Watercolor therapy - Learn to create a Magical sky!

1. Hello Hello!: I don't think there is not even a single person in this World who doesn't get fascinated by the night sky. There is something magical about night skies. Every time you look at it, it fills you with so much of positive energy, hello dear friends. My name is Zaneena Nabeel, a mother, an artist, an architect and a night sky enthusiast. Bold and vibrant skies are my most favorite subject to paint. And I can literally dream and paint the sky in any colors. Today, I'm super thrilled to teach you how to do a magical night. which doesn't require any prior knowledge in watercolor. I will take you through the materials and the techniques in detail. This class is more like playing with watercolor, more than painting with watercolor. So to play with watercolor, you don't really need any knowledge. And that's exactly what this class is all about. So if you're a night sky enthusiast, just like me, and if you're looking forward to relax and enjoy your painting process, this class is just perfect for you. Come on in let's play with watercolors. 2. Before we begin!: Hello, hello, thanks a lot for joining. So this is a painting that we're going to 23. It is quite huge. You're free to go with any size that you prefer. But don't use a really small people make it at least an A4 size. There are certain things you will never get to experience. And a small piece of paper, painting on a large piece of paper is really liberating. It will allow you to open up and enjoy the space which you may not be able to experience on a small piece of paper. And it's actually a wonderful experience to go bigger scale. You can explore beco, brushstrokes. You can apply a big stretch of colors. It's totally a different kind of freedom. If you are a beginner, bigger paintings can be a little intimidating. I understand that, but the technique they are going to do today is absolute magic. We'll be painting the sky using the watercolor pour method. Just like the name says, they are simply going to pour in watercolor or until people are going to be simply dropping the paint onto the wet background using those big brush. I will be using a brush to blend the colors. I will simply keep to the thing I'm turning my paper around to get a beautiful blend and we're going to simply sit, relax and more sticklers float into each other and create their own magic. Okay, so in the next section, I will be explaining more about the colors we'll be using and our lateral materials. You can either go the same color combination or any other color condition that you prefer. But it will be a great idea to blend the colors on a scrap piece of paper just to make sure those colors doesn't create a muddy mix. Okay, so choose your favorite colors and choose the size that you want to covert. There is no right size or wrong size. You enjoying the process is what matters the most. 3. Materials you'll need: Okay, My dear people, let me take you to the materials you will need before we cope with double main project, I'm going to start with the people. So the paper that I'm going to use for today's predictors, my Canson Heritage cold press, watercolor paper, which is 140 LB and discipline as a 100 percent cartoon. As you know, the size of the painting I'm doing is quite huge. I'm going to use one whole sheet for this project. For this painting will be going with multiple Warsaw vet paint, which means that the copepod the better. So please call it an artist grade watercolor paper but yourself minimum 140 LP so that it can handle all those heavy wet washes. Just remove that frame and show you the actual face of the people. Okay, here you go. This is the actual size of the people at is 26 centimeter by 36 centimeter. As I said earlier, you're free to go with whatever size that you prefer, but go with ascites, which is up at least an A4 size, otherwise you wouldn't be able to enjoy the process to the fullest. Okay, so go with any artist grade watercolor paper, which is a 100 percent cotton, and that should be at least 140 LV. If it's a 100 percent cotton watercolor paper that people will stay wet for a longer time. The colors will blend into each other much easily than a 25 percent cotton are a cellulose people. In fact, the whole experience of painting was going to be a lot more glazing if you do it on a 100 percent cotton watercolor people. All right, so that's all about the paper. Now, one of the main important aspect of this painting technique, the watercolor for technique, is that you will have to fix your people on your board. So no matter which paper you're using, which brand you are using, are what OB, the size you're using, you will have to fix your people onto your board. There was only one sheet left and right people pad, so I use the same board for my painting. I just took a new sheet Trump handle back, just to show you how by you straight, you can use any hard surface to fix your paper. It should be at least the same size of your people or it can be a little thicker. I didn't have any other board which is asbestos fainting, so I made use of my people pad. The backing board of this paper pad is quite hard and story. So I just use that one to fix my paper. To give this guy will be tilting and turning yellow people around. That's a week how we will be painting the sky. We won't be using a brush. So it is very important to fix your people onto a board. Never fix your people