Whimsical Watercolours: 15 Festive Paintings for a Magical Christmas

1. Welcome to the Class!: In this enchanting season, we find inspiration in the twinkling lights, the aroma of the holiday treats, and the joy of sharing special moments with our loved ones. Hello everyone. I'm tu, a self taught watercolor artist, silver brush educator ambassador to white knights ans that. I'm stationers in India and a skill share top teacher. I have been teaching online for more than three years now. Have also conducted several in person workshops. I go by the name Colorful Mystique on old social media channels, especially Instagram, where I share a lot of my process videos and snippets from my studio practice. I have been creating Christmas themed classes for the past two years now in Ski share and I welcome you all to my third Christmas themed class, where we'll paint 15 magical paintings with walkals. Welcome to a new creative adventure, where we'll bring the magic of Christmas to life on paper. During our artistic journey through this class, we'll uncover the secrets behind capturing iconic Christmas symbols from the charm of cozy winter scenes, whimsy of festive ornaments. Each brush stroke will transport us to a winter wonderland where the tens of holiday traditions comes alive on the canvas. All the 15 class projects will be focused on painting magical Christmas themed objects with water colors. This class is suitable for both beginners and intermediate artists alike. Because I have explained each part of the painting process step by step so that anyone with any level of skill can follow right from the materials used to the different brushstrokes in the painting process. You'll learn it all. I've designed this class such that each and every one of you can feel the joy of painting magical winter themed Christmas paintings. If you're ready, let's get straight into the class. 2. Class Overview: He, he, he, thank you so much for joining this class. Now I want to give you a brief overview about the structure of this class. So there are 15 class projects in which you will be painting magical winter themes, Christmas paintings with water colors. Obviously, right before these 15 class projects, I have included another lesson called Art Supplies, where you'll find all of the materials that I have used in this class. Each of the individual colors that I have used in the 15 class projects are mentioned right before the painting process starts. It's included in the class project video itself. When you watch it first, you'll find the colors first and then the painting process starts. You can use these paintings in a variety of ways, such as, for example, you can create cards out of it if you take a four sheet instead. Because all of these paintings are in a five size and you fold it in half and you paint over the top half, then it becomes like a card which you can use and share it with someone you love. Another way that you can use these paintings would be to paint on a slightly smaller size, such as maybe an six. Then you could then attach a little twine at the end and hang it on your Christmas tree. So I'm just thinking of various ways in which you can use these paintings, but I'm pretty sure that you might have lots of ideas in your head as to how you can use these paintings. You can also use it to decorate your house because it is the Christmas season and obviously it des, alves a lot of Christmas paintings. Right. Also, don't forget to upload your class projects to the project section here in Skillshare so that I and other artists can see your paintings. Don't hesitate to ask me if at all you have any questions. Just leave a discussion in the discussion section and I'll be happy to help you now that you know the entire structural class, let's go ahead and have a look at all the art supplies that I have used in this class. 3. Art Supplies: Let us have a look at all the art supplies that you will need for this class. First of all, you need paper. This is the paper that I have used for this class which is basically from Saunders Waterford. As you can see, it's co pressed white 300 GSM and 100% cotton paper. This is the four size pad that I have and I have basically cut it into half to get the five size. As you can see, I've cut the paper like this into half to get this size. Any medium sized paper, roughly ten by 7 " or something lesser than that, would be ideal for this class. I would highly recommend that you use a paper that is compressed and 100% cotton paper, so that your paper stays wet for a long duration of time while you're working on your paintings. Next, you will need brushes. Of course, I have basically used a large pointed down brush such as this one, which is a size eight and sometimes size six. And smaller size brush for the detailing work, such as a size four or this one size four. This is the silver black velvet size four brush. I would also recommend having a flat brush, which is highly useful to apply water on the paper because it would cover a larger surface area. But you can also apply the water using this larger size brush that you have as well. I would also recommend having a line of brush. Basically, the main thing that you would need are a large flat brush, pointed round brush of a considerable size, such as a size eight or a size ten. Then a smaller round size brush, such as a size four or a size two. I'm using a size four here and it comes to good point, so it is enough for the details. But if yours doesn't come to a point and you can shift to either a size zero or a size one, anything that suits your style of paintings. Next, you'll need watercolor paints. Of course, I have used watercolors from various different brands and have filled it into my usual palette. This here is my usual palette, and as you can see, I've filled it up with the colors that I mostly use. It is a 36 color palette. But you don't need all of these 36 colors. Each of the colors that I have used in the class projects are mentioned right before you start. So you can prepare your colors beforehand. And also a PDF of this palette is attached in the resources section so you can understand and know the colors that I have used in my paintings. I would also recommend two jars of water. This is because there are high chances that one of them would get muddy as you wash your brush and you dirty pigments in, and it would turn like a very muddy color. And the other one would be to pick up fresh paint and also to apply fresh water onto your paper. Because if this water turns muddy and you start picking up fresh paint from this one using this, after dipping your brush into this one, you'll understand how muddy your paint is going to be because you're picking up your dirty pigment colors from this one as well. So it's better to have two jars of water. If you're very comfortable in working with a single jar of water, then that starts litty fine as well. Then you'll need a board of some sort to tape your paper on too. So this is a wooden plywood pour that I mostly use for my paintings. If you've followed along several of my classes before, then you visallyk this port. So you can use any kind of ports that you have. You can even use newspaper or even a card boat. I would refrain from using a magazine or a newspaper because while you're tearing your paper, it's going to tear both that paper and your paper as well. There are high chances of that. So it's best to use a surface which won't come out or peel off as you eel the tape off, obviously. So that is why I'm using a wooden boat like this one. And having said that, you definitely need a masking tape to tape your paper onto the boat. So this is a masking tape that I'm using. It's basically new brand, something that I got of Amazon UK. But notice that I go and buy this again and again because I love it, not because of the tape, because it's cheap and it works with my paper. I have noticed many times that if your paper is being town by the masking tape, it's not because of the masking tape, but because of the paper. If the paper is good enough, then the masking tape will be able to hold it. One another brand that I have heard is relaterally amazing for watercolor paintings to tape on is empty washi tape. If you want, you can go and find that as well. You may also need a pencil eraser and a roller to create the first initial sketches. I mostly use the roller to tape down my paper and stick it firmly on. You can refer to the taping the paper lesson. Understand what I mean by that. You also need white quash paint. White quash is ideal for when you want to create back the highlights, or for the snow, or for the stars. It's literally useful because watercolor paint is not as opaque as the guash one. Using guash makes your paintings really pop when you have the stars or even the snow painted with the white quash. This is the reason why I use this white quash and I squeeze it onto this little palette over here, which I mostly use for a whole of my paintings. It's just dedicated for my white paint just because it gets easier that way. The white quash that I use is from Windsor and Newton designer squash, permanent white color. Other colors that you can use are titanium white and zinc white which are also really good. Titanium white is my recommendation because zinc white is kind of like a cool color. And I would recommend going for the warmer version, which is the titanium white or this one, which is the permanent white. Lastly, you will also need some paper towels or a clothes that you can use so that you can remove excess water from your brush or excess water from your paper and use for the lifting method as well. So basically any kind of paper tissues or paper towels or you can even use a cotton cloth for this purpose. Now that you know all the art supplies that we need for this class, let us move on to the next lesson. 4. Taping the Paper: All right, so first let me show you how I take my paper. So I've got this five sheet of paper here, So I've got this from a large four sheet and I'm going to be using this tape. So this is just a normal masking tape that I use for most of my paintings. It's still the same. I always just go back to Abazon and buy the same brand because I know that it works for me, even though I'm pretty sure that it's got nothing to do with it. But I still love this one. It's pretty cheap. So that's why I go back to this one. I've got the masking tape and this is saunders water foot paper which I've already shown you in the art supply section here. I'm just going to tape all the four corners. I'll probably take like around two centimeter. That is around 0.5 centimeters. Just tape my paper down there. See that then? All the four sides the same way. Okay. All right. So once you've taped all the four sides, the next thing you need to make sure is that it's fixed very, very firmly. You need to make sure that this step is done before you approach your paintings, because you do not want your paintings to bleed into the outside edges. Even then, it might bleed because you know, you've literally got strokes that you're going to do and it might still bleed. But I still like to take care and make sure that it really firm on my paper. What I usually do is you can use any ruler and I just run it over the edge like that. Okay. Just to make sure that it's stuck firmly so that if at all there's any air gaps, all of it would go away. So I can already say there was a lot of air gaps. Because see how the paper is slightly bent there, which means there were air gaps and I've taken it away right now. All right, there. That's how you'll be taping the paper for all of the 15 class projects. All right. 5. Day 01 - Twilight Candle: Welcome to day one of this Christmas class. And this is the painting that we're going to be doing today. It's a candle like light. And let's start this with a very positive note. Okay? The colors that I have used for this painting are Quinacrodone gold. Don't worry if you don't have Quinacrodone gold, because you can easily mix up using a transparent yellow lycaon crimson. And you can also use a transparent yellow and an orange to mix that. So quenacrodone gold orange, Alizarin crimson paints, gray violet, indigo, and lavender. And last but not least, you will also need some white quash paint for the splatters, of course, the snow splatters. And basically that's all the colors. If you're ready, let's go ahead and paint this gorgeous thing. All right, let us start because this is day one of this class. We're going to start with a simple candle. Candle. It's like a source of energy. It's like a source of light. So I just want to start this class with a very positive note. All right. So that's why I'm going for this candle theme today. And it's going to be completely mystical and misty, but kind of, you know, magical actually. And the painting is also not going to completely make any sense because you've already seen the painting and you know how it is. Obviously, you must be thinking how the candle is still lighting in that snow, but that's what the magical part of it is all about. Okay. So first of all, we need that candle. So I'm using this thicker tape here to mask out the candle. I don't want to use masking tape because I know that many of you may not have it. And I want to try this one. I can't remember if I've used this before. Right now, my memory is really bad. So what we are going to do is we need such a thick tape for the candle, but don't worry. If you don't have a thick tape, you can use a smaller one. And then you can stick it multiple times stacking together to make up the distance for that. All right. Look and see how much is the length of my candle going to be. So I want my candle to be somewhere like here, towards the right side, one by three of the paper for the better composition, of course. Okay. Somewhere there is where I want. I'm not going to stick it completely because I have some cutting to do here. I think my candle can come up until there where the base is. And then you know what I'm going to do. I'm going to cut our tape in a zigzag, slightly bend manner towards the bottom because that will act as the unevenness of the snow. Okay. See that? That's even look, my tape is turned. Let me stick it firmly again and in the correct position. Okay. I guess that looks good to me. Along the top as well, we need to cut it such that it forms the tapered or the bend top of the candle. So, in order to get that correctly, you can use your pencil and make a sketch. You see? This is what I make. Okay. Sketch of the top part. Now, let me show that to you closely. Okay, See, that's what I've done. Now, we'll cut that out. Okay. The top part of that is what we're going to cut out. Be careful as to not spoil the gum or the sticky part of the tape too much because then it will be no point because it'll start bleeding inside. Okay. Just a little bit extra careful that you don't spoil your tape. We just need to be roughly correct Okay. There. I think I've got that correctly now. Now there's one more thing to do. The burning part of the candle. This candle is supposed to be burning. We need to capture that. Here's my tape again and I'm going to cut a section out of it. And just going to quickly tape it somewhere on my board or paper. Okay? And then what we're going to do is we're going to sketch out okay, the burning part of the candle. Okay? It's like a drop. Let see that. Okay. Okay. I think that's too thick. Let's make it a bit thinner. That's what drawing in on top of the tape is helpful because then you can just keep refining it because the other areas are just going to be cut. Even if it's not cut, it's just all over the tape and not on your P. Now what we've got to do is like cut it off. Okay? I like this technique. It's just really simple, isn't it? Makes things easier for those who don't have a masking tape. Did I say masking tape? I meant masking fluid. I've got it cut out. Okay, now we're going to place this over the top. Leave some gap, because that's where the wick of that candle is going to be. And make sure that you place it straight up. All right. Now you've got to make sure that these two are stuck firmly such that there are no air gaps or anything where things can bleed. All right. Let's just carefully do that. All right? I think that's good enough. Now, the next thing that we're going to do is I'm going to add a Christmas bubble in front of the candle. Wait, first, this is going to be the foreground. Okay. Then that Christmas bubble is going to be like right in the front of that candle. I know that some part of it is not not being sketched. We've already put the tape on it, but that's absolutely fine. When you remove the tape, you can complete the sketch and finish it off, just the round Christmas bubble. Then again, make the base such that it's like a baby shape so that you have that base for the whether it's resting on the snow. Now, actually we can go and paint this freely. I'm just running it over once more and making sure that it's really, really firm and there's no air gaps or anything. Okay, now I'm pretty confident. Now we can easily paint this here. I've got my large size ten brush. Let's start. I can easily go apply water all over without worrying about, oh, I have to skip this region or skip that region, that initial part or the trouble that you go through to cut it into shape and get the exact shape of that burning part and everything, that's all the trouble after that. It's completely easy. Okay. But here because it's a round shape, if you want, you can go ahead and mask that as well using a tape. Okay. But I thought it's just at the bottom and I will go around it. Okay. I'm just going to go around if you want. Trust me, it would be easier if you actually mask that region. Okay. If you want, you can go ahead and do that. All right there up until that point. Then here I'm applying the water. I'm going to make sure that all the water on my paper is even and make sure that there are no large pools of water, which is very important in this case. Okay? So what you can do is you can actually lift your boat where your paper is stuck and then give it an angle that will make sure that all the water flow we're not applying at the base. Okay. I forgot to mention that actually don't apply your water below the line where you've marked the edge of the background. Okay. Because that area is going to be the foreground snow. Just skip that region and apply your water. And now you can see all that water accumulated on my paper at the top. Just just grab a cloth and wipe it off. Okay. There now I've got like a very beautiful even tone of water on my paper. And let's start, I'm going to start with a quince gold shade. Okay? Quin gold, because I want the area around this region where the burning part is surrounding that to be a little bit of golden color. Okay? Because it's like a glow surrounding it. All right. Then maybe a little bit gold into the sky. After which we'll start adding more other colors. I started with that Quinacrodone gold, then I'm going to go with a bit of my Alizarin. Okay, here, adding my Alizarin and a bit of Alizarin here on the left side asper you can see where it's joining. Then I think I'll go with a bit of my violet. Okay, here is my violet shade. I'll take it on top of the Alizarin, my violet shade. Okay, I'm not taking it closer to the yellow. Remember, you want your violet to be further off from the yellow because it can turn into a brown shade. Also observe, I'm just lifting my paper slightly so that if there's any extra water, it can flow off. Okay, see that again here. And here towards the bottom again. All right. Let me go back with my violet over there. See, I'm applying violet again. This is why I said you can go over your tape region and be completely free with it. See how I'm applying. Okay. Oh, I think you can see a lot of glare from the light, isn't it? I'm shooting this at night and there's a C I apologize if it's really disturbing for you. I hope not. Okay. I guess I want this Alizarin to be a bit on the right side as well. Keep adjusting. But this is the beauty of it because you can now keep adjusting and keep moving your pigments because the whole thing is just wet here. I'm going to pick up a little bit more of my Queen Gold and apply it around burning candle area. See, that's the burning area and I want to apply around it. Now, here towards the right side, I will actually take my violet and I'm going to apply it a teeny tiny bit. Okay? But this time I'll be very careful that I don't touch my yellow region and make my violet mix with it being very careful. Okay. And mindful there have to be quick. The bottom part of my paper is now starting to dry. Then as I go towards the bottom, I'm going to be picking up Indigo. And then I'm going to mix it up with a little bit of violet. See how that go? Just shade, it becomes, this is like some background effect that's there, like maybe a background mountain or something. You want to add it in this manner with a bit of violet, which makes it creamy and beautiful. But be careful, color is prone to bleeding, but if it bleeds, then I'll just resort to using my cadmium pigments. Okay, Here, going back with my indigo and adding now around the bauble, you want to be careful. And going around the shape, remember that was the foreground. Now, did I say foreground? Oh, I don't know. Is my brain working these days here? Just adding a little bit more of my violet and blending. Okay, That is the background but this is like further off mountains or something that was there in the further off region. Okay, now we've added that. Going to take my yellow a little bit more at some strokes there. Just reinforcing my strokes that I made earlier because as you may know, watercolor dries on shade lighter. When this dries up, all this vibrancy that you see right now is going to be completely gone, trust me. It's going to turn way lighter and you're all going to be like, oh no, this is not what I painted. In order to avoid that, it's better if you can place one shade darker than what you actually want. Just here taking a bit more of my Alizarin adding to those places because I know that it'll get lighter anyways. All right. There. I've given that a nice just color and I just hope nothing bleeds. I'm just taking everything from on top of the tape. I know that it's not going to bleed through, but I'm still afraid. I just just being extra cautious and extra careful. That's it. All right. I guess I like the way that's turned out. Now what I would like to do is wait for this thing to completely dry out so that we can remove that masking tape and start adding and painting our candle. All right. There you go. It's completely dried up now and you can see what I was talking about. Right. I mean, look how light it is after it's dried up. Now, I'm going to peel off that masking tape in order to peel off the tape, because you've stuck it so firmly, try peeling it off at an angle like that. In that way your paper will be protected. Because if you peel off straight, then there's high chances that it's going to tear off the paper. But you don't want it to tear the paper, right? Just try to peel it off at an angle like that. I'm peeling it off towards the right side. Can you see that? Like slowly peel it off to the right side. Can you see so perfect? Oh my god. Okay. Then that teeny tiny bit at the top, That's because we stuck it so firmly. And look at that, and look at that glow over the top. I mean, over that weak area, isn't it? Just so cool guys. Okay, so now let's get to painting this Christmas bauble. And I'm going to be painting, that's with Alison Crimson. Okay, so let's paint that. But before you start, I think it's like wet that Oh, and I just realized we need to complete that, Bobo, We said we'd do that, right? Just draw a sketch. Or if you're so confident directly with the brush, then you can do that as well. Doesn't matter. All right, there I've completed the sketch, and I'm just going to quickly apply some water onto that whole region. I've applied some water, then I'm going to start with my Alizarin. Okay, here, taking my nice, beautiful Alizarin paint. I'm going to start okay here. And I'm going to start. And then we need to leave some highlight here. I'm just going to make a large white hatch stare, which I'm not going to be painting. Okay. So I just made a circle and made a large white patch. I know that some of the paint is going to like spread inside but that's okay. Okay. So I'm not going to be bothered about how that is. I'm going to paint the rest of the region. Okay. So that area is supposed to be the highlight. The highlight is here on the left side because do you see that light source that's coming from left side here? There's something that's casting the light from that side, which is why we have that highlight on the left side here. Okay, so it's coming towards the right, from the left. So we have the highlight of all of our objects on the left side. All right, that's the thing, but now we need to add Taco shadows here. I'm picking up a little bit of paints gray. Okay, I'm going to add that for the shadows. This here at the bottom, what we're going to add is the form shadow. That is the shadow of the form itself. Okay. A little bit there. Then we have more shadow on the right side here. I'm just adding that over the top of my Alizarin itself. Okay. You can draw some shape. I've washed my brush. Going to pick up more of my Alizarin, and I'm just going to mix these around. Okay. So that that right side is in the shadow and everything is just mixed in. Oh, there. You see now that looks like a bauble. Right. Okay. Let me just grab a little bit of my Quina done gold and I'm just going to put it right here over the top. Okay. So you can see it's got a slightly golden shade right now. And the reason I've put that gold is, you know, this candle light there, that's reflecting some of the gold into that buble as well. That's basically it. Now let's go ahead and paint a foreground. So this is the foreground region. I'm applying water, but as I'm applying water, I'll be careful not to touch my bauble. You could actually wait for it to completely dry out, but just to do it, you can see I touched a little, teeny tiny part over there and that's spread, but I'm not too bothered. Okay. Then I'll start with violet towards the base. I've actually touched a little part of my bauble and see. But that's done, it's like created a bloom over there. So I'm just going to adjust it there. That's it. Then back to my violet paint now going to add some deeper shades into some of the regions. Okay, mostly towards the base. Then I'm going to take a little bit of my quin gold again and I'm going to apply it here at the base. Okay. That's because I want it. The candle wick that we have here is not reflecting. It's cast some light onto the snow region which is why we see that. Now we're almost, the only thing left is to paint R candle. Let's do that then. The candle, it's going to be quite easy to paint or Do you see that? Do you see that bleed over there? I've got to really adjust it to adjust it. Make sure to take off all the excess water because this actually happened because there was water right now. If you take just paint and add over it, it should be fine just showing you the different methods as to how you can adjust these things. Okay. Now, for painting that candle, let's do it. I'm just going to go directly with the wet on dry method here, but I'm going to use a smaller size brush here. I'm going to be using my Is seven rush. Let's start with that golden shade. Here's my golden shade. What basically I'm going to be doing is just adding that candle reflection again, that light of the candle is going to reflect onto the candle. But why? Somewhere towards the middle. And why not towards the top? Because the top area is so that you don't see the reflection of it. You only see it as a very lighter tone. What you're going to do is this yellow that you just out light. Go ahead and spread it out. Okay, spread it towards the top, such that it's very light towards the top. Can you see? It's so light towards the base as well. Try and spread it out if you want. You can grab more yellow and place it at that region. Then I think towards the right side we can start adding some other shades. Here I'm picking my yellow ocher and I'm adding that yellow occur. And I'll add that towards the right side. Okay. To make it easier and comfortable for me, I'm just going to turn my paper here. Adding it like that, have my hands comfortable like that, to draw a straight line. That's why I've turned my paper here. I'm applying that yellow occur in a line. Then once you've applied all the way towards the center, go ahead and blend it. Okay, Soften it out because the left side is supposed to be lit. There's more of the highlights there. You only need that lighter tone over there. Okay, now maybe we can turn our paper this side that I get that lightest tone over there. See all that color is supposed to be towards the right side, but I guess in order to capture the round shape, I'm taking a little bit of yellow ocher, a bit of my orange, and mixing into that. And then I'm going to apply that towards the center of the cylindrical shape. If you think of the shape of a cylinder, this area here is going to have the most shadow, okay? Then the right side is going to be a little bit lighter and the left side is going to be the most of the highlights. That's what this is. Okay. Right side is lighter because it's got the reflected light. The left side is completely all the highlights there. The candle is almost looking good. The only thing left to do is to add a little part of the wick here. Just take a little bit of the quin gold and add something there at the base of our little thing. Then once that is dry, we can go ahead and add in the little wick. First what we'll do is we'll wait for this to completely dry or you can try it up with whatever you're using. Then we have the snow to add in as well. All right. Here my paint is dry. I'm picking up a little bit of paint. Scra all right, I'm just going to add that wick. You start right there at the center, and then you draw like a line work there. But wait, we're not done. There's some tiny, tiny thing that you need to do. If you have a little bit of cadmium orange, then take that up. It's good if you can mix it up with a little bit of cadmium yellow so that you get a yellow orange color. Then you need that for the very tip, because that area is you need it to be orange. We're almost done. We can just go ahead and add all our snow here. I've got my white paint. This is the white paint that I normally use. It's the permanent white designers quash from Windsor and Newton. You can see it's the permanent white shade. All right, I've got it in this little tiny ceramic bowel over here. That's what I normally use for all my whites. You can see it's dedicated for my white paint and we're going to take it in a nice, creamy consistency. You also need a lot of water. We're going to be adding some nice snowdropsa here. Pick it up in a nice, watery consistency. As watery as you can make it, then start dropping. Oh, look at that heavy, heavy bits of snow. Just go ahead and add it everywhere. That's it. That's really it. I'm using a larger brush because I really want it to be having larger drops as well. So don't use a teeny tiny brush because the larger brush can give you the larger droplets as well as smaller ones. Okay. That's the reason why I use a larger one. Let me warn you right now for this class, you're going to get your hands dirty with all the white paint when you do the splattering. For those of you who don't know how to splatter, I mostly my one hand for splattering. I prefer that it's just I hold my brush like that. Okay. With these three fingers like that. And then I have this finger like hanging and I tap it onto my brush and that releases the pigment. I think this has a more controlled way of applying because then I can just move my hand around and I would know where it's applying. For example, I want some of my splatters to be here. Of course, it'll spread to the other areas, but this is more better. I feel see I've got the splatters over there and I can just move around. The other method of splattering is the easiest. For those of you where this method doesn't work, you can try the other one to basically hold your one rush like that and the other rush in one hand, and just tap it on the top like that, which releases all the white Pt. But this method is actually the dirtiest because it's going to ruin everything in front of you if you're watching me with your device in front of you. Make sure to keep it further away or to hide it because it's just going to get white paint all over it and you don't want that. Now we've added the splatters and there's one penny tiny last step that we're going to do. Remember this snow that you applied? Yes, it's snow. But did you know that if you look at snow, if you were to capture it in your painting, when you look at it, there's going to be levels of snow. This one all feels like in the same level. But if you want something to go further backward, then you need to paint it in like a shadow. What would you paint the shadow of the snow to be like? This background is violet. It's better if you can use like a color that's mixing violet and white together. For me, that is lavender. If you have lavender, go ahead and pick it up. And then add some splatters with lavender as well. Okay, just a few. And you will literally see the difference in your paintings because it looks so good when you have that varying levels and depth in your snow. All right, And there you go. We have our painting completed. Isn't that Coaches? Oh my God. Look at that perfection in that candle. I really love the way it's turned out with that tape method. I love it. So I'm going to peel off the tape. Okay? Notice how I'm peeling off the tape at an angle there. I've got clean, nice borders here. I love the way it stands out. I hope your painting is as beautiful as this one. Trust me, it is. Just look at it with different eyes and do not ever compare to anybody else's. And then you'll see the beauty in your painting. Here you go. I'll see you next day and thank you for joining me today. 6. Day 02 - Santa's Boots: Hello, Hello, hello. Welcome to day two. This is the painting that we're going to be doing today. Can you see? It's sanders boots resting in the snow. It's a magical background and I've created a lot of color variations as well as created some good color combination by using the complimentary colors. All right, first now let's have a look at the colors that I have used for this painting. It's quacdone gold. I've already explained how we can mix up quinacrodone gold in day one lesson, you can refer to that. And then a little bit of orange, transparent brown or band umber violet paints, gray lavender, cadmium red, cadmium yellow, and obviously some white quash. If you've got your colors ready, then let's go ahead and start painting Sanders boots. All right, let us start. So let's get to sketching the boots first. Okay, so the boots are going to be around starting from one by three of the paper, okay, for better composition. And also, don't try to make it towards the center, try to move it towards the left side a bit. And also we'll adjust the height. Okay? First of all, if you want for making things easier to sketch, I'll show you some simple steps. The first thing is mark out one by third positions of your paper. That's one by third. Then from the top on the horizontal line, that's again one by third, okay? If you make it like a grit or think in your head like a grid, you want your things to be there. Let's say this line there is going to be where the boots are going to be aligned but not towards the bottom. Let's have the part of the boot right there. That'll be our first boot. Okay, our first boot is going to be somewhat shape like that, going to come down like that. And that was the one by third position, right? If you take it up to there, then it goes and has a bend like that. Then towards the front, we want it going like that. That I know that the sketching roses might be somewhat difficult, but if you power through it and you try to sketch out in somewhat as close as possible, then you'll be able to do it. Okay. Trust me. All right, that's not bad. Then towards this side, we have the height of the boot again, something like that goes around. Then here is where the height of the boot is there. You see that boot? Then here we'll have some furry stuff and another furry stuff here. Now, for the next boot, it's going to be somewhat, again, going towards the side. The thing is you don't have to align them together. It can be such that the boot is kept like that. That's why don't bother too much about having things aligned perfectly. And also, don't try to make your shoes right at the border. It's okay if it's like going out of the picture. In fact, it's much better for the composition if there are things that are going out of the picture, okay? In this case here, one of the boot is going out of the picture. See that? Okay, I need to make that bit go up a little bit. Cellmate that it needs to be like that. There's the snow over. It's going to be the. Okay, so there's the boot. I know you might be thinking that it's possibly quite difficult to sketch, but if you would never try it, then it's hard. Easy thing to do would be to possibly look for pictures of boots and try that out. You know, it might really work. And it'll be easy for you. Perhaps you just go ahead and try it out here. I've got two boots resting in the snow. It's the snowy background there at the back. Okay, now this is what we need to capture. I'll show you the picture closely. You can pause right here and sketch it out if you find it difficult. Here you go. That's the close up. Okay, now you can see the whole paper. And there you go. That is the boots that you need to sketch out. Okay, Once you have done your sketch, now let's get to painting this. We'll start with the background first, Okay? So it's easier when we have something in the background. Obviously, I'm going to go with the wet on wet technique. I am applying water all. Okay. It's going to be pretty rocket signs or anything here. We'll just make it as easy as possible. All right. Here, just applying water, we'll make sure that we go around the boots. Okay, see that? Just going around the boots, I think maybe it's Santa's. You know, it's obviously Santa's books, considering it's all red in color, isn't it? So you've already seen the picture and you know what's coming up. So there you go. Keep adding O. That is like the background. We can lift it up now because as you can see, it's a hole at the back towards the top. Anything that has formed the pole in your paper can go all the way towards the top and reduce any extra poles that are formed on your paper. If you look at your paper underneath light, then you would be able to see the water that you have applied. In fact, you can actually see here on my paper, see where I have applied the water as moving it around. That's because I've got studio lights here. It's easy for you to see that as well, isn't it? Now, let's paint the coaches background for today's background. I thought of making it again, somewhat magical and dreamy looking. I'm going to start with a little bit of quinactone yellow here. Okay? That quacrotone yellow, we're going to apply it here towards the right side. All right. You can easily mix it up, as we've already discussed when I've explained the colors used. You can just easily mix it up on the right side here, a bit of the quin gold. And then I think I will transition to a little bit of orange here. I'm picking up my orange. Okay, I'm transitioning to that color. This is why the wetness of your paper really, really helps. Because you're just blending it as you're applying. So you see all that yellow is now blended into the orange on the right side. But I guess we can add in a little bit more darker color. I'm taking my favorite combination, which is to use a little bit of burnt umber or transparent brown. And you can put that along with that orange there so that your transition is more of a darker themed color towards that side. Now let's get to the top, the brown tone that you see here. It's got another advantage of using that brown, because when you mix violet to that brown, it gets into an even darker color here. Now the next color I'm going to pick up is a little bit of violet. Okay, when you add violet to your brown, see how it's turned a little bit more darker. It's just gorgeous and beautiful when you add in that row. But remember what I said about water colors where your colors dry, one shade lighter. If you actually want it to look like this, you might want to add in a little bit more on the top, all right? And make sure that it's vibrant enough. I love working with vibrant watercolors. I love making things vibrant here. Now, the next color I am picking up is I've taken a bit of violet. Okay. What's the left side? It's violet. Do you see what I'm trying to do here? We've got yellow on the right side and violet on the left. Why do you think that is important here? Let's because it's the composition. Yellow is the complement of violet, or in fact, violet is the complement of violet. When you add it together, it really looks so amazing and pretty. It's really good for the composition. That's why for the color composition. Oh, I'm not saying the terms right today. I wonder what happened. Okay, I'm just worried that my son will wake up anytime. And then while I'm blending, I have to go anyways, that's what it's very attractive in your painting. When you have complement colors together, it's like balances out everything in your painting here. Now I've applied a very vibrant violet. I know that it'll stay vibrant even when it dries because I'm really applying a lot. Now you can see I'm taking over that violet over to the right side, over my brown. But I'll stop somewhere there because I want to take my brown and mix it up. Because you don't want to bring the violet all over to the yellow region. Right. So we'll go back to our brown paint. Okay, that's my brown paint now. That's what I'll apply and I'll blend it along with the violet. Okay, so here towards the top, I'll blend my brown paint. And every time it mixes together, I'll wash my brush because we don't want that the violet to be coming all the way towards our yellow region. Okay. Rather we just want it to be the brown. But we just have that subtle, beautiful yellow tone over there. All right there. So I've captured the brown, but now you see there's like a clear transition of the yellow. So I'm just going to even that out by picking up a little bit more of my quin gold. And you know, like kind of mixing it all together. So long as you keep your paper wet, as in, use your strokes to keep your paper wet, then it's going to turn out beautiful, trust me. So remember that all that orange that we applied is gone. So you can just pick up a little bit more orange. Now I kind of like blend that it's created. So now, before we finish off the background, let's do something that will make this painting really beautiful. So remember the white splatters that we used to add. Let's add some wet on wet splatters. The good thing about that is that it's going to give more depth to your painting. The first lesson that is in day one, we kind of learned how to give depth with a different color of the snow. But today now we're going to do it with the wet on wet splatters, which is even more beautiful because it kind of gives like mixty levels in a different depth level. How do I even explain this? But you get the point right. Remember to use a smaller brush this time because we want those snow to be like tiny, teeny tiny. Here, I've got my white quash paint. Okay. Load up my brush really nice and creamy. Do not add a lot of water to your brush. That's important. Okay? Yesterday, that is on day one, when we were doing this, we said that you can add in a lot of water so that you get those big, big beak splatters. But today we don't want to do that. We actually want the fresh, nice, creamy paint. Do not add a lot of water. Okay? You just want it to be creamy. That's it. Then go ahead and splatter it in to the paint. As you splatter, you'll notice how it's spreading out a bit and creating those beautiful, gorgeous better on platters. Yes. Obviously, it's going to fall on your boots a bit, but that's okay. That's completely okay. Okay. There we're down with the background. And then we can move on to the foreground slowly. I guess we can actually paint the snowy foreground here. What I'll do is okay, you see that harsh line that we ended? So I'm just going to soften it. Okay? Softening it at the but do not bring down your paint. Just run your brush over like that. So that that area gets softened and the hard line that's been formed there goes away. Okay, see how I've softened that. We'll do the same towards the left side here. Just run your brush. Okay, And soften it. And remember to wash your brush each time and then using a clothes or a tissue wipe off the Xs water. Okay. Just so you don't introduce. Too much water there. And do not bring your paint down. That is important. Okay? The left side is even. All right, but then do not bring your paint down for the other side. All right, so now let's get to painting the background. For painting the background here again, we'll apply some water. Okay. Towards the base and all underneath the shoe, the boot, of course, now for the snowy region, we'll try to give it a somewhat similar background. Let's pick up a lavender tone, and that's what we'll apply. Okay. Picking up lavender and try to apply it in various levels, but you don't have to completely apply everywhere. Okay. Here, just let it be. It's all right to keep it white, but there's something else that we need to do, which is to mark the shadow of the boots. That is very important. So here I'm going to make the shadow by using a mixture of lavender and paints gray. I already have paint spray here on my palette. Let me grab some more. I'm mixing that and see how you get like a creamy gray color. And using that creamy gray color, I'm applying right here underneath the boot. Okay. And then we'll create a shape there. This is the shadow underneath. Picking up a little bit more paints, gray and all that dark depth should be like right underneath. And as you go further away from the underneath ocean, it needs to get lighter. All right? Okay. Now we've captured everything. All the shadowy bits of the boot. Oh wait, There's this little portion that's going upward. All right. Now all we have to do is to wait for this thing to completely dry out, then we can paint the boots. Okay? All right, so our painting is now completely dry, and let's go ahead and paint the boots. Okay, I just want to first quickly mark out the areas where it's going to be the white fur part of Santa's boots. This area is going to be like having a fur region, then that is going to be a fury region there. Then there is another extra bit of F region there. This is the far region. Here is part of the boot that goes inside. Here is the far region, and this is the furry region. All of the firt I don't know if I'm saying this correct, for it's like the inside part of the boot which has got a really nice thickness inside. So that needs to be white. Okay, we'll definitely add some shadows to that part, but that really needs to be white. All right, so let's just go ahead and stop. So I'm going to start with a very nice, creamy red color. You go ahead and use any cadmium red, okay, Or a nice red shade. And that's what we will add. So see how I'm adding that nice, gorgeous cadmium red shade. Okay? Don't bother if it's got like some bits of white here. You see there's areas of white that's left behind. But that's okay because when you're adding the snow over the top, all of these are not going to be evident at all. So it's going to be perfectly fine. Okay, So follow along the shape of the boot and try and make the go Js boot shape. Okay? So we're doing this one first and then we'll do the other one. Okay? The reason for that is there is a lot of shadows and highlights that we need to capture. And this one, okay? See, as I said, we're leaving that area which is supposed to be white As white. Okay? Inside part of the shoe having some nice fury region. The whole thing, there is no highlight over here. The highlight is over at the bottom. When we reach the bottom, we need to make sure that we get the highlight correctly. Okay, up until this portion, there is no highlight. Now, the highlight over here, again the highlight that I want to add. Let me show you, I'll create a red. Around it. That's where I want my highlight of the boot to be. We haven't add the shadow yet, but we'll add the high light over there. Okay. Picking up some nice red shade, adding it onto the top. Can you see how I'm using a very watery paint, such that any of my previous strokes, I'd not let it be dry. I keep it wet. I keep my paper wet as much as I can. I run my brush over and keep it. Which means almost like painting it with wet on wet itself. Because it is wet on dry but I don't let it dry. All right, that's controlled wet on wet technique, where you're controlling the way your paint flows. All right, now the reds added but the highlight is not going to be completely white. Okay, we're going to make it lighter as we're going to add in a lighter tune over there, we're going to be using cadmium yellow. And using cadmium yellow, we'll blend it in. Okay, we'll see, obviously the paint is going to flow and get rid of the high light, but we'll just use more cadmium yellow and we'll add it, and then we can add white over the top, at the center as well. But first let's just use cadmium yellow and make sure that we create a nice high light. Okay, See how it's blended. To create that go just shade, but you can just pick up more cadmum yellow and make sure that you get the nice stone. Okay. The area that you do not want it to be