bottom of the paper. This is how I work through the entire paper from top to bottom. Here we are not paving out any of the spaces to be frank. Like we did when we were starting out, but now we are working from top to bottom, whether it be only with water, colors, et cetera. This is something that I have learned over time that you so continue to work from top, till the bottom, and not leave out any space. That really helps you to also age through your painting pretty quickly rather than working through it in smaller bits and parts. Though I do understand if you are starting out, it is difficult to do or know all these tips and techniques, and slowly as you progress with watercolors, it is easier for you to work through all of these, and when you progress in watercolors. So more experienced you are, better you can implement all this. Though, I love to always tell you all these smaller tip centrics, because it is very, very helpful in your future for all your watercolor paintings, whosoever loves or likes doing watercolor. I think this is one of the paintings or one of the areas that you can focus on. Continuing with some of my beautiful colors, and this is majorly the opera that I've added. It can be composed opera. It can be simple opera. It can be any kind of paints. Along with it, I would be adding some blue, which is majorly my ultramarine. Then some of the other color of opera, it can be red, or it can be any of the other multiple colors, even orange, et cetera, is good to go. I will just mix a bit of blue in it, give that multi layer or multiple color wild flower effect that I really need in this painting. I'm pretty impressed with this. And you will see in this particular composition, I have kept all these floorals organized in one left side. I have not tried to overdo it or take it throughout the paper, et cetera. I'm only working through some of the bits and parts of it. Go with a very light yellow green kind of a shade. You can use the shade or use any of the other green shades that's available with you. It can be even a sap green, olive green. More tones are always good to go ahead with. Oh. I'm going ahead and even extending this green towards the bottom part. You can see that I'm not going everywhere in between my florals. It's only some bits and parts where I'm going ahead and adding this green color. Simple, easy, let's just make it one single shade at this moment. Slowly and ste, we will add more variation and colors to it. I would just add one or two more dots of these pinks, et cetera into the painting and on top of the greens that we have added, and then go ahead with darker values or green. I have selected a more dy tone of green. You can also mix and match this kind of a shade, mix a bit of blue and brown into the green that you have if it is more pipe print, and then keep adding in few of the places till your paper is wet. Now, you can do this process, only till your vapor is wet. Otherwise, you will get marks, and we really don't want it in this painting. I will go ahead and add some of the shade into the background color that we have already added. And then make the other places a bit more darker with the help of using some more darker value of green. This is the forest green, which I'm using from the brand scenario. You can also go ahead with either forest rain or any of the other greens that's available with you. I would pick up some of my colors on my thinnest brush and start adding some lines. Now, these lines are majorly the lines, which is going to connect the flower to the bottom area. Now, this flower to the bottom connection helps you to understand how All of these flowers are connected with the soil. Now, all these florals usually blossom on a stem, and this will give an illusion of stem with the flower. So yes, that's it. I will now add one or two dots here and there. As my paper is still wet, I can work on it and give an illusion that some of the places are darker in value. Some of the places are lighter in value. Few of the places will always be highlighted. And the areas which are more darker in values are majorly the areas which are in shadow, whereas the areas that are more bright and vibrant are more in the lighter part. I'm going ahead and adding some of my darker values even towards the top part, as you can see near the rocky area. Blending my greens with the background and letting the green merge with the background in a good way. And just adding the darker lighter value to make it look more organic in nature, et cetera. Once this part is done, I will go ahead and start adding one or two drops of the g or the lighter shade that's still available on my brush into the whiter parts of this floral. And then adding some brown into the paints gray for the shaded area, which I want to paint for this lighthouse. First, adding a simple rough outline for the darker area, which I want to add for this part, and then just taking it or pulling the paints towards the bottom part. This pulling the paints technique has been a irritate, and I will use even a blending technique with the help of my damp brush that would not allow this line to be visible. We will not have any line. It would just get blended with the background. I will now add some more of this darker value, mixing the blue with the brown to get a darker shade for the door area, and then add the darker and lighter value mix. First, you will add just a dot mix of this brown and blue, and then go with either one more darker shade or you will go with some of the lighter shade. I would leave it up to you how you want to add it. For me, I like to go a bit darker. I've gone ahead with some of my dike brown for adding the darker value. I have just added a drop of this dot for the window, but you can already see that it explode a bit. I have gone over it with some of