Winter Inspired Holiday Cards for 28 Days

1. Introduction : As I also have the leaves of the tree falling days becoming shorter, Knights becoming longer, temperature dropping. I know winter has arrived. If you do, are smitten by nature, snow, bonds, hot cup of coffee, sledges, Christmas decoration, find trees, scheme, rope, and much more. As well as packing all of this in a Christmas card and sending our experiences to your loved, near and dear ones this Christmas and New Year. Then this class is for you. Hey guys, I am Pentagon and then artist instructor on mother and a Skillshare teacher from India. Many of you might already know me and to the people who are joining me for the first time, I go by the name watercolor illustration. Later on Instagram, most of my artwork said displayed over there. As we progress to the coldest few months of the year and the last season. I just talked to get a class for you all, which would help anyone sharing everything about your own experience through watercolors. As a beginner, it was so tough for me to paint humans. Sledges would, lanterns, snowballs, Norman houses, bonds. I restricted myself to only landscape part. I want to help you try subjects which are interesting as well as easy, just with a few tips and tricks. Any beginner, intermediate or advanced level artist can nail it. So we start from the basic watercolor supplies, breaking every subject into simple steps, sketching, lettering with watercolors, and adding final details. Lastly, because of the variety of topics which is included in this class, it would be around for 28 days with necessary bricks on Sunday. Come and join me. And let's explore the magical winter season with watercolors. 2. A few pointers: I would love to discuss a few pointers before we go ahead with this class. The fastest above the supplies, you do not need to use all the supplies that you see me using, whatever is available with you is good to go. So go ahead and use status available with you. The second is that you need to be really, really patient with this medium. Watercolors is rewarding. Only when you are patient. You do not think about the final outcome. You enjoy the process of painting toward us. Do not compare your work with others. Always start off with your first day and compare it with the last day where you are enjoying it. And I'm pretty sure you would be more than happy to have a look at it. Lastly, I have uploaded all the projects and the project section. They wise day one, day two, day three, day four. So go ahead and download the projects. That would be really on guidance for you to go through the entire process of watercolors for d1 to the final 28th day. Now, let's start with our materials required. 3. Materials Required: Let's discuss all the materials which we need for completing the painting. They are starting with watercolor, a 100 percent cotton Arches 300 shares some people. It is 140 LB and 15215 centimeter that the size which I would be using. Hence, I am going to cut this papal into two equal halves. Always keep the tissue handy. It's severe. Scale. A pencil. You have to use a few brushes. Before that, we will just keep append. Now this is a waterproof pen that I'm using from table castle. Along with it, two kinds of reasons. It's better to use a kneadable eraser, a compass for making circle, but you can use any other hacks to make the circles. I'm going to use or half an inch tape as well as a very thin tape of six MM. This would be for masking my trees. You can use to stay oral, some masking fluid orals. You can also go ahead with any other kind of masking tape that is available with you. I will be using some salt for my snow, hence, just keep it handy for few of your paintings. I will be using four different brushes. One is my size two, round up all our brush, then my size say silver black velvet brush, size six brush. And a size 0 has caught up liner brush. These are the brushes which I'm going to use for completing all my paintings. I am keeping our masking fluid eraser. Now this helps me to pick up any masking fluid. Masking fluid will only be used in one of the paintings since we are covering a lot of techniques. So this was a technique that I wanted to cover, hence using it. It is from Sennelier, keeping a spray bottle or whenever it is necessary to spray water, you can put likely do it and then it would become more wet. That is, the wetness of the paper will increase. We would be using two jars of water. This is an acrylic sheet on top of which I would be pasting my sheet and would paint over that. So these are the supplies that are required along with it. Let me take you through all the colors that I have. I have a lot of colors and pains, but we are not going to use all of them. There are selected film which I'm going to use. And before we start every painting, the list of paints would be given. So go ahead and check it out. They're mostly all of these are professional grade paints, starting with White Nights, Daniel Smith, Winsor, and Newton, Japan k. These are majorly the brands that I use. Do not worry about the supplies. Whatever is available with you is good to go Just a 100 percent cotton paper is really important for watercolor paintings. 