yellow, you can market as red. All right, now that's done. Now we need to get to quickly adding the shadow here. I'm going to go with my paints gray over the cadmium red. All right. Paints gray. Let's start right underneath that region. Let's take it towards the right side. Always to the right side. Okay, now if we pick up a little bit more red and try and blend that in, don't let it be completely in pain spray. Just blend your shadow bits. Now you've got like a nice shadow bit there. Let's pick up some more pain. We're going to add a nice bit of shadow towards the center, which will give the boot its shape. Okay, that's taking Pinsclay, and I'm adding it over the camm that we just added. But can you see how makes the boot really in shape? And gives it a nice bit of shadow. Okay. All right, then here I'm just going to add some lines like that which makes it have that at the point where it isn't that gorgeous. Then some bits here at the base. Let me wash my brush, pick up a little bit more red and blend that region right there, because I only want it at that grease point, at that base point. And then right here at the front. Okay, now you can see here for example, I'm just going to show you what happens if your paper is dry. This region of my paper, while I was trying to keep it wet, has dried. That's okay. I've just applied a little bit of pain screen. I'm just going to pick up a little bit more red, Blend it over the pain screen and see it's dried, but it's okay, it's gone. Whatever is dried doesn't matter because I'm just blending it. Now. We've cut that boot really amazing, isn't it? I just realized I do not like the shadow bit over the top over here. I'm just applying some more red and getting rid of that shadow. All right, so now what we'll do is we'll paint the bottom bit of this boot. Okay, so for painting that bottom bit, I'm going to first start with a little bit yellow ochre and a bit of dark brown mixture, and that's what we'll paint for the thing that goes around. Okay. So I know that you're red and that area is still wet and it might bleed but that's completely all right. It's okay if it bleeds. The one thing you need to note is that all of this is kind of resting in the snow and it's a wintry day. So your shoes doesn't need to have that much clarity because when you add stars on the top, it's just going to be fine. Okay, so do not stress too much about getting everything perfect. Strive to get the overall shape and the highlights and the shadow bits correct and then everything will fall into place. All right. See, I've added that part and now we'll go and shade in the dark bits. But rather than using just paint spray, I think I'll mix in a little bit of prown to my paint spray, which makes it even better, black. Okay. If you have black or a lamb, black or ivory black or something like that, I think you can use that, which is, you know, much better. All right there. See, I've made the boot, and now you can also see the shadow underneath and how the snow is and all of that. See how it falls into place. I did this first and while I was doing, I'm pretty sure the right side of my boot is now completely dry. This area is dry, but let's just make sure and dry it up so that we're absolutely safe. All right. All right. So I've just dried it up and that area is dry. I'm pretty sure it's going to quickly dry out. Please do not worry about it. All right. Now, we'll go ahead and paint at this time when you're painting this area because it's like behind the other boot needs to have a lot of shadow in order to capture that. Go ahead and pick up a little bit of paints gray at first and add that paints gray over there because otherwise once you've added the red, you might not be able to see where the distinct line of red your shoe was. And then it might be difficult for you to in fact add in the shadow. Okay. This is the reason why go ahead and add it first with paints gray. All right. See added with paints gray. Then let's pick up red and blend it up. Okay. That way you know where the line is and then we can add in any further shadows as required. All right. Here, getting the line there. Looks it was supposed to be here. I don't need that. I think I'll cover it up with white. Okay, let's cover up the boot. Second boot. Okay, applying a nice amount of the red paint. This is cadmium red that I'm using. Any opaque red would be this vibrant. So you can go ahead and use any opaque red that you have. Okay? I know that many of you may not have opaque red like this, but it's absolutely fine. You can even use a crimson as you come here. This is where your highlight is, Let's just get that there up until there. Then a little bit over the top here, the high light is going to be something like that. The rest of the areas is going to be red. Let me get my high light, taking my cadmium yellow. There's too much water in my brush, which is what's leading it to blend like that. But if you take it with a lesser amount of water, the blend, you take it with a lesser amount of water, then it actually blends much better. I think it needs to be a bit fat on this side. All right. That the highlights of that shoes, We'll add in proper highlights, but this is like the beginning stage. Okay, I'm just adding a bit more red paint to the areas where I want to add the shadows. Okay, now we'll go back to our paints gray and going to add in the proper shadows. Okay, now we already have the red. While you add in the paints gray, it's just going to blend in to the red that you have there. See how it blends in? We need to capture like nice dark shadow over that region. Also to the bottom, because the other shoe is like blocking the light. Then you can pick up your red and just lend that region. Then taking a little bit of more paints gray. This side is also the separation within the shoe, the boot region. We'll add that as well for the shadow. Taking a bit more of my red paint and trying to blend that part. We'll just see how it's glowing and how it's turned up. We have the bottom side to paint now we'll go with the same combo, which was brown and a little bit of yellow ocher mixed together. Then back to the brown and black mixture base part of the shoe as well. It's like the shoe is like. Lifted and you're seeing the underside of the shoe that should be somewhat lighter than what you've already added for the top. So I'm just mixing a little bit of lavender to it. Okay. So that it becomes lighter, but it's still going to be darker. Boots is complete, but obviously we just have a few more shadow to add. Can you guess what that is? It's basically just going to pick up a little bit of cobalt blue or you think it's even better to add lavender just like we did for the snow. You see these furry regions that we added those need shadow, Just add in a little bit of water so that your shadow can spread. Okay. I need to wipe that out. Right. Taking a bit of lavender. And add any tiny bit of lavender. Okay, I need to clean up the lavender. It's mixed with paints, gray there. Taking a bit of lavender. I've added some there like that. Then you can even use the softening technique if you do not want to like wet it here. I've added the lavender now all I'll do is now go ahead and soften it, but always be careful that you do not touch any of your red regions which are still wet because you don't want your red to be spreading out of that region right here. A bit of lavender pain there, a bit lavender onto that is just captures the snow. Sorry, did I say snow? I mean captures the fur. And a bit over the top here. Okay, it's only to the denser regions that we are applying here. As it joins the boot, it's got dense, that's why. Now see already it looks like there is a I mentioned to this boot right now we're done with adding all of the shadows. We only have to add white. Now, let's wait for this to completely dry. Okay? All right. Here, I've completely dried it out. Now all I'm going to do is like first correct that area where I had accidentally put a bit of red. Just taking my white paint right here is where I had made a mistake. In fact, I know that it would not be much visible when you add the snow on the top. But I am have that OCD in my head that if I don't apply, then it'll be like, oh, oh no, there's, there's there which is why I applied and got rid of that. Now, there is one thing that you could do If you want to make it look like fur. I'll just show you. But I don't think I'll do it for all of the areas because it's just time consuming. But if you want your painting to look really beautiful, then you can do that here taking a bit of white paint. Okay? And then add the criss cross stuff. Okay. It's using the tip of my brush. I'm adding these little, teeny tiny criss cross lines towards the outside. You see it looks like a furry structure. I love the way it turned out. It's like it's making me want to do it all around. Maybe I'll just quickly spend 2 minutes and do that. I'm really sorry. This is what's taking so long and so many people are put off when there is like a painting that takes 45 minutes or 1 hour. Because this just feel that, oh, I don't have that much time. I think you staying away from a good painting, that's all I can say. Oh, I love the way it's turned out. See how that fury structure is looking? So cool. I think these teeny tiny things are actually what makes your painting unique and stand out, really, because there are lots of people who paint. But when you try to put those teeny tiny details in, you know that's what makes your painting really unique. Almost done, if you're waiting for me to finish this, all right? All right, there you go. So done that, oops, why did I put the white paint away? We need to add the snow. Let's get ahead and add the snow. Here's my brush. Loading it up with nice white paint, which is already there in my palette. Okay, here, loading it up, load it up. I think I need a little bit more water. Now, you can use watery paint, but when you're doing the wet on wet splatters, they don't use watery paint. Okay. There now just apply and splattered everywhere. It's already looking. So Coateus, my God. Look at that, you guys, and see how you can see the depth underneath. I think maybe we should have added a lot more of those snow drops that were underneath. I initially thought that I wanted to add some white highlights over there, but then I thought that I really loved the way that yellow was popping out. So that's why I skipped it because I love the way that highlights turned out. And I'm going to just use this tapping method because I really don't want to get my table dirty. So I think I'll stick with this there. It's snowing and the boots are sitting there in the snow. I think Sandra's left in the snow. Our painting is literally complete. I'm just going to try it because there are some splatters which kind of sits right in between the tape. Like for example, this one. So if I peel it off, then it's going to spread out, or it's going to spread. I just don't want to take that risk. So I am going to dry this up. Okay? All right. So there you go. Let's remove the tape. I really, really love the way this has turned out. My goodness. There you go, guys. And here's today's painting. You know what I love about this, it's actually these highlights. And thank you for joining me today. I'll see you all tomorrow. It is in the next painting. 7. Day 03 - The Reindeer: Hey, hey, Hey, welcome to day three. And here you go. This is the painting that we're going to be doing today. First of all, don't panic, I know that we've never painted animals before. If you were like someone who's joining my class from long before, Occasionally, one or two maybe. But this is new to me as well. But I'm sure that you can do it if you just give yourself the time and dedication. It's not that difficult. I've explained all the methods as to how you can sketch this and how we're going to paint this. It's really easy, trust me, so don't worry about it. Okay, so let's have a look at all the colors that we need for this painting. First of all, we need a transparent yellow Quinacridone gold, which we've been using for the past two days now in this class. Then transparent orange, transparent brown paints gray, and lastly violet for the snow bits. And of course, I forgot to mention white quash, which is very important for these paintings, isn't it? Because we've got a lot of snow on this. So here we go, and let's get started. All right. Let us start. So let us quickly make the pencil sketch of our reindeer. So you misleading know that reindeer is kind of like a Christmas E thing. I don't know the whole story behind it, but I've seen many photographs of reindeers. So I thought that that's something that I haven't tried before. And let's do it. So I know that you may be intimidated by seeing this subject, and it's quite difficult to sketch. But trust me, I'm going to show you some easy steps as to how you can sketch this out. All right? So the first thing would be to assume everything to be in easy shapes that you know, for example, if you assume the head to be kind of in an oval shape, so there something like that and then you can make up from there, it's something like that and then goes like that. Okay, that's where its mouth starts. Our reindeer is slightly turned at an angle, that's why we're sketching like that. Then here at the base, we have its body, the head part going okay, down. Then we have its eyes over here. All right, there. Then we'll sketch out a year over this side. Okay. Then now for the body, obviously after making the sketch, if I find that something is off or something is missing or, you know, it needs some kind of adjustment, then we can always do it later on. Okay, But first let's just go ahead and sketch, and then you'll be able to figure out how and what is missing or how anything is gone wrong. Like I already saw that that ear was messy here. If I put in the other ear there, yeah, I think that's okay. Now, for the body, again, we assume that it's like another oval shape there. Try and mimic the shape first, and then try and sketch it out. Okay, If I bring that and then use that shape to trace out your neck shape. Okay? See then at the base again, is another I oval, but that is probably not an entire oval, but it's like a circle. You trace out a circle, see a circle. Then the body part which is like stretching outside is again another circle because this is like the belly. So it's obviously like a huge circle. Okay? But that circle is supposed to extend a bit downward. And then we've got the back side, which is again, supposed to be like a huge circle. You can first make up the circle, so that will be like the back portion of our reindeer. You can again, trace it like a circle and then comes down the legs. And then the legs join there. Try and always assume things to be easy shape that you know of, which will make it eventually easy for you to sketch out. Then observe where the legs are. The legs are going to be like attached to the front portion here, which is this part of the body. There goes the leg. Some of it is gone way off the canvas. You actually don't have to worry about it. Then remember this circle that we did, this was supposed to come and join here. Let me come and make that. Join. See that was like the dummy part. And the legs are in front of it, there is the leg and then we have the slight bend. Then here is the next leg that's attached here. We are missing one limb, of course, and that would be the one at the back. Just trace out that again. Now we've got a reindeer. I'm really okay with this. I think it's all okay, isn't it? I've made the sketch properly. I've marked out the eyes, and we have like the bags behind. We have the things inside, the years. Yeah. I guess I'm really happy with the way the syst out then. Now, obviously, the fun part, the best part that makes the reindeer be a reindeer, is obviously it's horns, isn't it? Let's get that out. Okay. Now, this horse, you don't have to make it exactly like what I'm doing. Every reindeer has a unique one. I think I've heard somewhere that it's actually like the humans DNA, where all of those horns are different. So no two reindeer will have the same one. I don't know. It's just something that I read somewhere. I don't know if this is true. Okay. It's really exciting, isn't it? That's one. But I guess I want to add another prawche for this. Yeah, that looks good now for the other one that acts like my main one. And then I'll have another huge branch going out to it from there. Okay. Maybe this one we'll have now we have our huge reindeer. If you want to make it smaller, you can about composition. As I always say, nothing should be always in the center. It should be towards the side. But if you have your objects which is touching one corner of your paper, then it's absolutely fine. But still don't make your reindeer stand right there. Okay, chop it off a bit. That makes your composition much better and attractive. But if you were to draw the entire legs of the reindeer and put it inside, then do not make it in the center. Try to move it slightly towards the left and towards the bottom, so that it meets the composition rules. That is the rule of thirds. Okay, now that we have everything in place, let's go ahead and paint this. Before that, let me just mark out the snow. This is like the background snow for me. Okay. We'll have multiple levels of snow. I think the snow can end. Okay. That's like the background Okay. Of our reindeer. Now, let's get to painting this. What we'll do is we'll apply water to the whole of the paper. Oh, I missed my large brush. I kept it somewhere and I can't find it. And I thought, let me just try out this whole thing using a smaller brush. Actually, the real reason is I'm just lazy to go look for it. Okay. So here I'm applying water today. It's okay that even if you apply water on top of your reindeer, it's absolutely fine Just go ahead and apply to the whole of your paper. Okay. Nothing to worry just to the whole of your paper, but make sure that everything is even now. As you can see, I'm rubbing my brush all over and making sure that I have an even consistency of water on my paper. Applying an even consistency, you can even bend your board to get an even tone and have the water flow so that there is no large pools of water that is formed on your paper. Okay? So you'll see that all the water accumulates there at the top and that's perfectly fine. Okay. Now let me just absorb all that extra water there at the top because I don't want it to flow back to my paper and ruin my painting. Because if there are back runs, then there is high chance that it'll cause blooms on your paper. Blooms are when there is extra water on a painted surface and your water spreads the pigment. That's what is known as blooms. So I can still see some extra bits of water. But if you go and soften it with your brush and absorb any excess water, then it'll work out okay. And then if you've taken too much off from your paper, you can always reapply back, but make sure to apply the water multiple times because it really helps your paper to stay wet. Okay? If you're like living in a very dry climate and you find that your paper is kind drying very fast, I have a very good trick for you, which is to apply your water onto the paper. Then wait for it to dry out a bit. Not completely, but wait for the paper to soak in the water right after that reapply again. This time, The second time your paper will take longer for it to try. That is because the underlying fibers, the paper has thickness, right? The underlying fibers of the paper is going to have a bit of water which will make the top layer of water that you just applied to take longer to try. That's one method that you can use to make your paper stay wet. Okay, so now that we have our paper wet, let's go ahead and start. I'm going to be starting with a nice transparent yellow today. And this transparent yellow we're going to be applying. I don't mind that the center portion or the reindeer is all going to be in color at this point. Okay. Here we apply the yellow, and as you can see, I've applied it like a circle in the center. And then I'm just going to slightly blend it towards the inside. The inside part is going to be like a lighter bit of tone. Okay, then we'll pick up a little bit of quin gold. You must have understood by now how much I love the quin gold color, Right? Then this quin gold color will start to apply by going around. Okay, Around the yellow that you just applied. But we need it to be more contrast. Start adding a bit more. Okay, bring it out. Start bringing it outward. See that? Okay. Out more outward. Keep an eye out on the area where you have applied. I marked the foreground that there is the snow, isn't it? I think a lift of some paint because I don't want lots of paint at the bottom. Okay. Some bits of yellow is good because this kind of light is bound to reflect something onto the surface. Okay, here I'm picking my Quinton Yellow again. I'm going to apply towards the edges. Okay, later on we'll add a darker color. But before that, let's just give that undertone because I really love that undertone even when I'm adding like a brown or some color tone. Okay, and then slowly blending towards the inside and leaving that light towards the middle. So see, it's a very lighter area towards the middle. All right, now that you've applied that, let's go ahead and start with the talker tone. So that would be transparent brown in my case. So I've got a lot of questions about which transparent brown I usually use. The best one I found, which is like darker enough, is the one from Seneliar which is transparent. It's amazing. The best part like about it is that it is transparent. It really makes it a good thing with water colors because then you can like layer over the top and you see that inacton gold shining through and it's still dark. I mean if you take this in a very dark consistency, it's dark enough. That's what I love about this transparent brown. It's dark enough and it's also light enough. It's like serves for both the purposes, if you know what I mean. Okay. Here I added that dark brown. Okay. Subtle dark brown towards the outside. Now I'm going to start adding a bit more darker tone here. I'm picking up my darker, darker brown and I'll put it over the very edge. Okay, here there added the darker brown towards the edge. Let me wash off my brown. And I'm going to go back with my quin gold and start to blend things inward. Now because you see when I added that brown, there was like a distinct line between the brown and the gold, which I didn't want on my paper. But if you now take up your paint again and blend inwards, then you can get rid of that separation. You see now the separation between the yellow and the brown is gone. But obviously, we have the separation between the Indian yellow or the transferring yellow that we applied initially. But we can get that off by again going round and blending. But this time as you can see, I'm not picking up any more of my, um, transparent yellow. The main reason being that this quin gold that I'm applying has yellow in it. And see what just happened, I dropped a little bit of water. I think there was some water here on my brush that's caused blooms here right away. You see what a bloom is, but get rid of it by quickly applying paint over it. See, know how to correct stuff that is very important in water color painting. If you know how to correct the blooms, you're saved then and there isn't it here. Okay, Let me go back to my quin gold. All right. So now you can see that glow in the middle and all the colors there. I think now we can go ahead and apply towards the bottom as well. But you see my bottom had actually started to dry. And if I reapply the water, then there is high chance that my water will flow up. What I'm doing is I'm giving an angle to my paper, that my paper bends downward. See that? Okay. So the gravity is going to assist in my water to flow down rather than going up. If it goes up, then it's going to be harder for the water I mean, for it to form blooms, right? Okay. Just adjusting more areas because I can see that it's not a perfect circle there at the top. And it's kind of like bothering me here just you don't need it to be a perfect circle, by the way. It's just I just want to mash things towards the left and the right side. And I'm trying my hardest to do that. Okay. But if your paper has like, kind of started to dry and you feel that it's going to be tough for you to achieve that, then don't worry, Don't touch it too much. Okay? But you see the more brown I add, the more separation or the line I get, which means the more I would be needing to add my green gold over it. Okay. But know how to adjust things, that's most important. So know the amount of water on your paper. You can see that on my paper, the top part has now slowly started to dry out, which means I would need to use more pigment than water if I'm to be doing these nice washes. Okay. Can you see how my paints like then flown down as I applied the water? But there is always a beautiful lifting technique which can lift the paint off. See, I'm lifting the paint off and then I'm using my cloth, which is outside the frame here on the left side, dabbing my brush so that it gets rid of that excess water and the excess paint. Now towards the bottom, let's go ahead and add complements here. If there is this much light in the sky, then the shadows on the snow are going to be the opposite color of that, which is obviously going to be violet. I'm going to use this, it that's there here in my palette because I do not want a very vibrant color. I just needed to be a very subtle, lighter tone. This much violet is actually enough on my paper. Okay. I'm going to apply again. Do not bother about how the color is going on top of the reindeer. Let it flow. Okay. Here, take up some more of your violet and start adding. Okay. I applied a darker tone in some of the areas that is more than enough. I think now we can actually wait for it to dry, but before it dry is out, I would like to do the thing that we did yesterday where we add those snow drops in the background. That would be taking my brush and taking some coaches yellow Gh and doing wet on wet splatters. That's because my paper is actually still wet. But if your paper is not wet and you find that it started to dry out, the skip this step because it's so not worth it to disturb your paintings too much with a lot of watery paint. Okay. Having said that, if your paper is still wet, go ahead and add those beautiful splatters, but just try to keep it away from the reindeer, which is why either use your hand or something to like cover it up. Okay. Cover the reindeer. Some of it is still going to fall on to the reindeer. We can't help it, but it's okay when we add the fresh paint on top of it and it'll be fine. Okay. All right there. I love the way that stand out and you can see how it's like gone way into the background already, the fading off into the background, which is what we want right now. Let's go ahead and quickly dry this up and then we can paint the reindeer. All right. Here, My paper is now completely dry. Let's go ahead and paint that beautiful reindeer. We'll add in a bunch of colors on the top. Okay. First, I'll start with my quin Akon gold shade, and we're just going to add it over on the top. Okay. Just go ahead and freely add in over the top. We do need a lot of white for this painting, because we need to add in the white areas of the reindeer and so many other things. Okay. But let's just go ahead and fill up this. I don't know if it's a little one or an adult, but let's call it a little one. Just follow along this sketch that you've made. This is why a nice pencil sketch, or a good pencil sketch is going to come handy at this point. Because you'll be able to really just use your brush and fill it up, take your time and do this process. But if you have a good pencil sketch, then it's going to be really quick and easy for you. So obviously as it comes down to the legs, if you've got too much pilot on it, then it's going to look slightly brown. But that's okay, because we'll be adding brown on top of it anyways, so do not panic. Okay, there you go. Painting is complete. Just okay, let's just go ahead back into our painting and add the darker details. For the darker details, here I am picking up my transparent brown again and we're going to start, I'll start with the legs. I'll put in some darker tones for the legs. I will add in the darker tones to the left side here. Okay. Some nice darker tones there. This leg is in, uh, mostly in darker tones. Okay. We will add the separation between both of them, but then we'll use white paint for that. For now, just go ahead and add in the tones. It's absolutely fine. This leg, again, I think this is not shadow. Okay, this is actually the color of its legs. It's got a white towards the inside of its body parts and darker color towards the outside of its body parts. The white part are actually reflecting a bit of a yellow tone, which is what you see here. Okay, there, that's the inside part. And then again, the outside part of its body is having that brownish tone. Then we have some nice brownish tone again here, adding brown. There's some brownish tones here underneath. Then the belly part of the underside, belly part of it is dark brown. This region here is actually brown when you're adding this brown here. Okay, Try and do the downward stroke, so it kind of looks like the furry shape on its body. Okay. Make it as downward stroke as possible. Don't worry too much about this because we're going to be covering this up in snow. It will look good in the end eventually. Okay, here, added that. Then obviously we need some level of softening here. I'm going back with my green gold and then I'm just going to pick it up and push my pigment upward and blend that region. Okay, see I'll blend it over that region with the green gold so that my brown doesn't look as though it's like in midair. If you know what I mean, I don't like to see like a clear cut line anywhere. Now, we'll add in the darkest parts. For that, I am going to be using paints gray, but I'll mix it up with my brown. Okay. Because paints gray has like a blue undertone, but if you mix it up with your brown, then it becomes warmer. That is, it becomes a good color to use along with your queen goat. Okay, here, adding a bit dark there. There are some dark areas here. This leg, like I said, is supposed to be nice and dark. Then I guess this part is again dark, some areas here. Then the belly part and not entirety of here but a little area here. Okay, Where else? Here. Only this middle part here is dark, the rest is not that dark. Okay, once you've captured that, let's go ahead and mix in another color, which is basically using my transparent brown and my transparent orange. Okay, I really love the mixture of orange and round together because it creates like a golden shade similar to the Indian gold. But it's not. Gold. Okay. I mean, it's not that best as Indian gold, but it's still like a golden brown color. Now, we'll use that golden brown color to create the other highlights. Okay. It's like if you blend that in. Okay. Ah, you can already see how that's already shaping up, because when we're adding all of these highlights and everything, it's shaping up, isn't it? This region should be like a brown shade, but we also need a white highlight there, which I will add. But let me just add in the brown that goes over a little bit of brown, but the brown over the ears is going around. But I think we can use paints gray for that. Just using a bit of paints gray going around. And then around the ears, the center part is going to be in that yellowish stone itself. Okay, Then let's go back, brown and orange mixture. I want you all to be bold enough to try this out. Take that daring step, and trust me, it's going to turn out beautiful, okay? Because we all have that fear in our head, like what if this doesn't turn right? But who cares? It's just a painting and if it does, then it's just going to be literally amazing. That's what you need to aim for. That's what, that's what I do in my mind. You should be able to, people always ask me how do I have the time? It's because I dare, I dare to do it, even if I just get like 5 minutes, I dare to come and come to my studio and just paint. So that's what you need to do as well. And trust me, you will do it. Whatever you were there for. It's always the inertia to start that's actually stopping us. Okay. So a bit of yellow, I missed out this year, so I'm just adding it up now. Okay. Lending the edge of that year taking up my white paint. Okay. Not too much. Just a nice amount and we'll start adding the white to areas. Okay. Some areas, this region is supposed to be wide. We have some region use the end of your brush. And like I said, try and make the downward stroke. Okay? These downward strokes are going to be helpful in creating like the fury, Fury structure of the reindeer. See that? Okay. I remember that line that we used. This is why I use transparent paints because then you can still see the pencil sketch that you made. I can clearly see the pencil sketch that I made over here. That's what I'm going to be using to get my shapes. Okay, then we have the belly part, which we did. Again, that part is going to be just using downward strokes. Always try and use the strokes according to the shape of the body. Okay, here, see the body goes downward like that in the belly part. I'm using that, My God, I just love the way this is starting out more here. This area is like a little bit light. Then as I said, if you add bit over here, that will create the separation between the two limbs and see create downward strokes, okay? Because you've got paint underneath is going to come on top of that. And it won't be like pure white, which is exactly what we want. We just want it to be slightly lighter than what there already is. Okay, here, take that white paint and I'm adding over there. Okay. Make that downward stroke follow the shape always here. That's the shape that creates the furry shape. Now, let me take a bit more of my white following around then. Like I said, the center portion of the years. Okay, it's starting to shape up now. I will take very little paint. As you can see, I'm getting rid of all of the Xs paint. I just want to do like some fury shapes. I'm just using the brush. Can you see how the hairs of my brush are if it doesn't go like that? Try it out on a paper and like flatten it out. You can also use a smaller flat brush if you have. This brush is actually really good for this purpose. That's why I'm using this one here, okay? Using that, just making these downward strokes and getting that white paint. Okay? Acting like the fury shape. And you see that it goes over the colors that we've already applied and works out to be perfect, isn't it? Some areas can be lighter and some areas can be darker. Just let it form on its own and don't worry too much about how it's forming out. Okay, I think that's enough, and I love the way that looks. Now we have some details, ultimate highlights, to add in the end, but we can do that later. But for now, let's go ahead and add the horns. Okay, I'm just going to shift to my small size brush because I'll make it quick for adding the horns. Okay. What I will do is I'll mix up that same color, the orange and brown mixture that we had. Okay. I'm just taking a lot of color at this moment. And then I'll mix in brown to it so that it becomes more brownish. We want it to be more brownish rather than orange. Okay, just mixing up enough of my color. But I'm pretty sure that even then, I'll have to mix up more in the end. All right, there you go. So now let's go ahead and paint the horns. Okay, Starting there, just go ahead and add in the horns, okay? All right. Just one more horn. Just concentrating and doing this, I want to finish this quickly. Trust me, we're almost done. There isn't much more to do. Like I said, see, I'm having to mix more of my colors. I was so sure of that it's going to run out. All right. Just one more here and we're absolutely done When we're done with that tiny bit, although I kind of feel like this is a bit empty here, so I'm just going to add another horn. Okay. I didn't like the way it was previously, so just improvising. Okay. Yeah, that looks much better to me. It makes much more sense now. All right. We've added that now. We need to create some shadow areas. Okay. Giving depth, taking darker brown, see how dense that transparent brown is. This is what I was talking about. That transparent brown is really good if you want to make a dark color as well. And for lighter tool as well. Here I'm just taking that transparent brown and I'm adding it in certain places, especially here at the pace where it's joining. We want it to be darker, the same along this side. I want it to be darker, maybe along some of the side. I think I'll go for the bottom edge on this one. Okay. But if you're not getting dark enough with your brown, go ahead and add in a little bit of paints gray to your mixture, which will make it darker. Okay, here, I'm just going to grab a bit of paints gray. And I've added that and add that, can you really see that dwell tone over there? So that's what we want to achieve. Okay, I think that's good enough. Now, let me see if this is dry. Yes, it's dry. So you can actually go ahead and draw the eyes. I'm using paints, gray and the brown mixture. We just want it to be dark here. I'm just using that. I'm marking out the eyes. I chose this shape because it's quite easy to draw a single eye than to draw two eyes and have difficulty in matching it up. I wanted to make this easy for E, that's why I chose this picture. Okay, now taking a little bit of dark down and we'll add in like a bag around the eyes. We also need to add white there, but we'll wait for it to dry out completely. As you can see, see the white that I added is gone now, completely. It's all almost dried up. Now, I'm going to give it another layer. I'm just picking up a little bit more of my white and I'm going to add it on our top. In some of the areas now, these areas will be like a globe. But remember to use that flattened shape of your brush when you're trying to do this. Okay? Because we want it to be nice and creating or mimicking the shape of the fury areas. Okay. See now that's a bit more lighter. Over the top of what we had done earlier, I did squeeze out a little bit of my fresh white that'll be a bit more vibrant than the dried out ones that were there in my palette from yesterday. Okay, I forgot a little bit of highlights here earlier. I'm just going to add that then I want a little bit of here to be lighter. Let's just think of where are the areas that you want to be lighter? The light is coming from behind. Okay, so I guess this area is because of the light and this is because of its body. Okay, so this area is light because it's got highlights coming from behind. You need to capture both in here the white of its body part as well as the light that's shining off on its body because of all those light from behind it. Okay, two things here that you need to be careful about. Just going to blend. Blend the white towards the bottom there. See how all that light is glowing, capturing the white of its body. This is the white of its body because this area is actually away from the light source, yet it's shining. It's the white of its body. We've got some white of its body here. Then like I said, let's start painting certain areas, like the area under its eyes and above its size, that needs to be white. Okay. There some parts in the center, then here, these are white parts on its body itself. Okay. Now, let's create separation here. I'm just adding some marks because that's so it's snowing and the poor thing standing there in the snow, so it's got some snow over its head. Okay. That's what's happening there. I think that bit will be, anyways, covered up when we add in the snow, but I just wanted to put in some snow drops over there Anyway, let's not add too much here. A bit of white spot. Okay. Yeah. Now that's our reindeer. It looks cool, isn't it? But now we've got to put snow on areas where the snow can actually settle down. Okay? So quickly, go ahead and add the snow over the top of its horn. There's a little bit of snow settled. So look for surfaces that are like horizontal. Okay? This area was horizontal. But then it's not going to be any snow there because it's vertical, so the snow will just fall off. But if you look here, there is a chance that the snow can settle over there. Okay. That's what Look for, areas where the snow can actually settle down here, obviously. Like I said, then, yes, here as well, isn't it? Don't add too much. Just a teeny tiny bit would be more than enough. Now, if you look at this one, this horn here is going in a bit of horizontal manner. Okay? But don't draw a straight line. Try and make some extra shapes. It looks like as though the snow has settled there. Oh God, poor thing. I don't know how long he's been standing in the snow. Please don't hate me for making him stand outside in the snow. But it's a reindeer. I suppose it's their life, isn't it? They're supposed to be there living in cold climate. If I'm not wrong, I really don't know much about them. Okay. All right. I guess we've added some fair amount of snow on the reindeer. Maybe you can add some more here. I know it's not vertical, but it can still have some bits and pieces here and there. Okay. Yeah. Now all that's left to do is go ahead and add some nice amount of snow. Let me just make sure that I've covered up everything and exactly as I want. We've drawn the eyes, we've drawn all the areas. We've added the F. Yes, I think the painting is complete. We can just go ahead and add in our gorgeous, beautiful splatters and finish off. So this is what poor thing is, standing in the snow. I put in a lot of splatters there, but I guess it's okay. All right. I've added the snow, so I'm just going to slightly more interesting. Okay. Like we've done before, I want to give a slightly different colored snow, but not too much. I'm picking up a little bit of orange. Okay. I will add that. Okay. Just in some random areas. Okay. I think that's it. Not too much. Do not add too much. Okay. As much as you've added the snow, do not add that much. Okay. Because then it'll be very, very difficult. All right. There you go. If we've completed the painting now, we'll wait for this to completely dry out and then we can peel off the tape. There is completely dried out. I'm going to peel off the tape. Remember to peel out your tape towards the side. That will save the paper from tearing off, if at all. It is going to tear. Okay. So remember to do that always. There you go. Our painting is complete. I hope you enjoyed painting this one I really did because this is a subject that I actually have never tried out before myself. This is I didn't even do a practice painting. This is like straight onto the paper. I just did the sketch and I just thought, okay, I'm just going to do it. And if it doesn't turn out, then I won't add this lesson. It's as simple as that, but see how it turned out. So I'm pretty sure that you can do it as well. All you need to just try it. That's it. Thank you for joining me today and I'll see you tomorrow. 