onto your table. Obviously, you cannot tilt and turn around your table. Okay, so grab anything that you can fix your people onto. It can be a piece of cardboard or it can be an old magazine. Now let's have a look at the kilohertz. For the sky, I will be using three colors. As I said earlier, you can go with any other color combination. You don't need to restrict yourself to the same class and you're secure. You can go with some pink or yellow or green or any other color you prefer. So these are the three colors I will be using. Ryan blue, permanent violet, and turquoise blue. This dark and intense blue you see here that it's royal blue. And over here you can see the wavelet or to the bottom. We'll be using turquoise blue. If you want, you can add in a pink or crumbs and in-between and make your Skype more traumatic. I will only be using three colors. You're free to call it four or five colors. The first two columns, royal blue and permanent violet there from the branch in hand. And my turquoise blue is from the brand around prime. If you don't have royal blue, you can use Prussian blue, ultramarine blue, or any other darker blue. And interrupt permanent violet. You can use any other violet or you can mix and create your own violet. And I'm guessing you all have to cause blue. If you don't have, you can mix a little of viridian green to Prussian blue or any other blue, and get a nice bluish green, hard, greenish blue. If you mix with it in green that any blue you will get a beautiful color, but it's so close to turquoise blue. So if you don't have to cause blue, don't worry about that. Now to mix your colors, you will need a palette. We'll be creating a liquid version of these three close or you will need a pilot which is Allison T. This one is a ceramic serving dish which I use as my palette. And each of these divisions are quite deep, so it works perfectly for the painting technique that we're using today. In fact, you don't really require a palette. You can pick some points like this. Some teeny tiny balls like this are some lives are anything that can hold some liquid paint. Good with bows like this, that would be preferred because you can directly for the water onto your paper just like in fact, that is how the technique is. You can create your liquid paint and just pour that onto the wet background. You will need two or three of them depending on the colors you're using. I don't have that many, so I'm going to mix my colors on this palette and I will use those big brush. This is a quill brush by Princeton at a size number 6 from their Neptune series. I'm going to dip my brush in the paint and I will be simply dropping the paint onto the wet background. I won't be pouring it. Just dropping it. So you can either drop your paint or you can pour your paint onto the wet background, whatever it be, you will have to create a vector mics off your paint in advance. So it is very important to have a pilot, which is literally now you will have to prepare a lot of painting advanced depending on the size of your people, the size of your paper, or small, it wouldn't be a huge problem. But if you're going with a bigger scale, like an A3 size, you will have to prepare for a lot of paint in advance, which means the size of the palate you're going but should be big enough to contain that much of paint on. My palette only has four divisions, and each of them are quite deep. So it works perfect for this painting. Will be directly pouring the paint onto the wet background, as I said earlier. So you shouldn't be running out of paint in between. So yeah, depending on the size of the painting you're doing, Choose any palette which is lovely deep. It can be some bowel are some old bottle or some LED emitting that can hold some liquid paint. Okay, now let's have a look at the brushes you will need. These are the three brushes I'll be using in this class. The first one is a two inch big press, the soonest from Princeton. This one is to apply a coat of water onto the people as it is a two inch brush. And as my people as big, I can apply water quite quickly using a big brush. Now this is the second brush. It is a quill brush by Princeton, precise number sets. I'll be using this mentor drop the paint onto the background. I wouldn't be really using it for painting. You can use any of you because I was round brush. And the brush as a size number 6, round brush. This is again from Princeton from their heritage series. I'll be using this went to pain the mountain and also to splatter the stars. Okay, so those are the three brushes you will need. Technically you lead only to the more precious just to drop the paint onto the background. Okay. I forgot to mention earlier when I was introducing you to be close, you will also need a black and white Bosh or watercolor. I'll be using black and white quash. This one is to splatter the stars and also to paint a mountain. If you don't have gouache, it is absolutely okay to use your whitewater color. It wouldn't be as opaque as squash, but still it works. So don't worry if you don't have black and white quash, you can simply call it your black and white water color. I want my mountain to be really black and opaque. And that is a recent by amusing quash. And finally, you will need a masking tape to fix your paper onto the board. Then you will need a pencil to sketch of your mountain. Then you will need a paper towel and a jar of clean water. I know this not clean. I'll quickly go change my water. Meanwhile, you guys get treated with the art supplies and I'll join you in the next section. 