4. Day 1 Cold Winter Night: Let us discuss all the colors which we need for completing this cold winter night. Halo blue, violet, white quash, burnt sienna, red, proud, and paint screen. I have genuinely kept the first one a bit on the easier side, as we progress slowly, you will understand how V would be progressing with each and every different subject and tips and tricks, as well as hex, which can be used for completing each and every painting. I do observe it on a bigger screen because bigger screen will help you to understand all the smaller details that you would like to add for this painting. Hit us. This is the first Christmas card painting. Nando v will be celebrating this holiday season with some snow. It has to be slow. If it is holiday season, we are going to make a night sky. We will use so very minimal colors. So for the night sky, it's only the trees that you need to paint a bit in detail. So go ahead and start down marking this tree. Not please again now nature. So go ahead and painted any way you want. For me. Nature is absolutely random and there is no best way to paint nature. You can go in any way you want. And then just add another tree on the left side. It would help you do add perspective to your painting. Now how do you see perspective? This is what often foreground tree. And I think both up foreground tree, It's just that the other one is a bit far off compared to the one that you do draw right now. That's the only difference. So while you are adding these two trees, one aspect of perspective is to scale. Now, what do you mean my scale? Scale means how big your objects should be. The foreground is the main tree that you see. Therefore, that should be the dollars. Dan. You can go ahead and painted any way you want. Whereas if you have another tree, that is they're pretty far away from the one that you did all the ad in your drawing. It needs to be a bit more smaller. And that's how we will set the perspective. Once you are done with this, then you have to add the scale for your mountains. How much you want to leave it for your sky, and how much you want to add for your mountains. The horizon line is majorly. You can see about 60 percent of the sky and 40 percent is ground, something like that that we have added orals. You can also keep it at 65, 35. I would leave that up to you. I have added just do three lines for the mountain area and then I'm going ahead for those. Mean. There are only two trees in the foreground and I would be masking that alien with a very thin masking tape. You can cut your own masking tape or washy tape, whatever is available with you. I'm practically using a washi tape. Washi tape is pretty easy to remove. And that's one of the reasons I do not want to take risk with my masking tape. I have seen many cases that the masking tape does not easily come off from the sheet and that really gives a very big problem. Then you are trying to work with watercolors and on top of your watercolor paper, where you will apply some colors. It would be really difficult situation. Hence, just try to use a washi tape if possible. And in case it is not possible, then you can blue awesome part here while you plan to remove your tape. That would be the idea and go slow about adding these. What she did. It's not like you have to do it really quick and easy. It takes a while to add these, and I'm also doing it slowly if you observe the right-hand side is more wider, whereas the left-hand side has more thinner. Which means that I need to shape it up. How big would the head off my scissors? That's absolutely fine. You know, there is a small problem when it comes to adding these washi tape. If you have long needle, see it is difficult to take all of this stuff. And I have these, this relevancy to see, That's it. That's one thing though. Rich kind. Then it's good if you do not have nails or if you have smaller Niels, it's easier to peel it off and even add it. Okay, I guess that song and I have full or be added it on the first tree. We will again add it on the next one. Once you add this, so I think then you can go ahead and start painting the background. The background will be in now two colors that is more of your blue and purple. We will be mixing these two colors and then adding it. Along with that, I will add some white for the sky. You will see how beautiful it turns out completely. There will be more of gradient as well as fabricated Bosch which you observe in this case, every painting which you would be doing, we'll come up with a new technique as well as you would understand so many different hacks and styles in which you can paint and launch new subject every day. So hang in there and just start adding all of it along with me. All the paintings of your time. This gives you the opportunity to practically understand how you can paint quickly, as well as in our real-time scenario, how much time you wouldn't need except the drying time, guys. I haven't included they're trying time. That would be too much of boring part. And you can, of course, try it with the driver. I do not prefer using the dryer even in the window season. So I do let it dry on its own. It takes a while. And I do understand sometimes we do not have so much of patients. But you can start off with another painting in the meanwhile. Give it some time for the first one to dry off and then add the second day. Most of these paintings are done in two layers. So which gives you the opportunity to not be worried much as we are not going to work a lot on layers, which is like working less on layers and working more on the subject. Understanding the subject and understanding the various landscapes, then your trees, Christmas season, the snowball. I have included their deal than us know, man, what not everything that you can think off is included in this particular class. And I've started off well with Taylor blue. Along with Taylor blue, I have even taken some amount of purple. Now, this is a great combination when I think about it initially, I was a bit skeptical about how it would work. But I did try both of these color on a piece of paper and then went ahead with it. It's a great way to always try your colors if you haven't taken my audio class on Paeony, which is seven days of your floral painting in seven different style. I would ask you to go through that. It has this thing included in it. We do try our colors on a rough piece of paper and then go about it. I usually paint all of these at least two times, which is one of the reasons that you do not observe me doing it each and every time whenever I am painting. Why I say this? I love to experimenter to once on my own and then only come up with a