8. Day 04 - Christmas Baubles: Hello? Hello, Hello. Welcome to day four. And this is what we're going to be painting today. You can see it's a bunch of baubles hanging out in the snow. We've got some softer ones and we've got some harsh edge ones. I'll be showing you the entire process of how we're going to be painting this one. Before that, let's get to know the colors that we need for this painting. I've used gold, which we've been using for the past few days. The cadmium red, alizarin, crimson, lo blue sap green, dark green, lavender, violet, transparent brown paints gray. And of course, lastly, some white quash paint. There you go. If you're ready with your colors, let's go ahead and paint this gorgeous thing. All right, let us start. So let's go ahead and make the pencil sketch of our Christmas bubbles. The first one, I'm going to place it around one by three of my paper, which is going to be this point. Here is the intersection of the one by third of both the horizontal and the vertical lights. Okay, so there's my first Babu. If it's difficult for you to draw like a perfect circle, then go ahead and draw it using any object that you have. I don't aim it to be perfect. I like the unevenness of my paintings. That is why, okay, there, that's one round shape. And then now we need to add the top portion of where it's going to be hanging there. And then a bunch of snow over the top and then ribbon. Okay, going upwards, that would be the main one along with a few others. But let's also add like a leaf in between. This is like, I think hanging on a tree. Okay. Some leaves there and then another leaf there. But then we'll have another one of our Christmas bauble. We'll add the ribbon of that there. Okay. So it's going to be attached to that. The attachment is not seen because it's like masked in the snow. But here we'll have the hook on which it is attached. All right there. And then the Christmas bubble, another Christmas bubble there. Don't worry, all of these doesn't have to be the same size as well. But if you're using another object or a compass, then you can definitely sketch it out using the same size. But I am not bothered. I'm just going to go with a rough estimate and you can see how I trace out the circles. I just go round and round until I get the perfect shape. That's it. We've got one over there. Then I'm just going to add like leaf over there. The empty space between that space is gone. Okay? Because I don't like to have those empty spaces. Then now we need to sketch out the ones in the background, but ones in the background, make sure that they're very light. Okay. You can even go ahead without any pencil sketch, but I believe that for you, if a pencil sketch is easier than go ahead and do it because it shows where your stroke is going to be when you're trying to do the wet on wet washes. Okay. We have another one there. I'll have another bauble there which is going to be what's in the background. And then another one there which again goes in the background. And then I know that it's going to be covered in snow as well. Then we've got like tree branches that go behind. Okay, but that tree branches are covered in snow. Another tree branch going over there. And then let's say we'll have a tree branch coming from behind, but it's again in the snow. Okay, some leaves. We don't need to capture that in detail, but let's put some other bubble there. Okay? Another one over there and a half one over there, okay, and some leaves. Okay, there you go. That's my pencil sketch you don't need to do and make it perfect, but just some random bubbles here and there, along with some snow covered areas and some leaves. So let me show this image closer so that you can trace it out or sketch it out. Okay, so there you go. This a depends on sketch that I have made. Now, if you're ready, let's go ahead and paint this one. Okay, so today I'm going to be using this large flat brush for applying the water. I just thoughted that it's easier, you know, if there's a flat brush. But like I said, if you don't have it, you can also do it with the other process that I've been using, like the pointed round one. So you necessarily don't need a flat rush. Okay. So I just found it today and I thought that it's easier. That's it, But you can go with any kind of rush that you have. There you go. Just applying water. So don't worry about the background or the fok ground right now. Just apply water to the whole thing. Okay, we'll draw it out perfectly and then we'll refine the fok ground. Now I've put in a pool of water on my paper. And then I'll go and soften the whole thing up and make sure that there is no large pools. I will absorb extra bits of water and carefully apply an even coat of water on my paper. Okay. And also any excess water that comes out, I will absorb that. Okay. And remember the trick that I mentioned yesterday which is to apply your water multiple times. If your paper is prone to drying very quickly or if you're not using 100% cotton paper, make sure that the water is even. You can lift your board at an angle so that excess water will flow and will make that whole water surface even on your paper. Okay. Okay. I think that's good. I've applied enough coat of water. You saw how many times I applied the water. That's how you can get that perfect, perfect blend. Okay, so here now I'm going to use my size eight. All right? Obviously I kind of love this green gold color and I'm not sure yet, but maybe this is the theme of this class, you know, like having this green gold color. But I know many of you may not have this color. But there are so many ways to mix this color, so you don't have to worry. This, this color is actually just a mix of Alizarin and transparent yellow. Y 150 is the transparent yellow or Indian yellow that I'm using. And Alizarin crimson is R 83. So if you have those two pigments, you can actually mix this green gold color. Okay, Try it out, starting with a beautiful green gold shade over to the top. Okay. So like I said, don't bother about the fo ground elements that you have added right now. Just go ahead and add in the paint, even on top of the bubbles, but obviously, try to stay a bit away. Don't go and deliberately paint over it, but just you see how I'm doing. I've just applied around it and not inside it. Okay, I think a bit of gold over here, and then I'd like a bit more of my gold over here on this one. Try and apply a little bit of gold deliberately now. Okay, I guess that's it then. Picking up a little bit more of my golden shade and I'm going to go over the top side there. Okay. Yes, I think that's enough for that one. A little pool of water there. So I'm just going to tilt my board so you see the water flowing down. That's because there was a little pool of water there. If I tilt my board, then that pool of water will be gone. Okay. Now I need to add in a darker color from the bottom. I'm going to be mixing like a bluish color, but with a little bit of violet in it. If I mix my tal blue and my violet together, see that dark blue that I get? Okay. My violet and my tal blue together. I think I'll mix in a little bit of indigo as well, because I want it to be slightly on the darker side. In fact, you could mix, it paints green instead. Oh, that's a lot of pigments that I just That's okay. Oops. And see, my paper is starting to dry out. Let's quickly go ahead and add in that darker shade. On the darker, the extreme darker shade should be towards the left side. Okay. The other areas, try and make it slightly lighter. Leave the bauble area. Do not put blue over there. It's okay if your blue and yellow mixes together to form any greens because we're actually going to add in some greens right now. Leave some gaps wherever you want. Okay, now we've done with some kind of background now. Now let's go ahead and put in more green tones for the background leaves and everything. But let's add in the branch at first. Okay, for the branch here, I'm picking up my transparent brown. So now we're going to be doing wet on wet stroke itself. But make sure that the paint that you're using is in a very prem, consistency. Do not use too much water. Because if you use too much water then it's just going to spread out. It's not going to form the shape of what you're trying to achieve. Okay? There's a branch that goes like that. See how I got that shape, and it's not spreading out too much. But it'll still be softer because we're doing this in the wet on wet technique. Okay. Then another branch that we sketched out which goes like that. Okay? Go over multiple times if you want, then remember we had another branch that was coming out like that. Okay. That's done, the branch area. Then now I'll go ahead and start adding some leaves again. I'm picking up my sap green color this time. Okay? Using my sap green, we will try and make some leaves. Okay, Here I'm using the whole length of my brush. I'll show you the stroke. You touch down using the tip of your brush. And then you press your brush and create the shape of it. It's not evident on there, but I'll show it to you now again on paper and then you can see it. Okay? You don't need to complete it out. And try doing this in different formats like try and bend your brush. Try different directions and unique combos. It's absolutely fine that it doesn't form the exact shape that you're expecting it to be. Okay, we'll do the same towards the top as well, some nice shapes. Okay, let's do another one there, then another one there. But this one like I made it overlap on that branch that we just did, another one there. All right, so keep adding some nice ones. Now that you've added the green, let's go ahead and add in some darker greens over the top. Because you don't want it to be like a single color. You always want to add in depth to your paintings. Right? If you pick up the dark green, just try add it somewhere. In fact, you could also even add leaf with the darker green. See, I'll put some darker green over there, maybe. Okay. Maybe I'll draw a branch or leaf with the darker green. See another leaf there. Then we'll add more later. But now we need to add in the snow over this. Okay? The snow over this is going to be tricky because you want to add, but you want those white to be soft. Let's go with the white quash here, okay? But I'm going to mix in a tiny, tiny amount of lavender into my white paint. This is because it will become like a violet undertone. You don't want it to be perfectly white. Okay, here I'm taking my white quash and we'll start, but try and apply it over the branch. Okay? That's where the snow is resting there over the branch that you just added, the same over on the other side. Okay. It's wet on wet. So make sure that your paper is wet. It's very important that our paper stays wet for this purpose. Okay. See another one over there. We're going to mark in a lot of snow, let's add many of the leaves is like in snow. If you pick up a lot of green for me, your paper, wash your brush off so that you get rid of that green that you picked up back. Okay. Then pick up the white again and go and add in any shapes that you want. Okay. I think I want a bit more green on my paper. Some there and there. And then back to adding the white things there. It's, it's been snowing for a while. Almost everything is covered in a lot of snow, if you know what I mean? Okay, here, it's a lot of snowy region. Then we have this ranch. Now, let's paint the bubbles in the background. I know this is quite tricky because your paper might have started to dry out, But if it started to dry out, then paint those bubbles in wet on. Right. It's absolutely fine. Okay, remember we had like a bauble over there. The color that I'm using here is now cadmium red. Cadmium red is opaque and it'll appear right on top of any color that you have. Because this is the background, it's absolutely fine that you don't have a clear cut version of the cadmium red. And it also serves as a good purpose that our paper has started to dry out because then your paint won't spread too much when you're trying to apply these bubbles. Okay. Apply paint for these bubbles. And then another one over here, which was kind of overlapped by the other one is here, isn't it? Okay, so there we've painted the bubbles over there. Then there were two more bubbles, right? So there was a bubble here, but it's kind of like masked by the snow. So these branches are kind of like in front of it. Okay, that's fine. I've painted that bubble in wet. I love the way that turned out. I can't remember if I had any more bubble. So these two are foreground. I know that. Oh, this one is supposed to be in the background as well, so let's add that, Okay, So you can see I'm leaving all the foreground elements that we made, which is kind of that snowy bit there, which is supposed to be in the foreground. Okay, So the rest is like in the background. So let me paint that. Now, before you let this thing dry out, you need to add in the shadows as well. So I'm just adding another bauble here. Okay. I just loved this process of adding a lot of baubles. I think. So here. Now I'm going to pick up that paints gray, and let's mix it up with a little bit of that red and paints gray for the shadows. Okay, I think somewhere over there. Then here along the edge here, I want the shadows for this one as well. Something over the left side is where the shadow is going to be, towards the middle. Then on here as well, don't let it hang out there. You can go ahead and pick up more red paint and just blend your shadow here. This one feels like it's literally hanging out in the middle. And I want to get rid of that too much feel. So I just took my red paint and I planted it. See now it looks better. And you see how it's got that softness around. If yours is not that soft and you feel that you need to soften that touch, there is an easy method to do that. Pick up another brush. This is a size six brush and it's different from the one that I was just using. Go ahead, Pick that up and then go around your bauble that will absorb all those tiny hairs that are formed. Okay, Do not press too much because you don't also not want to lift up the yellow paint. You just want to create a shape. Okay, see I pressed a little bit too much and then I lifted off some of the red. But that's okay because it's going to be in the background. And also we will be applying snow over it, so I think it will not be visible here. Again, I'll do the same, just go around with another brush which makes the edge more smoother. Okay, see that? Okay, that's how you achieve the softness. And then once you wash your brush, make you right, nice again. Okay? You can easily get rid of large number of hairs this way. All right? I think that's pretty good. I love the way it's turned out. Now that's the background done now let's wait for this whole thing to dry out and then we can paint the foreground and we're done. All right, here I have completely dried up everything and you see how the white has faded so much. This is why I always say you should apply like really multiple codes or take heavy pigment when you're doing the background. Because if you want your paintings to be vibrant, then you need to put one shade darker than what you actually need because see how it's actually faded. I should have put more here, but there's nothing I can do now. And I think maybe the foreground and the snow will make this painting pop. That's my hole. Okay, so here, picking up my brush and we start with this bubble right there. So let's go ahead and pick up some nice cadmium bread. And now when you're doing this bauble, it'll be with the wet on dry and it'll be over the top and have like harsh edges, not so soft edges, which will make this part that is which will make this bauble be the foreground. Okay. All right. Added that bubble. Now obviously the next thing is to add in the shadow because while that is wet, it is good to add in the shadow. And because we painted this in the wet on dry method, it's going to dry out quickly. So we better add in the shadow right now. Okay. I just picked up my paints gray and I'm going to go around like that Then I guess I'll add some in the center, maybe a little bit over here, because that area is going to be covered in snow at the top. It'll have some shadow onto this bubble. Okay, then I'm just picking up a bit more of my cadmium red so that we can blend this thing that we just added. Okay, don't want it to be too much. Okay, added that, now we need a little bit of white highlight. Clear up my white first. Say it's covered in a little bit of green because I was applying a lot of it on top of the green. That's like picked up the green. That's good. Now let me take my white, make sure that it's very nice and creamy white. Okay. Taking that nice creamy white, I'll drop in a little high light over there. Okay. I picked up some red back. Let me wash my brush, dry it up quickly. Take a little bit more of my white, then I'll apply it over the top. Okay. If you do that multiple times, then you should be able to get a nice highlight. Okay. I think that's good enough because we're applying this in like a opaque color. The cadmium red that we're using is opaque, so it's very hard to actually get the highlights over the top. Ideally, if you're using like a transparent color, then you could leave the white space and paint around it and all, but we just didn't do that. That's Now let's paint this one. Oops, I picked up the wrong red. Let's paint this bubble. Before we paint that buble, there's something I'd like to do, which is to basically create like a light source there on that side. Because you see this bauble is actually like over the surface where it's got some light reflecting onto it. Whereas this one, we're seeing it inside the light source itself. So it's that same color, but this one I want some of that glow from the golden area to be reflecting on top of it. Here, I've applied a little bit of the golden color along the edge, so that will be the golden shade reflecting. Then I'll pick up my red and add the rest of the bauble. Okay, see now it's got like a golden area. We need to blend that. I can see that it's not blended properly. I'll pick up my gold again and I'll blend it into that. We just have to be careful because the red is very much overpowering than the yellow, golden shade. Okay. Just have to be really careful. Pick up golden shade and add it there. I believe I'm just going to lift up some part from this right side here. You could also do is drop in a little bit of water which actually creates a bloom. But this case it's going to be good because it spreads out the pigment. And in fact, it makes it turn lighter. Okay. See how that area is like turning up lighter but still has an edge? Okay. All right. Now, time for the shadow. The shadow is on this side and somewhat going towards the middle. Blending that. Yeah, I think that's good enough. Blended everything. And the highlight here, in this case, I guess you actually need a white spot where it's actually reflecting the light. Okay, that side. But you also need a separate highlight which is actually the original highlight. This is just the light reflecting of it. I'll place my highlight. That's just going to be somewhat in a lighter stage. We've added two bubbles, but now we need to add that top part of the bubble. But I guess I will make that into a slightly golden color here. I know that we have the quin gold. But what I'll do is I'll add in a little bit of yellow. See that a little bit of yellow occur. Then go with a bit of the qua, pick up a little bit of the quin gold and add over here, add to the top. But now, because we're painting it like in a golden color, you need to show as though it's having shadow which will make it look real. Picking up a little bit of brown. And then I'm going to add like a little line in the middle. Okay, then we'll also use brown to add in the ribbon and the hook. But now let's paint in the leaves first. Here I'm picking up my nice green shade. Okay, I'm just looking for a spot to mix on my palette. It's still got so many colors there which I haven't gotten rid of, but that's okay there. Here, that's my first leaf. Can you see how I did that shape? And then go ahead and spread it up. I'll pick up a little bit of my darker green so that I can join it right here at the end. Okay, that is a leaf then I guess I'll pick up a little bit of my darker green now for the leaf adjacent to it. Okay, here. Just picked up a little darker green or the leaf that was adjacent, then spread it. Now as I'm reaching closer to the bauble, I have to be really careful that I don't paint over the bauble and destroy it, just the line of the leaf in the middle. Then more green, this was in the foreground right here. We had another one there which goes in the foreground. But now you can paint over the one that you've already done. Here is the snow part, and I guess we have another one over there. I guess that's enough. You don't need to do much be cause when we add in the snow, this is going to look pretty. I already love the way this picture looks. I guess I'm going to stop at that. I'm going to pick up a smaller size brush so that we can add in the teeny tiny details. Okay. Here, picking up my smaller brush and I'm taking my darker green. Okay. And we'll start adding details like this, and we have the lines of the the leaves. You can add it in fact with brown as well, but I think I love the greenish shade, that term applying. It's just a line in the middle for the leaf. Okay. You don't need for the other ones. Now let's go back with the brown. I'm just picking up the brown that's already there in my palette, plus a little bit more. Let's add in the hook there. That was the hook for this one. The hook is not visible because it's under the snow, which we will add. Let's go ahead and put in the ribbon for that. The ribbon for that, I guess I'm going to put it in a red color, but this time, Ali, is are in rather than the cadmium red. Okay. Here goes the ribbon. And the other side ribbon. Okay. Just a ty, tiny amount attached. Okay. And the same goes for this. It comes over the top. We've got the two ribbon, you can add a little bit of shadow to one side just using a little bit of paints, gray like I've just added. We're done adding those details. The only thing left with is now all of the snow, the foreground, as well as the background ones. Okay, let's go ahead and apply the snow. I've taken some fresh white quash onto my palette here and I'm going to apply the snow. Okay, so I'm going to start with this area here which we had marked out as having snow. Okay, So it's like going in front of on top of this leaf here as well, and then goes over there onto the red. We need to capture some shadows as well, which I'll show you in a moment. Just observe I'm not painting the area where it's touching the bauble yet. Okay. I've painted all of the top regions, now we need to capture the shadow. Okay, so for that I'll wash off the gosh paint and then I'm going to use a little bit of lavender. Lavender is really good for capturing the shadow of snowy bits. If you pick up some lavender and then like try and blend it along with the white. Okay, You'll see that it gets that like a dwell tone color. And it also serves as the sea, a shadow bit of the snow. It's just when I'm trying to focus, I think my mind goes blank and then I'm talking nonsense. You can only see the snow bit. Pop, isn't it? I just love it Here. You can add in more white. Just make sure that it's not too much. If you want, you can add in a teeny tiny bit over the top of this one. I like it, I think I will just add it then. A little bit of my violet. Did I say violet? I meant lavender. Oh, you know that, right? I hope this doesn't look like a caterpillar, but maybe it'll make sense when you've added the splatters of it. There you go. The painting is complete as you could leave it at this stage, but I love the snow and the spatters. I'm just going to go ahead and splatter of white paint over this. Okay. We've been over this past three days in a row where we're painting these magical winter landscapes. It's all snowy and we just need to capture that. Right. Taking nice, creamy amount of guashdrop all over our paintings. Okay, I can see that some of the areas are still were in spreads. But it actually looks good because then it'll go like in the background. I should have waited for this to try and I actually forgot about drying this. Even when I tap using a second or my hand even, it spreads everywhere. I really don't like when it spreads everywhere. I have no control. But this is hurting as well. It hurts my fingers when I do this method. The good thing about this tapping method is that it creates those teeny tiny ones as well. Because when you do it with your one hand, there's not enough force for the teeny tiny ones to come around. That's one disadvantage of the one hand method, But if you've got a very watery, creamy paint in your brush, then you will get enough. But then those smaller splatters will be tough to make. But there you go, I've got nice splatters, something going on over on top of this area here, which is where the white spread out, but it actually looks like a snowflake to me, and I love the way it's turned out. I'm going to leave this one over there and just going to blend the other one using a little bit of red, that this one looks like a snowflake. Oh, this one. See this one? It really looks like a snowflake. So I'm just going to leave that one because I love the way it has that snowflake effect on there. But I know obviously that you're not going to see such a large snowflake. But as I said, this is just a magical painting. So I'm just going to leave it there. Okay, there you go. We're done with another day's painting. I'm just going to quickly dry this up before we can remove the tape. All right. Everything is now dry. Let me go ahead and start removing the tape. You go. I've removed the tape. And can you see how good has this one turned out? I really love when we add splatters and I love the background soft ones that we've captured there. See those bobbles in the background? I hope you enjoyed painting this one. Thank you for joining me today. I'll see you tomorrow for the next painting. 9. Day 05 - Baubles in the Snow: Hey, hey, Hey, welcome. Today, five. This here is the painting that we're going to be doing today. From all the sky backgrounds that we've been doing and the random branch and everything today, it's like a bouquet light effect. If you look at the image, we have some background bouquet lights. We have Bokground bouquet lights. And then I couldn't help it, I added a snow as well. Initially, when I started this painting, I thought that there wouldn't be any snow. And we'll just leave it as the bouquet lights. If you like the part where it looks after the Boca lights have been painted without the snow, then you can stop right there and not add in the snow. It's totally up to you. I just couldn't help it. And I want to add it on the top. So that's why I did it. Now let's go ahead and have a look at the colors that we need for this painting. We start with Quenacrodone, gold, Alizarin, crimson, and transparent brown. Then for the folk ground, we have cobalt blue and violet. For the baubles we have cadmium yellow, cadmium red, sac green, dark green, and paints gray. Then for the Bochelts, we have cadmium yellow, cadmium orange, and obviously white quash. These are all the colors that I have used for this painting. If you're ready, let's go ahead and paint this. Go is painting. All right, let us start. We'll add in the Christmas bubbles at first. First of all, let's mark end of snow, which is again, going to be towards the bottom, because that's the best for a composition, isn't it? Sketch it out lightly, because we actually need to add the baubbles in front of the background snow. But then there, that's the level where my snow is going to be. Don't make it completely straight. Add some curvy lines like I've just done. Then we'll have a large bauble. Okay, here, that's one of the large baubles. Make it resting in the snow. You can use any object to make the circle if you want, or a compass, whichever you prefer. I prefer to do it freehand. So that's why I have done it like that. Here again, it's resting in the snow, but I'll have another bubble in the front of it. Okay. So what I'm going to be doing is I'm going to be erasing some part of here. But actually, let's just draw the bubble and then we'll erase it. Okay, This one is going to be slightly smaller in shape. Okay? Slightly smaller circle here, there. That's in snow as well. Okay, now we'll erase off the extra bits that's inside of this buble there. That's our simple simple reference picture. All right, let me show that closely. Here you go. It's as simple as that. You can actually refine your background sketch a bit more. Okay, we'll paint the background. We're going to be doing it slightly different today. Let's see how we do that. Okay, so here I'm going to add water onto my paper. Slightly different as in it's not going to be snowy but rather bouquet effect. I mean, you've already seen the paint thing. I don't even know why I say all these as if it's like a surprise. But it's because I haven't seen the final output yet while I'm doing this. But you, because of the way I edit these, have already seen the outcome that it's really funny, isn't it? Okay, so here I'm applying the water and I'm going to skip the area of the baubles. That's what's important. Okay? So we carefully avoid that region of the baubles Okay. Of the circles that we've added, also along the edge of our snow. Okay. And the rest of it is just background. This is still a magical painting, if you've already seen it. But it's just slightly different. That's it. Okay, so here I'm applying the water. You can lift up your board towards the other side now because you have this edge which is completely filled with water, which means you can allow it to flow and remove any excess water or puddles of water that's foaming on your paper. I'll just lift it off my board and getting rid of all of those bits of water. Okay, now we'll get to the painting process. We're going to start with quin gold. Of course, you guessed it right. Okay. Here, I'm going to add in the quin gold, but I'll add it towards the base. We're going to paint from bottom to top. I said wrong at first, but here we'll apply it around our buble careful. Okay. Because we don't want paint to go inside. We want it to be nice and beautiful, right? Picking up my golden shade and adding. Just carefully adding. That's why you can see how I'm doing that, using the edge of my brush. And then as you move up to slowly move up your pigment. But we do need it to be slightly concentrated amount. Okay, In this case, if you're actually mixing up your golden shade and mixing it up using more brown and orange version so that you get it to be more golden color. Okay, there, I think that's good enough. Now, we'll start from the top to bottom. But in fact, what I think now, I think it would be more vibrant if you were to add multiple layers of paint. Let's actually do that. What I'll do is this just clicked in my mind as I was doing it. Let's just put the Quinacdon gold all over. Okay? Like towards the whole of our painting. And then when you add in multiple layers, it'll make it more attractive and vibrant. Remember I said that it's always best if you can add that, because otherwise if you're adding the Alizarin over the top, then there's high chance that the Alizarin, because it's transparent, will reveal much of the transparency of the paper. But now when you apply the Alizarin over the top, it's not going to reveal the underlying color, which is underlying white of the paper, but rather we'll reveal the golden hue underneath. And we'll give it a beautiful glue. So you can either go with Quinacrodone Rose shade or Alizarin Crimson as well. This one is PV 19, which is Quinacdone Violet Rose. Okay. Any of those colors would do and see how vibrant and go just that's coming out on the top. And I'll show you Alizarin here on this side. It's actually just the same because you're applying over the golden shade. Okay. Bringing down my color here. You won the golden shade underneath the red up around there. Okay. We'll blend it. We actually need to work quickly. We're going to build this up in layers now. We'll apply the red all over, up to the top region. Okay, up to the top. Pick up your paint as quickly as possible. It helps when you know where the paint is in your palette. If you work slow and you're like, where's my paint Then your paper is going to dry out. With practice, you will quickly learn where things are on your painting, on your palette, and how you can quickly grab colors, how you can quickly mix them. It all comes with practice. And I'm sure that you are all rose by now. Here I'm picking up a little bit more of my golden shade and we're going to, again, mix it into the red. Okay. Because we want to blend that red and not have like a clear separation. Then I've washed my brush and then I'm just going to use water to blend it again. Okay. Going around, it doesn't have a clear separation. The red, I mean. Okay. In case you pull down more red, go pick up a little bit more of your golden shade and just blend it there. You'll see what happens then. Now we'll add the next color, darkest on the top, which is going to be transparent brown, or Ban Tumber or Vandyke brown, any kind of dark brown that you have. That's basically what you're going to use and then we'll apply that on top of the red. Now you see that area has got three layers now on the top, but on the same layer itself. On the same wear on wet, but you've got like three layers which will give it more depth. If you were to just apply the brown at first, it would be really difficult for it to show through and have this gorgeous colors underneath. That's why I instantly thought that this is the best idea. If I want to capture that depth in my painting first, I, I picked up paint screen. I don't want paint scray today, not for the background here, brown Again, I'm quickly just laying down the colors at first. Okay. And then I will get to the blending part. Just need to be quick about this. Okay, here I think towards the right, I want it to come all the way up until here. And I wanted it more darker towards the top. But I think I won't apply paint scray because I like the way it has some gold shining through underneath there. I've laid down the paint, but now we need to go ahead and blend here. I'll pick up my Alisa and blend that in again. Okay, blend. Just move your brush around in circles such that you don't see a clear distinction between where the brown is ending. That's our intention. Okay, so see, I cannot clearly distinguish between where the brown is ending. If you picked up a lot of brown from the top region. You can go ahead and wash your brush and use your Alizarin again, like I'm doing right now. Okay, stop there. But now you can see a clear distinction between the Alizarin. So we go back with our cold and blend that in. Okay? So long as you do that, you'll be able to not have a clear separating line between any of these colors. Look as though you see how it's not having clear blend. Another thing that you can do now is our paper is wet. Let us like tilt your paper towards one side so that your paint will flow and mix by itself. You won't see it happening like in real if there's not a lot of water. But trust me, your paint is moving. I can see alien seeping down here. And then it creates those go go us shades. Okay. You can add in a bit more darker color if you want here. I'm picking up my brown and I'll add it to the tip there, maybe some around here. But because you have your paper at an angle and you're applying just the top, I believe it's okay. But if you find that there are some areas with too much water and you want to blend it, you can pick up your red shade and blend it into the brown. Okay. See how I've blended that region. And see how we've created that glue. It looks like it's burning in the background, isn't it? But we're done with that part. And now we're going to add in some bookie lite effects, but like in the background ones. Okay? Today, because we're not using the snow, what we're going to be using is some different colors, okay? First of all, cadmium lu pick up a nice amount of cadmium low. Okay? But we want it to be watery because we're going to do splatters and that too wet on wet splatters, Trust me, it's going to look great. Pick up some wet on wet paint, which is nice and drippy. And then you might want to use another paper just so you mask off her two little baubles. And then go ahead and splatter those beautiful colors in. You'll see it spreading straight away. Okay, in that wet paint. And you really want it to spread. Okay, that's the background what we're doing then. You can wash off the yellow. And let's go ahead and pick up some cadmium orange now. Okay, So this is going to be some lighter because cadmium orange, it won't be that visible as the yellow over the already existing dark background that we have. But then it is still going to be there. So that's the reason why I'm adding it. If you do want some larger ones, what you can actually do is you can pick up your color and you can go, physically go and add. It doesn't usually work because it's not that good as the splatter itself. Because see that one, it's so light, you can use it to your advantage to get those lighter ones. This is quite different from the orange and the yellow ones that we've applied. In order to get different effect, you could actually use it to your advantage. It's not like the perfect bouquet. Light effect, you could actually just go and sit and make each bouquet. But if you don't want to do that, then this is the easiest step. Maybe I'll add some of them nice because I like the way it's turned out. After it's like expanded, I'll pick up my color, add it. I think that's good enough. That's our background done now. We'll wait for this whole thing to try out so that we can add in the foreground. Okay. All right. It is completely dried off Now, can you see piques? I used a heater. Some of it actually spread out and got really blurred. There was some amount of water here. I mean, the paper was wet. So when I was using the heater, itreread then it turned out a lighter. A whole lot lighter than I expected over this area. But it's fine. I like the beautiful effects of that subtle bouquet lights here. Now we opened the foreground and the bubbles. For painting the foreground, I'm going to just quickly apply water to the foreground region. Skip the bubbles for now. And again, just only apply to the foreground. Just a quick load of water. You don't need to apply like a whole lot because it's a smaller area and you can do this really quick. Okay? Violet, of course, just applying a teeny tiny bunch, you can use a mix of colors. I think I'll use a little bit of cobalt blue as well. Okay, here, a bit of cobalt blue at the base. Then I think we can go with a bit more violet in some places. Whoops, I picked up a whole lot of violet and see what's happened. I think I'll just absorb that extra bit there. Turn it lighter. That's our snow done. Now, let's go ahead and paint that bubble. The first bubble, I will make it with red shade, I guess. Okay, dark red. So this is a cadmium red that I'm picking up. We've done this bubbles for so many times now, isn't it? I can't remember if it so many times, but yesterday's painting actually had a lot of bubbles. So that's why I feel like I've done this so many times. Yeah, that's good enough for us, isn't it, to paint those bubbles. Here. I come down. As you come down, be careful. Do not touch much of your snow because then it could spread underneath. It's actually going the other way round. It's not spreading underneath, but rather it spread the color from the bottom is spreading inward. I know why that is, because I'm flying wet on dry on this one and the other one was wet on wet. There is more water on the other side that is on the snowy region, it's flowing to the area where there is less water. See how it's flown inside. I like that effect, so I'm just going to leave that there. All right. Add to that. Now for a tiny, tiny bit of highlighting, what I'll do is, first of all, I'll just use my brush and try and lift off some amount of paint. It's a very dark red, it's not going to happen. But then I will lift off. Just use your brush multiple times. Run it over, then wash as you've picked up the pigment. Then try your brush and to do that multiple times. Okay? And then what I'll do is I'll take cadmium yellow and I will add over the top and blend it. Okay? See, this is opposite to the way that we've added yesterday. Yesterday what we did was we applied a little bit of cadmium yellow and then blended the red along with it. Today, we are doing it like a blend. Okay? I mean, by using the lifting method, I just wanted to show you different methods as to how you can approach this. But now, obviously shadows pick up your face gray here. I'll apply that to the bottom. But need to blend that, picking up more red, Blending that into the red. Okay, We just need it to be darker. That's why we applied the paint screen at first. And then once you apply the pain scray, pick up more red and just apply over the top, which will make it blend beautifully. All right, see how that stand up. I love the way it's looking from that highlight. Let's add a little bit of white highlight as well. So let's go ahead and pick up some white paint and we'll add it over the yellow. Okay, this is white quash and then you add it right in the center. It's like nice glowy highlight. Although now it's looking like an apple, isn't it? But it's okay. I think there are ways to make this look like a pop. What we'll do is just pick up a little bit of color, red color. I know that we haven't made a sketch, but then I guess if you do that and add a little shape at the top, that should work. But you need shadow here, picking up a little bit of brown and adding that there. And also to the side here, over the top. If you add, then picking up a bit more of the red, mix it up nicely. Okay. Such that it looks good. Yeah. See now it's much better. It looks like a bauble. All right then I think this end is not much dry, but I'm still going to go at them to paint it. I'll start with a nice sap green. This one is going to be like a very vibrant green color. Just pick up the green, go ahead and apply over the whole area of that next bubble. Okay, there. Now let's do some nice highlight lifting. So there I lift off some paint okay, like that. And then I'll pick up my yellow, add it over there, try and mix it up with green towards the background. Then for the depth, I'll take my dark green, maybe a little bit of paint gray. Add it towards the bottom. This time we're not going to add in the detail of the bab part. This Bob sticking inside the face of it, is going down green and blend it nicely. Just took a little bit of yellow again and added some nice highlight. If you want, you can drop in a bit of white towards the center. We're basically done with that region, but I feel like the foreground has gone too soft. What I'll do is I'll reapply water to the foreground. Snowy region also, not everywhere because I just want to give it like different levels of snow here. If I apply the water just to the base part and pick up a little bit more of the violet and then add there. Okay. You could also even apply the same cobalt glue that you did that should elevate the foreground a bit. Yes, that's much better looking than what it was before. Since we're done with that part now, let's go ahead and paint the background. Okay. The background as in the details in the background for that going to pick up the same color that we take the splatters with, but right now we're not going to do splatters but rather we're going to draw those Brochelites. Okay, This is the part where it gets slightly time consuming, but just go ahead, pick up your yellow and add in as many circles, small, tiny, tiny circles as you can. Okay? Because that's the Boca Lites. Try to skip the areas that there's already the Boca Lites from your splattering. That will also be visible because you actually don't want to get it off right. You want it to be there, right? But if there are some splatters which you don't like or hasn't turned out well or hasn't blended well, then you can go ahead and apply over the top and Masket at this stage. Okay. That's how you can salvage, I mean your painting, tiny circles. Take your time. Okay. If you have that's it. Okay. I've added a whole lot with my yellow. So now we'll go ahead and add some with our cadmium orange as well. So it's one of the colors that we use for the background, isn't it? Here? Using my cadmium orange, it's best to add the cadmium orange to the brown regions, mostly because it'll be visible. As you come down to the yellow, it won't be visible much because it's lighter and the orange is also somewhat lighter. So it's best to keep it to the top areas. Anything darker than the cadmium orange, it itself, then it'll be clearly visible. Okay, I love that now. Lastly, just add some more with white paint and that's it, picking up a white paint now. And we'll do the same and add some. Okay? The white is good for us to apply towards the yellow region, but that doesn't mean that you go ahead and add all of the white to that region. Okay? Just like in random order in some places. Just forgot to mention, if you don't actually have the cadmium yellow or the cadmium orange, which is opaque, you can also use guash instead. If you have like white quash or even acrylic paint, that is the yellow or orange acrylic paint, you can even use that. Okay. It will come nicely on the paper and you'll be able to see it pop over the water colors. Okay. Then obviously it'll be like a mixed media art. That's okay. Right? See how beautiful it has turned out? I like some of the background lights and some of these foreground ones. All right. Our painting is now complete, although I'm so itching to add snow on top of this, what do you think? I should we try it out like all of these paintings have been so much with the snow, isn't it? What Maybe I'll just add in a teeny tiny amount, because I'm literally so inclined to add it over the top of this. Maybe just a teeny tiny amount, but I know that it messes up with the background bouquet that we had added. But then still, who cares, because it's just gorgeous and beautiful when you add in the snow, especially those smaller splatters. Right. See how the teeny tiny platters are looking so good? Oh, actually, this is now looking so pretty because of how those background lights are there along with the snow, isn't it? Yes. Now we're finally complete with our painting, and let's go ahead and remove the tape. All right. There you go. And that's our completed painting. I hope you like it and thank you for joining me today. 10. Day 06 - Christmas Tree String Lights: Hello, hello, hello. Welcome to day six. And this here is the painting that we're going to be doing today. So as you can see, it's a nice Christmas tree with some gorgeous string lights going round and round like a spiral. And then we've got a beautiful sky with some complimentary colors. So we'll go ahead and see the colors that we need for this painting. I have basically used cadmium yellow, quencrodone gold. Of course, then if you want, you can use a bit of cadmium orange, but I'm telling you alternatives as well. Then there's cadmium red, transparent orange, indigo, cobalt blue, sap green or dark green, olive green, some violet, transparent brown, and paints gray. And obviously there is white quash. But I guess I don't need to tell you that every day, isn't it? So there you go. Those are the colors that I have used for this painting. If you're ready, let's go ahead and paint this one. All right, let's start. We'll first mark in the Fokround snow region from there where we can deduct where the tree is going to be. Okay, I'll have my found snowy part somewhere around there. And it'll go up like an angle over there. And then here is where my tree is going to be, so I have my tree over here. And then it's going to extend up until here. And from there you can slightly just mark out the conical triangle shape, okay, Which is going to be our tree. It's not going to be entirely over the paper. Don't ever try and put edges around edges. It's called tangent edges. If you like, literally make your tree sticking out along the edge here. It doesn't look nice. It's always best to chop out some parts of your painting towards the right or towards the left. It just makes it attractive because it's got no tangent edges. Tangent edges are basically when two edges are like sticking together or like touching each other, it doesn't really look good there. We've got some part of our tree chopped off there. Here at the top, we have like a star. You can just add a star over there. Okay, there I've added like a star. I think I will add like some more extra legs for the star. Okay. I've added a star at the top. And this is basically tree, I think my stars like slightly bend that side. Okay. Let me make that star proper. This is where the tree is pointing. Okay? My star needs to go straight up, isn't it? You can actually make a simple star if you want. The simple star is to draw a triangle. Then add an upside down triangle over the top of it, and you'll get the simplest star. It can't get better than this. This is the simplest star that you can try. Okay? But then after that, you can maybe like add in some extra sparkly areas. And there you go. That's the pencil sketch. We don't need to sketch anything else. We'll go straight ahead and paint everything else now. Okay, so we'll start by applying an even coat of water onto our paper. Okay, so only towards the foreground region. We'll start by applying water. Here I am taking my water and using my flat brush and applying the water. Okay, so you can see here I am trying to avoid the tree but also you don't want to avoid it entirely. You can go somewhat inside the triangle, but don't fill it up entirely inside the triangle. Okay, that's the catch here. So here I am applying my water slightly inside the triangle region, but not entirely. Okay. So apply an even coat of water. Lift your board in case you want to get rid of all the large pools of water that's forming. Okay. All right. I think I'm happy now that I've applied the water, let me absorb excess water that may have flown out. I see that this area has a little bit lesser water, so I'm just going to reapply it some more. I think that's a good amount. Now, I'm going to go again with my size eight round brush and we're going to paint the sky. Okay. For painting the sky, I'm going to go with like a little amount of orange shade. I'm starting with my orange shade. Okay? And then what I'm basically doing is I'm going to add in the shape of tiny, tiny clouds. Okay? Use the full length of your brush. Don't do that. And do the pointed once. Okay? Use the full length of your brush and then apply. Like that. Okay, That makes it more attractive. Okay, see using the whole length of my brush and the parallel side. And then putting down my paint. We're putting it down in different directions. Okay, having some paint there. Then I think some bits there. We'll have some bit that's continuing over. Then maybe another bit. I see that there's a pool of water there. See that? It's probably because I applied some extra. Remember, this is what I'm saying. But it's always easy to absorb extra water. I'm absorbing all that extra bits of water from my paper. Just using my brush and my cloth. Okay, just absorb it and then it'll all be fine. Then here I take my orange again. I've applied some more. See, now we've applied some nice orange strokes. Now I'm going to go with a little bit more orange, but this time I'm going to make it a little bit more darker. Here I pick up my orange. Okay, And I'll use the teeny tiny pot on my palette. And then I'll take in a little bit of brown as well. I'm mixing that into my orange so that it turns into a slightly golden brown color. Okay, see that using that, I'm going to go over the top and add in some shadows. Okay, Here, that's my brown and my orange together. Using that, just adding some nice shadow elements. Okay. If you feel that your orange has started like dry out or something, go ahead and pick up more orange. Add it over the top. Okay? See how I am reinforcing the orange on my paper. Okay. But make sure that your other areas are not dry. You need to be working quickly for this part. Okay. Then the next color we're going to take a basically cobalt blue. And we'll add that to the rest of the areas. So this is tricky I know, because it can really get in the way of the orange and make muddy colors on your palette. But trust me, it's going to be all right. Okay, Even if it kind of mixes, it's not going to form any green, but rather it'll form like a slightly grayish tone or a dark bluish tone because that's the advantage of using cobalt blue. But if you are using some other kind of blue, then there is a high chance that it will make a very muddy mixture. Okay, so that's why try and stick with cobalt blue over to the right here. Apply it to the areas in between. Okay. Can you see how the sky is turned up? Now, let's go ahead and slightly blend it up as in you're just going to use your brush. Okay. And make sure that it slightly blends up. It's just going to form grays. It's absolutely fine. Okay. It's not a muddy color. Gray, orange and brown actually go and create a gray color. And why is that? Because orange is the complementary color of blue. It's not going to form greens, but rather it's going to form and beautiful grays in our skies. Okay, You can see how that's turned up. You can just pick up a little bit more and I'm trying to fill in the gaps. See that? All right. Then as we now approach towards the bottom, we'll pick up some violet. And I'm going to add that. Okay, over the area. Okay, a bit of violet. Blend that violet into your cobalt blue. Okay. Don't have a clear distinction between the violet and the cobalt blue. Taking that violet over to the bottom and picking up some more and adding. And then I'll stop where my foreground area is. Okay, There no clear distinction between my blue and my violet. It's very subtle and it's a very lighter color that we're trying to add. Now we'll add in some background trees. How do we add those background trees? We're going to do that with a very darker color. You can pick up a smaller brush if you want because I think it'll help with getting the shapes correctly. I'm switching to a size two brush at the moment, and then I'm going to use indigo. Okay? Indigo is like a nice dark blue color. Okay? If you don't have indigo, you can mix your thalo blue with pain spray and you'll get this gorgeous color. Okay? Blue with paints. Gray would be an ideal color for using indigo. Okay? You can add in some wet on wet trees. Okay? Draw the stem first and then some tiny, tiny marks, see and make your pine trees. Okay? You can do the same and have your pine trees in different heights. It doesn't always have to be in the same height. Some of them can be taller, some of them shorter. But it's in wet. On wet because it's the background trees. Okay. This is the one that's going to be in four crump. We'll make that in detail. The rest of it, I want it to be slightly bloody. That's why I'm adding it this way. Hi, love this part of the sky. It's like a glowy fury, oranges and it Do you think so? Too much water and see what's happening. It's spreading out. I'm just absorb extra water from my brush and then draw the line. It's okay that if it happens with your point tree, just make it a bit taller and then come down because that sent of heart is going to be not visible anyways later on. See okay, another tree. One more tree there there. Okay, I've added the tree. Rest of it is going to be the foreground, But I also want to add something. We want to be adding a little bit of snow onto those trees. So what I'm going to be doing is I'm going to pick up a little bit of white paint. Okay? So some gorgeous, nice white paint, a very creamy consistency. So this is my white quash paint. Okay? Which I've been using for all of these lessons. We're going to take that and we're going to drop it over the top. Okay? In some random areas as if like snow is accumulated on top of it. See how is that turned out? Okay. The same for all of the trees. Pick up your paint each time. Okay. It's not going to be evident once it dries up because it's really on top of a darker color. So it's going to turn up very, very light in the end, but that's okay. We just want to capture some word lightness. And it's a