4. Prepping the Paper: All right. I have my people heal. As I mentioned in the materials section, this one is a cold press watercolor people, but it's a 100 percent cotton. And it is one for the LV. This one is the large sheet of my watercolor pad. So I'm going to use this board itself and I'm going to fix my people onto the sport. As I mentioned at the beginning, it is very important to fix your people onto a board because we'll be tilting and turning the people around. That is how we will be creating a list guy. So depending on the size of the people you have chosen, take a board which can accommodate your people. Even a piece of cardboard can work, uh, doesn't really need to be plastic port or are harpoon. Grab anything that you can fix your people onto? I applied masking tape onto the first side. Now I'm going to take it around and fix the rest on the other side. I always have the habit of keeping this hard-boiled which comes along with your people pad that is quite sturdy and it works perfect for fixing your people. Okay, so I have turned my masking tape around. Now I'm fixing that. I will be doing this full all the four sides. Now I'm going with the second side. I'm not really worried about getting a clean Bardo. Mostly because when you're trying watercolor for method, it is very rare. You'll get a clean border. So I'm not stressing on that a lot because we'll be going with multiple layers of that paint. And it is not really easy to maintain a clean Bardo. So better not to stress on that. Okay. I just removed that flap of my people pad. So it's easy for me to fix the paper. I'm on the third side now. I have one more left. I'm running my fingers and making it form. This is one of the most important step of this watercolor painting. So don't fix your people onto your table. You can use any hard and sturdy surface which is not too heavy, will be turning and tilting of all people. So if it's too heavy, it will be difficult for you to tilt Antonio people. So yeah, that is only thing you need to keep in mind. So grab a piece of people, go with any size that you prefer, then choose a board which can accommodate the people you have chosen. It should be either the same size or slightly bigger than the piece of your people. Then fix your paper onto that pool and we are ready to go to the next step. Okay, might be Perez ready? It is nicely fixed onto the board. I have my palette here and I have a jar of clean water. In the next section, I'm going to show you how to prepare the plane. So grab all the supplies I have mentioned in the art supply section and join me in the next section. 5. Prepping the Paint: Okay, We have the paper ready. Now it's time to prepare the paint. Now let me show you the three colors I'm going to use for this guy. The first one is my favorite permanent violet. This one is from the branch in hand. If you have a readily available while it go with that, or you can create your own by mixing blue. Right? Now the next one, royal blue. This one is, again, it's a very intense and dark blue. You can use Prussian blue, ultramarine blue, or any other darker blue you have caught. Okay, so that's the second color. Now, the third one, as took eyes blue. This one is from Rembrandt. Okay, so those are the three colors I will be using for the sky. Now are likely other watercolor paintings. You will need other two extra pain for this method. Literally like the name says, we are going to pour in water onto the background. So we will need a little extra paint for this painting. We have chosen the colors now let's make them ready for the poor method. First, let's create our three colors font o palette. I'm starting with blue, squeezing out some paint onto my Padlet. Okay. Next I'm going with wireless. As I said earlier, instrument, right? Blue, you can go with any other darker blue you have caught. You don't really need to be using royal blue. As I mentioned, the name, the brand, and the pigment number of each of these colors at the end of the session. So that if you want to get the same color, you could do that. Okay, back to violet. This one is permanent violet from the branch and the pigment number sp3 50 to go with any other violet or purple they are caught. It doesn't really need to be permanent violet. Now that squeeze out some violet. So we have to close reading. Now the last sheet as turquoise blue. If you don't have to guys blue, you can mix a little of Prussian blue and viridian green and get a bluish green. That also works well. Because most of the bigness and doesn't have a turquoise blue doesn't come in though basic set. So don't get stressed if you don't have to quiesce blue, take out a lot of viridian green and mix that with any of the blue you have caught and create a bluish green, are greenish blue, whatever you wanna call it, just try that on a scrap piece of people. Okay, so I have three colors on my palette. Now. I'm going to take some clean water and I'm going to drop in some water onto all these colors. Just dropping in some water. Okay. So our task was to create a watery version of these three colors. I've lead quite a lot of pain as the size of my paper is quite big. So depending on the size of your people, you can decide on how much paint you want. Now, instead of a watercolor palette, as I said earlier, you can also