final painting. This is a practice that I have been observing for a lot of my time bang for, for a long, long time. I would say for most of my classes, for most of my paintings. This has been the practice. Along with it. Let's get back to our painting and I'm adding some colors in a few areas and water and few areas, I would let the water do its work. This has been the case. Every time the painting, I love to add water, I love to add pigments. That's one reason you can observe these magic of water happening. In most of the alias. Guys do understand that watercolor is magical. Watercolor has got its own power. You cannot control watercolors. It's not a medium, which can be, actually, it's less of a forgiving medium, I would say you cannot get back on your mistakes. Hence, you need to be very sharp. That's one of the reasons I was saying that I do paint twice. At least to understand how do I want to progress for a painting? There have been so many times that I've discarded the first one and gone with the second one later on. That's okay. I think I think the oil have a different way of tackling and handling as subjects as well as understanding how we want to go about working with our paintings, as well as working with a medium like this one. You might have a different way of working. So this is my particular day and it has really worked wonders for me till now. Go ahead and add some amount of your white. This white is practically very, very beautiful. I can't tell you how beautiful it is. It is a white gouache that I'm using, but you can also use titanium white. Titanium white is again an opaque medium and it would give us similar effect like what you observe right now. I am using mostly Winsor and Newton professional grade paints in case you are having a professional raping, that's the best orals you might have to work in layers. The color that you observe right now will not be the color that we would get once that paper dries off and you can see the difference right now. So whatever color you are adding, you need to know that it would be one or two shade lighter once it dries off. If you are using student rate means it would be at least two to three shapes that I told. That's one of the reasons I always say that try using artist grade paints. Go ahead and add some amount of your dog ground. How do you make this dark brown? Just add some amount of your burnt sienna on top of this blue and purple mixture that you had. And start adding small, small drops off, small, small lines here and there. We are adding foster foreground mountain, and then we would be working on the background mountain. What is important to note over here is that while you are, these are dark brown patches. They should be it should not cover the whole of the mountain. They should pay the light which is visible on the mountain. And believe me, it makes this mountain looks so much more interesting. The color of the sky is reflected on this node. And these are just the ridges and the small, small rocks that you usually observe on a mountain. Hence, so that's how we will go about it. I'm pretty sure you're going to love this one once you are done with the background and the foreground mountains. So it would be super amazing to see how the whole of the painting just comes to life. Why I say this? Because this is basically the scale. Now, I have earlier told you about the scale part scale is majorly to understand what is in the background and what does it look for crop along with it to scale also helps us to understand perspective. So usually we like to just draw when horizon line to understand that this is where my land or the sea is and above this would be the sky idea. That's how I think we are going to go about. It. Hits going to be simple, easy, interesting, just going a bit slow so that you can paint along with me and keep on adding these colors along with it. Just make sure that your wash, which you were doing is not very watery. You need to have a dreamy wash, which is majorly your pigments and less of water in it. Corals. This kind of dry brush technique will not be possible in case you have lot of water on your brush and just dab off the extra pins on a piece of tissue and then start off. After that, I need to tell you that I'm using my size two brush. This is a polar series which I'm using. And this really helps me to get this kind of an ethic pretty easily. So whichever brush that is available with you is good to go. But smallest size is really important. Do not go with mop brush and brush usually has a lot of water content entered. And that will not be the best choice for this painting. Go with any kind of synthetic brush or any kind of other brushes that is available with you. I did more or DACA values for the foreground commandments and for the background mountains, I'm adding the less of darker values. So more of lighter values over there. For my ground, I would act this kind of patches of brown. Why? There are rocks? There are small, small bushes that are usually seen. They have lost their leaves part, they are still there. Hence, we need to add these small, small details. I have a mini vd lA brush with me and I can use that branch for the wingless technique. Or else you can also use your simple size two brush and add these kind of smart, smart dry brush technique and lines over here. It is pretty interesting. Only this detailing part will take a lot of time. Practically. The painting is the background and the foreground tree. The tree will also take some good amount of time. Why I'm saying this? As this tree will be a bit more detail. And so many of you have always asked me how do I pay increase? So this would be one off my good tutorials where you can learn how you can muscular trees and how to campaign to your trees pretty easily. Trees are, again in nature, as I have told you earlier. So go any way you want to. There is no rule as such of pink drink trees. So you can use whatever is available