very, very much in the background, so you don't need to capture much of it in detail. But let me tell you something else in order to make this painting more realistic. Or not exactly realistic, but something that will make the person that's looking at it go, wow. Is to add something else. You remember you just added these white onto those pine trees, but there's something else that you can add which will elevate those pine trees. It's basically picking up your white paint. Okay, I'm going to mix my white paint here in my palette nicely. Just cleaning my brush because I don't want to ruin my palette. And then pick up a little bit of orange, you remember the orange from the sky. And then mix it up with that white paint. Okay? Then add that tiny, tiny bits of orange, okay, on to those white areas. Not all the areas, but in some of the areas, it's only going to be visible when somebody looks to your painting up close. But let me tell you, these are the little things that makes your painting pop. What is this orange color? It's the light being reflected from the sky. Because the sky, this bright orange color, there is no way that your snow is just going to be pure white and that's in a cold color. You need to have some light strokes, which is why we're adding the golden orange shades in between. There is another way that you could do this, which is to basically like pick up a little bit of cadmium orange and you add in some random areas as well. Okay, any of these methods you can do, you can either mix your orange with your white and add that over the top. Or you can pick up cadmium orange and add that over the top. So now that we're done with that, let's go ahead and paint the foreground. I believe this part here is almost dry, so I'll just go ahead and paint and I'm going to take nice violet color. Okay, that's where I'm going to start with here. I'm going to apply that violet color onto the base right there. I know that it's going to create some white gaps, but that's okay. I think it'll serve as the snow on my paper. Okay. Then I'll go ahead and soften the bottom part immediately. And also towards the right because we don't want any harsh edges right here. I have softened the part and then I think I'll apply a little bit more water. I wanted that violet to be nice and in a very good consistency, which is why I applied it with a ton dry stroke. Going to go a bit more over the top. Okay, I want it somewhat darker but then I also want it softer towards the bottom. I'll soften out the bottom part of my violet. See, then I guess I will apply a bit of violet, but I need it to be more color than the one that to be applied for the background. Okay, that's the basic rule here. I want more color on this side. And more depth on that side. Okay, Then comes our color, the quin gold. And that's basically what's going to be going underneath the tree area. Okay? Because there's a lot of lights on the tree which is being reflected down onto our snow, and that's basically it. Okay? Apply that and let that soften out. Okay? Which is why I applied the water. But you don't want that gold to be mixing with the let shade. Okay? Just apply that teeny tiny amount of golden shade to right below the tree area. Okay? See just below the tree. And then soften it out. So now we've captured the light there. The next thing is obviously for us to paint the tree, but I guess we'll wait for this whole thing to dry out before we attempt to paint the tree. Okay. All right, there you go. Everything is now completely dry, and our tree here is not as simple. It's going to be quite tricky, and I'll show you the trick. Okay, So we're going to do something really gorgeous with this tree. Okay, What we're going to do is, first of all, we're going to paint it with our go the quin gold color. Yes. Trust me, don't worry, it's going to be all right. Okay. Just within the triangle. Don't go outside. Just within the triangle first, I'll paint it with this beautiful, gorgeous golden color. Okay? Yes, towards the edge, you see some softened out area, which is okay. Use that proper yellow paint, the quin gold color. We'll paint the whole area inside. Okay. Now, that's looking very weird, isn't it? But that's okay. Don't worry. Now, what we're going to do is we're going to start painting the leaves of the tree, okay? The Christmas tree branches or leaves. Okay. For that, I think it's best if we can switch to a smaller size brush. I'm going to take my size brush for this purpose. This is my size brush and this is my silver plaque velvet brush. All right, I think I've already shown this in the art supply section. A brush and we're going to start, basically I'm going to start with olive green here. Olive green because that kind of reflects brownish or orangish stones. So if you mix your sap green with a little bit of orange, then it turns into olive green. So that is the reason why we're using olive green because the sky is orange. So the tree, which is kind of like green or sap green, is going to get those orange hues in. When you add those orange hues to the sap green, it looks like an olive green shade. So it's just directly paint with olive green. Okay, so if you don't have olive green, mix your green with a little bit of orange or a little bit of brown and you'll get olive green shade. Okay. And that's basically what we're going to start with, Nice consistency of olive green. And then you can start and start adding, you see like the branches or the leaves of the pine trees. Before you go ahead and do for the whole thing, we're going to leave some slight gaps at random places when we do this, okay? And those gaps will have those yellow or the squin gold seen underneath that is because those will be the lights on the Christmas tree. Okay, so let's have a light somewhere right here. I'll just add the outside bit of that tree there. There's a light there. The lights on this tree is going to be like in a spiral, going around like that at an angle. Okay? I've put my first light here, then my next light is going to be here again. I have my tree part going out there. And then I have all of this area here, which is going to be with only the Queen Gold. Just that area. I've left a large cap there. Then we'll go around again. Okay. But you can have some light somewhere in between. Maybe I think I'll have another light over there. I've left like a little, teeny tiny gap here. See that? Picking up my olive green again. Then we'll add until we reach the point where we want the next spiral. I think the next spiral is going to be somewhere there. Until then, I'll keep adding, We definitely need to add shadows and everything, but let's just go with this one first. I think I've reached the point where it's going to be the next spiral Here, I'll leave a huge gap. That is my next spiral. Slightly slanted. I should have made it slanted. Oh, but that's okay. Whoever's draped the tree didn't do it properly. I think it's easier if you can mark the position where the next line could be somewhere there. Okay. Over the top of it, all of the areas, you could actually fill it up and add the details on the tree. Okay. You could leave some areas blank, but it helps when there is that underlying color on your tree, don't you? Think so. And make sure that you get rid of the edge of the triangle that you painted with a yellow. Okay. That's why when you add this green on the top top, then that yellow is not going to be visible. Okay, here. Now this is the thing that we said is going to be the tree. The next area, Okay, Don't make it like a straight line, but rather do some criss cross zigzag areas like that. And see now that's the line where the next layer of the lights are going through. Then I think I'll have my next lights somewhere there. Okay. And it's going down like that at an angle. So until there, let's fill in with a color game. Now, as I said, we do want to add in some shadows, right? So it's better to add the shadows while your strokes are still and some of it can plan. So I know that all of the areas at the top has properly tried out maybe, but you can still add on the top and some areas will be still wet and that's what we want here. I'm picking my sap green and I'm going to mix it up with my brown. If you are a person who've actually mixed up your olive green, then go ahead and mix more brown to it, and that will make it more dark. You can also mix in a little bit of paint spray if you want. Okay, here, picking up my paint spray, my brown and my sap green. And I've turned it into a very, very darker color by taking C, just giving to our tree, which is very important, but don't cover up the areas that you've actually tried to keep. Remember the area of the lights. Okay. This region here is my light. The other areas I can go ahead and apply. I have a huge area here which is basically more dark because there is no light in that region. Okay. Are we can go back with the olive green and fill up. Don't try to cover the whole thing up like by painting. Just still try to mimic the shape and the leaves of the pine tree. Because it's good when that teeny tiny amount of golden color is being reflected underneath. Okay, it looks really nice that way. The added that then coming back and now we have our next layer of light. Again, that is going to be like with the gap. Okay, that is the next layer of light, then I guess next layer light will be somewhere over there. Then I think I'll go back with the darker green that we mixed up and try to fail in, in some of the areas. Again, I know the light reflecting a lot of the strokes that I'm doing. Right. Sorry about that, shooting this at night. So you can imagine, but I'm glad that you can still see the paintings. Just need any bit more to do, which is towards the basic end. So that's where we said that next layer of light was going to be, right? So that's the area of the light. You still want to cover up the ends. Okay, we only want the lights to be like there next layer of lights. Okay. This is what I'm doing. I'm just using my brush and then the outward strokes. I know you're not seeing that. Okay, Let me try to see some out strokes. Okay? Like that. Yes. If I hold my paper at this, you can see it. I actually haven't set up the side for this class that was mainly that side was reflecting a lot of light that's coming from my studio light. I thought it's not worth it to show you just a lot of reflections. It's winter now, I can't help it. There's no way I can paint using the daylight light. Literally, there isn't any daylight light because the sun goes down by around 3345 and it's always dark because it's like literally gloomy and it's the winter climate, I have to use Sem studio lights and shoot at night coming down all the way to the bottom. Now at the bottom, we definitely want more depth in darker colors. You can use your dark green this time. That is because that area, like away from all of the light and is going to be like really dark right here. You can pick up the dark, dark shade, try and get it like the branches of your pine tree. Okay. In fact, you can even make it more darker by mixing a little bit of paints gray and adding over the top. I think I'm adding that paints gray to the extreme bottom because I want it to be even darker than the green that I will add it. All right, Now we've got that part of the tree. Now I'm just going to look at my painting and fill out the areas where I feel that I can still see that golden line of my triangle underneath. So I can see some areas here just covering that up. Now, we'll quickly go ahead and add in some Christmas baubles. Okay, for that, taking up my cadmium red because we had some nice red baubles. Okay, Try and put it up in areas where it's got some gaps. Not on the areas of the lights Here, I see a large gap. I'll put a nice red bauble over there. All right, Then I see a large gap there. Maybe I'll put a nice red bubble there. Maybe one over there. Okay, another one over here. We also don't want too much, we'll just add like a few. I think that's pretty much enough. But remember, shadows always taking my paints. Gray. Oops. There was a lot of water on my brush and I just stuffed that water. Okay, I've absorbed that extra bit of water taking paintsray. Add the shadowy bit to one end. Okay. Of your Christmas bubble. Then when we add in, the highlight will look much better. Okay, I've added the dark details, now let's go ahead and paint the star on the top. For that, what we're going to be using is a little bit of white paint. We'll use a bit of white quash paint. Okay, there you go. Mixing up white quash paint. We'll add in a teeny tiny amount of cadmium yellow. Cadmium yellow, because it is also opaque. It'll just help with getting the overall opacity. Okay, I guess I need more white. Okay, just going to pick up a little bit more white. See that creamy white that I'm picking up? And then I'll add it to my cadmium yellow. See this light color? I think it's like naples yellow in color. Maybe if you have naples yellow, you can use that in guash. Okay. That's basically what we want. We add it to the top, then we add the star as well. Okay? You can just draw the outline of the star and let the inside part of the star be transparent. Or you can paint the inside of it as well and make it like a solid star. It's totally up to you the way you want it. I'm just trying out first how this looks. Added the star, but it can't be in a single color. You need to give it some dimension for that. Now, you will go ahead and use a little bit of cadmium yellow and add to just some areas of the star. Okay? Which will give it like a dual tone appearance. Can you see how I've added that Now? Once that is done, let us go ahead and finish off with the lights that we said are going to be there. Okay, For those lights, we'll use white paint. The best part is now what you're going to see, how that's going to turn up. Okay. Remember we said that, okay, in those gaps there's a white light there. Then the light was going to be like in a spiral manner. I've added three lights there, then there was an individual light there, then more lights going in the form of a spiral. Okay. Let's add, add those lights closer clustered together in the spiral area. Can you see how it already looks as though that Christmas tree is draped in those lights and it's glowing? We're not done yet because there's literally some more things to do. I'm inclined trying to add snow over this, but I guess I won't, because this time if you add the snow, then these lights that we added, the beauty of those lights will be lost. I don't want that to happen. I want those lights to be gluing there, just like we picture it to be. I won't add snow today, sadly. All right. See now we've added that, but can you see? There's like a lots of gap there which we need to fill, so let's do that. But for that, I want it to be gluing because there is light there, so the area around it would be really gluing. I'll pick up my olive green, the same color that we added for the tree, and then mix up a little bit of the queen gold with it. Can you see the color that I've made? It's like a very more lighter version of the olive green. Okay. There, and then we'll start adding that. In fact, I think if you actually do it with your golden shade as well, it might work. But I think I'm just going to mix it up. But I see that when I'm doing this, my white is spreading. Like this one spread. We probably have to wait for that white to dry out before we can add these. Okay, let's just wait for it to completely dry out. All right, there you go. I've tried it up then now I'll pick up my golden shade and try and fill in some of the gaps. You don't want to go all the areas but just in some of the areas and try add that. Okay. But when you try to add it over the dry paint, it'll look odd because there's literally no connection between this color that you're adding and the olive green. We'll sort that just a bit. Let me just fill it up and then I'll show you how we're going to sort that. All right. I've added more paint at several places now. In order to make that connection, what we'll do is pick up a little bit of the olive green and start adding some amount over the top of this light yellow, olive green color that we just applied. Don't let it simply be sitting there, but let the golden color be showing through, but along with some olive green on top of it, that will make it totally linked together and not as though it's like sticking out. And can you see now each of those lights are like, glowing and nice. Okay. We're almost done. We'll finish off by adding some teeny tiny lights. So these were larger lights that we added to the tree. I guess there these are probably the big, huge round bulb lights. We're going to have some string lights as well, which are like teeny tiny ones. What you can do is just use the tip of your brush. Tip of your brush and start adding these drops. Okay? See another easy way or method to do it would be to add splatters onto the tree. Okay, You can do that if you want. I'm masking out the rest of the areas and then adding splatters if you really want. You can also go ahead and add in snow over the top of this. I didn't want to ruin that and take the attention of my lights. That's why I'm not adding that today. But see how it's turned out After adding those teeny tiny lights onto the tree, it's like our tree is literally glowing, isn't it? There's one last thing to do, which is to add the high light onto our Christmas bubbles. Each of them go ahead and put a teeny tiny dot over the top. I'm putting in mostly to the right side. Okay, which will capture the highlight. And now I can see the bulb is glowing. Okay. But I think I want to add in a little bit more glow. There is always that one extra bit with me, isn't it? So I'm taking a little bit of cadmium yellow and I'm just going around that white region that we just applied. Because I feel that I want it to be slightly more, you know, highlighting. Because of all of this light, there's bound to be some reflection onto the baubles, right? Yeah. Now I'm happy. Now I'll stop. Okay. And you might be thinking there. She said she's going to stop, but then she's still picking up paint. I just spotted something and then I really wanted to do that. I'm taking up my brown. I'm just going to give like a little bit of edge to my star. Okay, that was too much. I'll pick up probably the same color and try to blend off that edge. Yes, that's correct, that's perfect. Now, just blending a little bit of the edge, creating an edge. So what I did was I applied a little bit of brown and then I applied the same color over it because it gives like an edge to that stars, it's not a flattened thing, but will make it like a three dimensional object. Okay, that's what I wanted just only applying to one side. And yeah, I think that's enough. This side was too much, so let me just get rid of it. I don't know, I really want to add the snow. I really just can't help it. Maybe what I'll do is I'll mask out this area and then add some small amounts of snow. Okay. Now, for those of you've been wondering why there is snow, when she's been talking about, I'm not going to add snow, I'm not going to add snow is because of this decision that I took at the end to add in the snow. Because I just couldn't help myself and wanted to add snow. So here I'm covering up the rest of the areas. This is like teeny tiny snow now, can you see? It's just a little. And I'm using the smaller brush this time to add in my snow and not the larger brush. And I've covered up my tree using a different sheet of paper. Okay. I think that's much better. Slightly snowing, not heavily snowing. That helps, isn't it? Okay. It's just because I couldn't help it guys. It was so like literally killing me that I was not adding the snow to this painting. There you go. So our painting is complete. I believe all the edges are dry. So like we're free to go ahead and remove the tape. And here you go. Here's our final painting. I hope you liked it and thank you for joining me today. 11. Day 07 - Sleigh Ride: Hello, welcome to day seven. And this here is the painting that we're going to be doing today. It's a Christmas sleigh, a gorgeous Christmas sleigh, a magical scene. You can see it's quite magical because the sky is kind of like a turquise blue color, which is like really impossible, right? So let's go ahead and paint this one. Before we proceed, I'll let you know the colors that I have used for this painting. It's basically cadmium yellow, quin gold, of course. Admium red, transparent orange. Hello, blue, Hello, green, yellow, ochre, lavender, transparent brown, and paints gray. So there you go. Those are all the colors that I have used for this paint thing. I mention aqua green from Windsor and Newton. But you can actually mix the turquise blue shade that I have created here, the Turquise green, using hello blue and hello green. In fact, I do use that in the end because I did not end up liking the acho green mixture. So it's pretty easy, won't worry. Oops. And I forgot to mention cobalt blue as well. So I'm using cobalt blue as well. All right, so let's go ahead and paint this. Alright, let's start. So let us first catch out little object in the front at first. Okay, before we start with that object, we'll just roughly mark out the position where the four ground snow is going to be. It's going to be roughly like that. Again, one by third or below that of the paper. Do not make it in the halfway position. Mark our object, which is basically the sleigh. Don't worry too much about getting the shape perfectly okay, just go try to roughly get the shape here. I'll show you how I do it. You need a curve like that at first. And then let's have an angled line towards the bottom. Then follow that angle line and try and curve it upwards. Okay? Such that it follows the same parallel line and stops there. Now we've created like a slightly angled up shape. Okay, Then taking that at the top, okay, we'll have another curve there. It doesn't need to be the same on both sides. Okay? This side, the curve that we're going to be adding, needs to be, also I forgot, it shouldn't be that pointed on this side here. What you're going to do is you're going to take that curve and then slightly angle upwards like that, and add something like that. See that's a shape. And then bring this downward. Okay, And slowly take it and join to that right side where we've added that. Okay, Now we'll mark the right edge. Okay? Okay, Not from the edge. Okay, slightly from the inside. Mark. Make a slight angle and then follow it upward. Okay. No pointed edges here. Then again, as a parallel, parallel to this line would be something like that, which means we stop there. Then this edge would be the curve. Okay? The curve would be something like that. See how we're creating things here. Then it would bend down and it comes and joins the. See everything is in a parel manner and we'll add another line there. Now we need to trace out the other side, the inside part. Again, it would be parallel to this line here. What you can actually do is if you want, you can use like a ruler or something and look for the parallel lines. We sketched out this line or this line at the base, and it's all going to be slightly parallel. Okay? There is a perspective distortion, but we'll see it when it comes to that, okay? If I take that line upwards, okay? It's supposed to be that. But because of perspective distortion, let's try to angle it down a little bit, a tiny, tiny bit, okay? Which is why if you even not get the perfect shape, it's going to be absolutely fine because of the effect of distortion in place. Okay? There I've made in like a two parel lines and then from the edge of it we'll add the next one. Okay, bring that down and let that go. And join there, but you don't need to join. That is covered on top of this is snow. Okay. This thing is entirely covered in snow. This is covered in snow. This edge here is also covered in snow, just marking out the areas of where my snow is going to be. You will paint over it and then we'll be adding white later on. It's okay. There's an inside parallel space stair. But Again snow. And now that's the body of the sleigh. Now we'll mark in the legs. Okay. Like I said, it's okay even if it's like a little bit wonky shape. Because this object is actually, has a little bit of wonky shape, I guess, okay? And it has a lot of folds and bends. You only need to think of some lines as parallel. For example, now the base base part, You need to make it parallel to this line. If you add another line, okay, where it's resting, see that line needs to be parallel to this. But then after that it's going to bend. Have an inward bend like that comes down there. And then you don't need to complete the bottom part of it because it's resting in the snow. Okay, Again, this side and slide bend. Okay, Comes in. Now we need to mark the inner areas and the surfaces. The next plane that we see, here's another plane of this side that we're seeing. Since we're seeing this side, like we're seeing this side, right, so we see this side of the leg. Then we'll be seeing the inward side of this one. Okay. There, that's what we see. The base of its resting in the snow. You don't need to mark it. Now, the other leg. The other leg is again not going to be visible entirely. You just draw another parallel line right there, and that's where that leg is. Then as you can see, this one will extend further outward because this is here, right? The base part actually needs to go all the way up until here before it will start to bend and come over there, okay? I know this looks a bit tough. And you might think that, oh, this is really not worth it. But try it out, it will turn beautiful. Rusty. Okay. All right there. This here that you see is actually the area that's resting in the snow. See? Okay, That's the snow bit. There you go. That's our sleigh. Done. You don't need to do and focus on too much. Okay, there you go. That's the shape we're doing now. The rest of everything is background and snow. You've already seen the picture. So you know what's coming up. I don't even know why I keep things when I talk. And when I'm recording this, it looks as though it's like a complete surprise, isn't it? But the funny thing is where I edit, I put it at first and it's just really funny, isn't it? Now, let's paint the whole thing, okay? First of all, we're going to start by applying water. And here I'm using my large flat brush. When you're applying water, you can not worry about sleigh. Go ahead and apply water, especially to the whole of the paper. Okay, today we're going for the whole of the paper and really do not bother about any thing. The sleigh is going to be like in a very opaque color so we can make it over the top. The snow over the sleigh is also going to be in an opaque color, so it's absolutely fine. Okay, so just keep adding the water and make sure that it is in an even consistency. Okay, Nice and even consistency. You can tilt your board so that your paper doesn't have any large pools of water anywhere. Okay. Pools of water are very risky. You saw what happened on the last day, right? I had a pool of water and somehow it was not blending properly and I had to adjust a bit and absorb the extra water. If you remember. Okay. That's why I always recommend, like if you paint, when you're applying water, if you can just like create an angle on your paper, then all that extra water would flow down and nothing would stay in a flat area because gravity is going to help it to float down. Okay. Now I'll absorb the extra bits from the bottom. I've taken the extra bits up and we'll start with the sky region, okay? Yes, you. It's like a magical sky. I'm going to go for like a turquoise color for the sky. It's very surprising, isn't it? Turquis, but this is magical. Don't even put lots of thoughts into it. This color is actually Aco green from Windsor and Newton, but you don't need to use the same color. You can mix it up. The best mix I would suggest is Taloblue and Tallo Green together. What I'm going to do is I need this to be slightly bluish. I pick up my Turquis Green or Acco Green. Then I'm going to take slight bit of my The blue and mix that up, and now I get the gorgeous shade because I like, actually the shade that I should mix is probably these two together. But I just wanted to be a little bit vibrant and that's why I'm using this. Okay. And we go with this gorgeous Acco green and hello blue mixture. Okay, I'll tell you again, Hello blue. In fact, this is my halo green. Maybe I should mix that. Yeah, it's actually much better than the Acco green. There you go guys. I was wrong about the other color. Anyway, here, just going to mix that up. Then I will take it up words. Okay. Then what I'm going to do is just going to slightly soften out the base of my a green color, the turquoise green color that I've just applied. Because what we're now going to do is we're going to apply some orange into the sky, just like we did the previous day. Okay. It's okay if your orange slightly mixes up with the green today, it's absolutely fine. It's just going to mix and form browns. And that is a color that we're okay with in the sky for today. Okay, here, picking some nice amount of orange. Okay, we're applying that in an angle from the top, bottom, top to bottom. Okay. Here, picking the orange, adding some nice shades. Look at how pretty is that. Right Then we'll take some more orange. Okay, I'm going to apply over here. How can we not use our signature color of this series? Right? The Queen Gold here. I take my Queen Gold. Now I'm going to apply the queen gold. Notice where I've applied the queen gold is towards, like the bottom and not where all my orange or the acogreen color is. The Turquis green color is. We're staying away from all those colors. Okay. We only want the golden shades towards the bottom there. Okay. Now we'll go ahead and quickly do the rest of the sky. Hello, blue. Tallo green mixed together gives the gorgeous Acho green or the Turquis green shade. Now we'll add this go goos green shade. Okay. We're going to add it like areas in between. Okay. See, bill it up in areas in between. Let it be. That's okay. There is a little bit of yellow there. I actually didn't notice while I was just going on applying. But how I can rectify it, pick up a little bit of orange and immediately go over that region, see that's a little bit of orange, and see how that turned up. I'm just adding a little bit more orange and making things vibrant at random places. Okay, I've applied some more orange and I'm just softening things up at the moment. Okay, then here's my quiz. Shade there more blue, more green. I want this to soften up. Now what I'm going to do is I'm going to like slightly tilt my board and let all those things blend in. Okay? You can see that when you tilt your board, you get like these hairs. As soon as you see the hairs, go ahead and slightly soften them up. Let me tell you a tip while softening, make sure that your brush doesn't have water in it. Use a cloth or a tissue and then wipe off all the excess water. And then go ahead and do these softening process. Each time you do that, you're picking up water and paint from your brush. Wash it off, and dry brush again. Okay. And repeat that process and you should be good to go. Okay. You'll see there are some areas that it's going to be like slightly greenish or slightly brownish in our case. And it's absolutely fine here. Okay. But now I just want to add in a teeny tiny amount of shadow to the clouds because it's like one shade right now. So we'll pick up transparent brown and transparent orange. Or burn timber and orange. Okay. And create that gogous shade. Gogous golden shade. And add it on top of the orange. Make sure you add it to the orange area. Okay? You can add mostly to the base. Okay, See that now, once this dries up, it's going to look absolutely gorgeous. The sky is also not the focus in our painting. The focus is towards this thing here, right? The sleigh. We don't need to actually make everything perfect in the sky. Moreover, a lot of it is going to be covered by snow. I mean, you saw it, right? It's all covered in snow. I can't help it. I just love adding snow. Christmas class is literally my favorite because you get to add a lot of snow. I go nuts with it. And I just add lots and lots of snow. I see that. Bottom part has now started to dry, so I'm just going to quickly apply paint to the bottom and add the snow as well. Okay. The shadows on the snow. So that's basically my cobalt blue here I'm using today. Okay. Yes, it started to try. So I'm just going to quickly soften out areas where I see that it's started to try and observe. Here, I still have held my paper at an angle. Okay, I'm using my hand here. The easiest method to use is to put something underneath your board that you're using. For example, like this stave. In fact, you know what, I'll take the stave and I'll place it under there and they'll give me the nice angle. Observe closely my paper is under an angle right now. Okay. Here, adding a bit of cobalt blue, I'll take a little bit of violet. Tiny, tiny amount of violet. Okay? Because there are lots of yellows in the sky in order to capture the complimentary color, that is the shadows. Which means we need to be adding some violets as well. Okay? And that's the reason why we're adding this. I will take more cobalt blue. Place it under there. Okay. Because this is the underside of the sley, it needs to be under the shadow. Okay. This region is under the shadow, so let me pick up that more shadow. Let me show you. This leg here casts a shadow onto this side. Okay? And this leg here, onto this side like that. Okay. Some shadow there, paint the underside Okay. Nicely. You can stuff a little that any amounts of violet in there, I guess. Okay. Yeah, like that. And what else? Little lighter blue. Okay. Towards the top. It's going to be like literally lots of lighter blue. That's it. Okay. So the blue that I'm applying towards the top is very, very light. And you know that water color is dry, one shade lighter, so it's going to be really light when this dries out. There you go. I guess that's it with the background and the foreground which are all going to be, which was in the wet on wet. Now, observe closely, if you look at my paper, parts of it has dried. So if you observe that there are any areas which are started to dry, do not paint over it because that is the number one rule with watercolors when painting wet on wet. So if you see an area and you apply paint with a lot of water over it, it's going to spread out and create harsh edges and blooms. Stop working when you see that your paper has started to dry. And what you can do is you can add another layer over the top and work on it again. But do not do it while it is wet. Okay, Let it dry completely then. If you want slowly reapply the water again, that's the easiest thing to do with water colors. So let me go ahead and quickly dry this up, and then we'll paint. Oh my goodness, Can you see how lighter this is turned up? This is what I say. If you want like really vibrant colors, you have to paint it one shade darker, isn't it? Now, let's go ahead and paint the slate. Okay? So we're going to be painting this side first, and then we'll move on to the other side. Okay? This side basically, go ahead with some nice camium red shade. Okay? This is why I said it doesn't matter, even if your colors go over the slate, because the red that you're going to be using is opaque. Go ahead and pick up any nice opaque red shade. The one I'm using here is cadmium red. If you do not have this opaque shade, I think it's best to use like guash red paint if you have that. But if you're someone who's been following my classes for so long, then I bet you definitely have cadmium red, cadmium orange. And cadmium yellow is in your palette. Because you know how I use that to my advantage and paint opaque over transparent colors. That's why I really use that. Sometimes it's like using such colors to your advantage and knowing the properties really helps. Cadmium colors are opaque. You can apply over the top of even a darker color, even if you've got really dark paints, gray in the sky or any object. In fact, you could paint over it just with cadmium reds and cadmium yellows. It really works over the top because it's opaque. Okay, that is the property of it. Okay, I've added that. Now I'm going to add in a little bit of shadow here. I'm picking up my paints gray. I put my shadow on this area here. But what you can do is pick up a little bit more cadmium red. Make sure it's nice and even, and blended. Okay, You only need the shadow of that region over there. Then now we need this region again, that is also going to be in complete shadow. Okay? Because it's facing this side, which is away from the light. The light is at the back side, right? This side here is actually away and not facing the light. It's going to be completely undershadow, okay, in order to distinguish it, in fact, what the best method would be to actually pick up a little bit of like. Your pains? Gray. And add that. See the mistake I did is like not waiting for this side to dry. So that can you see how it's bleeding in. But I'm okay with it because I know that it's cadmium red and I can adjust it again once it's dried up. Okay. Even though I'm impatient, knowing such teeny tiny things helps when you're trying to paint. See how much it's spreading, but then I got the darker shade there. Okay. I'll just go ahead and paint in more shadow areas. This is going to be with paint gray and cadmium red mixture area here and a tiny, tiny line over the top, which vanishes there because it bends upward. But then that shadowy area resurfaces back on this side. Okay? For here, this leg is almost in shadow. Okay? Because it's over the other side. I shouldn't go over to that side. Right, because it's going to like smudge inward. Be careful. The top line, you need to be like making straight. But at the bottom line, you can have some bends or curves because that is where it is resting in the snow. I forgot to add the edge of this one, but I'll add that with the brush. Okay, that's edge. This is the other plane of that one. Let's go ahead and paint the other side. Okay. Like this one again, it's in shadow. It's facing this side and away, totally away from the light source. Okay. Plus I think it could also be the color of the sleigh, like that darker color towards the inside, and, you know, a nice red shade on the other side. I think that's good. We've added that then. Yeah, this side I've added I guess all I've got to do is like wait for things to try. Yeah, but I have this red area to add here. I can go ahead and add that. That is fine there. That's cadmium red. And we'll add that, which is the plane adjacent to it. Okay, making that as a straight line. And here it joins here. Okay. Then at the base, because it's resting in snow, you don't need to have like a straight line. Okay. Then what else? Yes, the legs that's attached, that's in red shade. Okay. So that side that we added first was the other plane of it. Now this is the main side that's visible. Okay, there you go. All right. Here. My sledge is now completely dried out. I'm just going to adjust that area which pled because of my patients. Okay. So here taking my red like that, you can either wait for that part to dry out and then paint a little bit more shadow over this side, which we will. But meanwhile, let's go ahead and add in the snow. For adding in the snow here, I'm grabbing my white paint. Okay, picking up that nice, nice quantity of red quash paint. I'm doing so much because this is from yesterday and it's dried up. G is better when it's fresh. It's so much better because this is dried up. I have to run over it multiple times thing first, starting right over there, adding over the top, make sure that you add it in a nice line towards the bottom. Okay. The top region can have some slight variations, but this here is like the surface of the sley's body. I mean, the bottom edge of it. Okay. That has to be proper there. Added the snow, we have the other side actually forgot to paint some parts inside of the sley's body. Okay. We'll do that after I add in the snow. Okay. This side in which the snow is accumulated here is an area that the snow has accumulated here inside. So I think the sleigh is like, has been sitting in that for so long that everything is covered in snow. And you see that now it's just a bunch of white paint, isn't it? Should not be like that. What could make this better? Why does it look like a bunch of white shade? Why do you think it's because it lacks shadow? Okay. The moment you add shadows to this, this is going to look amazing, okay? Even though it's snow, it needs shadows. Shadows to separate the different surfaces. Shadows to distinguish it from edges and corners. And once you add that, this is going to look amazing. What shadow can you add? Simple, the same color that we've used before. Lavender. If you pick up some little bit amount of lavender and start adding it on top of that white and blend it along. Okay. Then just picking up a little bit of white blending that I've got a little bit of lavender shadow there. Then where the now inside part, because it's inside, it's bound to have a lot of shadow right here. I've added a tiny, tiny amount of lavender there. Going to pick up white and blend that in the inside. See, as soon as you've added that, you can actually see the separation between the two areas of the snow. Right? We need to be doing this on all the areas here. I've got, I think, a little bit of snow there, and then I've got a shadowy bit. This edge here needs to be in shadow. Wherever you add the shadow, just go ahead and pick up a little bit more white and just blend that shadow region. Okay? I think a tiny, tiny amount of violet here. Okay. See, as soon as I've added a shadow, this is looking really much better, isn't it? Okay. So the inside part is where we need to add in the shadows really, really nicely, so that it looks like the inside part. Do you know what I mean? Okay. Because it really now looks like the inside, right? Because you've got the separation between the two and it's acting as though it's going inward. The only thing I forgot to add, which is the paints gray and the red mixture, is to add another line of body part for the sleigh. I didn't add it with a pencil as well, so I missed that. Okay. It's a line parallel to this one and it's the edge of it. Okay. It doesn't have any surface. It's like a surface that's like going down. That's why it doesn't have any snow accumulated on it. Okay. Any surface that's horizontal has now accumulated. This area doesn't there. We're almost done. Just going to take in a little bit more paint scray now, add in shadow areas more over this side. Okay. Remember I said that I was going to wait for that to dry out. I guess this area down here is more dark. Okay. Blending into that region. Then I can pick up a little bit more red blend, The whole thing, wherever you feel that we need to be adding to blend. Okay. There, I guess that's much more better now that I've added that. Next thing that I'm going to be adding is actually if you want, you can add it using gold paint in case if you have the shimmery paints, then you can use that or just go ahead and do what I'm trying to do right here. Okay? I'm trying to create that golden shade, but if you have shimmery paints, you can really use that. That looks much more amazing than this method. Okay. What I'm going to be doing is I'm going to be picking up cadmium yellow, which is opaque, of course. Okay. I'm not using shimmery paints, honestly. I have it and I'm just lazy to pick it up. But if you have, you can use that also. As you know, I always try to refrain to using this palette in my classes so that anyone who's joining in doesn't feel overwhelmed by all of these additional supplies. Right? Picking up some yellow occur. Okay, that's yellow occur. Yellow occur is one such color which has a really large activation time. Really takes a lot of time to activate that I'm mixing with cadmium yellow. Okay, You can see I've mixed my yellow occur with my cadmium yellow. All right. Mix it up nicely. Now we're going to be using to paint the edges and some nice shapes. Okay? So if I'm going to go inside, then I'm going to create like a slight spiral shape there. Okay? And then follow the edge of my sleigh, but in the inside. Okay, see something like that. And then continue over to this side and make the same thing. Okay. Then I guess going to follow along this side and again make something like that, it's just a magical Christmas sley. See that? That's basically it. Then if you want, you can go ahead and do more designs, any kind of design that you want. I'm going for something like this. It's actually really difficult to sketch out and do the exact same thing, like in a mirror. But I did it. I've added some design over there. And we'll try to do the same on this side. Okay, in this edge, remember perspective, it will be more closer towards the edge. Don't have it the same space as this side. I think I like it now. It's really looking good, isn't it? You can give, maybe this edge, do some nice golden touch. Yeah. Why not? Okay, there you go. We're done with that. We've added so many shadows and everything. I think the only step now is to add in a lot of snow and we're done with this painting. Let's go ahead and do that, okay? So snow, snow, beautiful snow. Okay. Here, picking up onto the paper and everywhere. Careful if you're using the to brush method, because then you can have your paint all over your table and everywhere. This method actually hurts. This finger hurts from doing that. Today, I guess I'm going to add some lavender chops as well. Okay. Just giving a shadow to my snow. Okay. So here, lavender and without that, in some of the areas. Okay. Yeah, I think that's enough. Not too much. You also don't want, like too many of those lavender ones, but there you go. That's our painting for today. Let's remove the tape. Here you go, guys. Here's the final painting. I hope you liked it and thank you for joining me today. 