use some vowels or anything which can hold some watery paint. Maybe you can grab some laid-off some old bottle or something, but it's literal deep. Okay, I hope that is clear. So I squeezed out blue violet and to cause glom onto my palette and they added some water onto it. Now I'm going to take up an old brush and I'm going to mix the paint and the water together to create a concentrated mix up the colors. However, maybe you can see we are creating liquid watercolor from our watercolor tubes. As I mentioned earlier, I will be using my mom pressure dropping the paint. So I'm keeping this aside. I'm not going to add any paint onto it now. Taking my old brush and I'm simply mixing that paint and water together to create a watery paint that's turquoise blue. Now, I'm going to wash the paint from my brush. Switching to wireless, it clean mixing the paint and the water, washing out the beam. Now switching to royal blue, mixing the paint and the water. This needs to be a little concentrator grill need a darker blue. So you should be adding more of blue into your mix. The other two colors, the wireless and turquoise blue, can be made into lighter tone. That's okay, but the blue has to be a darker shade. Alright, so we are done preparing the paint. Now join me in the next section. Let's start pulling these colors. 6. Sky - First layer: All right. I have my colors ready and I have a jar of clean water. Might be brought us all set. The first step is to apply a clean coat of water onto the antonio people. I'm using my two-inch wash brush. This one is from Princeton. Now, if you don't have a wash brush, that is absolutely fine, you can use any of the bigger size flat brush you have caught. All you need is a clean coat of water on the entire paper. It doesn't matter which pressure you've seen. But make sure your brush is clean. Then you use a brush, but you normally use for painting, there are challenges. There might be some Bernstein on your brush. So thoroughly clean your brush before you apply a coat of water on, your brush should be properly cleaned and there shouldn't be any stain of paint on your brush. You can see the kind of gold I have here. It's clean and even keep running your brush multiple times and make sure there is no partner to water in between. And also the water has reached everywhere. You can simply turn your paper around and the places where you don't have water, that will be mad. Area where you have water, it will be shining. So just don't have people around and see if the water has reached everywhere. Now, I'm switching to my Mult brush. And I'm going to apply blue on the top, violet over the hurdle and to cross over the border. So this is what I have in my mind, but I'm not going to restrict the way the paint is going to blend into each other. So I'm starting with taking paint on my brush and I'm simply dropping that onto the wet background. I'm holding my border to that position and I'm dropping in some intense tone of blue on the top of my people. You can see how the paint is floating down. I'm not going to control the way it is floating. I'm simply dropping of wet paint onto perfect background. So you can either drop the paint like this. All you can borrow the paint using a literal bowel are a little LED. Now I'm going to wash all the paint from my brush. And I'm switching derive it. Just tapping my brush on a paper towel and switching to wireless. And again, dropping that watery paint onto my background. You can see how beautifully those two colors are mixing into each other. Just the same way how we did the blue. Keep dropping the paint onto the wet background. You can add how much of what you want to. Now I'm washing my brush again. I'm switching to turquoise blue. Adding that onto the bottom of my paper. You shouldn't be going with the watery paint and your bedroom should be wet. Otherwise the pain wouldn't throat into each other, that movement will be restricted. It won't be free flowing. I think I might need a little more took eyes because the color is too light. Mixing that color with that water. I'm dropping a medium tone of blue where it is meeting the wireless side over here, I will have an intense color. Okay, I have dropped in some liquid, turquoise blue. Now, I'm going to keep my brush aside and I'm going to tell time turn around my people so that the colors will start flowing into each other, creating a beautiful blend. You can see how gorgeous that blue and to cause blows looking beautiful, right? This is one of the most satisfying process. When you're doing your painting with watercolor for metal, you really cannot predict your result. This is the most interesting and satisfying part of just roses because he will feel restricted or you won't feel that pressure to create a particular result. You will start enjoying the way the paint is blending into each other. You will be so free. Keep on tilting and turning your paper and all directions so that the color will float into each other. To get a beautiful and natural blend will have to tilt Antonio paper and all direction. It should be restructured into one single direction. Now I'm tilting my people upside down so that the turquoise blue and the while it will float into my royal blue. Now I'm turning it around. You can see that Dr. Lucas floating down. Again. I'm doing in the other direction. Look at that mess I created here. So this is a very interesting get a messy process. My hands are equally 