and howsoever you want to paint it, go ahead and do it. Just paint your heart out. I always say this, enjoy the process. Do not think about the final outcome. There will be some exact matches, and there will not be some exact matches, which means Google be in a position to produce good outcomes. Sometimes and sometimes it might not be your day. That's it. So never get disheartened. And believe me, by the end of this class, once you finish this 28 days, you will be in a position to see how much you have improved as an artist. As we are going to cover a variety of subjects. It's not only going to be about trees, it's going to be landscape. It's going to be about your bonds, then your dear bird, snowman. Whatever you can think for the winter season. I have tried to include everything in this particular Christmas card series. We have to enjoy this tying all of our science and jovial and happy mode. This is the time to give to your near and dear ones. So these kind of gods or rails, these kind of holiday messages, try to paint it. It really gives a special message to all of them. I might sound pretty traditional to many of you, but believe me, on hand painted, God is so much of emotion that you can convey. It cannot be done with something that is bought. Of course, I do understand that there are times where you are not in any position to do anything and this is the only way out to that you have by something and gifted. That's absolutely fine. But if you can take out at least 30 minutes in a day, then I think you would be in a position to paint. It leads to a few out of these, which can be really helpful for anyone. And keep on adding these colors. Now what are the colors that I'm using for my tree? First is the burnt sienna and then is the red brown. Now what does the red brown that I'm using and usually adding some amount of carmine. Or you can also use crimson to burnt sienna. And some, when I came round, it has to be a darker value. Along with it. You have to keep in mind that it's not very watery. Over here. We have less water on the brush. The brush that I'm using, of course this has caught optimal brush. You have seen me using this brush in most of my classes and that degree, this is one of the best investments that I did there late for my brushes. Any of you who wants to buy this brush should go ahead and invest in it. Once you are more familiar with watercolors and do want to add good brushes to your kitty. This, I would say y. Of course there is lot of impact when you use quality supplies. Initially, when you are learning, it's not required as I always see. But once you are done with it, you really need these kind of supplies to just become better and better at this one. I am branching out my tree towards the top atria. It is the darker value that I'm using. I'm mixing my red brown with some amount of blue and using it for the darker value, you minimal supplies are minimal colors wherever possible. Yeah. I know every time it is not possible and we cannot do it. So that is perfectly fine. You do not need to do it at each and every point in time. But there are times where we can use less colors and whatever is available on our palate can be used in a better way. Why to leave any color unused starting your palate? It's expensive, right? All your art supplies are pretty expensive and we should use it to their full potential. Once this is done, this part of the tree, I would go to the other one and start adding more branches to it. Overall. I'm pretty happy with how this has turned out. You can add more branches to it if you want. Polo's leave it here. I would leave that decision up to you, but do not overwork. Now, overwork is so you should know exactly where to stop in case you just keep working, keep working, keep working. What usually happens is that you will overwork on a painting and it would not be the best thing that can happen. So do make sure that you're not all working on any of your paintings on the, hence, you get to understand the painting in a better way, as well as you give it the time and energy that is needed. And along with their Keep it Simple as well as easy. I have added a quick shadow as the moonlight that we will be painting, the shadow which you do observe on your snow area. There are some highlights of the moon that I want to add to my ground as well as to the area of my mountain. Again, I'm using my size 2 as CTO, bola brush to add saw highlights. It is very less. So do make sure that you are not adding a lot of it. Dry brush technique, you have already learned that. So using the same technique for adding all of these highlights. I'm going to paint the next tree now in few of the ideas you might have also, even foreign TO forestry, I did use the white of the people, which I did preserve initially while I mustered with the help of my washi tape. And you can also use any masking fluid or anything. Now you want to form masking the Sadia. This is a hack which I have been using pretty often, even in my bowl, right? C-d, his, I did use this hack for painting trees. It comes really handy as well as it looks so amazing. Extending the top area, fall off the tree, and adding some branches to it. Again. The whole idea is not to complicate this painting much. It's a landscape painting. And this is the first in the series. As you already know, there is a lot that is coming. We will be slowly adding more and more interesting aspects into the sun, 28-day CDs. It is not going to be only about landscape, as scientists tell you earlier, there could be a lot of subjects that we're going to cover better people, it's humans, your animals. So anything under the sun that you can think of is going to come and you're going to witness the magic of watercolor is in each one of these subjects. Okay? Keep adding more and more branches wherever necessary, but do not fill up the entire tree. As I do say, we are always going to go with the flow. And what happens is ending