12. Day 08 - Fancy Christmas Baubles: Hello, hello, hello. Welcome to day eight. And this is the painting that we're going to be doing today. It's just some gorgeous two baubles. You might think it's similar, I know, but it's literally got some other things in the background. Let's have a look at the colors that we need for this painting. This is one painting where I have not used the quin gold. Can you imagine the colors you basically need are cadmium yellow, cadmium orange, cadmium red. Hello, blue, indigo. Or paints gray, A dark green, olive green, lavender. And obviously I've already mentioned paints gray. And lastly, of course, white quash. Don't forget that. So these other colors that we need for this painting. And now let's go ahead and paint this beauty. All right, let's start. First of all, we'll mark the foreground and the little baubles sitting there in the snow. I know that this looks quite similar to the ones that we did before, but as you've already seen, the background is quite different. So let's do that right now. So here I have my foreground snow, and you can kind of like sketch out the whole thing, and then we'll add two baubles, the hair sitting in the snow. Okay. So it's like a circular shape, obviously. Another one, probably slightly bigger. I think for the other one as well, it was slightly bigger. Right? Yeah, but that's okay. I guess we'll just make it slightly bigger and then have the thing on the top that makes it look like the pop and maybe like a hook. And for everything in the background, we don't want to sketch that out, but maybe the folk ground pine leaves, you've got a pine leaf like that sitting there closer to the snow. Then another one goes like that, another one there, and another one, that side. Okay. That's basically our pencil sketch. There you go. Let me show that to you closely. Okay. This is basically the pencil sketch that we want to be doing. Once you've got your pencil sketch ready, let's go ahead and paint Now, we're going to be painting the background. Let's apply water to the background. We need to be skipping these two little bubbles there. I would say the background is quite tricky, but I'm sure that you, after all the paintings, after the reindeer one especially, you roll really good at it. Here I'm skipping all of those areas of the baubles and applying water onto my paper. As you can see, I'm using a large flat brush. I've applied water over the hook area because I think I might be able to recapture that with opaque color in the end if I apply paint over it. So I'm just going to skip that and just go over, there you go, like before you can lift your board so that any excess water that is forming into large puddles or pools or your paper can flow out. Okay. And then it will accumulate the bottom, which then you can wipe off easily. Then I'll wipe off excess water out. Today, I'm using a tissue because I can't find my cloth, making sure that everything is even on the paper. Once you're confident that everything looks good, you can proceed. Now, I'm shifting to my large size eight brush. Okay. And we'll start with the background. For the background, I'm going to go with a color. I need it to be like a cool, nice background. What I'm going to be doing is I'm picking up my lo blue and I'm going to be mixing it up with indigo. I'm mixing it here in my palette because there was already indigo there. I know that fine, because that's the color that I want to mix with. Okay, that's bright blue indigo. Mix together. If you don't have indigo, another color that you can actually mix together is paints gray. Maybe you can do that as well. It gives you that dark, vibrant color. That's what basically we're going to be applying onto the paper. Can you see that? Goes color turning up that's bright blue. And let's do paints gray because actually my indigo on my palette is finished and I haven't filled it up. Okay. Start from the left side and be careful about it. Okay? Because on the right side we have our tree to do. Remember the pencil sketch of the lines that we did? Stay away from there Okay. For the time being. And then I'll tell you how we're going to do with that approach on that area. Okay, here paints gray and hello blue mixture. Come down, right to the point where the snow is. And obviously go around our bubbles that we've sketched out. Okay, around that thing. Like I said, this is a dark background, but we'll bring out those hooks later on. Paints gray and bright blue. Coming back here, Let's add some more over the top because I can see that it's like getting lighter. And obviously I keep telling you water colors dry. One shade lighter. Okay. What am I mixing? I picked up the wrong color. It was fine. It was an Indian, three blue, but I don't want you to be confused. Okay. Paint gray, bright blue over the top. There you go. Keep adding. Come over to the right side as well there. Keep adding bright blue and gray together. Come a bit down there. Up until that point. Now what we'll do is we'll do the tree, okay, We'll do some background trees and then we'll go with the four round ones, Okay? This here is supposed to be background tree here. I'm picking up my dark green, but I want it to be cooler because it's in the background. What you do in order to make something cooler, pick up a cool color here. I'm going to pick up Telo blue, which is actually very cool, and I'm going to mix it up with my green. You see it's turned into like a telo green color but not tello green because tello green is more light. I'm picking up this color which I mixed with my dark green and my blue. Okay? My bright blue tell blue. And then you can use that to trace out the shape of those pine trees. See some things random. Okay? Dark green and low blue together. And you put that there in the background. The one that comes here, we'll put that in the foreground. Let's not paint that, okay? In fact, if you pick up a nice darker green and add it over the top of the blue that you just applied, because it's a lu blue, it's going to be absolutely fine. Okay, I've got some nice bluish background. Now we'll get back to painting our background. We've got some gap stars here picking up my paints, gray. The paints gray. Back to my Hello Blue. Need more? Hello Blue. Just going to go over the top and fill up the gaps. Honestly speaking, you don't need to fill the complete gaps because there's snow everywhere. It could be like it's covered in snow. Moreover, we do need to add the snow right now. Okay, here I'm just adding more shade. Because I know that this is going to literally get lighter as soon as my paper is dry. I want it to be vibrant. That's why I'm picking up more colors and adding on the top, mixing it up, spicing it up together. And that's the background part of it done, which I just saw that I hadn't filled up this left side of my bubble. Okay, that's the background part done. Now, if you want to give some lighter colors, you can give that, but it's completely okay. But let's now try and add in some of the snow on the trees, on the pine tree leaves, okay? So here I have squeezed out white paint because for this purpose, it's better if you have fresh white paint. Otherwise, it's going to be so watery and so light that you won't be able to make it appear on the background, which is why I have picked up fresh paint. And you can see how creamy that is on my paint brush, See that? Okay. And that's what we're going to be using, that you can use that and then try and make those shapes. But as you see, I've picked up a lot of those colors from my paper pack. Wipe that off or clean your brush. Then take fresh white paint. Keep repeating that process. I know probably you might waste a little bit of white paint in that process, but it's still so much worth it to get that nice snowy effect on the top. Okay, here, let me wash that off, picking up some more fresh paint now on. This side. Okay. Washing that off because I've picked up a lot of those colors picking up again. And here it's just going to be like in some areas. Okay. Because this tree is like vertically, almost towards the top. So it's going to rest in the areas in between. So that's why I added in between. Okay. Here, same. It's going to be just in some areas, it's not the tree, it's actually the leaves. Forgive me for saying it wrong. Okay. Then there's another thing that we need to add, which is like the twig that goes in between. But we need to be capturing that with a nice opaque color here. I'm going to be using my cadmium orange. Okay, let me pick up my cadmium orange and observe closely what I'm going to be doing. I'm going to mix my cadmium orange with paints gray or dark brown. Because I need it to be dark. But I also need it to be opaque. Paints gray and transparent brown or burn tumper are all either semi transparent or transparent, which doesn't make it opaque, which is why I mix it with cadmium orange, which I know that is definitely opaque. Okay, and then you use that to draw your center line, and you see it come on the top, see that? That's how you get your center line there. The same for this. Now we've got the center line in, we've got the thing in. Maybe remember those background stars that we used to apply. Maybe you could do some of that. It'll just be more attractive because you've got those fading out stars in the sky. It's sky, but yeah, feeding out stars in the background. I think that should be enough. I'm not going to add anymore. And then now what I'll do is I'll wait for this whole thing to dry out. Okay? All right, there you go. It's completely dried up. Now, let's go ahead and paint our two bubbles. Okay, I'm going to start with the one on the left and I'm going to be using my lo blue for that. Make sure that the blue that you have in your background is dark indigo or paint, scrape halo blue because you can see that I'm applying my lo blue here and how it's like, so vibrant in front of it. Okay, let's make our light source. I'm going to have my huge highlight there. I've left a gap. Then I'll paint the rest of my bauble with this. Hello blue color. Okay, And then just follow along the circle and also paint the top part. This is quite easy, it's like coloring in, but obviously we need to add in shadows later. Don't forget that. But let's just do this process quickly. Okay, there you go. Here I've got the Hello Blue. Now I'm just going to make sure and soften out the edges of my highlight area. That's going to be like my high light to be in a circular region just softening towards the inside. And then we'll put in darker areas. Okay, the shadow region here, I'm picking up my paints. Gray, this edge here. Then I guess it can go like that towards the center and a nice dark chunk over there. And this is not a shadow area because it's a bauble that actually reflects a lot of objects around. That's why it looks weirdly this way when you're painting the shadow on these bubbles. Okay. So don't confuse much. Just try and add your black spots at random places. Okay? It really has no point. That's where you're trying to apply or like to look after this theory of the light and shadow thing. Okay. So I'm picking up a little bit more paint screen because I need to apply on this one as well to make it look like the top edge. Okay, so we've got that covered now. Let's get to the red boble, basically going with my cadmium red. But I guess I need to actually wait for this to dry out, So let's do that. Okay, let me quickly try this up or you can wait for it to dry out. It doesn't take much long. It's going to be really quick to dry out. All right. There you go. I know that the tip part here is dry, so I'm just going to continue Okay. There using the red paint mark in the highlights of this one again. Okay, Over the top the highlight is going to be like somewhere there. Just draw a circle and then I'll paint around it. Okay, so there you go. Now, softening the inside of that ye light, just like before. If you kind of start losing the white area that you had left for the highlight, then you can always use some white paint and bring back your highlight. Okay. Just make sure to soften out the white as well because you don't want it to be like, you know, like sitting there as one harsh edge. I like softer edges, but if you'd rather prefer to have harsh edge in your painting, it's absolutely fine, you don't have to worry about it. Okay, so here now I'm going to pick up my dark paint, gray color and apply the shadow on it as well. It makes more sense when you add such random shapes over Christmas bubbles, rather than painting it like perfect circles and getting the shadows perfectly. I just don't know why, but I've seen lots of pictures of these Christmas bubbles, and that's how they look like. Just go ahead and soften it up and join those lights. And you can pick up dark paint, gray, and then add to the top as well, a little bit more red to just spread it out. Okay, there you go. Now I've got the two bubbles before we paint the foreground. I guess we can go ahead and paint some of those leaves in the background now. Not the background, actually the foreground ones for that. Basically what we're going to do is we're going to pick up a little bit of the cadmium orange and like you can mark out the center line, another one over there. Now you can have some more in the front. Okay, just tiny, tiny ones. Now is the case. I'm going to be using olive green here because my olive green is opaque. But if you don't have a green that is opaque, I have an easy way out for you. Mix your cadmium yellow with yellow blue or any blue that you have, that'll make it opaque because cadmum yellow is opaque. Mixing any opaque color with any other color is going to make it opaque. Obviously, if you mix it with a pure transparent color, then it's going to be somewhat opaque and semi opaque, but it still be opaque and will still come over the top. Okay. This is why you can freely go and create the ease, see how I'm creating these leaves. You just need to do your hand like that and get the trees in the brine tree shapes in. Or you can sit there and draw the separate branches. But I'd rather do this because this is the easiest method, okay? When you're painting, always look for the easy way out to get your shapes, okay? Here, this swift movement. If you actually hold your brush further away, it's going to be even easier to do that. Oh, that's much easier to see that. Don't try to control the shape that you're doing. Keep your brush further away and try and get the shape. Okay. See how I'm doing that? In fact, because there was a lot of white space there which I didn't put the background in, you can go ahead and add in a lot more of those leaves. Okay, now we'll add here as well, but while you're adding here, we need to be adding shadows and some darker lines as well. Okay, here, I know that in this angle you probably can't see much. I'm just waiting for that region to try out. I think I'll just let it dry before I'll move on and add to the top. All right, there you go. It's up. So I'll go ahead and add and you can see how it comes even on top of that paints gray color that we added over the cadmium red. Can you see how it's appearing on top of that? You can easily mix your green color by using just a yellow and blue sheet. Okay? So don't worry about getting your colors. Okay, Then now I'll go for a little bit of the shadows. For this one I'm taking my dark green and I'll put it in some random places in between there. Because this area has got a lighter background, which means you've got to put in the shadows. Okay. You can see how I'm adding the shadows in the exact same manner that we put in the strokes. As soon the shadow, Can you see how real that's looking? I don't know what's the word realistic? That's actually the word. I said it right the first time anyways. Okay. See, keep adding. In fact, even though this is the dark background, but you can still add in the shadows. And it'll be fine mainly because the background that you've added is like in wet, wet. It'll have dried out, but you need to add more highlights that can be achieved with more color like that. But what I'm going to be doing is I'm going to be mixing my olive green. Okay, there's my olive green. And I'm going to take it here in my palette. And then I'm going to mix it up with cadmium yellow. So those of you who are mixing this yellow by mixing this green, by using your cadmu melo, add more cadmium yellow into the mixture, then it'll have more lightness. Okay? And more effect for adding the highlights. Okay. See once this dry out, it wouldn't be so bright, but it'll look much better. Okay. There I can see how that's looking. That is the little Christmas pine leaves that adding. Okay. You can get rid of empty spaces and some lighter lines there. I see a lot of white in the background over there. So I'm just going to fill it up with more leaf parts. Okay. There, like onto this poble as well. Maybe we'll add another branch over there. It's absolutely fine to do so picking up that lighter shade, adding that in between, that actually gets rid of the white space. White dead space. There's no more white dead space. I know there might be a little, but when we add snow over the top, that would be gone. Now the last thing to do, there are three more things to do, which is first to basically, obviously paint the foreground. Here I'm applying water, and then you can apply water all the way up. Paint the snow. Snow, obviously in the usual color, which is the lavender shade. Okay, here I'm picking up a few lavender color and adding that up. And then I've softened it. Okay. Remember there's one thing that you need to capture which would be the literal snow, the shadow under the tree. If the leaf area that you just did is wet, make sure to try it up while you do it, because can you see? Some of it is spreading. But I like the spreading look. Okay. Here you're going to apply water in between the strands of the leaves. I know it's tricky. And can you see that some of it is spreading? It won't spread too much unless your stroke was too wet. Okay. Once that is done, you're going to pick up your lavender. You're going to add that in between into those areas that you applied the water. Okay. This area needs to have more shadow because it's resting in the snow. It's not going to be as light as this. Okay. It's need to capture more shadow. You pick up your lavender and try and go in between the leaves. Add it. Can you see how that dark shadow has already transformed The picture? Needs to have that shadow there because it's resting in the snow. And that's good. It looks so good. Get rid of the white spaces and add in the shadow. Now, that was the one thing, foreground. The next thing left to do is to add. Let's add some design. Because we've been painting empty bubbles for a while. I just feel that it's good to add in a design. Okay, that's with the white quash you can add with a different color if you want. Liked yellow, but I prefer the. A white on it. Okay, That's basically going to be any kind of design, let's draw snowflakes. Okay, snowflakes are basically going to be, you're going to be drawing an x shape, then another x over it, and then mark out the ends and add little inverted arrows. Also, I think if I add in larger snowflakes, it might be more effective. Okay, let me try that. I'm going to try that one. Quite a larger one then. Like I said, inverted arrow, larger one was much, much better, isn't it? I tried to do a smaller one and that didn't work out. Then if you've got space, you can add more in the inside, another inverted arrow. Yeah, that's looking good. And so much like a design, isn't it? Let's add another one here. While you're adding, be wary of the fact that you design is going to fade under the tree. So do not complete it when you touch the tree area. Okay. Leave it up to where the tree is and you can even like, go over the under the branches. Okay. Okay. It's like how it's faded behind the tree. Maybe because of the smaller one that I did there. I need to match some more next to it. So I'm just going to add another one right here and make it smaller one, it matches this one. Maybe here is got to two, but lots of bigger ones On smaller snowflakes, I think I will add snowflakes on this one as well. That's pretty easy, isn't it? And I'm going to do only bigger ones on this one there. You know what, I just realized? I'm going to add one such that it's like fading into the snow. Okay? So this part here is gone over to the snow. It's gone into the snow. And if you want, you can add one over there as well. And assume that it's like little part of it being seen. See that? Okay. Just a little part of it being seen. Okay. I think we're good to go. The only thing to capture the snow over the top, there's going to be a lot of snow resting over the top. What I'm going to be taking is I'm taking my dense spite paint, okay? And I'm going to be stuffing it right over the top because it's got a surface. You would think that, how can it be there? But it's a ball and this Hooker is like in the middle. It's still got the top area for the snow to rest on. There will be snow. Okay? The same goes for this one. Snow resting over the top. Always never forget the shadow. Okay? Taking a little bit of my lavender paint, stuffing it at the bottom. Okay? You don't need a lot. Just a tiny, tiny amount. And then just go ahead and blend it with your white. Okay. Now we can finish this painting with a lot of snow. I did say that. We tried to add the end. Maybe we can do that. Just pick up a little bit of Gadmium orange and try and add in the hook. But it's absolutely not necessary. I didn't even complete the hook. I think I'm just going to add in the stars which are my favorite. And you know that, right? Go ahead. Fill up the whole thing with enough later stars. There you go. We've completed the painting. I hope you enjoyed this one. So let's remove the tape. Okay. There you go. And that's the finished painting. I hope you like it and thank you for joining me today. 13. DAY 09 - Hanging Christmas Wreath : Welcome to day nine and this is the painting that we're going to be doing today. I hope you like it. And let's have a look at the colors that I have used in this painting. The colors that I have used are cadmium, yellow, green, gold, of course. Cadmium red, Alizarin, crimson, sap green, dark green, olive green, violet, transparent brown, and paints gray. So basically these are all the colors. I mean, you don't actually need all of these colors, but I've just used a lot of these. For example, on this wreath here, you can mix just green and a little bit of a lighter color, or cadmium orange. I've actually used cadmium orange, and I forgot to mention that cadmium orange and mix that up to get kind of like a sunset color. And then in the sky is where I've used a quin gold, Alizarin crimson and the violet. And for the tree here, it's just a quin gold and the transparent brown. So you could just two with a little bit of colors and some of them you can mix yourself as well. So there you go. Let's go ahead and paint this. All right, let's start today. Obviously you've seen it. It's quite simple. It doesn't have much things going on. It's just basically going to be a tree branch and wreath on it. Okay, let's just sketch out of the tree first. Then first of all, somewhere around there is going to be the background. Then we have the lone tree. Okay, You can sketch out the tree and let it have branches going outward from wherever, then more branches towards the top. Then our main branch is going to be something like this, which goes thinner towards the right side. Okay. I guess then the tree trunk maybe. Let's make it a little bit more thicker if it's got to have this long branch. Okay. This thick. Yeah, that actually makes sense. Then we'll have it much better. See, okay. And then it goes thinner and thinner towards the right side, and then you can have more branches. You can have like thin branches sticking out. I guess we can do all of that with just our brush itself. The main thing here is this thing that's tied around. Okay. So taking the rope. Okay, Going the other side there. Okay. So this painting, I'm totally imagining it out of my head, but I guess we can do it right, and then we've got to have like a round shape. Okay, That's where the wreath is going to be there. And then I guess it's tied like somewhere over there which masks away inside of all the leaves and decorations on it. Okay. The thing is you don't actually need to have it like a perfect circle because let's have it actually in a slight oval shape indicating that it's slightly bent because it's hanging on a branch. Then definitely it's going to revolve around right then when it revolves it's going to look like an ellipse. I guess that's more attractive as a picture than to make it completely symmetrical, if you know what I mean. There also, another thing that I forgot is you need to give it surface. It's turned this way, so you're going to see more of this side. This side is going to be like slightly thinner and then, but then you start seeing the inside of it. You see, imagine it like a tire. At first you'll be filling in. Also, just do it as a wreath if that's difficult for you. And then you just want to add the snow and everything on top of it. You're more than welcome to go ahead and do that as well. Now let's paint. First of all, we'll start by applying water onto our paper. Basically, it's just simple. Let's just go ahead and apply water to the whole thing because we'll paint the background first. Here I'm taking water and then I'm just going to apply water to the whole of the background, okay? Just make sure that the water that you apply is even and does not have any large pools formed on your paper above the snow line. That's where we want it to be. Don't mind the tree as of now. In fact, if you want to get like a softer snow line, you can even apply water all the way to the bottom. It's going to be absolutely fine. All right there. Now I've applied the water and I'm just going to add my colors. I'll start with quin gold for this one, because it's just so beautiful, isn't it? So here I'm just going to apply. The Queen Gold. Okay, What we're going to be doing is we're going to be creating some nice ships. Okay? This is going to be like the extreme background where the sky is being seen. Okay? It's like a wintery scene, but it's like a nice sunset scene. Okay? You know what I mean? There's no point adding anything on top of the tree because it's going to be masked out anyway. If you need to put any strokes there, make sure that it's not on the tree. We will be covering up the tree later on. So then if you add any of those strokes right now over there, it's going to be absolutely useless. Okay, Then pick up more darker colors and somehow add to the bottom, which will create like the depth on the clouds. Okay? Maybe I'll add like some portion there and then I know that anything over to the tree is pointless. Okay. Then as I come towards the bottom, I'm like decreasing the colors. Okay. Is meet for darker colors over there. Then for the rest of the sky, we are going to go for a magical color. We'll try to create like a magical theme. And I'm going to be starting with my ilet. Okay? We have to do this quickly because your paper might start to dry out. Grabbing a nice amount of violet and go ahead and apply it. Remember to leave gaps and do not touch any of your yellow areas because then it might turn to like muddy color. But so long as you stay away from those colors and area, you'll be absolutely fine. You can see that I'm applying in the areas that's like in between. Okay. And just applying my colors. Okay. You might want darker colors to be over at the top. Nice darker colors over at the top. Then let's pick up a little bit of Alizarin. Okay? And you can drop it into the areas where there's like the joining between the violet and the yellow. Okay. That would make it not form any muddy colors. It would just slightly turn like a brown shade wherever there is a mixture. But then it's going to be still gorgeous because it's just a brown shade and not a muddy color. Can you see how I'm gradually mixing in my Alizarin? And also make sure that as you come towards the bottom, you reduce the amount of pigment in your brush there. I'm reducing the amount of pigment in my brush. As you can see, it's completely reduced. Okay. You're going to go with a very lighter shade towards the bottom then I think towards the background, if we add something there, it's probably going to look weird because of the fact that the wreath ends there. What I'll do is I'll probably pick up a little bit more red and create a lighter tone of background over there. I think that's much easier getting rid of excess water from my paper. And this will give it a soft touch as well, if anywhere I see that. It's like trying to bleed out or not blended. I'm picking up my colors again and trying to blend it slowly. Can you see? It's bled out here. And it's mixed with a violet, but it didn't create a muddy color. I'm just going to leave it right there. Okay. That's a point where if you look at it, it's completely okay and you're okay to leave it like that. Okay. Just picking up a bit more violet because I want to make it darker towards the top. I always make it darker towards the top because that's where perspective kicks in. All perspective, things that are further away needs to be lighter and things that are closer to us needs to be darker. The sky there is actually the closest part to us, that is why we make it darker. And also the bottom part, towards the center, is the furthest point. And as you go towards the end of your paper is the nearest point towards you. Okay? All right, that's done. So I'm just going to wait for this to completely dry out so that we can paint in the tree and the wreath. Okay? All right. It's completely dried up. Let's paint the snowy background face because once we've painted the tree, it would be really hard for us to go and paint the background. Okay. That is why applying water, you don't need to apply all the way, just slightly where the Alizarin ends. As you know, the Alizarin has seeped down to the bottom because you've applied a lot of water. I mean, you applied water to the whole of the paper and that's absolutely fine now for the bottom. And to get nice vibrancy, pick up some violet and then start to blend it and create shapes. Okay, that would be like the foreground, but I guess you can mix in a little bit of cobalt blue to it, okay? Gives the snow a better dimension, I would say. And do leave some gaps, it's absolutely fine. So I'm just going to leave it at that. And that is going to be my foreground. Now let's quickly try this up because for the tree to be painted, this area has to be dry. Although you can always start from the top, and by the time you reach the bottom, it's going to be dry. But I just want to do this quickly. So that's why I'm going to dry this up. Okay, there you go. It's completely dried up. Now, let's go ahead and paint the tree. Okay, It's going to be actually simple to paint the tree, but we'll use like a dwell town color so that it looks a bit more attractive. So you know that there's a lot of light over this side and there's a lot of light over the side. Which side do we choose as for the light? Difficult, isn't it? But I think I'm going to go for the left side because, because the wreath is over here and I just want to make it like in a much better way. It's only going to be light up until here and then maybe some light over there. Okay, see this area is lit just a little part on the left side. I've used quin gold there. Then I'm going to pick up my brown shade of mix in with the quin gold over to the right side. Okay. We had the separation, the tree there okay, where it was separating out air and another branch going over like that. I'll show you another way to have this light enough as well. Okay? That's basically after you've painted the whole tree because you can always use opaque colors to your advantage. Okay? This is now just my transparent brown. Okay. I've got a lot of questions from where the tans print brown is. I don't know if I've already mentioned in this class, but it's from siniliar and I absolutely love it because it's just so gorgeous and it's just so dense. You can see and it's also transparent. So if you want it to be opaque, you just apply it in a very dark consistency. If you want it to be lighter, you just apply a lot of water and it will be transparent along and filling in the tree as you can see. Now you've got that lighter spot over there, then this is where we add in the branch right then it's going to be like just like you've added the sketch. And then it can go thinner and thinner towards the right side. Like I said, you can add more branches to anywhere on the tree where you think is more useful and makes sense to add. I think that would be like I'm just going to add another small branch that goes like that, maybe another branch there. I'm just using the tip of my brush. And that's very important that you use the tip of your brush to get these smaller branches. In fact, you can switch to a smaller size brush if that helps. But see, I've got a nice branch over there, maybe. Why not? Like another smaller branch. Okay, that looks much better and I don't want any branch this side. But I think I'll branch out on this one. It's winter so everything's like dried up. Okay. We've got enough branches over there, and then the tree just goes up and there's more branches there. In fact, if you want, you can branch out on the top of this one. This is endless. You can just go on and on forever. But we don't want to do that right now. So now let's get back to our wreath. And what I'm basically going to do is I'm just going to fill it up with one color at first. This is just so that there is some kind of background when you're adding in your elements on the tree, on the wreath. Okay? It's just basically the quin gold, so it'll have a golden hue underneath. Okay. It doesn't need to be perfect. Just apply some color and I guess I won't even wait for it to dry out, but I'm going to pick up my sac green at first. Observe here my sap green. And then we're just going to do ease outward strokes. Okay? Make it outward such that it is coming from the external part. But before we do that, we could actually add in some Christmas bubbles in order to add the Christmas bubble. Let's just pick up a little bit of Alizarin. Okay, I'm taking dense. All is add in right now. And I'm just going to add in some decor. See just some round shapes. Okay. It doesn't need to be perfect round shapes at random places. Remember, this is like the inside part of the wreath, which we need to paint it in a different way. There gave some nice baubles. Also, the baubles also need not be in a perfect round shape because again, the wreath is turned that way. You've got to be careful with that. Now, you can go ahead and add in these tiny, tiny leaves all over. Okay. And again, before I forget, I want to do something which is to paint the background or the inside part of the wreath. The wreath is like composed of, it's got a thickness, but it's something like a haystack or I don't know, like a wooden set or something. And then over it is where all of these leaves are weaved in. Okay. It's like the branches inside. Okay. And then it's weaved in there. Okay. That's the inside part. And then you use the same color and go over it in different places using the tip and creating nice strokes. See that? Okay. Then you can also go for darker shades. So I'm kind of picking up a darker shade right now and adding just using the tip of my brush and then trying and mimicking these random shapes. But do you see that even though when there are gaps inside the sky that's seeing through? That's why I applied the golden shade because I don't want the sky to be seeing through there, but rather it's the golden shade that sees through, which is absolutely fine because it looks like it's the inside part or the structure of the wreath. All right there. Now you can see, now let me put some darker colors in at random places there, picking up one of my dark green shade, the other was sap green there, lots of nice dark shades now. But we're not done yet because this is like a sunset scene. So you need to put up some sunset colors, right? I mean, that rate needs to reflect the sunset colors right here. I'm just picking up a little bit of my olive green, although that's not working because I actually need to dry it up. Maybe what we'll do is we'll paint the string on it perhaps. Okay, I'm switching to my smaller size foe brush for that purpose. And I'm going to pick up a little bit of paints gray. Okay? And then using paints gray, I'll mark in whichever side you use, you use to go around, this is the side I'm using and as you can see, I'm going around. Then the other side over the branch it goes behind. Okay. And then come underneath the branch and complete that here. There are no shadows in play because obviously it's like hanging in the air and there's no shadow. It's just a magical painting. Then now what I'm going to do is I think I'd like to add in a ribbon. I'm just going to pick up a little bit of cadmium red there. You can just add in a nice ribbon shape. Okay, there I've added a ribbon at the top. I didn't need to add any too many shadows because this part where it is already a lot of dark green and red and green mixture makes brown. You don't need to add in a lot of shadows to your red. The cadmium red automatically mixes with a sap green to create some highlights and some dark areas, which gives it like the shadow that you're expecting it to see. I guess those areas are dry now. Now I'll pick up some olive green and add it in random places. You can see that the olive green actually comes on top of the dark brown there. And in fact, in order to get even lighter strokes, the best method is to use cadmium yellow and mix it with olive green. This here is actually a mixture of my cadmium yellow and olive green. So I'm going to use that olive green and cadmium yellow. Then using that, if you add some nice ones, the best method to make it sunset is admi, yellow is still very light. What do you do? Guess you've got to make it slightly brownish. If you pick up a little bit of orange and add to that mixture, orange and green, were isn't it? Now? That's slightly orangish. Okay. And use that and that would depict the sunset colors. Okay. Then you can also create some darker shadows by using paint. Scraykay. Just some of the areas. Go ahead. Like here for example, there's the ribbon underneath. It's going to be somewhat darker then maybe closer to the bubbles, it's going to be darker. That's basically it. Okay, we're actually done with our main elements in our painting. Now the only thing left is to obviously add in the snow. Here, I've got my white paint and let's add in the snow. First of all, I'm going to add in those areas where it's bound to settle on my tree. Obviously, this is a horizontal branch, there is high chance that my snow is going to like settle over on the top. Let me see how this whole thing is covered in snow. Then as you come towards the right, it make it thinner. It won't accumulate this much because the branch is actually thin, so it doesn't have a surface area to form thick snowy bits. Okay. Go with the branch and make sure that you put it in a right manner. Okay? And then there's this vertical here, then maybe it can accumulate in this revise, okay, in this area in between the things where snow can accumulate. Okay, here again, here. And then on top of the ribbon. See that on top of the ribbon, obviously it's like fallen on to the wreath and gone in between some of those structure of the leaf. Go ahead and add in some snow it can accumulate over there. Okay. Today I'm not going to add any shadow because I like the bright highlight white of the snow. Especially because this area has got like a sunset scene. That white of the snow is going to stand out. Okay, then let's go ahead and finish off with the snow fall, actually. Okay, so here I'm loading my brush and then a app, a drop all over the painting. That is the most fun part, isn't it? Don't you think? I seriously enjoy this bit of the process? I dropped a large piece there. Now I can't touch it, so I'm just going to leave it there. All right. Right, there you go. Before I peel off the tape, there is something that I actually forgot which I said I'd show you so in order to get lighter strokes on these trees. So I completely forgot about that. But let me tell you, just add in a little bit of yellow ocher over on the top of your bena or bunt umber or transparent brown, Whichever brown you are using. And you'll get lighter strokes. I'm really sorry I forgot about that, but I remember right after adding the snow. But there's no point I can't add on it right now. Okay. But that's the way you can do it. So let's go ahead and remove the tape. There you go. So here is the finished painting. I hope you enjoyed painting with me and thank you for joining me today. 14. Day 10 - Snowy Christmas Tree: Welcome to day ten. This here is the painting that we're going to be doing today. So let us have a look at the colors that we need for this one. So it's basically cadmium yellow and cadmium red for the baubles. Then for the background, we've used paint Sray and indigo. And then in the foreground we have this tree where I have used a dark green quin, gold of a bit of paintcray and lastly, some white quash. So those are all the colors that we need for this painting. If you're ready, let's go ahead and paint this one. All right, let's start. So today we're going to start like with a very, very simple pencil sketch because a lot of it is going to be the background. And just a foreground tree, I mean, you've already seen the picture, right? So around one by third of the paper, you can have the background. Okay, So that would be where the snow ends and basically the rest of the area is going to be the background. And then we have our tree in the front here, which I'm not going to sketch out much because it's really unnecessary to sketch that out. Okay, so let's go ahead and paint our picture. It's going to be pretty simple at first because we're going to be painting the background and we're going to be doing that in layers. So I'll apply water to the top portion. That is just the background area and not the foreground area. All through the background area, you want to apply the water and skip the bottom part. The bottom part is where your snow is going to be and why your foe grout us today. It's not a sunset. Send, don't worry, we're not going to be using like a violet paint to paint with the paint, the snow area. Okay. So here I'm painting the background. I mean applying water onto the background region. Okay. In fact, you could skip and not apply paint the water as well because we're just going to be doing a simple wash at first. Since we're doing this in layers, I think that will work best. Okay. First of all, I'm going to be picking up paint scray to see that color. I'm applying the paint scray, I want it towards the bottom. I'm using my flat brush itself to apply the paint scray. Okay, here I'm applying the paint scray towards the bottom. Let me tell you, let's lift up our board towards the top such that our main starts to flow in that direction. Okay, I'm going to take this slightly upward and create a mountain effect or Okay, so that would be like there's a foggy mountain in the background, see that? Okay. You can pick up a little bit more paint and start adding because like I always say, when this dries up, it's going to be really dry. Okay? We don't want that. We really want the mountain to be seen. Right? So you can go ahead and apply, but don't apply too much darker color. Okay. This is somewhat the color that we want to apply as we want to add another layer of background on it. Okay, I've got my paint and my board tilted upward so that everything is flowing towards the top. It's like in a soft effect and you can slightly soften up the top just so that it doesn't have too many hairs forming at the edge. Okay, let me clear that I don't want my mountain to go all the way up, so it's going to be like around somewhere there. So that we have a clear line of distinction where the mountain is ending. So you don't want it to go all the way to the top. Okay, now that that's done, we can completely dry this up because this is our background layer. So what we're going to be doing is to apply another layer of water over the top of this one. But let me warn you now, straightaway, you're going to apply the water only when your paper that is this layer is completely dry. Okay? Make sure that it's completely dry. To know that, just touch the paper mostly with the back of your hand and you'll be able to see if it's cold or not. If it's cold, then it means it's not completely dry. Okay. So you need to absolutely wait for this to dry up. Otherwise, your paint spray that you applied is going to smudge. Even now when I'm applying the water, it's going to smudge slightly. But what I'm going to do is I'm just going to quickly rub my brush along and apply water. And observe how I'm picking up water each time, and I'm not like bringing the water that's already there towards the top. Do not go back and forth a lot of times because that's very, very risky and can move your existing pigment, which we do not want to happen. Okay. So you can see there's already some paint spray that's, like moved around. Now what I'll do is I'll just use my angle on the board to move any excess water Okay. Out. And I can see the pigment moving out. Can you see? This is not just the water, but that's the pigment moving out. This is why I said you have to be like extremely careful when we do this. Towards the top, you can apply the water freely. It's absolutely fine. Now, the next thing that we'll do is we'll go ahead and paint that background, okay? Because we did not apply a lot of water. The high chance that this area is going to dry out quickly, we need to be working very, very quick. I am going to be starting with my indigo color. Okay, Picking up a nice indigo. Going to add in some pine trees. Okay? Make sure it's a nice creamy mixture of paint. Okay? Because you do not want it to have a lot of water. If you add in a lot of water, then it's going to spread out, but you only want it to be like, to wet in a nice, creamy mixture type. Okay? Here, first of all, I'll start with the center line of the pine tree. You can see as you come towards the bottom, make sure that your strokes are towards the downside, okay? Only towards the top. You need to make it towards the top. And everything towards the bottom needs to be facing downward. This is because as the snow settles on the top of these pine trees, they like stoop downwards. That is the leaves. They stoop downwards and they literally cannot stand upright. And also, I think in winter, they actually stoop downwards. You can see I've added one layer of pine tree leaves, the pine trees there. Then I will go for another one, but slightly smaller. Okay. Again, the top one can be like facing upward, but then as you start coming over to somewhere in the middle, you've got to push it downward. Okay. Again, like I said, this is the background, so that's why we're working on it like that. Okay, then the next tree that we're going to be adding is slightly trickier. Wait, I need to add some more. See, this is what happens if there's a lot of water, but you can still somewhat match it up. Maybe I'll make this a little bit taller. And if it does start to spread out and you've got like a lot of water, you can always absorb bits and see how I absorbed a little bit from the top and made it somewhat better. It's the background, so it's okay for it to be like in a messy stage. Okay. Now we'll go with the third pine tree, and this is where it gets tricky here, again, picking up my paint. And this is slightly less taller there. The top bots are fine, but as I come towards this middle portion, I'm going to slightly change the color tone of it. And the reason is we have a Christmas tree right here and on the Christmas tree are some lights. When there is light, the color of the pine trees are not actually blue right there. The dark green color, when there is light, you see them as more of their original color. The rest of the area is like a night scene or darker scene. You see it as dark, bluish color. Okay. That is why now you have to add in a slightly green tone to your dark blue color. The indigo that you just added, add in some nice dark green to it and start adding that. There you go. Just adding dark green, stooping downwards. Okay. First in the green. Okay. Then you can pretty much add some indigo strokes in between. Okay. It's like in a greenish stone. I think I want to refine these a bit more because it's a little bit more messy. Yeah, I think that's much better. Now, we need to add in some snow as well. For that, I'm going to be picking up my white paint. Picking up some quantity of white paint. Make sure it's nice and because you do not want it to completely use dried paint because it won't come over the top. Okay? And then you're going to add some nice strokes, okay? On to these trees, which is basically the snow over it. Okay? You can wash your brush if it starts to pick up from the painting. See some nice strokes added. It'll be completely fine when we add in the tree and everything over the top. Okay, Now just go with the flow and keep adding some nice snow areas, some over this tree as well. Washing my brush, as soon as I see that it's picked up the color on my paper. Add some nice strokes. I think that's enough for the background. Now, we'll completely dry this up, okay? All right, there you go. It's completely dried up. Some of the white paint has smudged over here, but I guess it'll be all right when we add in the snow over the top. So now I'm going to be painting the foreground. So let's apply water to the whole of the paper. I don't know why I keep saying hole of the paper. It's just coming out of my mouth anyways. So let's apply water to the foreground area. Okay? Where the snow is supposed to be, and then we'll add in our colors. Okay? So here I'm shifting to my size eight brush. Okay? My medium size brush. And we'll paint in the foreground today. The foreground colors are going to be, it's kind of like a night scene, so it's more darker colors. Okay. So here I'm picking up a little bit of paint gray, and I'm adding that to the base. That's what the color of the snowy region is. You can have darker colors towards the bottom as you go towards the top, lighten them up. Okay. Now, I'll have a little bit of my green gold of course. Okay. Just at the base where the tree is going to be, because this is because the light from the tree is being reflected off onto the base. That's it. So it's a tiny, tiny amount of the yellow. That's it. Okay. Now, we'll add in our tree, the tree that we're going to be adding, because it's a night scene, we have to do it in a darker color. I'm going to be picking up my dark, dark green. For that purpose, our tree is going to start like somewhere there. The center point of you've done just right of where you've made the other tree. Okay. It's exactly not in the center but also not too much towards the right. I'll make the center branch. Okay. I know that this is going to slightly smudge, but if I go up back, it wouldn't, if you go and stop there and put a drop there, then it's going to spread out. But if you keep going backward, then it wouldn't spread that much. Okay. See that. Now, while I ain't the top portion, the bottom part should get dry. It's almost like an empty tree. Okay. But some branches here and there. So I guess towards the top it's more empty. Okay. But as it comes towards the bottom, we'll have more pine tree branches. You'll have as you start coming towards the middle. Okay. There. As you start coming towards the middle, it has more and more branches and leaves. Okay? The leaves have only fallen off towards the other side. This side is more visible. I'm leaving some gaps here and there for adding my white paint. But you don't need to add that. The reason being, you can always add pit on the top and it still would be beautiful here. As I'm coming towards the bottom, I need my tree to start getting denser, and denser and bigger as well. Okay, that's a branch that's big, but then there's also other branches in between. We start adding the proper leaf structure of our pine tree. Okay. Now towards the middle, I'm just going to make it dense, just like the way I usually paint. Okay. Just make it more because you don't want to see what's through it. Here it was, but I guess you can make slightly more effective. Yeah, that's better. Then let me come all the way down just so that I have a surface that I'm working on a done up until there. Well, that's not the tree. Don't worry. We're going to have to extend the tree lots more. Okay. Seeing through that area, this is going to be greenish. That's why we only need to apply like a teeny tiny bit of that green and it's just seen through the tree. But also mainly because we've got some lights on our tree, which we will add anyway. Let's get the tree done. Concentrate more on adding the leaves that are stooping downwards. Okay, over the top is where we'll be adding the snow. Towards the downward ones, it's completely al right if you actually don't add any towards the top. Okay? For example, if I show you if you draw in a branch and then you just add in the leaves that are like coming downwards, it's absolutely fine because the top portion is anyway, is going to be covered in the snow. We have more to be added. We said this is going to be the base, isn't it? Dark green and adding to the base right there. I guess this is where one of the branch is. Okay. We might need to add something more to the foreground under the tree because I didn't add the shadow and we definitely need that right there's the tree done. Then we'll get on with the white paint before we add in any Christmas bubbles. Okay? Because I want to put in the nice snowy bits. So here I'm taking a nice amount of white, and then let's actually fit in the snow in some areas where it could actually settle up. Okay, like in between the branches and then we start to make it. Okay. Let's see, This is a place that it can get settled on. Then as we start coming down, we have to start creating the shape of the snow. Okay. And I'll show you how exactly it's going to be done. Let's say this is the one that we're going to start with. Start with the horizontal one, create like a bubbly shape there, and then start to add in some creepiness towards the bottom. How do I explain the word creepy? Is actually creepy, isn't it? There? Let me show that to you again here. A larger bit like that, but then start to add in some form extending on to the one towards the bottom. Okay. Don't do it left, right, left, right. Bring it towards the middle as well, like for example, this one I'm going to do it, it's in the middle one. Then here I guess I'll take this towards the right side. Okay, I'm starting to pick up the green. I'm going to wash my brush, dry it off, and then pick up the white paint again. I don't know if you can hear like a T voice, but it's really windy here today. There's a window right here and there's the Christmas lights hanging outside and it's actually banging onto my windows. I can hear it very loudly, but I don't know how the editing, if it's going to go out or not. If it doesn't, if you hear like sound in the background, then that's it. I really hope that with the music and with the background editing, it goes off. Just warning you guys, it's really disturbing me while I'm painting because that Christmas lights is like literally banging onto the window there. If you don't hear it well, if you do, I apologize. Okay. So, just going on, adding the snowy bits. Okay. Here, I guess I will add it to the center. Picked up some green, washing that off, I might have to add another layer of white, I guess in order to get rid of the greenish hues that I've turned up on my paper like there. But before we do that, let's add in some Christmas bubbles and Christmas lights. Okay, basically what we're going to be doing is if we can pick up a little bit of the green gold. Okay. Just a teeny tiny amount. And we're going to add it in some places. You can add some lights there, and then if you want, you can go ahead and like soften out the outer edge of it. Okay. That would work much better. Or you could not soften out. You can just add some light areas. Okay, onto the left side. It is not going to work because quin gold is like an transparent color softening out the area that I apply my quin gold. But over to the left, what you can do is you can pick up your nice cadmium yellow and add over the top some nice Christmas bubbles hanging on the tree. I don't know who's put it on such a tree, literally standing outside in the snow. Then you can add those cadmium yellows in middle part of your coin. Gold. That's not a lot I know, but it still is something. Then we'll pick up a little bit of red and we'll add some red red bubbles as well, just in some random places. I'm using cadmium red here, that's really opaque. Okay, that'll help in getting a nice opaque Christmas bubbles. I guess that should be enough, because when we add more snow over the top, it'll be fine. But before that, let's go ahead and paint in the underside Okay. Of our tree. I'm spreading out the green a bit, but Okay. I've carefully avoided that. Now I'm just wetting the bottom part of my tree. Okay. I know we've put some quin gold over there, but it's absolutely fine. But we needed to be slightly more Taka, it's the underside of the tree and that definitely needs to have a shadow here. I'm picking up my paints gray and I'm adding it to the area underneath. Okay. Wherever there are any gaps and filling that up. Okay. But even if you don't fill out the gaps, it's absolutely fine. Mainly because it could just be the snow. Okay. Here, just adding some tiny, tiny amount. I think that looks much better because you've added in like the shadow and make sure that you soften out any extra bits. You don't want it to be too right. And now you also have like tiny, tiny amount of light lit area. Okay. Yeah, I like that. It's got a shadow, it's got a lot of confusing stuff down there, which makes it even more attractive. Okay. Now what I'll do is I know that this white and all of this here is still wet. So I'd like to dry it up so that we can add in the proper snow and more of our snow over the top. All right. It is completely dry now, but I just noticed how the pain spray that I applied towards the bottom is completely faded out. So I'm just applying a little bit more water so that I can take a bit more of my pain spray and start applying. Because I would like it to have that paints gray color like that at the bottom. See that? Now, that makes it move better. Right. But when you're doing this process, make sure not to touch the tree because you just dried it up. And you want your tree to be dried. Right. Okay. Now I will go back to my dense white paint. I need to make sure it's nice and dense on my brush and then I'm going to go over the top. Okay. The darker, darker green that has come reflecting through the white, because my green was slightly wet when I was adding these white paint over the top. Okay. But I think it gives like a oh my God. It's actually looking like a bit of a shadow, but although the shadow color should have been a different one, anyways, that's going to be all right. Now we can add the snow over the top. Let's add the snow over the top. For that, I'm going to be taking some nice thin quantity of the paint, the white paint, and then splash splatter over the top. Keep adding, so if there is any area that you don't like, for example here, a lot of my paint had like spread out. So I'm just going to add ins and cover up that where the paint didn't actually spread. Well, that should help. Then over to my tree. Over the top then the bottom. It's just a snowy day with a lot of snow. All right. There you go. I think that's much better. Now, I feel good about this because you can't see much of the background. It's a blur. But then you still see that there's like a tree over there, some background trees. And then you've got the foreground Christmas tree and everything. Let's go ahead and peel off the masking tape. I guess I should wait for it to dry because I can see some areas that are still wet over here. Maybe I'll really wait for this to completely dry out. All right. There you go. Now I'll peel off the masking tape. And there you go. We've finished the painting. I hope you like it and thank you for joining me today. 