30. So if you're someone who cares a lot about your nails and your hands, letter gloss. Also, you can put a plastic sheet over your table so that there won't be any stinking on your table. Minus Easily hashable. So that's why I'm not really carrying about how much mess I'm making here. I can easily write fed off the DOM cloth order, but why? Okay, So keep on testing and turning your paper around until you are satisfied with the blend. You don't need to restrict yourself with these three colors. You can add five or six or how would you, because you want to, maybe you can introduce some pink in between, or maybe you can introduce some integral or beans great on the top to make your sky look more intense. So feel free to drop in any kind of colors that you want in your sky. Okay, So this is how my sky is looking right now. I think I will need to add an a bit more violet that is a little wild missing in my sky. I'm going back to permanent twilight. At the same way how we added the color Galileo. I'm going to permanent violet. Dropping back in. My background is still wet so I can make use of the time and add and how much it will close by. Now I'm keeping my pressure side again, tilting and turning my paper around so that the rider will get mixed into my background. You can keep on adding the colors as long as the background is red. And also the paint, your queen, which should be watery, otherwise they won't blend into each other. I added a little more violet over the bottom. Again, tilting my paper into all directions. You can see I'm not using my brush to blend the colors. I think I need a little more blue on the top and talk to enough people. And squeezing out some more blue the colors not to enter. Mixing. Adding that onto the top. Okay. Now again, I'm going to tilt my paper. The beauty of your sky. They're totally dependent away your tilting and turning around to your people. If you make your people's D-flat for a longer time, the paint won't float into each other. So don't make your people stay flat for a longer time. Make use of the time when your background and the paint is wet and flowing. Keep on testing your people into all directions and enjoy the way the paint is spreading into each other. Oh my God, I created unheard of muscle here. Let me clean that up. Otherwise, all this will stain my board and I won't be able to use it again. It's a beautiful, by the messy process. There are still a lot of paint on my table. Let me get a clean people clot. And by petals. Okay, people, this is how our sky is looking right now. So whenever you feel happy with your blend, you can talk to your people and you can leave your people flat and let it dry. So I'm going to leave my people flat and let it dry. And let's see how the colors are looking when it's dried. If we need, we can go with one more layer on the top and make the colors more intense. So let me go wash my hands first and I'll be back here. Then the packet has dried. Maybe you can sit back and enjoy the way the colors are spreading and blending into each other. It's a magical process to watch. 7. Sky - Second layer: So here is our background. Everything has completely tried at is looking a little faded, are not really happy with the colors. By the way, I have washed my hands. I think we can go with one more layer and make a couple hands messy King. Just kidding. So that will make our sky look more intense. You can see the colors are looking a little dark, but it's not too intense. So let's go with one more layer. I'm going back to my wash brush and I'm going to add a clean coat of water onto my paper. So you had to make sure your background has completely dried before you go with this tip. If you badly understood, but you're adding the water on top of it, it can disturb it base layer, and it can kind of make your background look more messy. So you'll have to wait for repugnant to dry completely before you add your next layer. Also make sure your brushes thoroughly cleaned and dip your brush in water and gently run your brush on top of the base layer. Don't put a lot of pressure. Be as gentle as possible. Okay. I have applied a coat of water onto the anterior paper. Now let's go back to the previous tip, the stamp, I'm mixing my colors a bit more intense, adding some more blue. Now adding some more wireless. These are the two colors I want to make a bit more intense. Or to the bottom, I'm happy with a color. I don't want a darker tone of glucose blue over the bottom. But the blue and violet, I want those two colors to be a bit more intense, to bring in a more of a night sky look. So I'm going with an intense tone of blue. Now dropping that onto the wet background on the top, just like how we did in the previous step. I'm calling with a very intense tone of blue. Adding that. Now I'm going to wash all the paint from my brush. And I'm going to switch to wireless. And adding some more intense tone of violet onto the sky. Writing that in between these lines, the stem I'm leaving some gaps in between. This will make my sky look more beautiful. When I'm tilting and turning my paper around these places builds to a little lighter. And it will give a different look towards Chi. Okay. Now going back to turquoise blue, filling up the rest and turquoise blue. Now don't try to follow the exact same way. I'm adding the paint tool. You can go with any kind of size and shape that you prefer. Feel free to go with any kind of pattern