up the overworking on a subject that is not required. I would leave it up to this point and just had a few lines. So to make it more interesting, once you have added these lines, make sure that there are one or two small, small bushes and smile, smile of branches that even arise from the bottom. And even you need to add the shadow for the left side though, pre that you have some final details. And then it is done now, do make sure that your paper is completely dry before you peel off your deep. Anyway, I need to just meet the sum moon of bit more soft. So I think some white quash on the edges. Once I am honored the white quash, I need to add a few stars. You can use your Jelly Roll pen to add these stars, Orion's, you can also use the tip of your brush to add the stars. I would leave the decision up to you how you want to go about it. It's easier with the Gelly Roll pen to add the stars. I'm going with our blending brush and it's damp. So just using that damp brush to create this soft effect. I think by now you know that damp brush has got a lot of use, whether it be picking up the colors and in colors, making more softer edges, everything. Then I say I'm adding a few stairs. It means that only a few of them. Okay, So we are not flattering anything over here as there are trees than mountains, et cetera. So I do not want to risk anything right now. Hence, make sure that we're adding it up totally random. Again. His very important funding chalk. So keep that randomness always saw dead. Now, have a final look. 5. Day 2 Camping & Chasing Aurora: Let's discuss on the colors which you need for completing that painting. It is brightly lit green from Sennelier, Prussian blue, white goulash, yellow, orange, burnt sienna, red, proud. Payne's gray or neutral tent or sepia. Aurora Borealis are dancing lights in the sky is one item that the stead in each one of our bucket list time. Many of us have leeches, tar and some of us are still trying to get hold of when can go head and cheese. This beautiful or witness this beautiful phenomena? A Christmas and winter celebration without our rubbery and lessons and complete. What do you say? So let's start with the second day painting. And this is going to be some tank where you are staying and either been Norway or either it be Canada. Any place where you think that you can witness this beauty. Go head and she's her. So forster, what I've done is I have to start at the three small lines for my different mountains that I want to have. Does the foreground mountains as well as the background mountains. Once I've added those lines, I'm going ahead and starting with my paint for entertained. Initially I have added a slanting line and then half circle. So it's not exactly a half circle, it's basically a half oval. And once you have added this half over, you have to go ahead and start extending their tank. Now the 10 starts from the front and you can see towards the light, it is extended. Whenever you see an object like this that you want to paint in a two-dimensional way. You have to go by the rule of perspective. And that is when it is the woods you that would appeal more broader and while it goes away, it would become more smaller. Secondly, according to the rule of perspective, you have to end pretty soon. So you cannot keep extending it on the same size. Hence, when you add these, you have to make sure that it is only limited towards the ground level. It doesn't go beyond the ground level and it doesn't go on to your mountains. How do we do it? It's a very small paper. If you see I just extending a bit towards the right. While they extend from the bottom area of the tank, I have added two slanting lines initially. And then from the top, I'm just adding lines from the middle of this oval towards the blue points that I have already added. The standards are very, very simple dent that I have dr. to add. For this painting. This painting is pretty simple. It's just that I would say it is broken down into Vegas steps. That's one of the reasons you might find it a bit longer. But as you proceed or as you understand how to proceed with this painting, you will find it more and more interesting. Or aura is just a part of the painting. Whereas what we are concentrating on is to even add these tanked, how to add two dimension to your painting, as well as how to set the rule of I have something which is towards the front, all which is in the foreground, needs to be bigger in size and needs to be broader and larger. Where to something that is far away from your eyesight or it is towards the horizon that would appear more smaller. So this one aspect of perspective, if you get, keep in mind most of your paintings you can completely neglect. Throughout this painting, you can even understand a lot more about the vanishing point. So vanishing point is a single point on the papal where all the lines of your dent will converge to. That is to add this two-dimensional effect. Now, this vanishing point is a very, very important aspect of any urban sketching. We will set down their perspective into urban sketching. Do, as we progress in this whole class, do might be quite surprised that how come our urban sketching is about effect. But We'll be painting a house by which you will understand how you can set 2 perspective. And similarly, St. Louis, you can use all the learnings of that in your own painting. So let's just add these small, small lines which is holding your tank. Now the dent will have yellow light and site. So few of the parts you have to meet in the values and few of the parts were being darker values. Before we go ahead and add any colors to over 4 crowns, Let's just add colors to us, guy. That's one of the most, I would say, pots in this painting. And I really do not want to take away the beauty, or I do not want to take away the Aurora from you. Hence, that is the first thing which we would like to go ahead and paint. But do understand along with it. The