15. Day 11 - Winter Berries: Welcome to Day 11. And this here is the painting that we're going to be doing today. So, isn't that gorgeous? So first, let's have a look at the colors that we're going to be using for this painting. So I have basically used quin gold, of course. Then Alice on crimson, lavender. Hello, blue or bright blue from white knights in cadmium red paint, gray, green, dark green, and transparent bro obviously I don't need to mention white quash for these beautiful snow drops, right? Snowfall. Those are all the colors that I have used for this painting. If you're ready, let's go ahead and paint this. All right, let's start. We'll first catch out the branch where the berries are like hanging on. Okay, the branch has somewhat thickness and then it's as if it's been shot off at that place. So that's where it's got like an edge there and not a pointed one towards the bottom. Okay. Then we'll obviously add in the other branches where the leaves are and where the berries are hanging. Let's say there are some berries over here. You just draw like pretty circles. Okay? And then have adjacent circles to it where the edges of it are being chopped off because it's in the back side. Okay, That's how we're going to add these berries. Let's say we have four of them here. And then we have another branch that comes over down, another set of berries there. Okay, let's maybe have three here, three berries there. Then let's have a large branch here. We'll have another set over here. You can add as many as you want. This is even the sketching part is really pleasing. If you want to spend a lot of time doing it, you can do that as well. Okay, then I would add some over here, that's over here, here. And another one that goes like behind it. I guess I'll add one last one, last set over here and be done with it. Okay, 23 combo. So I think I'll make this one a combo. Four. Okay, there you go. And for this one, I guess the branch could be that way. And then we'll add the leaves in between. Okay. So that is basically a pencil sketch. Let me show that to you closely. There you go. That's the pencil sketch. All right, so we'll be painting the background first and all of these cherry and all these leaves and everything are over the top. For painting the background, you just apply water to the whole of the paper. We don't have to worry about the pencil sketch, we'll be adding darker colors over the top. So it's absolutely fine. Just go ahead and add water to the whole of your paper. Okay. At the moment. First, I pick up a whole lot of water and then I just add it. And then I might give an angle for my pool either towards the top or the bottom, whichever you prefer, and let all the water flow remove any unevenness or large pools of water from your paper. Okay? That's what we're basically doing, as you can see this batter here accumulating at the bottom. That's because all the excess water is flowing down. Okay? Any excess water, we obviously absorb it off and that should do the trick. Okay. There, I've absorbed all the excess water, I believe now the water on my paper is somewhat even. You can always look under light and see how much water is there on your paper if it's too much and then if it's too much, you can just use your brush to sweep over and absorb any extra water. So you can see I'm sweeping down because I found that there was a little bit of extra water at the bottom again. So I'm just absorbing all of that. Okay, here, see more water there. Once you've done that, we can go ahead and paint the background. You can guess already, the first color is going to be the quin gold for the background. Okay, I want the quin gold to be like in a nice golden color somewhere over here. Okay, up until this point. Then let's extend that towards the top there. More golden color here. Towards the right side. Pick up more darker golden color towards this right side and add it. Okay. It's like an orangeish color. If you're actually mixing up the quin gold, then go ahead and mix it up with orange more. Okay. Or add orange itself. And that should help picking up a teeny tiny amount of Alizarin because that's what we're going to be using for the transition. Okay. Alizarin, then adding that. Okay. A little bit. As you can see, I've only applied until the middle part. And then I'm just going to spread it so that it's a very, very lighter tone towards that side. Somehow we only Lighter tone. Okay. Then I'm going to blend that Alizarin over to the top. And then wash my brush, make sure it doesn't have the pigment. Then blend that over to the bottom as well. Okay. So can you see It's like a nice golden color over there and then lesser color toward the bottom. Any extra color towards the bottom, you can kind of like soften it out. Then we'll add some nice tones in the background. Okay. Some trees, or shrubs, or bushes. So for that I'm picking up my lavender. Okay. We'll kind of drop in that lavender. It's going to be kind of like a bush. Okay. It's okay when the lavender mixes in with that color there at the background and it's going to be turning like a grayish tone. It's absolutely fine. Okay. No tension. Don't parry if it forms like a muddy gray color because it's kind of like the background. And we're trying to depict some bushes where it's got a covered in snow kind of effects. We can see some tones that I'm getting here. It's kind of like a gray, greenish gray. Okay. And that's absolutely fine. Okay. That's one set of background, but before the paper at the top dries, we have to add in color over there. For that, I'm going to be using my bright blue. Okay, let's add some nice blue tones. But we want it to be in a lighter tone, so do not add like a heavy tone of the Hello blue. Bright blue is the same as Hello blue. I hope you already know that I tend to keep saying it bright blue even though I'm using telo blue from Schmitt. Now, earlier I used to do the bright blue from white knights and then it just stuck in my head, so I just keep using that word when I'm speaking. Okay. So as you can see, I've put down the blue, but then I did not bring it all the way down because now you're going to like blend it along with the Alizarin slowly such that there is no clear transition. Okay? You don't see clear transitioning line. In fact, if you want see a beautiful, slight Alizarin cloud over there that's formed. Maybe I should do that. You know, like pick up I like the way that turned out, so I'm doing it on purpose now. Okay. Like picking up a little bit of Alizarin and trying to add that in between. So you can kind of do that and see how the blue start out. So that's all in the background. We don't want to do anything else then. Now for the bottom part, we want to add in some more snow effect. So I picked up a little bit of lavender and then I'm going to kind of blend it out. Okay. We only need it to be not the paper white, so that's why I'm applying the lavender. This is not the bushy color, but just getting rid of the white of the paper and adding some shadow levels to the snow at the bottom. Okay. And that's why we're adding that. Plus it's good to have some paint over there and not leave it white because when you peel off the tape, otherwise it's going to be like paper white. And it will be bad because there'll be no edges for your paper towards the bottom. So I kind of want to avoid that, and that's why I've added that. Now we'll go ahead and add some pine trees in the background. Okay. So I'm making sure that my brush is absolutely dry. Okay. Because when I'm picking up my paint spray, I want it to be nice and dense so you can dip like the pointed tip in water, just so that it picks up a little bit of the water, and you get like a very creamy consistency. So see, that's a very, very creamy consistency. Make sure that brush is literally doesn't have any water, because if it has, the paint that you're going to apply right now is going to spread and you do not want that to happen. Okay, So let's say I've got like a pine tree there. See it doesn't spread much because it does not have a lot of water. Okay. And you can kind of like add in some background. I still think that's like a really too deep color. So what I'll do is I'm just going to run my brush over top and absorb some extra color so that it turns out to be a lighter version. Ah, I like that. Maybe we should do that. I'm seriously inventing techniques as I'm painting here, then pigment, you, apply that onto the paper. Create your pine tree. That's like a nice and dark pains gray color, but oh, it's too much. I've washed my brush, removed the paints gray, and then running my brush slightly over the top and absorbing the extra dark color. See some background pine trees. As we move on to this right side, I wanted to slightly depict some brown tones because there's a lot of yellow here. Remember we added a dark yellow to the side. The pine trees are in a slightly more yellow, golden brown color. That's why I'm using my transparent brown and I'm repeating the same process, like adding some pine tree shapes. Okay? It's a bit darker. I'm absorbing extra bits. Okay? Because I don't want it to be that dark here. I absorb it using the tip of my brush, the extra bit. And there that's now light. I guess that's enough. I don't want to add too many pine trees, but what you can do at this stage is maybe we can add some background white strokes that would be amazing, don't you Think so here I'm loading my brush with a nice white quash beans. Okay, then let's just drop it into the background. So these are going to be like the wet on wet splatters. Will turn out to be the further snowy effect. Okay. So these are further off things. So now that's a background done, so I just noticed that a little bit of my pine tree is kind of like spreading there. So I'm absorbing that. It wouldn't matter too much once this is all goes in the background and the focus comes onto the rest of the painting. But still, I just want to make it right here. I've absorbed a little bit of extra. Maybe if I pick up a little bit more of my paint spray and start to add, make more sense. Then now our thing is complete. Let's go ahead and dry this background, okay? All right. Here my paper is completely dry. And you can see those white drops, they're really faded. The reason actually for that is because the quash paint that I used was a Rita paint which I reactivated with water. But if you had used like fresh squash paint, then it would be a bit more vibrant. Just telling you that that's one mistake I did. So it's kind of really faded, but I think it's okay. You can still see those white drops, right? It kind of looks like blooms at this point because it's all spread out. Okay, first I think we'll paint the berries. So I'm going to load it up with my cadmium red. Okay, that's the color we're going to use, cadmium red. Just go ahead and paint the whole thing now. Then we'll add in the shadows. Okay, shadows, highlights, all of that will come in its own time. Let's just add in all the berries. Just use the tip of your brush or the whole of your brush, whichever way you prefer to paint. Okay. And add in the berries. As you can see, you've completely lost the shape that you've made. I guess we can fix it up. Okay. I'll show you the way how we can paint that negatively and get the best effect. All right. So I think this was a 21, right? Yes, berries in one. This is three berries in one place. I guess it's best to just remember your sketch that way you know what you're doing. This is why we're using like a vibrant color and this is wet on dry. So when you paint over the background, it'll be clearly visible and would have no problems. Okay, there you go. That was the last set added. Now what we do is we'll add in the leaves. Okay, For that I am going to pick up my sap green. Okay, here I've got a little bit of the sap green left on my palate, which I'm going to be using. First of all, I guess I will add the leaf towards this side, okay? I want like a leaf, nice leaf towards this side. As you can see, I'm using the whole of my brush and then lifting it off and creating the shape of the leaf. Okay? You don't have to in the same method, but it makes it like a satisfying process when you create the leaves like that, see using the whole length of your brush. And it also gives like variety in the way that you add your leaves. Okay, I guess I will have a leaf, maybe a smaller leaf over there. Then here comes a branch that's definitely a larger leaf that goes towards the bottom. That as you reach towards the tip, you can use the tip of your brush to shape it up a bit and get any nice shapes. Okay, here another leaf. I got to be careful because my green can spread. Okay, I guess I can add more here, but I really want to wait for the Aries to dry out, because otherwise it would spread too much. So you can go ahead and paint your leaves in other places here. I've got another leaf over there, maybe one that's facing towards the top. These different shapes that you're adding, make sure it's almost all of them the same shape. All you need to look at is getting the same shape. Some of them can be thinner, some of them can be thicker. That doesn't matter. Okay. Mainly they're leaves, so they'll be like bend in different ways and as you see them when they're bent, kind of like distort the shape. Okay. So all you need to do is like to get some shapes correctly, that's enough. With that color, with the sap green, maybe we can add few darker one that is using my darker green there. I'm picking up my dark green and I guess I'll add a few with that, but I'm still scared of adding there because it's still wet. Okay. This is dry, so maybe I'll do it there. It almost goes like in a circular shape, isn't it? Oh, we shouldn't be doing that anyways. Then now I'm picking up my brown paint and we'll try to add in the branches. Okay. So it's okay where your branches are slightly like blending intowards the tree. That's because they're anyway is going to be like it's a watercolor painting. And I guess you shouldn't be too bothered about things mixing up, because when things are mixed up, it looks really, really good, trust me. Okay, so here comes and that's where your branch kind of really ends, isn't it? We'll add more things on the top, but then then comes your tree. We've attached several things right now, but don't worry. When we add in the shadows and the leaves, then everything will make sense. Okay. I'm just looking to see if it's dried up. If it's dried, we can go ahead and add in more leaves here. I've got my dark green paint and I'm going to add another leaf over here. Okay. And I guess I'm trying to fill in the gaps which I shouldn't. I should just probably go and you know like add in branches and leaves in the front, right? Okay, so here I go, I take the leap and I added a leaf in the front over there, then another leaf like coming from behind. Then I've added enough over to that side, and I guess I can add some over to the side, so maybe some here. Okay. Next to the berries, they shouldn't always be coming up from one side, isn't it? That was do dark in color, so I'll probably absorb in a little bit of the green from it and then you get like an extra dwell colored leaf. Okay, see if you like pick up because that's dark green that I'm using. It's take some of the green from it and that's what happens. Okay? Maybe a little bit of olive green. And what you can do is just some of the leaves, go ahead and add in some lighter tones. Okay? Because you need to have some color differences in your leaves as well. So maybe you can use it to draw the stem in the middle, or you can use cadmium yellow for that as well. So it's just totally trying to get in different shades into your tree. So like intoor leaves, so you can see I've added some ice, olive green shade and see how the easy leaves have got like a dual tune, all of those areas that are try actually if you look at my painting, let me try and show this to you up close. You can see like the sketch has actually come back and you can see where the berry is or the shape of the berry is. So it's actually very easy to do the shadow right now. So let's get ahead and do the shadows. Taking up a bit of paint, gray. Okay, And I'll start with this one. And I'm going to be adding it to the bottom of this. It's like adding to this one, which was the bottom. So this is like one whole berry adding to the bottom part of that. Then once you've added it, go ahead and immediately soften out that berry. Okay. Around now you've got one shape of the berry. That one is behind, this one is in the front, and this one is again behind. In order to depict that behind, you, go ahead and paint the inside part of that berry. If you want to soften, you can pick up a little bit more of a cadmium red and soften it up. Okay, now you see you've got like a different shape of the beery. This one was over the top as well. That one. Let's put the shadow in another place, extremely away from the other areas. It's not exactly the shadow, it's just like to create the roundness of the berries. Okay. You don't have to add too much as well here. This one is the one that's behind adding a little bit of paints gray and then spreading it outward. Okay. We do the same process for all of it. Okay. Here, this perry and we have sperry which is outside. And this berry, all three of them are behind the one that's in the front. Just softening it out and blending it with my brush. Now you can clearly see that there are like four berries over there. Do you see that? And you can see that this is two berries. You can see that this is four berries. See how you've made it visible in front of each one? Okay, that's three. Now what's left to do is I guess we can add more leaves. I'm just going to pick up my sap green a bit more. I feel I've got way two less leaves right now. I'm just going to put some smaller ones as well. Okay. And then when we cover this up with the snow, it's not going to be matter. Okay, so here another leaf over here, it's overlapping the other one. So I'm just going to pick up a little bit of darker color and make sure that the overlap is visible. Now let's go ahead and add in the snow. Before we add in the snow on the areas over the top, what I'm going to do is I'm going to put in a teeny tiny amount of lavender. So that when I put the white, it's going to blend in with the lavender and create some shadow effects. Okay? This is like taking some lavender. Add it to the top of the branch. Okay? Only over the branch where there's no leaves sticking out. So you can see it goes behind the leaf a little bit over there, then continuing over to this side behind the leaf. Before I move on to my white, I just noticed something that there's this leaf here which is like in the air. Just grab that, adjust it, and maybe you can use your brown itself or any other color to draw a line in the middle for these trees. For these leaves. I don't know why I keep saying trees, not for all of them. If you don't want to, some of them is best left blank. Okay. Now we'll go with the white paint. So I've squeezed out fresh white quash paint onto my pallet, so it's kind of like in a very dense consistency right now. And then what I'm going to be doing is I'm going to be applying this over the violet, okay? In a nice dense consistency. And because the violet is there, the bottom part of it is going to be like somewhat, in a slight tucker tone to see that. Which gives in the automatic effect of the shadow. So this is another method that you can use to apply the snow. Okay, see I've applied snow up until that point. Now we have a lot of other places where you need to add in the snow, but those are like teeny tiny areas, so it's okay if, if you don't add in the lavender, it can accumulate here. This is almost vertical. It's not possible, There's a horizontal one, slight horizontal over there. Then the next point is it almost can settle over the top of the berries. It's highly possible, of course, the berries add little drops of snow over the top like that. See, oh my god, we're not going to be seeing the other ones there. Not on all of them. Obviously, you don't need to add for all of them, just the ones that are literally where you can see the ones over the top. So you can see the top one of this, a little top part of that one. This one has got the oh, I didn't add the shadow for that one, I just saw that. Okay. We'll have that there a bit over the top for that one. And you see how it's already looking really amazing because it's the snow settled over the top. Okay. Then you can also have like the snow somewhat attaching to past parts of the leaves. Like for example, this leaf is almost in a vertical plane, so you can add a bit of snow over there. Before I proceed, let me just add in a tiny, tiny amount of shadow to this one where I completely forgot. Okay. So there's this one, There's this side, softening it out so that it completely forms there. Then now I need to, I guess this one is the one behind. Okay. I added to that side as well. I guess I put in a little bit too much of my paints gray. But if I blend it, it should be fine. If not, I can always pick up more cadmium red. And there you go, we have three separate berries over that side. So now that part is completed, you can see how this whole thing looks better. And see how the lavender has popped out of the tin ***** paint that I painted. And that's where you have the beautiful under shadow there. So the shadow where the snow is resting on that branch and it's still there. So we can finish off. So this is like literally my favorite part of the Christmas paintings because you can just like literally add in a lot of snowdrops. Okay, so I'm using a larger brush, so you can see some of my drops are like large. And then I keep adding, which makes them eventually smaller. So I get like a combo of large and small snowdrops. See that? Okay, and that's what I want. It's always best if we can get like combo of small, large, and medium sized ones and not the same sizes. As well as don't try to make it like a small, teeny tiny stars. Because I feel like snow should have different sizes. When it's too small, then it can literally look like the stars in the sky, which we do not want it to be. But you can also try in different ways, but there are some people who actually prefer it to have smaller stars. It's totally up to you and it's absolutely fine whichever way you prefer. I prefer mixed sizes, so that's why I do it. Okay. Okay. I guess that's enough. I'm happy with the way this has turned out. We can see the berries, we can see the snow, We can see the background. Although this pine tree, the leaf has the color is showing through because the sap green that I used is transparent. But I guess I'm not going to be too bothered about that and not focus on that little part. If everything is dry, there are some snow drops here which are going over the tape as well. So I'll just wait for this to completely dry out and I'll remove the tape. All right. So let's remove the tape now. There you go. Our painting is now complete. And look how gorgeous it is with all the background colors and the foreground berries hanging from the tree. So I hope you like today's painting and thank you for joining me today. 16. Day 12 - The Night Lamp: Welcome to day 12. And this is the painting that we're going to be doing today. Isn't that goes, so let's have a look at the colors that we need for this one. It's basically cadmium yellow, transparent yellow, queen, acrodone gold, elis and crimson, transparent orange, green, dark green, lavender, transparent brown, paints gray. And of course, e, if you're ready, let's go ahead and paint this beauty. All right, let us start. So let us sketch out the lamp at first. But before we do that, we'll have to mark where the foreground is going to be. This is where the snow is, and somewhere towards the right side as well. I just left a gap here because I want that area to be where the lamp is going to be. Okay. Somewhat there. You can make the lamp as big as you want and as small as you want. I guess the lamp is going to be somewhat at this height. Okay. Then let's see how it's going to be. So it's going to have like a slight slanting like that and then it goes straight. And then again another slanting, I guess it's slightly slanted now towards that side. Okay. Then it comes towards the bottom, so does the other side. Okay, I think I want to make this have a little bit more height. Otherwise it would be like a very fat lamp. Let's actually do that. A bit more height, that's it. And then also not start from the real bottom part. Okay. That height would be enough then maybe make it a little bit thinner, I guess. Okay. Not until there. Yeah, I think that's good. Then taking my lines down and that's where the lamp area ends and then it goes up like that. The angle here is too much adjusting that, make sure it's like in the same angle because we're following the perspective on the same horizon line. That's very important. Okay, I guess this side is a bit wonky. I can feel that. Let me get the line straight. That's where it should be joining, then everything should be fine. Then the bottom part of the lamp is going to be along these lines. Then something at the, like a curve there again comes up to that point, and then that's where it curves. Then at the bottom part of the curve, that's where it's sitting in the snow. Do you see that? Okay, the bottom part of the curve. Now we've done this part. Let's also just add in where the things of the lamb go. The edges of the lamb. Okay, there's one there. Now, if I make this into half, then everything else should be sitting in there and the heights should be the same. That's there. It's got like a curved shape towards the top, that's what we're doing there. And the same line across here. This one will be thinner because we're seeing the side of it. Okay, Now for the top portion, again, let's have a little bit, make sure that there is a little part of it coming outside the area of the lamp. Okay? Observe these teeny tiny things in the sketch that I'm doing. Okay. I guess that's where it comes and join. Another one over there. Can have another one joining there, there, and the last one towards this edge. Okay. Something wrong with the shape there, which means I need to adjust it again towards the T. It's a different kind of lamp. There now, that's where the hook is going to be joining in. Which can go outside of the picture. Okay. Don't make it like hanging right from the top but make it go outside. That's good. We've got everything now. We want some pine tree branches coming out like that. Okay? Just a few teeny tiny ones. Maybe a large one here. Okay. There. That is basically our pencil sketch. Let me show this to you very closely. There you go. This is the sketch that you have to make. Okay. One more thing that I want to add. Remember I said that this was the foreground. That's the foreground where the snow is sitting, but let's have a little bit of snow towards the back of it as well. Okay? So that line is going to be there, somewhat like that. Okay? Just that now we can apply water to our background and start painting. Okay? When you're applying water to the background, don't worry about the lamp or anything because the colors in the lamp are anyways going to be darker. So you can just ignore that and apply Okay, there as you now reach towards the foreground where you've now created that extra line for the separation of the snow, that's where we want to stop. Okay. You don't want to apply water to the whole of the paper, but just along the background, that's it. So here I've applied some nice amount of water, just make sure that it's not forming any large pools of water. And it's just a sheet of water on the paper, which is very important at this stage, okay? Because we want to create some nice bouquet lights. And that's not achievable if there are large pools of water on the paper. Okay. So as you can see, I'm holding my board at the angle towards the top so that any extra water would flow out of the paper onto the top region. Okay. All right. I can see that it's now a nice sheet of water on the paper and now that's what I'll used to paint. Okay. So I'm going to be starting with my medium size brush, which is my size six. And of course, we are going to start with a nice lighter tone. It's transparent yellow today. Okay. That's the first color. And what we're going to do is we're going to make such circles. Okay? Nice circles without transparent yellow. We have to work quickly, because you have to add all these bouquet lights before anything dries out there. Circles. I think one over there should be enough. Okay? We've added the first layer of the circles, now the next is using quin gold. Okay? The golden shade. And we'll start to go around the ones that we've already added. Okay, See going around the light transparent yellow shades, we start to go around. Okay, Not too much. We only need to add in a little bit. Start to go around, don't worry if your paint is spreading onto the lantern. It's absolutely fine. Now the rest of the areas, we're going to paint with a darker color. But that darker color is going to be a mix of transparent orange and transparent brown. Here I'm picking up my transparent brown. You can either use burnt umber or bank brown or any doc brown for this purpose. And then mix it up with a transparent orange shade, picking up a nice amount of transparent orange. Mixing it up with the brown, you get like a golden brown shade. That's what you're going to be adding. Okay? Now start going around those lights again and make the round shapes such that now you can see that they are surrounded by these darker colors. Okay, Now the other areas, I'm going to fill this up. Okay, I'm not going to fill it up towards the inside of my lantern, but just right up to the outside of my lantern. Dark brown, transparent orange. I've got for this one, this side as well, haven't I there? I'm adding for that side. But as you can see, I'm not going to completely complete that. And then the rest of the areas, you can go ahead and apply the transparent brown and transparent orange mixture. Okay? Or the brown and orange mixture, whichever brown that you're using. As I reach here, I'm going to slightly decrease and try to go around also in the middle of these lines where I've actually added the lines for my pine trees. Okay, let me show you how I'm going to be working that one. Meanwhile, you can pick up a little bit more yellow and try and create that round shape. Again, what you would do is you would go around with your brush like that, like in a lifting purpose. But that creates the circles, okay. If at all they've con, blended, make sure you clean your brush and then repeat that process. Because it's yellow over there, it should come out. Okay. See over here, if I do that process, it should come out. I can see that this one's gone again. So I'll do that one more time. See, that's come back. We've got one more over here. Just rotating my brush. Oh, I see, you can't see that. Probably I should hold my brush in a different angle. Let me show you for this one. But it's difficult to have to do it like this. Okay. There if you do that with your brush. Okay, Rotating it. It's best to hold it like in a vertical angle. I didn't realize that you were not seeing it, but I just saw it. And of course, so they are another bouquet lights there. So now you can see they are like beautiful bouquet lights reflected, isn't it? Let's just fill up the areas where you've got the lights, okay? And then here again, in between now we've got to fill in the pine tree leaves. What I'm doing is I'm picking up my sap green. Okay. And then I'm just going to add there on to the paper like in the wet on wet itself and adding that. This is like the initial stroke, so don't worry about it. Okay, remember the point leaves has to go increase as they go towards the top and start decreasing as they come down. This is a lesser area and it goes and increases at the back. This one again. Okay? Now we'll pick up darker green. Okay? Because we need to be adding darker colors. It's never going to be this vibrant green in winter, okay? Because plants turn dark as summer approaches and the leaves are almost, really, really, always. Make sure that you have these darker tones on it, okay? It's okay even if there are some gaps of white because when you add snow in the end, it's just going to make sense in the end. Okay. Not to stress about the fact that, oh no, you've left a lot of white and that your paper is like starting to dry out or anything. It's absolutely fine. Don't bother too much. Okay. I've added enough paint over there. But now what I'm going to do is let's continue the area where we were adding the brown and orange mixture here. There's some more here. But now when you're adding, make sure that the other areas that you already added are still wet. And try to blend it along. See how I'm blending it towards the inside and there. Okay. There's a tiny, tiny space at the top, isn't there? The blended And add it there as well. Okay. And then what I noticed is this area and this poke light was gone. So I'm just going to add it once more. Okay, I've got enough bouquet lights there, but we still need to add in the light inside here. I've picked up a little bit of my Indian yellow. Okay, My transparent yellow. I'm just going to add it in there. We're going to leave that large area over there as white. Okay, added that yellow going for the quin gold shade applying to the rest of the areas. Okay. So there applying the quin gold to the rest of the areas inside the lantern, it's absolutely fine that your other areas of the lantern are not painted because we're going to be painting there with the darker color anyway. Leave that center portion white. Okay. That's what we need. All right, there you go. I think we've got like a nice mixture now. And I did apply some paint over here, so I feel that my water might spread and create some dark bouquet lights. But I think even if it forms like a harsh edge there, I can adjust it later with my brush, so I'm not going to be too fast. I mean, adjust it later with my snow so it's completely al right. What I'm going to be doing right now, I'm going to be picking up a little bit of my paints. Gray because I want some more and darkness to these trees. Okay? So it'll have varying levels of on it when you add such colors. Okay? So it'll have like dark colors, some medium tone, and it'll look amazing using the pointer tip of my brush. As you can see, I'm adding the paints gray. Okay. We'll do the same for this one. That's some nice leaves added in the background. Okay. But I also want to kind of add a little bit of snow over the top of it. So I guess I'll add some white paint, but then make sure that the white paint that you add is nice and creamy. Otherwise it'll spread and smudge here. I've picked up some nice white paint. Picking up this is white quash paint as you can see. Okay, I'm using that, we'll add that onto the tree. This is like a horizontal one. Let's add to the top of that one. Okay. Going to pick up more as I add because you can see as I add, it's picking up the green from the paper and this brush has now some green edges. I'm going to wipe that off. Okay. All right. We can't wait for it to completely dry out and do that process because then it would look odd that one is in the background and then the snow would be in the foreground, which doesn't make any sense. Go ahead and add some dense white paint. And you should be al right here. You don't need to add in all the places. Just randomly. I guess that's good to go. We've now captured everything in the background. This part here at the bottom is as, as the other areas. Let's go ahead and paint that bottom part now. Okay, For painting that, we're going to have to apply water around the lamp. Okay? This time we're not applying water onto the lamp area, but we'll have to apply water around the lamp. But you know what I just realized, actually, because the lamp is darker color, maybe you can just go ahead and freely apply. Yeah, you should be. Water color is fun that way. Lighter colors first. Darker colors over the lighter colors and it works. Yeah. Maybe just go freely apply the water all up to the edges. Okay. I think it's fine that you go over the lamp completely fine. Okay, let's do it. Okay, there you go. I've applied some nice stones. Now what we're going to do is we're going to pick up some nice quin gold shade and we're going to drop it onto the paper at first. Okay? Some of these areas needs to be nicely lit. Okay? Because there's the lamp, which is like casting the light onto the snowy region somewhere along here. Somewhere there. Then we'll start to cover up with the darker tones. Here, I'm picking up lavender and then adding to the base. Okay. That's where the lavender tones go here as well. As we approach towards the yellow, we stop okay, here again, going right next to the yellow, but then stop right there. Same way on all of the areas. Start adding your tone, but then you stop when it's starting to reach the yellow. Okay. In order to create that nice separation between the two areas, you can add in a bit of yellow or this green gold towards the right side there. Now we need to create a mixture that blends those two. I'm picking a lavender and I'm going to mix it up with a small amount of Alizarin here already in my palette, which I'm taking. Okay, and we're going to be using that to blend in a little amount of the mixture of lavender and Alizarin together towards where the golden shade is. Okay? Make sure that it's not too dense. It needs to be very subtle. But you can see the mixture, how it appears like a good transition and okay, don't make it like a straight line, Keep going. And having some variations here as well here. Okay, Now that'll give an eye separation. Now we've got to add some more over here and some more over there. Okay, so now we've got that part ready. We'll refine this more after we've added the lamb. For now, let's just wait for this to completely dry out so that we can paint the lamb. And then add the snow. And refine the snow area as well. But I guess some thing that you can do is probably add in a darker shade for the bottom because that area can be a bit more darker. So I've picked up and added a little bit of my paints gray and then now adding more darker tones by mixing that paints gray with my lavender again. Okay, so that bottom part is now like Dark, Can you see that? Okay. And just blended that region of okay, there you go. It's nice and dark at towards the bottom and lighter towards the top. Let's now dry this up. All right. There you go. Everything is now completely dry. And let's go ahead and paint that lamp. Okay, so we're going to start with a nice dark, transparent brown color or burn temper or whichever brown the two using. Okay, And that's what we're going to be using. You can start right at the top. Okay, I know there's more towards the top, but I'm just starting with this little dome over here. And there's no color change on this dome. So just go ahead and paint the whole thing and that's in the foreground. We'll be doing it in the wet on dry method. Then more as you come down, just blend the whole thing doesn't matter. I know that all of those sketch lines that you've added are probably not going to be seen. That's okay, we can refine them. Add them up later. Here again, coming over to this edge and making the dome shape. Same for the inside and all of the areas, we want to be adding the dark brown color, whichever you're using to the whole of that area. Okay, it's coming up until this point. And then the straight line over there, don't worry, we'll make this much better and it'll look much better when we add in more details. Okay, then painting this side. For painting that side, all you've got to do is add in the line as you come towards this side is where it starts to get tricky. Okay, so you're going to add like your brown over there. And then you've got to blend it with a somewhat lighter tone because it needs to reflect the colors of the light inside. Okay, washed that off. I'm just going to pick up a little bit of my orange and blend that into the brown. You see it's a nice orangish color. Is my paper bend? Because I can see that this is like slightly d. What's wrong? I think there's like a bump in my paper there. So it's like slightly at an angle. Okay. Nothing to do about it at this point. Anywaypes, I made a mistake with my dome shape, so I've got to go and adjust the others now because it has to be in the matching height, right? So this is how you can adjust stuff. If you do make mistakes, all of my dome is now going to be slightly less holler. Okay, this edge you're free to add. Then comes this edge which is also again, free to add as you please. This is where it gets tricky as it comes all the way down here. And for this one, as you come up to that point. Okay, then let's go fill that up with the transparent orange shade there. Taking the nice transparent orange, adding that to the edge here. Again, it'll be the orange lending in here. As it comes to that white region, you can even make it even lighter by adding some quin gold or the golden color and getting it even lighter because that's the center part And it's glowing, isn't it? You create that glow over there. Okay. And then go back to your browns. Can you just see as I made that line, some of my yellow just flowed down there and blended and created that nice glow in that center portion. So I'm just going to leave it right there and not add more brown part onto it. Okay, there you go. That's Added. Now it's just a matter of adding the base again. This is why I said that any colors onto your lamp is absolutely fine because you're anyway is going to be applying some taco colors over the top. I don't know why I paint in sections when I know that. I'm just going to be adding more towards the base anyways, I like to paint it in sections because then in my mind the fact that that's the line where the divisions go, gets captured. Now I know like there's a curve there because I've painted it as a curve. It gets into my memory, that's why I do it and not paint the whole thing. Just little things that helps me in my process. I'm pretty sure that you might have other things that helps you in your process and you can find that out. Okay, there you go. We've captured at the bottom, but as you can see, it's weird and it doesn't look like it's perfectly sitting there in the snow. Right. So we'll get that straight, but first, let's sort this out. I think all of the areas there is dry. Oh yes. We have the top portion of our lamp to add. Let's just add that as well. I guess the hook on this side can actually like vanish behind this branch. Maybe it's hanging on this branch, although it's impossible because it's very thin there. Maybe it's almost on the verge of falling. Okay. That part is done. Now we can paint actually the bottom so that we'll get more time while the top portion of it dries up. Okay. For painting that bottom part, what I'm going to be doing is I'm going to be picking up a little bit more of my gold. Okay. Make sure it's nice and golden shade and I'm just going to apply some more like that. Okay, can you see right below the brown that we just added and creating that line? It's a