because it doesn't really matter how they are adding the paint. All that matters is how much you tilt Antonio paper around because this is what creates that beautiful blend in your sky. So we'll drop in your paint however you want to. And keep on testing and turning your paper around so that the colors can blend into each other in a very natural way. As we already have some colors in the background, as we're going with a second layer, you can lease a lighter tones in between. This will add a lot of beauty to your sky. You can see a lighter patch Hill and others know what she'll. So if you can try to read in some lighter areas in between, this will automatically make your sky look more dramatic. Now go ahead and keep on testing and turning up before it out until you are satisfied that the albumen. I'm really happy with the colors. Look at that fluent. So gorgeous, right? I think I need to add a bit more violet or Washoe. I never gets satisfied. You know, I keep on overworking and sometimes I used to spoil my sky. I really hope I won't work as far as the sky. Now. I'm switching to turquoise blue, adding a little of that close to the wild-type added now, right next to that violence. I'm trying. Now again, I'm tilting and turning my paper so that the Why did I added now little blend into the background. I'm really loving the way the colors are floating into each other. So to get that dramatic effect in your sky, you will have to work with multiple tones of color. As you can see here over the bottom, I have a light to turn off, turquoise blue. Now I'm dropping in a bit more dark ocean of turquoise blue next to that, to Alpha applied. But whatever you're doing you will have to do with when you're back from disparate. If your background is starting to try, either live it acidosis or wait for it to dry completely and come back with a fresh layer of color. My background is still wet, so I'm going back with an intense tone of blue, adding that into the background and a very random manner, especially onto the top of my people so that my spider look more intense. I'm pretty happy with the colors and different tonal values or have gotten the sky. I think I can call it a ton. Now, the only thing I'm going to do us haven't simply keep on tilting and turning my paper around. I will try to make the colors blend into each other. Okay? It is so beautiful towards that Carlos flawed into each other. You can try out the same sky with other color company. She may be yellow, green, and blue. It will look more beautiful and dramatic if you have a variety of colors for the same sky we are doing here, maybe you can introduce a pink or a crimson and between. So yeah, try and explore different color combination and make your sky as traumatic and tricky as possible. Okay, for the second layer, I went in with an intense tone of blue and violet. And you can see the colors I have here. They are looking very vibrant. And so when this layer dries, it won't fade like a allele. It will be still buy print an integer. So if you're still not happy with the intensity of your clothes, you can wait for this to dry and go ahead, but another layer, that's absolutely okay. You don't need to be scared at all. Just wait for your background to dry completely and a player clean coat of water onto it. Then add in some darker tones on the top and maybe for the bottom, you can still keep your older, lighter tones. You don't need to add any pain to what there. Okay. So I'm going to leave my sky to dry and I'll go wash my hands and King, I hope you guys are enjoying the process and you're loving your sky. All right, let me quickly go wash my hands and I'll join you in the next section. 8. Mountains - Base layer : My background is true, but it hasn't dried completely, especially that top part, the bottom has dried. So I think I'll go with a mountain first, then we can come back and apply to those, Charles. Okay, so first I'm going to add a pencil sketch. You can decide on how tall you want your margins to be or what kind of combustion you need. And we're going to add a shorter one here. And those shorter mounted right next to that. The next one is going to be a bit taller and ending with and the shorter one. So I have four modes there. Okay, that's my pencil sketch. Now let's quit out the paint onto the palette. As I mentioned earlier, we can also use your black and white watercolor. If you don't have a squash, it is just that gorgeous, more oblique and it won't fade away like watercolor. It wouldn't matter much if you're using black gouache or watercolor, but if you can use your white quash, please use that, especially for splat from the stars and also for the snow cap, but no pressure if you don't have gouache food, produce your watercolor. So here's my black and white quash. These two are from the brand loyal talents. Let me squeeze our border colors onto my palette. That's why now I need to squeeze out some black. If you're using watercolor, you'll have to go with a thicker consistency. If you're going with the watery paint, it will fade away and everything dries. So please make sure you're going with a thicker consistency. The top of my papers to read, it hasn't dried completely. Maybe by the time we add the first layer for more mountain, this will dry. Okay, so I'm starting with white quash. I'm switching to clean water. And I'm loading my size number 6, round brush with white goulash. Aren't all these mountains start