main subject is not Aurora, it's just in the background. I'm using my bright yellow. And this is again from senior year. You can go ahead with any color status available on your palette. I have been pretty open about your color choices and you can use our hands. Go ahead and replace this green with yellow. And then I'm going ahead with my Prussian blue. The Prussian blue that I am, I think is one of the colors that are really love. And you can use this color very often for your oil rock. In view of the places we will have this darker value of crucial blue and few of the places you have to add a bit of Payne's gray so that everything blends together. That's how I love to add the greens onto my sky. You might have a different method altogether to either it and how you have or how you would like to paint the older. But do understand that the current sky that you also is not what we will have to not find grouping thing. Yeah, it might look a bit dicey that how come if this not working the way we want. And so everytime what you see or what do you also is not how complete being linked on South. That's an aspect which I want to tell you. There are times where I have added colors and I'm not happy with it. What I do usually is I go ahead and just add some water on GAAP offered. That helps me to this place called the color as this is a wet on wet and wet on wet, really gives us the opportunity to play with the colors a lot more than wet-on-dry. Where does I will not benign that? I do not like to work wet on dry. I have a complete class about birds and said old days where we work on wet, on dry techniques itself. You might feel the complete sky looks so patchy and it is not up to the mark. That is not how we will get our final outcome. Believe me guys, I am just adding some amount of blue and then green. For the bottom area of the sky, you will see the magic happening on its own. That's all I can say, that magic happens on its own for watercolors, you just need to add a few brush strokes. That's it. Rest. Everything happens. A 100 and so on. You now see how beautifully this guy's turning out for me. I would not play a lot with this guy ADL, why I would say this is a very small area which I am working with. Hence, I do not want to spoil it. So just adding a bit of a darker values of my Payne's gray to goods, the right top area and towards the left top area. And blending it with my Prussian blue. Let this dry off before you start with then next part of your painting. Okay, now's the time. You should know that there should not be much of a work which your door for the sky area. It's important. Why I see this. My paper is 300 years, a 100 percent cotton watercolor. I'll just speak well, that's one of the best paper which is available in the market. In case you do not have a heartbeat, blood type is close to this one. You might get some batch effects. That's one of the reasons I would ask you to stop parts. It might not be the best outcome that you can have. It's okay to have normal Skype, but it's not okay to have a fatty sky, right? That's how I always see my building. That's how I like to go public. And Luke clean the signs of your deep because we do not want any backgrounds. Now, many of you might not know what they mean by background in Parkland means that low water that's on the side we're carrying. Do your job. Think forward in dodo ADR which is still wet and create DO cladding. That's what we do not want. Okay, The next step is to take a look. Hello, I am going ahead with any yellow that is available with you. It can be chromium, it can be any other color. I start from the top area and while extending towards the bottom, I would add some amount of my orange and then my burnt sienna. You can either go with burnt sienna, you can go with red brown, whatever is available on your palate. If you do not have this column coordinates red brown, you will observe me using it in many of my other places. I wouldn't ask you to just mix a bit of carmine into your burnt sienna and you would get a color that is close to this one. I will now go ahead and add my burnt sienna from the bottom. If you observed, I will start adding the burnt sienna in a way that it blends automatically with the colors that I've already applied. Now since the color then I've applied this wet, it is easier for it to play. Now, in case your paper is dry, then you have to make sure to blended with a bit of water so that all the colors just blend well together. But if your paper is wet enough, then this is the best way to do it. I'm still using Arches paper as the shooting of this class was done now when it was still pretty hot in the non-dot side of India. But if you are in somewhere where it is cooled and humid, then you can go ahead with other kinds of people like Fabriano or hadn't milli. So these papers can also work well in those climate. I would say try to work on your paper and see how much time you get to work on it though when you apply water. That would really help you to go through this particular painting pretty quickly and easily while you have for the done this part of your tank, I will now go ahead and start adding the darker values. You only have the blue moderate. So if you had the blue, you can mix that blue vitriol burnt sienna, and get darker brown, kind of an color like this one. Even you have the beam splitter. You can make stopping screen with the darker brown color and get this kind of data which is absolutely fine. These are what I would always like to do. I would not like to add a lot of colors. I am a person who likes to go ahead with it. Don't monochrome or else going ahead with the colors that is minimum or required to the point for a painting. If you aren't a lot of colors, which is not even required for a painting, you will find yourself lost. And you would be more struggling with the gallows rather than concentrating on painting. So go ahead and add the darker values of this Payne's gray