better on wet stroke. And then what you've got to do is you've got to go and pick up some water and immediately blend it towards the bottom so that there's no harsh edge, but then the stroke is like, nice and dark. And then you can pick up a little bit more of your Alizarin and lavender mixture as in a lavender mixture and try to add some more. Okay, some variation. As you can see, I'm just putting down the paint at first and then what I'll do is I'll go and soften up the whole thing so that it blends. And then it'll be in a non uniform blend, which is what I want. Okay, I've blended that. Maybe picking up a little bit more, add in some random areas, apply water onto the top. This is like a different technique, isn't it? Where you apply some wet on dry strokes, and then you blend it away there. Now, picking up a little bit more lavender, adding that region and finishing off the blend all the way towards the bottom. Okay, Now you can have some high and low points. It's like the wavy nature of the snowy area in that region, in this area is just unevenness of the snow. Now, you can actually clearly see the separation between the two areas right now, what we need to do is make sure that everything on the lamp is captured. Let's quickly try this whole thing up. Okay? This whole thing is now completely dry. But there's another technique that I'd like to show in this class, which is to soften an edge that is hardened up. As you can see, this edge is really hard. I would like to soften it up because you can see it's like a really harsh line. I'm using my brush and then I'm running over my brush like that, in somewhat round, round, round direction, such that the paint over there gets slightly absorbed. It's almost the same as lifting, but you're trying to lift it from an area that's actually dried up. You can also use your tissue to absorb the paint that you've just lifted. See, when you're running around with your brush, this time for the lifting, you're making sure that your brush has water and then you do that and scratch it. Not entirely scratch but like rubbing. You see now that area is softened and I'll show you the same with this left area. Okay? So this is just another technique. Okay, go ahead and scratch, scratch it. But going round and round like that, then you can use your tissue to absorb okay, the paint and Lend it out, sina we've got like a softer edge rather than the harsh edge that had actually formed over there. So we've got the candle light and everything is, so let's go ahead and actually add in a white paint and the shadow, the shadow will make the lantern more alive. Okay. And I'll show you how. So here I'm loading my brush with my white paint. So this is a top surface area, isn't it? So that area is going to be, get accumulated with some nice amount of snow. Then where else? This is again like a horizontal surface. It's the dome. The top part of the dome is going to have like a lot of the snow accumulated. Okay? But this is a vertical area and it's inside that area won't have any snow there. I've applied the snow, and then you can see as I come towards the bottom, I'm decreasing the amount of paint that I have on my brush, and it's in a creamy consistency that starts to create like a dry brush technique. It's a controlled wet on wet to dry brush technique where it starts to get dry towards the bottom. Okay, now that area is dry and we've achieved up until that point. Now we need to again create the distinction where it was a line. Okay? That line is like an extended outward surface where again the snow can settle, it settles over there. Then we have the pace here again, where the snow can actually settle in another part of the base here, again, where the snow can actually settle. This is why I said I know where the separation is in my head. It helps me. We've marked the places where all the snow has settled, but we need to add shadows. Right here, I'm picking up a little bit of lavender and what I'm going to do is too much. I've just added a teeny tiny amount, and then I'm trying to spread in with the lavender and add it in some random places. You can take more white paint as well and blend over the top. I guess that's cool enough. When we add more snow over the top, then this will be amazing. But before we add the snow, I'd like to add in more poke lights. But these are a little bit more foreground than the ones that we already have here. I'm picking up my Academe lo and I'm going to just make some nice round circles at random places, but make sure that it's away from the bochetlts that you've already added. Okay? Can you see it at different places? But some of them can overlap but don't make too much as well. You could actually mix up a color with your cadmium yellow, which is quite lighter and not as the color of the snow itself here. That's a cadmium yellow and white mixture. And I think I'll do that because then it's a different kind of color. The cadmium yellow and not the white. And also different from the snow, isn't it? I think I've added some nice lights now. All I need to do is like to wait for these lights to dry out and then I can add the snow over the top. Oh, wait, there's one other thing that I actually completely forgot, which was to basically add in the other side of our lantern. So you can basically do is use the mixture of the transparent brown and the orange shade. And we only needed to be like in a very, very lighter shade. Okay. And add like an inside layer for the lamp. Okay, there you go. I'll show you. We'll do that with our brush itself. So it's like an inside layer there, Another inside layer over there. Okay. And this side can have the line of the lamp. I've sketched out the line of the lamp up until that point. Okay. And then what I'm going to do is I've washed my brush, and then I'm going to use my brush to pull down the paint like that. Okay? And then like it gets vanishing behind that light area. See what I did there? Okay, Just a trick. So let's do that for this side as well. Don't do it like in the center of our angle of our opening. Just a teeny tiny bit up until there. And then let it just vanishing behind. Just keep adding the straight line with your brush as you spread it out. See how we've got the inside part of it's not, the inside is the other side of the lantern as well. And that little thing made the lantern look more real, I would say. Don't you agree? Okay. Okay. So now let's quickly dry this up and then we can finish off with more snow. Okay? All right, there you go. It's completely dried up and we can now add in the beautiful snow. Okay, so here I'm loading up my brush and then it's the easy thing. Isn't it splatter all around? I said before, I love big splatters. I'm just going to add in some big splatters as well. Let it have splatters towards the bottom. All right. Now that we've added some white splatters today, we're going to add in some lavender splatters as well, because can you see, the snow is literally that color. You need to add in few lavender splatters as well. Not a lot. But see, I think that's enough. Some lavender splatters. I think the edges are safe. Today, I don't see any overlapping splatters. So let's remove the tape as soon as you add in the white paint. This thing is completely gorgeous, isn't it? And it's like transforms the picture up until that point. It looks like it's not looking good. But then as soon as you add in the splatters, I feel it transforms everything. There you go. There's the finished painting. I hope you like it and thank you for joining me today. 17. Day 13 - The Snowman: Welcome to Day 13. And this here is the painting that we're going to be doing today. It's a beautiful snowman, and let's have a look at the colors that we need for today's painting. So it's basically no yellows. It's a surprise, is it? So we're going to be using are transparent brown, cobalt blue, halo blue, indigo paint gray, transparent orange for the nose, and cadmium red for all of these red colors. And you can also use an additional ultramarine blue for some of the extra shadows here at the bottom. So those are four blues, basically cobalt blue, lo blue, ultramarine blue, and indigo plus the cadmium red paints gray and the transparent brown. And also the transparent orange for the nose. That's it. Okay, so there you go. Let's go ahead and paint this beautiful thing. All right, let us start. So fest. We'll start with sketching the line of the snow, of course, okay? And somewhere around there we will stop, because that's where the snowman is going to start. So we'll start with a nice large ball shape. Okay? So don't complete the ball towards the bottom, but go ahead and complete it towards the top region. Okay, And also, it needn't be a perfect ball, because think of it this way. The snowman is some kind of thing that somebody has built up, right? So maybe they couldn't do like a perfect ball. So don't stress about getting a perfect circle. Okay, there you go. We've got one nice circle. Then the next part is going to sit over the top of this, okay? And it's going to be a slightly smaller ball. There you go, making a circle. Don't use any objects to trace out the circle for this one. Do it freehand because that's much, much easier. Okay? Trust me on this. Then, another smaller ball on the top, which is going to be even smaller than the one that we've already made for the second one. Okay. Then here, you don't need to add any thing. You can just go ahead and add like a what do you say? So, I can't remember the name of this right now, but yeah, a scarf, isn't it? There? You can add like a scarf around our snowman. The scarf is lying there, so we don't need this line towards the inside. So we can erase that. Erase that. Oops, I think I erase the wrong one. I want the top circle to be on the top. Remove the line of the bottom circle. See? Okay. Yeah, that's how it should be. Buttons and everything else we can add later on. The top hat, that's important, right? So the hat of the snowman, we start there, then it's going to go outside of its head and curve around. You can make that curve come outside and then go like that. See that? Let's make another layer like that. It's got a very nice, fancy hat, then I think it's got like a sand tap of hat again. Somebody has given it a sandap hat. And then this area is wide, this regions are there. Then obviously next thing is adding the eyes, the button eyes and the carrot for the nose. Okay, I'll make it somewhat angle like that, then I think that's okay. Then obviously a twig for the mouth and we'll have some twigs over here for the hand. Okay. Another, let's have this twig bend. Okay? So that's basically the snowman, but let's add some background objects as in I'm going to place in background tree trunk over there. Okay, Something like that there. Very thin trunk. That's it. Maybe it'll have like a lone branch that's cut out, something like that. Then maybe you can have another tree branch, but then it's like disappearing behind the snowman. See that? Maybe we can add another one over here on this side as well. I'll add one more, and this time it's coming really close. I don't want any objects to be touching different objects. I'm placing that a little bit towards the right side. Okay, that's much better because it's not like a tangent edge then. Here. Let's continue that line of the foreground there. Okay. And taking that tree and going upward. Okay, add some random branches. Okay, I think that's good. Now, let me just refine the hand of this snowman be cause it's kind of like in front of that tree, isn't it? So I don't want the additional branch to be over there. Okay. So that's basically it. So now if you're ready, let's go ahead and paint this. Okay? We're going to start with the tree over there at the background first. Okay? For that, I am going to grab my brown paint. Okay. Going directly with the wet on dry this time. Just directly, go ahead and apply the paint. Okay? Don't worry about like wetting the paper or anything because we'd have to paint the background. But then we'll do it in continuous manner by using this method. Another alternative method that you can use is you can actually mask out the trees by using masking fluid or even using the tape method like we did on day one. But I'm just going for a different method today where we are actually painting the tree at first. Okay, try and get in some nice shades. We've got another tree over here, right? So here I'm adding that, but only up until the hat, Remember, because it vanishes behind a snowman and another one over here. Just do those quickly. Okay, and paint. Now, I need to get the shape and the branches and everything correctly. We've got it nice and added the branches and the tree trunks right now. Okay, So this is the first layer. Okay. So now the next thing what we can do is we can wait for this whole thing to dry out. Okay? All right. Since the first layer that we applied is now completely dry, we're going to paint the next things. Now, we're going to be painting this in sections today. Okay. So that's quite different from what we usually do, isn't it? So here I'm going to start with a nice halo, blue color and this is what we're going to be applying in the background. So we'll start with the first section, which is kind of the left side of the tree. See that? We'll take our Hello Blue. I'm going to turn my paper because it's easier for me to cover edges and straight lines this way. Okay, so here I've applied my Theloblue. Somewhere when I reach towards the head point of our snowman, I'll start to put in a darker color. Okay, I will start to take in indigo at this point, which is nice and dark. And then I'll start from the top. Okay, go over towards the bottom and start to blend it up. Okay, blend it towards the blue that we just add it. Okay. So there shouldn't be like any clear distinction between both those colors. Like any line or anything, just randomly blend it up. Can you see that? Okay. Then we'll go for the next section, which is going to be this area that is between this tree branch here and the left side of the snowman. Okay, so we'll do the same process as in Nola this way because that's easier for me to do. Like to cover right up to the edge of the tree. Can you see? And I'm not going to bother about that tree branch right now because it's fine. I'll just go up until somewhere there, isn't it? Then I'm going to pick up my lo blue, it's wet on dry. But make sure that none of your strokes that you apply dries, okay? So it's going to be like a continuous wet on dry, which makes it looks like an even blend. Okay, that's what we're going to be doing here around the snowman. But you can clearly see how there is no clear distinction between any of my strokes. It's perfectly blended. See that. Okay, so we're going to be doing that. Forget about the extra hand part of the snowman for now. That's absolutely fine. You don't need to paint it right now. We'll do that later on going around the snowman and adding I'm taking a lot of paint and pigment. That is why this happens. But if you take in a nice dry pigment that is going to leave a harsh line. So make sure that you don't get any harsh lines by going over as quickly as possible. If at all you get any harsh line, just quickly run your brush over. And that should get rid of that harsh line and you should be able to add in the next stroke of color. Okay, here. I'll stop somewhere there. And this time I won't start from the top, because then it would be hard for us to blend it with the indigo. Okay, here I take my indigo paint. I am going to blend it into my blue. Okay, see that. Coming over here. Now, along this direction of the tree, I need it to be nice and blended. Okay. Wait here. There's this edge part of the tree going towards the top. Okay. All of this, you have to repaint quickly because you need to blend it. Okay? As you can see here, I'm picking up some nice dense indico paint. And I'm blending it into the area of paint that I've already applied such that it doesn't have a clear distinction. But here as you may see, there is some kind distinction, I think slightly extended up until there, isn't it? Now you can see a clear distinction, but as soon as you pick up some more color and blend that region. Okay, like I picked up a little bit more of my tallo blue and then I blended it towards the bottom. See that? Now there's no clear distinction between the tallo blue and the indigo color. Right? There you go. Now I'm just picking up a bit more of my dense indigo because you can see it's a lighter tone over there and I want a darker tone towards the top. You can even use paint spray if your indigo is like turning out to be lighter paint scray will give the nice depth towards the top. Now we've layered that part, but now as you can think of, well if you want, you can start with indigo for the next section, because it's the top part. That area is anyways going to be indigo right there. It's indigo. And then around the hat of the snowman, going around, making a nice circular shape, somewhere up until its face, right up until there. It's indigo. After that, you can blend with your telo blue. So I need to turn my board again because that's comfortable for me. You do the same as well. Whichever is comfortable for you. For me, drawing lines that way is very comfortable. So that's why I do it there. Up until that point, I've got my indigo and I'll start adding thalo blue to that section. Now here I'm picking up my thalo blue and I've added to that region. Okay, let me fill in the thalo blue all the way on this side then. I guess I can freely go ahead and paint around the snowman right now. Okay. And ignoring the branch of its hands, that's absolutely fine for now. We don't need it right now. We can add that later on. Okay, there it goes. Some nice background, isn't it? Okay, and just use your brush to kind of like blend in. Again, there is no clear distinction between the indigo and the tello blue. Now again, back to the indigo for the top, or you can start with the tello blue at the bottom. Whichever way you do it, just make sure that you do not have like a clear distinction line between the two colors. Okay. And there, adding indigo towards the top again, some more indigo. These branches, we've already add them as branches. Then we need to make sure that it's covering the top. It's absolutely fine even if you have some white gaps in between. Like for example here, there's a white gap there, but it's a place where the snow can rest on. I'm absolutely not stressed that I've got white area over there. Okay, do you get me? It's absolutely fine. And here I bring down my indigo. And moreover, we will be covering a lot of these with snow again, I mean, the final painting, you know how it's going to turn out. It's just a technique that matters. Isn't it? Painting in different sections? I'm pretty sure I've never done something like this before. It's really an exciting technique for me. Add the indigo. Now I will take the theloblue and blend it. Because I'm taking theloblue and it's a somewhat darker color, I am able to pull down my indigo like that. Okay, here, the indigo blue there. Then once it's completely dried out, we can start to paint the rest of the painting, which is basically the snowman and the foreground snow. Okay, We can start right from the top, and I am going to be using my cobalt blue. Okay, So what we're going to be doing is we're going to be adding the cobalt blue to the face of the snowman. And then blend it so that it looks as though it's under shadow. And like the different forms of the shadow as in to create that ball structure, that's what we're trying to do here. Okay, so here I've applied some paint and then I'm just going to soften out. Edge quickly. I'll show you in different ways. For the smaller one, what I did was to I applied some copalte blue over to the right side and then I just like softened it. Okay. Then you can also pick up some copalt blue and paint it right underneath the hat. Okay? Because that area is going to be darker anyways because obviously it's the shadow cast by the hat. And then we have it on the right side, the nice shadow towards the right side. But we also need to add in a dense shadow for another object, which is basically the carrot nose that it has. That would be something like that. Okay, over this side, that's the dense shadow of the carinos. Then a little under the eyes. Okay. So use the tip of your brush and do like that. And the same over this side, a little under the ice. We will add the eyes later on, but this is for now. Okay. Now let me show you another method to paint the snowman. So that would be basically to apply water to the whole body part. Ignore the scarf for now, because that's going to be like in cadmium red, which is obviously opaque. So you don't have to worry about, you know, applying around the scarf for now. Okay, so here I've applied water, but skip that region of the scarf because literally there's no point applying there when you don't have to go around any object. Okay, again, taking my cobalt blue, you can see that I think this is much easier blending process than the other one. But I just wanted to show you the different ways as, as to which, how you can apply the shadows. Okay, here, applying the cobalt blue onto the wet surface, Blending it that way. Okay, see I've blended it. That's how on that side is. But here we have some more shadows to capture, basically the shadow of the scarf. Okay, onto the side, all the shadows are towards this side. Okay, here a little bit of the dense cobalt blue. Then we have the shadow of the, underneath part of the scarf to capture. Okay, so as you can see, it's spreading a bit, but I can soften that out. Now that's done, then we go ahead and paint the next layer of our snowman. Okay, for that I'm applying the water, but what I'll do is I'll make sure that I don't touch too much of the edge here because then all that cobalt blue would flow down. Can you see that part over there? Then taking the cobalt blue again, starting from this side and going at an angle like that. Okay, more dense colors towards this region. I believe you can make this region a bit more denser. I've applied a little bit more cobalt blue. The cobalt blue, it's two different blues today, as I've already mentioned in the colors. But it's helpful to know, isn't it? Okay, there you go. Then we have the end of the scarf, which is right here, sir. Cobalt blue to that region. You can like soften out this little bit. Okay, teeny, tiny bit. And make sure that there isn't too much of water there and not too much of the paint either. Okay? All the dense cobalt blue can be over to the top. Okay? Nothing underneath that gives it a nice ball shape. Then let's soften out towards the bottom part as well as where the snow is resting. I mean, the snow is resting. So you can go ahead and apply water Foreground region as well. Okay, that's the foreground. The whole region. Today we're going to be using cobalt blue for the snow. Okay, there. And since the shadow is all towards the right side, there you go. The shadow of the snowman, and everything is going to be touching. Right. Bottom side. It's actually this side, right? It should be something like that. Following almost the same angle as that of our carrot, but in slightly in perspective. Okay, there, that's the shadow, but denser shadow right underneath. Okay. I was wondering where I was picking up the green. So my brush is accidentally going over to this side, That's where I was picking up green. Another thing that you can do to get in denser blue color is to mix in a slight amount of ultramarine blue, and that would make it slightly denser. But then remember, ultramarine blue is more of granulating than your cobalt blue. Okay, that could prove tricky, but it's okay there. I've added a little bit of my ultramarine blue then. Now I'll go back. More of micropulse blue. Okay. And then I'll mix it with my ultramarine blue. Just need this part here to be having a nice amount of shadow. I guess there is this tiny area behind the snowman that's somewhat lighter because the shadow is like that. You see that? Okay. If you lift off some paint, this is the area that goes behind the snowman. Okay. It's not the side of the snowman. Yeah, I think that's much better. Now, you can clearly see the shadow of the snowman. See how that's reflecting the shadow? Maybe picking up a little bit more ultramarine blue. Yeah. Oh, now I can clearly see the edge. It's looking amazing, isn't it? Maybe you can create the edge part of the snowman, but then blend it. Okay. Because we don't want any distinct line. I love the way it's turned out, but I want to, like I said, create that bottom line of the snowman where it's ending. I think that should do. And then slowly making sure that the whole thing is a blend. Now we've got a bottom edge to it. I think I picked up some color from somewhere. See now we have the gogo, gorgeous snowman. You can keep lifting some more of your colors if you feel that It's like starting to lighten up here. I'm lightening up that part. Just lifting off some colors, because that area is the area that goes behind the snowman. There we go, we've added that. I think we can go and add in that hat. Now let's do that, okay? Cadmium red, beautiful cadmium red over to the top. This region here is supposed to be white, right? So we'll leave that. It's a nice, beautiful, dense red. As you can see. You can also use like Pyl red, which is also like a very dense red. Now that's red, we again need to capture shadow paint spray, of course. Okay. You always don't have to like use paint spray. You can also use a complimentary color and you'll get a better shadow, I guess. But I love using paint spray for my shadows. Okay. So that's why I use it. We use the same shape that we tried for the body of the snowman, and add in the grays over top. But then obviously you've got to blend it. You pick up a little bit more of your cadmium red, blend it. See, now that side is a little bit darker. I guess there's another area. I have the red, This edge here is a red as in this round thing is a red over the top, which is a white, like a fancy sand as hat. Okay, added that. But again, even that area needs to have some bit of shadow here. I'm picking up my paint spray and what we're going to do is towards the base, we'll add in around like that. Okay. Here, going with my paint spray and around like that and obviously to the red, to make sure that it kind of blends in and does not create any harsh edge anywhere. Now, we've got like a nice beautiful thing there. So I'm not sure if this is dry. No, this is actually still wet. So now, because there is nothing else to paint, you have to kind of wait for it to dry up. So I'm going to quickly dry this up. Okay. All right, there you go. I've dried it up completely, so now we'll go ahead and paint that scarf. Okay, so the scarf around the snowman there, it goes picking up nice dense red color there. Then we have the scarf that goes like that. Okay, and the longer edge, this is why I said that you don't have to worry about like applying cobalt blue around. Because the cadmium red, if you have it, is so, so opaque that you can literally paint over the top of it. Now, down with the cadmium red, but shadows of getting the shadow at the bottom there, at the bottom part of the scarf there. Then I guess a bit over to this side, a bit over on the top of the one. Okay. Then I guess the end where the scarf is attaching to the cloth. Okay. There. I guess that's good. So I'm just going to make sure that everything is now. Okay. So taking my red paint lending things because we don't want it to look much into the eyes right there. Just lending out things. I can see the distinct line of the scarf, It'll make more sense when we add in the snow over the top as well, that part of the scarf is done. There's one thing that you can do if you want, like I've picked up a little bit of my red again and then I'm just going to add in some lines like that. So it'll be like, you know, those threads coming out of the scarf. I mean, if you own a scarf like that, then you will probably understand. So doing the same thing or the other end of the scarf see something like that. So can you see like it's got the tooth at the end, basically it's just the thread area of the scarf or I like that. Now that we're done with that part, I guess and the body of the snowman is now dry, we can paint the two hands. One of the hand was supposed to be on this side, right? Both sides there, Taking the hand. And then there is the branch. You can literally add in like a branch shape. Then we'll do the same for the other side. I'll be somewhere there going over like that, having a branch there. That's the branch of the snowman added. Now I guess we can put in the I's and the buttons paints gray for that. Remember when you put in the eyes, like not cover up the blue that you added for the shadow bit. Okay, Like a teeny tiny amount for the eyes but having the cobalt blue underneath it. So that'll make the eyes pop out. Act like some buttons. Okay, then we have the twig. I should have added that twin, but that's okay. I'll add in the buttons, then some nice buttons. Again, body, I don't know who put the buttons slanted, Didn't, didn't put the buttons. Just kidding. A little bit of transparent orange for the nose. Okay. You know what the best part about the nose is? Because there's some cobalt blue underneath, it's going to have some shadow areas reflected. The complementary color of orange is blue. That bottom part is already going to have some shadow because you already have some blue on the surface of your snowman. Isn't that amazing? When you mix two complimentary colors, they actually create like a brown shade. If you were to do that with blue and orange, then you would get a brown shade. You actually don't need to create any shadow over the top of this carrot, because it's basically already there through the blue underneath, then just using the brown to mark the twig mouth. Okay, Oh, this snowman is already looking absolutely gorgeous, isn't it? I love the way it turned out. You could actually end the painting here if you're actually happy with it. But I am not happy without snow. I'm going to add snow. But before that, I thought that you could make things pop a little bit more basically by adding some more shadow here. I am taking a little bit of micro balls blue and I'm going to add it right below the hat. Reaching. Okay, see that just below the hat because it's now wet on dry and you're applying right below. Then use your brush to smudge the end and soften it up. See now that hat pops out as well. That's one tricky thing that you can do. You can do the same for the scarf as well. Taking a bit of the blue going around and adding, maybe add some more over there can always make your things pop. Then here I'm softening out the edge of the cobalt blue. Okay. Make sure that you don't touch that buttons, that you add it. Okay. Oh, I love the way it turned out. See, see how it's looking. Amazing and with all the shadows. And there's another thing that we forgot. I didn't add shadow for these buttons. Right. So you can pick up a little bit of the cobalt blue and add it around the edge of the buttons as well. Okay. And you can add in a shadow for the hand, but remember the direction of the shadows. This one doesn't need to have, but this one it's probably need to have. But then don't make it too evident like that. Just make it Okay. Subtle line that goes like that. Okay. It's also not there. Something like that then I think now we're good to go ahead and add in the white paint. Okay, first of all, we'll add the white paint onto the areas where it's bound to settle. So much so that would be over this twig. So much of it is going to settle on the twig and we have this edge of the tree branch sticking out. Now about the head part, you can either cover it up in the same white or you can just leave it paper white. It's absolutely fine. Okay. But then if you add like some edge to it, just like the fury texture that we gave in one of the class projects, then it'll be good because then it represents the furry texture. Okay? The same for this one. If you can give it a slight fur texture, just so that it's not perfect but has like a fury texture to it. Then here you can mark in the areas where some snow can settle in. Okay, let's not do that too much then. I guess on these trees here, there are some snow areas, okay, sticking in. I think it's been snowing for a long while now that the snow has really creep in and settling on onto the tree as well. Okay. See that some of it onto the trees, I guess you can add to the top as well. Okay. That you do. We don't want to add too much. I love the way this stand out. Now, another thing that you can do is you can add in some dry brush strokes as well. For adding the dry brush strokes, I'm picking up the white, then I'm making sure that my brush is like really, really dry. And then using that, that is what you can actually use over the top of the scarf. Okay? Because it's bound to get dry snow over the top of it. Okay? And even maybe on the top of the hat as well. This is actually facing towards the right side. Right, then that means there is a literal possibility that it's going to accumulate in a lot of the snow. Okay, I'm just going to add in some nice dry brush strokes. Okay? Because it can literally accumulate a lot of snow. Oh, I love the way that turned out. Then I guess it can also accumulate over the top of the scarf where it's bend. Then here it can accumulate over the top, anywhere that it has a surface, you can see that this is a horizontal surface. It's definitely going to attract a lot of snow. Okay, I guess that's enough. And we can finish off by adding white splatters. Okay, there you go. Picking up my brush and adding the white splatters over the top. This is always the fun, fun part where we finish off with the snow. I love when we add the snow over the top, and I think I've mentioned it 100 times before that. I love the large drops that we get, and then I also love the mixture of the large and the smaller ones. I guess I'm going to shift to a smaller size brush because I'd like to have some smaller drops now. Okay. Not all of them should be very large. I'm shifting to my size brush right now. We'll get some nice smaller ones. See, those will give a smaller. Okay. So smaller brush gives the smallest platter and bigger brush gives a biggest platter. But then you can also get a smaller platter with a bigger brush by just keep on splattering even when the paint on it is finished, then it'll only have smallest platters at the end, the white paint over this tree a bit more because I can see that it's lightened up a lot. It shouldn't lighten up, that's because it's over such a dark color, the paper tends to absorb the white color a lot. We don't want that to happen. Right, Even for this fury region here. Okay. I think that's good enough. And I love the snowman the way it's turned out. So now we can go ahead and remove the tape. So here you go. Here's our final painting. Hope you like it. Oh, I love the snowman, especially the shadow here is absolutely my favorite. Here you go. And thank you so much for joining me today. 18. Day 14 - Christmas at the Cabin: Hey, hey. Hey, welcome to Day 14. And this here is the painting that we're going to be doing today. As you can see, it's a beautiful Christmas tree in front of us, more heart, and the Christmas tree even has some lights on it and with a lot of snow and some amazing background. So first let's have a look at the colors that we need for this painting. Okay, so we start with a nice background of violet and rose. The rose that I specifically use, Pb 19 or Quinacridone Violet rose, which is from white nights. Okay? And then over the top we have these background trees which are basically a mix of lavender and indigo. Or you can use lavender and paints gray as well with some white on the top. White quash is absolutely necessary in this painting where you've got to add all of these snow drops and a lot of snow over the top as well. Then we move on to the house to paint all the details, which is basically quin gold inside, then some burns, transparent brown. And we finish the house up with the same lavender and the white. Then over to the tree is a mixture of transparent brown and dark green with some cadmium yellow lights on the top. And the shadow is basically, again, lavender and white. That's our painting for today. Let's go ahead and paint this one. All right, let us start. So we'll start by quickly sketching out the little hut and the four ground Christmas tree. Okay, somewhere along, that will be the line of the foeround. Okay, then we have the little hut over here that could be first sketch out like a V shape. Okay? Inverted V shape, of course. And then maybe something like that. And perspective, this is going to come way down because of the effect of perspective. And then the roof goes like that. Okay. But it's not exactly like that because there is snow over the top. Let's just mark the inside line of the hut and then we'll mark out the snow over the top. Okay, there, that is an additional layer of snow. Okay, And that is basically covering and gives an edge like that, so let me just erase that. And then here as well, you're going to have the top of that covered in snow. Okay, If I erase that line, let me show you. Just making things easier for you. So that is our line of snow. Okay, Here also there's going to be a line of snow, basically. This is the thickness of the snow. Okay? This part here is the thickness of the snow. This here. Then we have the house that can just basically go inside. And you don't need to clearly mark the bottom part be, cause that's like masked away and here as well. Then we have the door over here, okay? And maybe a tiny, tiny little window over here. That's basically it. And of course we need to add in like a small chimney, because houses like these always tend to have like a chimney there. Okay? So add in a chimney. Then again, the top part of the chimney go in perspective again, that will be covered with snow as well. Okay? You don't need to like mark that too much, We just need to do a teeny tiny bit and I'll show you that stroke when we're doing with our brushes. Then the next is we're going to have like a large Christmas tree alongside the tree. Right? That is basically the most important thing. It's just a pine tree outside their house, which I think they have decorated for Christmas. Okay. There's the center stem of the Christmas tree. We don't need clearly marked that, but it gives you a perspective when you're trying to add in the shape. You can see just adding in the place or the lines as to how the snow is covering. Tree snow usually like covers in sections. And now as you come over to this side, it's okay to come in front of the hut as well. Well, that is clearly the intention, right? Like it's really okay for it to be in front of the house. Once I've done that, I'll show you my sketch in closely. Okay, there you go. That's the sketch that you want to make. You see here, It's just basically some random shapes and almost like going towards the middle and then going outside like that. Maybe like a flower, half flower shape. If you were to make this on the other side as well, you'll get like a flower. Okay. But don't make it like too perfect like a flower as well. All right, so we can get started with our painting. What we're not basically going to do is the white of the roof and everything. I think it's better if we can paint it with the white paint itself. So let's do bother about the house right now and we'll paint it. Paint the whole thing. Okay, there you go. I'm applying water, but I'll only apply up to the foreground. But again, do not apply it at the line of the fok ground. I'm going to go further down. In fact, if you want, you can go ahead and apply water to the whole of your paper as well because it doesn't matter. You just have to prevent it from going towards this foreground region here. The paint. Okay. That's all you have to be careful of here. I'm going to apply my water. I just dropped in some water because it makes me easier it makes it easier for me to like, apply the water. And then I think I will tilt my board so that all the excess water that I applied will flow towards the top. Once you have applied the water, we can start basically, the first color that we're going to be taking is a little bit of violet. So we want it to be in a very, very lighter tone, pick up a very watery consistency of the violet paint. We only want it to be literally subtle. Okay? It's just going to be a subtle background, but all the things in the foreground that is going to be vibrant, I mean, you already saw that right then. A little bit of pink shade. Okay. Again, we'll add that most of these pink shades are not going to be seen because we have the tree in the front and you've already seen that anyways. But I'm just telling you I'm just picking up a little bit more of my violet then back to more of my pink. But we always want these tones here to be very, very subtle. Okay, they're going on adding the pink shade. The pink shade is going to come all the way towards the bottom, but as you come towards the bottom, make sure it's very, very light. A more colors towards the top and towards the bottom is literally nothing, almost very, very light. Okay, so that's our background as in the first layer of our background. And we'll do it on top of this itself. We don't need to wait for this to dry and reapply the water because I just think that it's going to just blend the whole thing up and we don't want that to happen. Now, we'll paint our trees over the top. Okay. For that, make sure your brush is really nice and just damp dry. Okay. And we're going to pick up lavender. Picking up a nice, dense amount of lavender. Okay? So you can use your brush to pick up dense amount of lavender. But your watered brush, okay. I mean, wet brush, what am I saying? Anyways, wet brush, you can see how wet that is. But ultimately, when you're putting the paint onto your paper, you need it to be dry. Okay. I mean, damn not with a lot of water here. I'm just going to use my lavender a bit more. Okay. And mix it up here on my palette. On this right side here. Let me pick up more. I need it a lot more. We have a lot of trees to add, right? What we're going to basically do is we're going to start adding a little bit more darker color onto it. So you can either add paints gray or you can add in a little bit of your indigo. Can you see as soon as you've touched that indigo, it's turned into a nice creamy color, plus it less transparent. Your indigo is transparent. Paint is transparent, but lavender is not a transparent pigment. It becomes like an opaque shade. And then make sure that you get rid of all the Xs water from your brush by touching it on a dam tissue or the cloth that you're using so that all you have left is like the damp brush but with pigment on it. And then now we're going to make the tree. I'll start from the left side here, mainly because I can see that there's still a lot of water here. If I started there, then all of that paints that I apply will like spread too much. But here there is lesser water. Observe and look at your paper and see where there is lesser water. If you see that it's in the center, go ahead and make the trees that are in the center. And if it's more water everywhere, then just wait for a bit to settle down so that we want these to be very subtle. Wet on wet, you don't want it to spread too much. We want this to be actually dry on wet because your brush that you add, it is dry and the paper is wet. Okay. That's what is cold as dry on wet. And then let's start. I think the first one will add there, can you see as soon as you add that it's not too wet, you get not too spreading stroke and this is the background, Okay? Then we'll obviously again make the shape of the pine tree. Remember to have all the Leaves stooping downward, like the way I'm doing right now. Okay. Pick up some darker strokes in between or you can even just go ahead and keep adding your lavender. And then at the end, you can add some darker strokes in between. You can also add some white in it before this whole thing dries out. I'm observing that as I come towards this bottom here, my paper is a little bit more wet, but I guess it's okay here. Remember we didn't apply water up to the line, but we let the water go down a bit. And that's absolutely fine, because you want that water to not create a perfect board line there. Then I guess this one can be a bit more taller. I've picked up the indigo mixture right now, and I'm making that okay there. And it's basically making these round edged shapes, okay, all the way towards the bottom. And then you can leave caps as well because it's winter come on. So many of the leaves have like fallen out and Okay, as I come towards here, I'll keep adding, but I'm trying mostly to avoid the area where I have added my tree in the foreground. Okay. Then here I pick up again, picking up a little bit more indigo. Oops, this is a bit denser. Okay, let's see that. What I'm going to do is I'm just going to add a nice dense line in the middle. You need to see the stem of the tree, isn't it? Pine tree. Then I guess I'll make the next one a bit more smaller. Can you see It's still a lot wet. Careful about that. When you're adding your pine trees, you don't want it to be spreading out too much. On the paper, this is on wet, especially it doesn't have to be too wet. Remember that point. This one a bit different. Taller Also, let's make this a little bit more dry, okay? Don't want too much of the leaves on it, okay? This pine tree is a bit dry towards the top, but towards the bottom. Let's add a little bit more that's slanted, but that's completely okay because pine trees, they're not always perfectly straight. They can be slightly slanted. And this one I'm going to make it like go outside of my paper because it's going outside. It's a fairly, really tall one right behind the house. Compared to that, this is a really small pine tree, isn't it? The one they have for Christmas? And obviously it has to be small. If it was a larger tree, I don't think anybody could climb over the top to decorate it. Right. You know what? In fact, I have not me, but the house in front of my home here has a pine tree exactly similar to this one, like just a small height. And I wondered why they haven't decorated it though. Okay. And I guess maybe towards the right we'll have more of the taller ones. Okay. That sounds good. I'll have it there. And that's another one. Okay. Taller pine trees. I'm just adding them together. Okay. Because I know they're anyway is going to be so you see all that pink shapes that you added. It's just literally in the background. So you're not going to be seeing much Okay. Part of the house then. This is part of the pine tree there. Okay, It's towards that side. Now you can create more ness to some of them. Region, not the stem but the trunk of the pine tree. By picking up your indigo and adding towards a stem part, but leave some gaps in between. Do not go perfectly over the way down and create a line. Okay? Because there are areas where the snow or some of the branch is covering the center line. You don't want it to be like completely visible, which would mean as if the pine tree is like growing on both the sides and not towards this side. I love the way this is stand out. Now if you want, you can add like some more shapes. And remember I said we can add some darker death at places. You can pick up your indigo and add some darker strokes at some places. Then in order to make it more, you can also add lighter strokes at some places as you can use your white paint to create lighter areas, even lighter areas than the lavender. So this is dried up white wash paint, which is definitely going to take a long time for it to reactivate. So let me just reactivate it quick. Fresh wash paint is always much, much, much better, but I don't want to waste all of this paint, so that's why I'm reusing it and it would need like a lot of swirling around and make sure that it's dry and not have a lot of water. Okay. I guess that's okay. Then going to add over the top. Okay. You don't need to add in all of the places, but just, you know, some random areas we'll give. And again, obviously because it's such a darker color towards the bottom, it'll spread and then it won't be this light white that you see here on the paper. Okay. And that's exactly what we want because we don't want it to be like perfectly this white. Right? So the strokes that I have added are like Strill still wet. Some of it may not be still wet as well. And you get some dry strokes, but that's absolutely fine so long as you manage to create some nice strokes. Mix of the dry and mix of the wet strokes in between. Okay, Don't stress too much or that, oh, my paper is like dried up. Now what do I do? It's fine. Just go ahead and add the white. It's absolutely fine. Okay, The more wet it is, it does give depth, but it's absolutely fine if it's not as well. So do not stress about that point. Also, if you think that like you've added too much of white at any point, you can always go and re, add any of your lavender or the colors that you've basically used and add over the top, which will again add beauty to the strokes. Okay, I guess on the right side, some of the white is like literally dominant. So I'm just going to add a bit more of my lavender. Remember initially we added lavender plus indigo. And this is just lavender. The mix of it is going to create like a beautiful blend. Because now you have lavender, you have mix of indigo and lavender. Then you have just indigo and then you have white. Okay, Then all of this is going to be like a very good palette of colors for that background. Pine trees, so I know that it's a lot of work for just a background. But then it literally adds beauty to the painting. You can see I'm taking fresh, fresh lavender paint as I do this because I also want my paint to be like dry. So