my darkest value of the brown to create an edition of a window. I like to go on wet. Absolutely. It's the favorite thing that I can do, and I'm also doing the same in this painting, going with some of my brown and then adding a few of the lines wherever it is necessary. This brown is important to show this one single line, which is there on the top. These are simply the details. Believe me or not. These details are also equally important just the way we want to add the depth shadow light into any painting. These details also act the similar way. Going with my green. Now, this is the top part where I would go ahead with my green. This is the lightest shadow green. And once I have added this light shadow green, I will just again pull the pines and take it towards the part below it. There is the shadow area which we are adding. And once we have added the shadow area, we need to go ahead and make it a bit than what we have got. I will go with the area in absolute value, whatever we have on the palette. I usually use the same colors that I've for I'm until now in my palette, even for the other places. Every time you do not need to explore new colors, et cetera, whatever is there used that for your painting. I will add some more lines into the wet on wet process to add more details, though you can also do a wet on try, but I like going wet on wet in this part, then it's time to add the rocks. I would go with a very, very light value and then add some of the darker values once the paper is to show the depth into the painting or the shadow areas of the rocks rather than leaving it only one single shade. You know, flat washers are not that interesting. If you add more and more either you glaze it or you add some of the darker and lighter values to show the shadows, it makes more sense into any kind of paint. I'm going ahead and adding some brown background here. I will go ahead and even add a bit of the darker value towards the bottom area, but first important part is to add this brown. Using my size fol brush, you can go ahead with any of the other thinnest brush in case one not very comfortable with any bigger size brush, the paper is really small. You do not need to very much. Most of the paintings are done on and if either you can do it on a A five size or this particular size of a postcard, which is even way more smaller than A five. I am adding some of my n dik brown and then blending it with browns that is already there for the background here. Adding some more of my brown for the right side. I am not touching this whole of my lighthouse at all in this painting over here. I am using only the brown for the horizon line or defining the horizon line in a better way. Thank for adding some movement into the water. I will use any of my blue, it can be tto blue, it can be ultramarine. It can be any of the other blues that will add some lines into the water area and then create the ripples that you see in this painting, which I've created. Not that every place you need to create the ripples, only a few and s here and there or small lines. T thinner lines is good to go ahead with. In case you want to learn water, how to paint it, please go ahead and watch out my audio class, which is all about voyage into the sea, and there you have about 15 paintings that you can go ahead and do it at your ease. It is pig to advanced level, and you have a lot of learnings over there, how to mix your colors, how to get darker, lighter shade, how to work with various I would say, different kind of compositions, whether it'd be adding a boat, or it'd be just painting an is. Everything put together, it's something that I would love each one of you to explore. Water is a very, very difficult subject to to start with. But I feel that that's one of the classes where you can learn a lot about painting boats, ocean, like adding hills, or even going ahead, ripples, reflections, et cetera. Everything is being covered in much, much more detail. The paper is ad dry. Now I'm going ahead and adding the shadow area, as I did tell you for the rocky part. I will continue adding more and more depth to this part of the painting and continue painting my lighthouse a bit more in terms of detailing part. I p h with how it is turning up. Now let's just go slow at this moment. We do not want to overdo any part. We just want to continue with the process that we have been following. It's a medal position at this stage, I would say, there is less that we are left out with. It's mostly a few detailing parts that's there, and then we are almost done with the painting. In case you have liked anything about this class, whether it'd be just learning the smaller tip centric, or it be some of the other learnings about the spring florals, how to include your ban sketching into your composition, et cetera. Please do leave me your feedback as it is a great source of motivation. As well as I can bring those kind of improvements even in my future classes. I hope to see you very soon with a new class till then. I hope you have added, and you have painted some of the projects along with me. If that's the case, do go ahead and just upload the projects and the project gallery. I would be more than happy to have a look at each one of them. Major important quick recap of this painting would be to create the shadows to create the light and dark effect. That's very important for any kind of painting. We are going ahead and painting some birds to make it look more organic and even on the left side. Remove the t pattern angle and then just write out whatever you think this is all about. Like, this is more about the mixed florals that we see wild flowers. I'm going to write that and see you very soon in our next beautiful class. I hope you have enjoyed all these paintings along with me. Happy painting and enjoy what a color.