towards the bottom of your tank area. Once you are done with this small dent Alia, we have to work on our background. We haven't still touch dark background the Dow since the background is pretty simple compared to the tenant, tenders, more difficult part of this painting. And I always love to keep their difficulty towards the beginning. Why I say this? I have all the energy to work through it slowly, steadily. You can get all the energy and you will find this creative process more interesting, where we will even work with difficult subjects to goods the end drag them working. Towards the beginning part of this painting. I know you have already painted for the day one, and it was more about trees and how you being a dad. So each and every painting is different from each other, which really helps you to understand and get. An idea about how you have to deal with different subjects, even on Christmas or holiday cards. So none of us want to get bored. Painting seem subjects rate. There are so many times we keep on painting the same subjects. Do it is pretty interesting. According to me, I love to paint nature and I love to paint the same thing, one after another, one after another. But there have been times where we love to understand more within one single class. And that's the major idea of this class to add as many subjects as possible so that you gain all the knowledge by attending only one class. You do not need to go ahead and again, a lot of classes for gaming, all the knowledge. Okay, let's get back to the mountain painting now. Go ahead and use this mix that you have created with your Payne's gray. Or you can even take any dark brown mixture that you have, like your Van Dyke brown or any other brown bike, CPI, et cetera, that you can use for this painting. Go ahead and start adding to these darker patches for your mountain. I'm using my size two brush technique over here. You can also use the dry brush technique or just use any bigger brush to add this damp brush technique. There is a simple way of doing this. Just dab off all the extra toppings oral. So take more of pigments from your ballot and then start adding this dry brush technique for your mountain area. You have also done this in many of your other classes. Or if you are a beginner, you might not have done this right. Now. In that case, you have to dab up all the extra pins on God issue and then start adding the colors onto the mountain area variable you find. It is going to add more value and impact dead. I would be adding more of the darker values or I would draw and more of pigments. Hence, it is not completely dry brush technique. It is batches that we're going to add. Whereas most of the other areas, that is to say the snow pack will be with the dry brush technique. Once this mountain part has dried off, just add a bit of a lighter green color on the area of the mountain. It is a very, very light wash, which means that you have only 50 percent pigment or something like that. And restore this water. Water will do its magic. And that's the most important aspect of watercolors. I would say, adding a bit of blue here and dead, and then going ahead and move to other parts of the mountain. Once you are done with this bug, we have to move to this area a minute around the tank. Now there will be a reflection of the light on the snow and that you need to add. Once you have added the yellow, we'll go ahead and start adding a bit of blue. Or you can also go ahead with the green, that is the color of the sky for your ground AD. I think line now this painting looks way to do the point to the point in a way that it has taken care of most of the aspects that is required in a painting. It has a dent in the foreground. It has the mountains in the background and the skies also done splattering of the stars and the adding more darker values. So for some of the ideas of the tent is important, like this, smarts months, three straight lines, which we did add, that is holding the tank and that is basically any kind of fraud, et cetera, that you will use for this. I have tried to make it more realistic. But if you want, you can also avoid these stripes to add more realism, but in a way that it doesn't look like. It's absolutely realistic and it's not watercolors, watercolors, it's all about it's flow. Watercolors, It's about how to make it more and more interesting. Let it down slow, let your water do its job. So all of that you have to make sure is there as an element in your watercolor painting. I think I'm adding some amount of water right now to blend it wherever. You think that there's more than required to take off all the extra pins with the help of your damp brush. That's how I have done it even in many of my other painting, dry brush technique is helpful for the mountains. In the similar way, your RAM down brush technique is very helpful for lifting off your lungs. Now, lifting off is a technique that you will learn and you will understand. It is going to work wonders in your watercolor journey. Some more batches. So with your brush status, darker value, so for your mountains and then just leave it there. I think you can even leave it right now if you want or loads go ahead and unmute follows. So as I'm done, I would leave that decision up to you. It is just some the that I'm running. This part is majorly about detailing agriculture. We have reached a stage where we are only left with some of the details. And you have to understand that we are not going to overwork. Go on this painting. This painting has exactly turned out the way we want Bird. Hence we have to actually leave it there, I would say, okay, let your painting dry off and then use these marks from your pen. Now why I'm using, it is more easier for us to use a pen. Any black pen that is available with you. It should be waterproof. That's PEDOT. And I am also using or feeble gas. So black pen for this technique and adding some lines becomes more easier. I