you can see I'm not tipping my brush in water or anything because I do not want it to be too wet and then distort the already existing painting. Okay, so now we've got some nice background pine trees there. Let's quickly add in the foreground snow here. Just apply the water again, but make sure that the water that you add did not go towards the top because that can ruin your pine tree. Okay. Once you've added that, go back to that violet paint and put that on the snowy region. Okay? I've added some nice violet paint to this left side, but the most big chunk of it is going to be towards the right side of this house. Because you need to to pick the shadow of the house right there picking up my violet. Do not worry that your paint is like flowing towards the top. It's absolutely fine because your house is going to be in a Takahd. Okay? No shadow directly from underneath it, but we'll have like a shadow just at the side there. This tree there is kind of like in a dip in the snow. So the shadow is not directly starting from where this is. Okay. Oops, a little bit dark paint. Let me sort that out. You can see nice shadow captured. Okay. And now that is the background layer. Now we'll work on the foreground once this is completely dried up. Okay. All right, there you go. The painting is now completely dried. Can you see how gorgeous those pine trees look in the background? I mean, it's the absolute background and it's just like not that in focus and that's exactly what we wanted. Okay. So now we'll go ahead and paint that house for that. Of course, I'm going to start with a little bit of my Queen Gold. Okay, And we're going to add that for the door area. Okay, here. I put it into the door. Now look for the area where you had marked for. Your snow. Okay, so there, that's the region I had marked for the snow. Now we're going to paint the house. For painting the house, we obviously need to, again, look for the area where we have marked for the snow. So I see my line going there, somehow like that. Okay. And the rest of the region we'll cover with our paint. Oops, I actually forgot that. We need a little bit of win gold for the windows as well, so it's like literally glowing inside there. Okay, we've marked in the window as well. Now the problem is obviously we have to dry these two up if we want to paint around the house, I mean, all the other areas of the house. So let's just quickly do that. Okay, there you go. I've completely dried it up. Then we're going to pick up some nice brown shade. Okay. And we're going to paint the house. Okay. So this is why I said that it's going to be in a darker color. So do not absolutely worry about, you know, like making any other shades. But I think it's actually better to get some more details on the. We'll pick up a lot of burn sienna at first. I know that we have applied a little bit of transparent brown over there. You know that little extra line that we added. Go ahead and add in some burn sienna to that region. And also, in fact, you can paint the whole of your house with burnt sienna there. Let me show that to you once more one more time. I know that this looks a bit crazy. And I started it in a different tone and then I like quickly changed it, but let me show you why. Okay, so when you're adding your burnt sienna, make sure to go around the tree somehow. Okay. And it's okay that even if you can't possibly go around all of the areas of the tree and you accidentally go into some place of the tree, it's absolutely fine again. Okay. Now again, make the shape of the snow towards the bottom, some slightly curved shape. Okay. Then here I pick up my Pan CNN again, that's the basis in it and it's supposed to go like that there. Okay. So I don't need that extra line towards the outside. That's the line of the house. Okay? Then let's paint the whole thing. It will make much more sense when we complete this. Just trust me and just do it. Okay? Then over to the right side as well, Again, covering up the inside part. Okay, Up until where we have made the sketch of the house. Okay, so now we've got some nice shades in, now we're going to put in more taco shades. Here, I'm picking up my transparent round and remember the place where we started to add. Go ahead and blend in some nice colors. Okay, over to that side. This side is basically in a lot of shadow. Okay, Remember all the shadow was towards this side. This side is in shadow because of the snow hanging from the roof. Okay. Then this side is where there is light. You just add in just the line to depict how this roof is like overflowing on that side. Okay. Then obviously this right side does not have any light. Okay. There's no light on this side. Light is from this side basically. That's why this side is like in shadow, especially from the tree as well. Go ahead, pick up the brown, go over the burn sienna over to the right side of the house. Okay, that's what we're adding there. You can see towards that right side, we add in nice depth colors. Okay. There. Then I think we can also add a line in between for how the window is. I've added that. Now you can see that it clearly defics how the light is reflecting through the window. And picking up a little bit more burned Siena line that we did, we sketched out. Okay. Just like the roof part here, I accidentally painted over this one with the dark brown, but I guess it's all right. Okay. Now we've got some nice colors in. Okay. Blend that with the burns. We've got the lighter colors, but now we need to add in like the door. Okay, let's see. Let's have the door towards this side so that we can paint the door as dark like this. Okay, I'll attach the door. It's like it's halfway open towards the inside and you don't see it. Again, only up to the bottom where the snow is there. See, it's like house door is like slightly open. Okay. Then once it's dry, maybe we can add in some wooden lines or something. Okay. Now, over to the top where we want to depict the snow. Right. First we'll obviously mark in some nice snowy elements. Okay, the shadow of the snow using lavender. Okay? So go ahead and apply lavender all the way up until the edge of the house. There it goes. Then as you approach here, let's see, It's going to come down like that. Okay? This part of the house is definitely in shadow. Again, like I said, it's this side away from all the light. This region here is more of the light reaching on it. But then we need the bottom part of it to have shadow again. This part, the bottom part has to have shadow. We just added the lavender, but now we need to complete that with a nice bit of white. Observe closely what I'm going to be doing. I'm picking up my white paint. Okay. And we're going to first add it to this side. Let's mark the area where it's like more white. The light areas first there. That's nice and light isn't it blended with the lavender? So that at the base, it will have a mix of the lavender and white. Okay, keep adding. It'll mix automatically with that lavender underneath. You can go for multiple layers because obviously we have so much color underneath that you might have to add multiple times. And also then over to the right side, like I said. Okay. Adding the lavender bits and the white bits. Okay. On top of the lavender bit, try and add it like in a streak of line following along the length of the roof. Okay. Like that, make it streaky towards the bottom. That okay. A lot of the white is captured and most of the light color dark shadow bits is towards the bottom. Okay? Okay. You see we've got some nice lavender bits and then we've got some white paint as well. As you come towards the bottom, make sure to make it vertically, slanted like that, because this is downward. Okay. Make sure to follow the teeny tiny things. And then also to blend it, I think I would like to add a bit more lavender to that area because it's like literally in the snow there. Can you see how it's looking already? Like how it should be with all the snow? I think that extra line of lavender will actually make it look like it's the slanted slide. Okay. Side of that roof rig. All right there. I think that's much better. I think the area of the house has actually dried up. Here I am picking up a little bit of my transparent brown and I'm just going to add some lines. You don't have to do this with your larger size brush, It's absolutely fine. You can just shift to a smaller size brush and try it out. Okay. I have a very pointed tip for my larger size brush, that's why I'm doing it. Okay. Just some lines just to show that it's like made of food and plank. Oh my god, I'm already loving this and I know that this is like taking a long time. So let's quickly quickly wrap it up. So it's basically the next step is to go ahead and paint that four ground pine tree. And what we're going to do is we're going to pick up lavender again. Go ahead and paint along the shapes that we have created. Okay? Remember those shapes that we sketched out in the beginning? We're going to like paint inside those shapes right now. Okay? Create those random chai, shapes. Okay? I'm just using my brush and I'm going inside and I'm painting them. Okay? Remember where it came overlapping into your house? Continue along those lines. Okay. And the last bit at the bottom. At the bottom, make sure that you go along the length of the snow and completely add it up. Okay. When we add lighter tones, it'll make much more sense. We've covered like a tree, but it doesn't look like a tree at all. Right, now let's make it look like a tree. Okay, here I'm going to take in a little bit of my transparent round and then I'm going to add in the center line of the tree. Okay, follow along. The pencil sketch that you've already made goes there, it goes there, somewhere there, somewhere there. As I go towards the bottom, it's not going to be visible, the part of the tree. Then I'll start adding details on there. Okay, I'm taking my dark green and I'm going to be mixing it up with my transparent brown so that I get like a darker color. You can also in fact throw in a little bit of paint spray in there as well, because we want it to be like dark, dark green. Where the color green is not actually visible, but it looks like something that's dark but not black. Okay, then again, what we're going to do is towards the underside of the strokes that you've just added, add in some tiny lines. Okay? Branches, it's actually the leaves sticking out and these are the leaves on which the snow is covered up. Can you that? Okay. So that's why you don't need to add a lot just in some random places and all the places where there is like white gaps in between. Okay. That is a place where as the snow is covered up, it's on these leaves that the snow is resting on. Okay. There added some pine trees. Now as you can see, it's all just shadows. So we need to add light on top of this, right? I mean, the lightness of the shadow on top of this, we come back to our white paint and this is the last step of this where we add the white, and then we can just basically add the stars on the top. Unless if you want, you can go ahead and add in some Christmas bubbles and everything. Maybe we should add Christmas Boggles, do you think so? Adding some white over the top. Let the bottom part of it remain with the lavender. Okay. And that should make it appear as though it's got both shadow and the top areas are like the light. Okay. On all of the region. The top areas are the white region and shadow is always at the bottom. Okay. Oh, I'm loving the way it turned out. Let's do the last bit where we add. I'm just adding it like in small drops, complete lines as you come towards the bottom, make sure you only add complete lines towards the top regions. Okay. White at the top. Oh, I love the way that trees turned out. Now we need to make this Christmas, so let me pick up a little bit of my yellow and maybe what we can do is actually maybe add in like a star over the top. I'm not sure. Okay. No, I don't think so. Maybe lights, Christmas lights, that's what will make this better. So I've just picked up my cadmium yellow. Okay. And you can just add that cadmium yellow at like various places. So it'll be like somebody has just put in string lines onto the tree. Okay. You see it's like wrapped up and these are the teeny tiny details that you only see when somebody looks at your painting closely. But then they're going to be like, oh, wow. It's a lot of details like small, teeny tiny details at several places. There you go, I've added a teeny tiny string lights, and let me actually show that to you up close Okay. So that you can actually see it there. See that those are the teeny tiny string lights. And now the painting is now basically complete, and we can just go ahead and add in a lot of snow over the top, But you know what, There's a lot of place on my tree that's still wet, so I'm just going to quickly dry it up. Okay. All right. There you go. It's completely dry. And I'm picking up some white paint and we're going to splatter. Okay. So today I'm going to splatter smaller drops. Okay? Not bigger ones. And let me explain the reason for that. All of these other days we were painting objects that are literally small, but in a closer view. For example, baubles thrusting in the snow. In this painting, for example, if you were to place a bauble in the snow, it would be like right there as a teeny tiny thing. And then you're looking at the bauble up close, that's why you have a bauble that, that's big, then the snow drops would be very bigger as well, and you see all those bigger drops. But today you're painting, you're looking at pine trees and you're looking at, not houses, but you're looking at this hut that's like literally far away. Then your snow bits has to be smaller as well. Sorry. But while I was talking, I just realized that we missed out this teeny tiny chimney. My little transparent brown. Okay. Adding over the top. And I add it like in a slight slanted angle. Let's just add in a little bit of snow over the top. Okay, I think that's it. Okay, then getting back to adding my snow. Remember smaller drops this time? Okay. That's why I'm loading my brush, but I'm not using too much water to load it. Okay. Because if I use too much water then they're going to be larger drops. If you feel that you're afraid that you might create larger drops, go ahead and use a smaller brush if you want. Okay. Then it'll be fine, just making sure that I don't have too much water. And then I don't create large, large snow drops. We only need very lighter, smaller ones today. Okay. So there you go. Our painting is complete and we can remove the tape. Hey, hey, hey, and here's the final painting. If you look close, you can even see the Christmas light. See that. I hope you like this and thank you so much for joining me today. 19. Day 15 - Christmas Fireworks: Welcome to day 15. And this here is the paint that we're going to be doing today. So it's like a congratulations on reaching up to this point and for painting up to here as well. Because fireworks, these fireworks are for you all because you've taken the bold step to come and watch until, I mean, until this lesson in this class. And thank you so much for that. So let's have a look at the colors that I have used for this painting. In the background, I have used Crodone Gold, of course. Alizarin Crimson. Hello, blue, indico. And paint spray. Then for the fireworks, I have used cadmium yellow, cadmium orange, cadmium red, and some white quash. Then for the tree over there in the foreground, I have basically used my dark green paint spray and quin gold. And then for these lights here on the tree, it's basically again, some white quash cadmium red, cadmium yellow, and also cerulean blue, which is opaque. But if you do not have cerulean blue, that's absolutely fine because you can go ahead and just use blue quash or you can just totally skip those blue lights because it's not actually that visible. If you ask me, there's 1234, uh, blue lights that I have added. But if you've got quash paint, then you can use blue lights. Green lights, any amount of lights using the technique that I've shared in this lesson. There you go. So, let's go ahead and paint this one. All right, let's start. So we'll first just sketch out the layout where the Christmas tree is going to be. That's it. Okay, That is the only pencil sketch that we have for today's painting. So maybe even if you want, you can just sketch out the center part. I know that I always say that you don't place objects in the center, exit, tra, et cetera, that you should go for the best composition. But I kind of like where the Christmas tree is right there in the center and the fireworks is kind of like shining through behind. Okay, So that's why we're going to do this. Okay? Let me see. This line here that I'm going to add up until here is where my Christmas tree is going to be and that there is my foreground. Then I'll have another layer of the snow there, and then we have some background mountains and things at the back. Okay. So it's like three lines at the bottom. I know I'm drawing it very, very lightly, and here that is the stem of the tree, and on the top of it is going to be the tree in a triangular shape. If it makes it easier for you, you can sketch out, okay, how the tree is going to be just with your pencil. Okay. I guess there that should do it would always be outside of this that your tree is going, the pencil sketch will not be same. That's fine. So make sure that you make it such that you don't make it too big and then your tree becomes even bigger than that. Okay. If you intend to paint your tree up until here, then mark your triangle somewhere a little bit inside. Okay, there. That's our pencil sketch. Let me show this to you closely so that you can see those lines that I made at the bottom, even though it's very, very feeble. But do you see that? So that's what we need at the base. Okay. Now that you've done that, let's go ahead and paint in the background. So today we're going to do it something very, very different. Okay? We will apply the water to the background in different as in the way we paint the background and the objects. That's how it's going to be different. Okay. Oops, that line, there is again the foggy background. Mountain or the trees I guess up until there is the background. The second line that you may, that's where you want the background to be, then go ahead and apply water to your paper. Okay? The whole of your paper, you need it nice and wet, but make sure that it doesn't have any large blobs or pools of water as always. Okay? So I can see that there is some large pools of water. That is why I'm trying to tilt my board to remove the excess water and all of that water will accumulate at the bottom where I can absorb that. All right. Make sure that I applied multiple times, which gives me enough time for me to paint my background. Okay. I guess that's good enough. And then I can go ahead and absorb all that excess water if at all there's any more. My brush will make sure that I flatten it out. See if I'm absorbing some extra water. I make sure to go and rub it along my issue so that I remove the water. I think that's good enough. Now, let's go ahead and add in the colors. Okay, we'll start with the beautiful green, gold color. Of course, we're going to basically add it to the part where there is the tree right here. Because there is going to be like a nice firework there that's very vibrant. That's the center of part of that. Then I'm going to pick up a little bit of my Alizarin. I'm going to add it to where there is this region case, the rest of the regions. I want to add it to blue paint. Okay, now I'm going to add blue paint. But what I'll do is I'm going to start with a nice amount of the thalo blue. I want to add taco shades, but I will first start with halo blue. Okay? Because the undertone of thalo blue will make it nice and dark enough. So there you go, applying the hello blue. And then observe here as I come closer, I'm going to stay away from that quin gold, don't go too much next to the quin gold. Okay? Make sure that you try and stay as much as a way, but don't apply your stroke right next to the quin gold. Just keep it closer. Okay? Now, let me bring that down. I guess I want that quin gold to be slightly along here. Okay? Just a teeny tiny amount. Actually, it should be outside. On the outside part of the tree. Okay. There's the tree and teeny tiny amount of the quin gold. Then back to my blue. Okay. Somewhere there. Then here again, going with my blue. I'll come all the way up to where we have applied the base. You don't need to fill in the center part of the tree at all so you can leave it completely flying. That's absolutely fine. Okay. And don't worry about the tree shapes right now, just go ahead and apply the colors. Okay, there we've added one layer of color. Now we need to quickly make sure that we blend many of these things here in this region, like towards the red. Okay, I'm going to slightly blend it up. So you can see the Alizarin and thalo blue is a very verse color to mix together because it's going to form some muddy shades. But that's absolutely fine because when we add the other colors on the top, it's going to make much better. Okay? But don't blend these. Okay? The yellow, Don't blend it, it's absolutely fine. Then we need to add some nice trees in the background over there. So what I'm going to be doing is I'm going to pick up a nice amount of my violet. Okay? And using that violet, we're going to create the background. But the thing is when you add the why led to your yellow blue, it turns into a bluish color. See that? And that's exactly what we want here. Using that bluish color. I'm just creating that background there. Okay. This is like the background mountain, I guess. It's like a bushy pine tree structure over there. Okay. We want it to be slightly reflected underneath. We might cover that up later along with our strokes as well, but we don't know that. Just just add, here's where the tree ends again and make sure you try to add it in different height levels. It's like some pine tree shape over there. Okay, there. That's that part. But now we need to go ahead and cover up and make darker strokes. Okay, I'm taking my indigo right now and I'm applying over my bright blue. Okay, Onto the top regions. We need to make it as dark as possible. So that is why I am picking up my indigo and adding, I will add it over here. Okay. All of the edgy areas. The reason why I added the thalo blue at first, this indigo when added over, the bright blue makes it more vibrant. Else on the white paper, it wouldn't be this vibrant. You obviously know that the undertone of indigo is kind of like a bluish shade, right? So if you have more blue underneath, then it's going to be more vibrant. Rather, if you just directly apply to the paper, then you wouldn't have it this vibrant. Okay. Now we need to go ahead and blend things. So as you can see, I've just applied a lot of random colors. Now we need to blend it. So I'm picking up my bright blue again here, I'll just blend that. Okay. Using my bright blue, you can go over to that Alizarin region. That's absolutely fine. Here I pick up my blue again and I'm blending that. Don't bother about the quin gold right now. It's fine. Okay. Just just create the blend such that the top region looks darker. Okay, I think that blend is nice. Now, it looks like a door or something, right? Like a pathway in the center. Let's get rid of that. Picking up my Alizarin, just going to add in a teeny tiny amount here, Blend that color in. Okay. Adding some Alizarin over there. Then back to my quin gold towards the center. Wherever you think that it's created like a distinct border, you can go ahead and like blend it up. Okay, see, as soon as I blend it up, that part is much better then I know that there's this, oops, had blue shade in my brush and I picked it up, but it's okay because I think the tree is going to be there, so it won't be that visible. Then next over to the right side here. I know that in order to blend it, I can't take more yellow or blue to blend it. So I'm just going to use water and then wash my brush. Each time as I blend, it's going to have slightly greenish shades, which obviously we cannot avoid. This is like the ugly stage of the painting where it looks like what is going on on the paper right here. Just picking up a little bit more of the blue. Lending that up if you want, you can pick up more indigo for the edges if you feel that that's gone away here. I feel it needs a little bit more indigo. As you work, the best thing is to keep working on your paper and observe the areas that are starting to dry. Never let your paper dry, okay. If it dries, then you wouldn't be able to achieve this effects. Drop a little bit of water there, let your paper dry. Observe closely, and the areas where you can blend and create a nice effect. Okay. So here I've created the blend. Now it doesn't look like as though much of it is separated when we add in the fireworks and everything. I think this will make much more sense. Okay. Now what we're going to do is we're going to drop in some splatters, okay? This could be the snow or this could be like the part of the fireworks itself. Okay? So here I've got fresh wash paint and I'm picking up fresh wash paint. Remember that? Because I don't want it to be too watery, so I'm using fresh wash paint at this point. Okay. Then I'm going to splatter and make sure you splatter it towards the darker areas because there's no point adding it to the center where we're anyway is going to cover it up with a tree. Okay, so that's some splatters there. Then now I'm going to shift to my smaller size brush, which is my size four brush. And then we're going to do some other things, some things in the background. Okay, so here I'm going to pick up some cadmium yellow, making sure that I pick up a nice creamy consistency. You want to make sure it's creamy. So I think this is cadmiumyellow plus white. But if I add more cadmium yellow, it's going to be fine there like a nice creamy consistency of the cadmium yellow. Not too much water. If there's any water rid of it, make sure your brush is like just damp and creamy consistency of the paint. That's what we want, then we're going to put it into the sky. But I'm sure that if your paper is wet, you might have to do it multiple times in order to get something there on the paper. See, that was not much visible. And I picked up a lot of indico from the paper. Have to do it again and again. Repeat until you get the color on the paper. But while your paper is stat, you don't want it to dry out. And you don't want it to get a hard edge stroke, which is why we're doing this process. Okay, I've got something over there, but I have to wash my brush again because I've picked up a lot of color. Then let's see, we want to keep adding. I think what I'm going to do now is I'm going to pick up a little bit of my cadmium orange again. We need it to be vibrant. So make sure that your brush has a load of pigment. And then what we're going to do is we're going to like add it to the sky. Okay. In curve marks like that. Okay? It's kind of where the firework is spreading, but that firework is in the background and we'll have other firework in the foreground. That's why this. Okay. See, I've picked up a lot of color. Look at my brush, see that? Okay. It's got a orange and some other color over the top. I want to get rid of that. If you wipe your tissue, that should be fine. And picking color, I'm going to do that. Okay. I know that the light is very bad and you can't see it. Well, let me see if I can show it in a different angle. Oh, see, that is what I just did on my paper. Okay. Just a lot of background strokes. That's it. Then I guess, let's do some more. I'm going to pick up a nice yellow shade and then I'm going to try on this side. Okay, We're going to it at some random spaces. And then you can do some lines coming out. Okay, Like that, some lines coming out like that. And see the blue and the yellow mixed up on my brush and which has turned it to green. Okay, Maybe we can add some yellow splatters as well. That should look good. This is cadmium yellow. Okay? Don't use any transparent yellow because it will be no good. I've put some nice drops there. That was basically the background. I guess while that tries, you can go ahead and paint the background. So here I'm applying water. I'll make sure not to go and touch bottom part of my snow and disturb it. Okay. Even if it touches. I guess it's okay a little because we want to paint violet. And the color that's already there is violet that plays in our favor. Okay. Because you'll anyways, be just pulling down some violet paint, which is absolutely fine. I guess so. Okay. Here, going ahead and adding some nice water because I want to add it with water. Okay. I've picked up a little bit of violet and then I'm just going to soften that up and add it to the background. Now you can see, clearly see the difference between the violet and the violet that we added to was a top right. That violet is bluish. While the violet here at the other area is a violet, right? This is a very subtle shade that we want. You can see even though I apply a darker shade, I try to make sure to lighten it up. That's what I'm doing here. I'm only painting towards the top region as you can see. Then the next layer, I wanted to pick some light. I'm taking a bit of quin gold. Okay, then I'll add it there. Then lines along there, Quin gold is a little bit too bright, so let me lighten that up, then I'm going to pick up her violet again. Oops, too vibrant. But always, if you use a little bit of water, you'll be able to soften out anything. But I guess towards this side, I want a teeny tiny amount of Alizarin here. I've picked up a little bit of Alizarin, and I'm going to add that into the areas in between. This is not a reflection of what's there in the sky, but rather what's there on the tree, the lights on the tree, that's what's being reflected here. Do not think of these strokes as the reflection of there in the sky, okay? And also the violet. Here are the snow areas. That's the snow and the shadow areas on the snow. But the other colors are the lights being reflected. I can see some mess going on there, but I think when I add in the foreground, we'll be fine. I guess that's the background for now. Now, we'll go ahead and try this thing completely so that we can add in more details to the foreground. Okay? All right, there you go. My paper is now completely dry and we can go ahead and add in the foreground. Okay, So what I'm going to be doing right now is I, I'm going to pick up some nice white paint. So remember I said fresh quash white paint in a nice creamy consistency. And I'm going to mix it up with that cadmium yellow that's already there in my palette. Okay, so I need more making sure that I get rid of all the yellow before I put it into my white quash palette. Even actually, it's better. If you have like naples yellow quash paint, then you can use that. You can use a lot of quash paint at this point. If you do not have cadmium colors, okay, that's cadmium yellow plus white mixed here. And you can see it's like in a very, very lighter tone right now. Okay, that lighter tone is what we actually need. I'm going to start right here. Now, remember that sketch that you have on your paper? I can see my triangular sketch right there. This is why we needed that sketch. Okay? Because we're going to mark out the nice fireworks in the sky. And this is what makes this painting different because we're painting the fireworks first rather than adding it last. Okay. I'm just putting some random strokes in the center at first. Okay. Just a few strokes and then now we'll paint the fireworks. The fireworks basically from that center point that you marked. Go ahead and add lines towards the outside. Okay. Like that. Then some extra lines. Keep adding lines from there, towards the outside. Okay. Like that. See? And it's okay for those lines to overlap. This is why you need them to be quash because you need to be painting over a dark surface. But this time it'll be okay because you've already dried at the base. It will be fine over the top. You just need it to be creamy consistency. Make sure there's not too much water when you're mixing up this paint. That's very, very important if you need to get it okay. At the end, also add like these tiny, tiny, small marks. Okay? This is like a huge firework. Okay? And let it go on top of the tree as well. You don't need to bother about the tree right now. We'll do that at the end when we're trying to paint the tree itself. Okay. So this is like a nice firework towards the edge of the tree. Okay. I've added many and I guess should be. Okay. Adding these extra lines at the end is also really helpful. Okay. Now that you've done that with the lighter yellow color, we want to do some with white. Okay? So that'll give like an extra dimension to your firework. Okay, so here I'm loading up my, now you understand why there's all that yellow color. Because it's from the firework which is like radiating that vibrant color. Okay? It's making the sky in that region be yellowish. Okay. That's basically what's happening. Go ahead, pick up some of that nice colors. In fact, if you want, you can skip that center part of the tree because we'll be covering it up with darker objects. Again, that is painting the tree again with a darker shade. You can avoid the tree, but it's a safer bet to just keep going and adding your strokes and worrying about the tree later. Okay, that center part, make it nice and white and make sure that all of the strokes are like coming from there. Okay, see, added that nice bit. Now as you can see, the yellow becomes the extra background part, isn't it? So that's a nice firework added. Now, I guess we can make one more in the background because I want to get rid of that greenish touch. Maybe I'll make it like orange plus green look okay. What I'm going to do is I am going to pick up a nice amount of my cadmium orange and I'm going to put it there. Okay? A small firework over there with my cadmium orange first. Okay, we'll make this like, maybe like a yellow firework. The center point where with the cadmium yellow will be the center for this one. Add some nice ones. You can even go ahead and add it over to the top of the cadmium yellow ones that you had depicted. Okay, So that the cadmium yellow ones kind of pick me in the background. Okay, some nice ones. Okay, There's a firework there, but don't make it like in a single color. Now, go ahead and pick up your cadmium yellow and add it over the orange one. This here is the lightest part of this firework, okay? Then you will have cadmium yellow coming out of the top. You can even add another layer of white bright light on it, because when it's lit, the light part will have so much lights. So you can like pick up a little bit of white as well to do that. Okay. See, just add in light shade as well. That would be okay. I guess let's not do too much and ruin this then. There's already lots of things in the background, some light light colors, and some random things. There's a random firework there as well. This one here that's there is our main firework. If you feel like, you can go ahead and add in like lots more for that firework. Okay. Because that is the main one. Let me try and put in a lot more of my white paint. Try and create some more gorgeous strokes. Okay? I'll put some splatters over there as well. This is not going to be the snow, okay? This is going to be like the splatters of the firework region. Okay? Not the snow. So don't go over to the bottom, just stay there at the top. So we've got some nice platters and nice work over there. That's it. So this is, as I said, not snow. So I guess maybe this is the only painting where there's no snow, is it? Okay. So now what we have to do is all these squash paint that you just applied, let's wait for it to completely dry out. Okay? All right, there you go. All of it is now completely dry. And now is the point where we're going to paint the tree over the top so that the firework goes behind but it's still a very vibrant and go just fireworks. So here I'm picking up my dark green and then I'm going to pick up paints gray because I want it to be very, very dark. We don't want the green to be seen, we actually just want a greenish hue to the color, teeny tiny hint of the green. That's it. So I'm going to pick up a nice, creamy amount of paints gray and add it to my green. So if you have Perlin Green, you can actually use that as well. So Perlin Green is actually not green, it's a black pigment. It's PPK 31, which is actually black, but that's a very good color that you can apply directly. Okay. Then now look for the tree. There's the pencil sketch that goes up, so that's where my tree starts, I know. Okay. So if you want, if it helps, you can just go ahead and mark out that center line again with your paint that you just picked up, which will be helpful for you. And then because this is a darker color, it's easy to paint or a lighter background, isn't it? Okay. But make sure it's a very creamy consistency. And don't rush too much onto the stroke that you just applied for the fiber. Remove the underlying paint, and that white is going to mix with this black. And then it's going to create like a gray shade, which obviously we do not want, right? Start with the edge of the pine tree, so think of it like a small triangular shape, right? So start edge, edge, and start inging outward slowly. I'm using the pointed tip of my brush as I do this. Okay? Now there is something that we need to take care of. So let me go ahead and paint the left side first, okay? And then I'll show you what I mean. Here's my triangle that goes up until here. Okay? So like I said, always make sure that your tree strokes are towards the left side of the triangle. More left, okay, towards the triangle. That region is very white, very vibrant. So that whiteness is going to show through the tree. The tree is not going to be black, so we need to depict that. So it'll be somewhat lighter color. What color do you think it will be? So let's start mixing that color with a little amount of olive green and queen Gold. So this mixture here is already a mixture of olive green and Queen Gold. So that's why I mixed it there. Okay, queen gold and olive green. See it's the same mixture. I guess you can put in a bit more olive green green when shown through the light. That's what this is right. There you go, picking that up. And then that's what you'll paint to this side. On some edges and some level. You can actually go ahead and put in some golden shade itself. Okay, golden color to that region. First, we'll start with the golden color. Was it a little too much water? There are so many things in the theory that we need to understand. Okay, we painted that. Now we can get back to that mixture of the black green, I mean the paints gray and the green. Okay. Almost somewhere around there. You can start to stoop down your pine tree towards the right. Add in some of the darker shades because it's not going to be entirely light. That's because the tree is so dense as it comes to the center that no light passes through it. Okay. Only towards the edges is where you're going to see the light come through. As you come towards the outside, where's my triangle? Let me just put in some drops to mark the position of my triangle. Okay, that's my triangle. That'll really help me while I'm trying to put in my pine tree strokes. We've got some nice light shades over there. The pencil sketch on this, right, That I can somehow see very nicely. So I don't need to put any dots. I only put dots and not line, because these dots will be easily covered up when we add in the pine tree leaves. Okay, Towards the center. Okay. Literally dense in the center. Go ahead and do that. It's fine. No light is going to pass through that center point until where we marked towards the outside is where we're going to go with our brush and create like the tree shapes. Again, don't think of getting the perfect stroke, perfect shape for your pine tree as well. Just go ahead and create some random stuff. As you can see. I'm just filling up with my brush. Okay. Only towards the edge. I try to create some shapes around. Okay. The shapes this is why I said that even if you paint, make your triangle up until there, your tree is going to extend way over to the bottom. Now, for the bottom branch of the tree, make sure to create like the strokes of the pine tree leaves coming outward. When we add in some of the snowy shadows, this will make sense. Okay? I know that this is the last lesson. It's probably taking a little bit longer, but it's so much worth it, guys, trust me, this part of the painting, I love the way that firework is shining through underneath. Don't you think so? We can adjust that in the end. Let me just go down all the way through and then I'll see if we need to adjust things for the ease of it. I'm just going to pick up my Perlin Green. It's right here. It's exactly the same. So just go ahead and mix up the pens gray and the green. Let me see the tree. So the tree comes here and this side is thinner because this is the center stalk, isn't it? I need to extend it a bit more up until here. And bring that, all of them up until that point. Okay, let's do that. That is how you can keep adjusting the tree. Like you look at your paper and you observe like where, like I just said, this is the center line of my tree. And this is the distance where on the left side, on the right side, you need the same distance. If you make that the distance of the bottom part, then it needs to follow the triangle all the way through, which means I need to add a few more centimeters, centimeters, like millimeters towards the right side for my branch. Okay. Yeah, that looks much better, I guess. Remember at the base, to add in the leaves nicely. We've only added the pine tree right now. Now, next thing we need to go ahead and add in the shadows. Okay, for that, just wait for your paper to dry out again, because this is the darkest things that we've added. Right? So let it dry out. Okay, Once it's dried, let's paint that bottom stem part. There's the stem part and it's resting on the other side. So that's why there is a separation of the sand dune sand the snow area. Okay, I've added that. Now we'll paint the shadow of the snow. You already guessed it. That's going to be with nice lavender shade. Okay. And that lavender shade, you're going to apply over the top of some of the leafy areas. You don't need to like apply everywhere. Okay? Just in some areas, wherever you apply, imagine the pine tree leaves, like coming outward. Anywhere. Outward on the top. If you apply, then it'll imply a shadow. Okay? Off the snow, obviously. Okay? So here I'm adding, and you can see what's happening. So this is like dense, dense paint. Make sure you pick up dense paint while you're adding this. Okay. You only need to like add in random. But can you already see how the way I've addited this is looking like a pine tree. Okay. Here at the base. I have some nice snow settled, then I guess some parts here in the center. Then maybe like that snow can settle like that. Not a lot, but a tiny, tiny amount. Oh, I really love the way already how the stray stand out. So, you know, while that lavender dries out, we can do something. Okay. Which is to refine that foreground a bit. So what I'm doing is I want to make a distinct line, so I'll pick up my Queen Gold again. And I'm just going to go over, so when you do this with wet on dry method, you will have a distinct line. Okay? So see I've just done that. And then I'm going to soften out the base. Okay? As soon as you soften it out, the base will not have any distinct line, but the top portion will have a distinct line. Okay? So here is Alizarin, isn't it? If I pick up a little bit of my Alizarin and Add, then I'll have a distinct line. Okay, this area now already looks in the foreground and the tree is like in the background of that. Now it's only the last, last step, I promise, just adding some Christmas bubbles to the tree. I'm going to start with a little bit of my cadmium yellow and I'm going to put in some nice round shapes at random places. Okay, you don't need to put it everywhere. Just random places, maybe not actually Christmas bubbles, I guess. I want to make them as lights on the tree, like colorful lights on the tree. I put some nice yellow lights, but now I want to create like a shining light. Okay? So what you would do is pick up and then using the tip of your brush, try to create a star shape, Okay? Can you see it? Looks as though it's shining. Not yet. Okay. But try and do that. It's just basically always make sure that you do it outward from the center. Because if you do it from the outside, towards the inside, you will have a harsh edge. The harsh edge but a thicker edge there. Yes, thicker is the word. You don't want a thicker edge but rather you want it to be okay, thin. That's why outward from the center. That's how you want to do it. Okay. Here you can see how I've added from the center towards the outside. Okay. Then I guess I'll do it with a little bit of red as well. Well, coaches on the tree, I feel I'm just doing it on areas where there is no snow. Okay? Going to put in a drop of red at some places. Don't make them too close to the yellows as well. Okay, Then I guess I will use that and do the same thing I did with my yellow. And have those outward strokes which will look as though the light is shining. You've already seen the final picture, right? So you know how it stands out. Some red lights done. I'm so tempted to add blue as well, but guess what? I know that many people don't have blue. If you have, gosh, you can use that. Maybe I'll just show you that. Okay? This here is ceulium blue and it is opaque. Okay? So erulium blue. Or you can use a gach blue color. Okay? There, I'll just put some blue. Okay? At some point, maybe that's it. Then obviously again the outward strokes. Then once you've done that, go pick up your white paint again. And this here is the last step of the process, okay? You're going to put it at the center of those light areas, but I guess you need the paint to be dry, otherwise, you're just going to swirl it around and it's just going to mix up when you brush. Okay, there you go. I've tried it up, and then I'm just going to add in the center light. Oops, I had some water in my hand now. Can you see it like bright and shining already? All of the lights. Go ahead and add in a nice center, white. Okay, so we'll feel as though it's like shining. See, that's basically, it's looking like shining, isn't it? Your white paint over the top of some of those strokes, like for example the red ones. I feel if you add your white also coming out, then it'll look really pretty. That is like having an undertone of the red. The yellow ones are fine because it's like very light. So it's absolutely fine. But if you add it to the red ones, I guess it'll make it look much better. It'll have that undertone of red for all of the lights. Okay. So you know what I know. I said that I won't add any snow. But again, like always, I am so so inclined to adding the snow, and I feel so bad that this one doesn't add any snow. So if you're wondering why the final painting has snow, when I mentioned that this one doesn't, then this is, I could not resist and I just added it, but I'm going to make sure that it's very less, it's not too much larger drops, but smaller drops. Okay. Today, not larger drops again because it's a larger tree that we're seeing and not a small Christmas bubble. So yes, we'll have some snow. I can't resist. I really can't. I always think that, no, I won't add any snow. But then I end up adding because when I look at my painting, I feel that, oh, no, there is no snow. And then I just go ahead and add it, you know? So I guess that's it. So let's remove the tape now. All right, here you go. Here's the final painting, and I am absolutely in love with this. I think this is my favorite of all really. So there you go, and thank you for joining me today. 20. Thank You!: One final thank you for joining me on this class. So here are the 15 paintings that we did in this class. So I just want to say a big thank you to everyone who joined me and painted along with me. Christmas class is like one of my favorite classes, and I always, always enjoy painting each one. And you know what, I really had a struggle this time because I was really out of reference pictures to paint and I didn't know what to do because I had like lots of reference images saved. And I've already done all of those in my previous Christmas classes. So, you know what, I, all the images in this class are like invented by me. Literally invented. So I thought of objects that could go along with the Christmas theme, and then I like invented them. I invented the pack grounds, and then I kind of made a rough sketch and drew it out. But I invented them as in I found out references. For example, if you take the lamb, I just found the reference of a lamp. And then I put all of these elements around it such that I put just a pine tree branch, I put some bouquet lights. And then I made it sit in the snow. It's kind of like that. All of these invented so you can clearly see, and this one of all is my favorite. I had another fireworks for one of the Christmas classes, but I guess this one is my absolute favorite. A little bit of time. So if you joined the last days lesson, then you knew that it was a bit lengthy, but so much worth it. Because I really love the way this is stand out. So here are all the 15 paintings of this class. And I hope you really enjoyed painting all of these, and I hope you learned a lot of new techniques. I sure did invent a lot of techniques and learned it myself as I was painting. So I really enjoyed creating this class and I want to thank each and every one of you who made your way to this class and joined me up until this day. Thank you so much and I'll see you all in my next class. Bye bye.