adding white arrived from the tip of the mountain. You can take it a little down almost half of the mountain. You can add white gouache or white watercolor, which will be the one you are using. Just follow the sheep, you have added their carefully run your brush along that outline. We opinion the snowy part of the mountain. As we come down, we'll be adding black. So good, Some fresh and clean wipe so that it looks like a snow-capped mountain. Now repeat this for all the mountains you have added there. I have four of them, so let me quickly add bite onto the top of the mountains. Hi. All right, I have added white. Now. I'm going to dip my brush into the water. And I'm going to simply run my brush along that bottom line. Okay? This is just to make that eight alphabet so that it is easy by the applied the black, you can easily blend them together. Now, adding your plaque, roughly blend that with the bite you have on the top. It doesn't need to be a perfect blend. Just keep on pushing and pulling the black and white into each other and create a beautiful transition from black to white. As I said, it doesn't need to be a perfect blend. You can leave it in a rough manner. It shouldn't be a strong secretion from white to black. That's only thing you need to keep in mind. So simply keep pushing and pulling the color into each other so that that solution isn't that strong or prominent. Okay? Now keep repeating this until you reach the other end. You can see how I'm pushing and pulling the white into black and black into white. And this is all you need to do. Don't worry about getting a clean planet. Now, depending on the size of the margin you have added, maybe you can switch to a pico pressure if that is more comfortable for you. Okay. So those things are totally up to you. Now owe to the bottom. I'm going to introduce some poor then talk black. I'm going to simply fill that entire area and black. So you have some white on the top and that the white is transitioning into black. You have some cree. Have a mountain is looking so pretty already. This is just the base layer. They'd be adding some more details onto this to make it more realistic. We'll be adding some teeny tiny lines and we'll also be adding some dry brush patterns. When you're painting mountains, no matter whether they are green mountains or brown mountain, so snowy mountains, you shouldn't be playing with different tones of colors and different kinds of textures. These things will add a lot of character to your mountain. It will automatically make it look more realistic. So to bring that realistic character will be items I'm tribals patterns onto this. One's the base Leo tries. Okay, we are done adding the paint. Now, I'm going to switch to a lighter tone of gray. I'm going to mix a bit of black and white together to get a lighter tone of gray. I'm calling it a little watery motion. This is the kind of color I'll be working with to light gray. Now, either choose the right side or the left side. And to the psi which you have to keep on adding some teeny tiny lines. You've seen that lighter tone of cre. There is no particular size or shape that you need to follow. Simply keep on adding some teeny tiny lines in a very random manner. Never worry about perfection. You can simply keep on adding some teeny tiny lines like this. Your modern might be looking a little messy right now, but that's absolutely okay. All these details we are adding now we'll bring in a lot of character to your mountain. So without worrying much keep on adding these teeny tiny line to sing a lighter tone of gray. Now when you're adding these lines, you will focus on the left side or the right side. And you'll have to follow the same for all the mountains. We're nearly done with that huge mountain we have there. Now we have two small ones on the left side and one on the right side. In a very similar way, I'm going to add some teeny-tiny lines onto the other mountain Task2. We have one more tiny long-term left on the right side. I'm going to add some deeper tones to this one asphalt. I'm adding them on the left side just like I did for the other mountains. All right, we are done with the first strong hub details will be coming back to this once everything has dried and we'll be adding some dry brush baton. So under this, to make it more realistic. 9. Splattering the Stars: So this is how our paintings looking right now, everything has come out, so we need to have a final round of details onto the mountain. Lets the base layer dry. Meanwhile, we can splatter the stars. I'm going to use white gouache to splatter the stars. If you have washed, go with that. If you don't have gouache, no problem. Go with your whitewater color. Just make sure to go with a thicker consistency so that your white will be opaque. I'm using the same brush size number 6 drawn brush which I used to bring the mountain. I'm going to grab a people toggle and I'm going to cover the mountain. All right, now let's splatter the stars. I loaded whitewash and my size number 6 drawn. Now I'm dabbing my brush on a paper towel just to make sure my brain does not to watering. If your business do water, you will end up getting some big splatters. We won't those teeny-tiny styles now decode and underbrush and tap on the brush which you have taken, white gouache or white watercolor. And keep on creating these teeny-tiny is to us. If you're not too sure about the consistency, you can try it on a scrap piece of paper. You can add in as many stars as you want. There's no limit. I didn't more where you have those taco tunes so that it starts will be the sibling. Darling Aboriginal people Dowell as a great trick. Because your paper towel and absorb that water can then from your brush and your paint will be perfect to get these teeny tiny stars. It won't be watery. So if an art to share about the consistency, simply dabbing brush on a paper towel and then got the head with your stars. Some people prefer adding the styles using their toothbrush. If you prefer that we go with that. It doesn't really matter which step you're following. We just need some tasks on the sky. All right, I have got quite a lot of stars now I'm switching to my white gel pen. And I'm going to add some biggest awesome between Uganda this with your brush as well. Just randomly add some beco wide taught in between. Again, you can add as many as you want and barely you want to add. Let's add few on the bottom mass flow. Yes, simply keep on adding some big cutoffs in between. And that's ton, see how predictable sky is looking. Say at that. Those teeny tiny tasks and those because just in between. 10. Mountains - Details: All right, We splat or thousands of stars onto the sky and we are done with this guy. Now it's time to add the final details onto the mountain. First, I'm going to squeeze out some clean white quash just a bit. I'm going to add some clean by barge onto tip of the mountains to make it a little more stoic. Right now, it is looking at us, not really. Oh, peak. So just onto the right side where I haven't added any great lines. And we're going to add some fresh and clean right quash. This is just to make my mountain locality more snowy. If you already have a clean or be quite snowy tip, you don't need to do this. So feel free to skip this step if you feel it's not necessary. I added some clean white gouache onto that dollar mountain. Now, I'm calling with this teeny tiny one on the right side. In a similar way, I will add some fresh whitewash onto the other tool on the left side. Okay, Now it's time to add them. Try brush batons, take out a paper towel or a carton clock, dab the brush on a paper TO the paper doesn't absorb the excess amount of water from your brush and the paint on your brush would be try. Now simply a dry brush on that video there, the white is transitioning into black. Right over here. Where that transition of colors are happening. If you're not getting dry brush patterns, again, double version of people toggle and repeated until you are being destroyed. Try. This is a very easy step, but it is going to add a lot of character to your MTTR. It will bring in more textural sand, make your margin look more realistic. So there are two things you need to keep in mind. The first thing is the burden should have been completely dried if you add these dry brush pattern. So now red background, it won't appear as dry. So always be to your background to dry completely before you add your dry brush by donors. And the second thing is you will have to dab your brush on a paper towel, make sure the paint is dry. You shouldn't be going with that beam. You can dabigatran of people multiple times until you feel you have got those perfect drivers bitumens. It took paint on my brush. Now I'm tapping my Bichon of people toward javelin multiple times. Now again, I'm adding some more try push buttons, right where the white is transitioning into black. On that junction. I will add few onto the left side as well. You can see how beautiful these margins are looking already. It doesn't really matter whether we had a clean blend in the background dot naught. And this is a recent why I told you don't worry a lot about getting a clean blend where that white was transitioning into black. It is absolutely okay to leave them that are rough and messy when the ad is dry, brush patterns and rest of the details, all those things won't be visible. So if you're using the same mountain in your future projects, you know how to go with it. All right. I'm done adding the dry brush batons. Now this left corner is looking a little messy. I think that a cell is love and cream single worksheet. I'm going to fix that. That's done. Now we're onto the final step. I'm going back to black, going with the little watery version. Now, I'm going to add some more lines onto the EDR. Barely added doors, gray lines, some darker lines here, Andrew, you don't need to add a lot of them likely to degree lines, just had very few of them in between those green lines. Make sure the lines are not too cold. You can use a brush which has a pointed tip if needed, switch to a detailing brush and go but some teeny tiny, delicate lines. You can see here, I'm not adding a lot of them, just few here and there. Now in a similar way, I'm going to add some taco dawns on to the rest of the mountains as well. And we are done with the book car just not on Lights painting. This is harbor painting. A striking right now. The bad call just blend. We have got here and there's beautiful snowy mountains. Everything has come out so cool. Now let's quickly below the masking tape and have a look at the finished painting. 11. Thank you!: Thank you so much for joining. I cannot tell you how much it means to me. I hope you all enjoyed painting this calming and relaxing process of painting this beautiful night sky. Thanks again for joining and happy painting.