am a firm believer, even if you were to ignore, you can use any kind of hack that is available with you, whether it be using your compass, scale, anything slowly. As you progress in your journey, you do understand how to paint on your own, how to actually go freehand. So all of this doesn't come overnight. It takes a while for each one of us to understand that and work on it. Hence, I am always open to using any kind of acts that is possible. All of these paintings, as you progress, you will understand some men I'm using offend somebody, I'm using a compass somewhere, I'm using salt. There are many other ways in which I use all the kind of hacks possible for my painting. It might sound a bit weird for many people who are advanced level artists by this whole class is focused on beginners and intermediate artist. And frankly, when we are just starting out, we do not have that kind of brush control. It comes over time and you have to develop. So using these kinds of hacks becomes pretty simple and easy for any artist who has started off their journey. Okay, I'm adding more lines and these lines look so interesting to me now. Keep adding more and more lines possible wherever necessary, just add these wants more rods. And if you see how you can go over these marks to make it more broader wherever it is connecting to these rods. So do make sure that you do these small, small things and keep these in mind. You know, it really adds so much of value and depth to your painting. I cannot tell you how interesting your painting will look in that way. Okay, go head and just to see your painting now, do really wanted to work on it more. I think it's only the sky where we need to splatter the stars. So just add this flattering of stars. If you want, I will suggest you to cover your area and then go ahead with the splattering part. The covering of that then would really help you to not add this white goulash and up off your debt. Now, I am more used to these techniques, hence, it's easier for me. But if you are just starting out or even you are in the initial stages of your watercolor journey. Go ahead and use by Jelly Roll pen, that really helps to add the biggest stars. I just started some smallest stars with the help of my size two, brush for the biggest stars, I'm using my Gelly Roll pen. This during all penance, very, very handy and many other cases you will observe when we paint our bridges, when we being some other lines, etc. highlights everything can be covered, but I guess So this is it. Let's remove the paper at an angle and have a final look at our painting. I would meet you with the date three painting. So hanging dead. And I think you will have all the fun in this class. 6. Day 3 Red Christmas Barn: Let's just get to know the colors which we need for competing the painting. It's Prussian blue, white, washed red, maroon. It can be viral maroon or any maroon that is available with you as well as CPM. You can also use red brown if you do not have the Maryland, so I do leave it up to you. What are the colors that you want to use? And I have used all of these three colors. That is your red brown, perylene, maroon, as well as dread for completing this painting. Start with our day 3, and it's about painting a red barn. I'm going ahead and having a small line with the help of my scale and then making two slanting lines to show the bond. It's going to be a very simple process. Only that a bit of retailing is there. Hence, it's just taking a bit more time compared to the other projects. But believe me, this is one of my own favorite projects. And once you do it, you will even get a hang of how you can be the bands. How even small, small aspects of hiding any barn or adding any shade into your painting can make everything looks so beautiful. I'm going ahead and adding a few more lines that is extending it towards the bottom area. With the help of scale, I like to use scale in these cases. Why I say, as it helps any beginner to get more confident, withdrawing, though drawing does not require any kind of scale. And you can always go ahead and use of free hand to do it. But as bigness, I feel no, we need to gain all the confidence so that we don't feel that we are not making required amount of progress. That's really important to understand. We are here to make progress. And progress means that you can always go ahead and use your tools to whatever possible extent As you go ahead and proceed with your future paintings. Of course, Dr. don't get away from all these tools and just stopping with only on free hand. That would be a great practice. Not only for your drawing, but also how you go about for your painting. Keep adding a few lines to store inside area because all of this is made out of wood. It, which is colored though with the white paint. That's how it is done in hand. I would go ahead and make a window in the middle area of the left side of the bond has you see, and then it is decorated with Christmas and New Year teams. So we would even decorate that with Christmas and New Year. Let's make some lines now these will be visible so that you can see that this would add, again, I say this, that all these bonds are made out of food. We apply some color over it, either in blue, either it be red. That's how we go about it. Just add these lines. It will become easier when you go ahead and paint over it. Now, it's time to add the window. As I did tell you earlier, the process of watercolor is always very simple. Only the whole idea of adding more details at the initial stages, which is your sketching and even guard condition finalization of the drawing takes a lot of time. Now you might argue that they're wrapping text where we do not give so much of Diamond's initial stages and slowly build it up, of course. But as bigness when you are starting out with the painting, it's always important to do a sketching that really helps to add a frame work to your painting now Y or Z or framework. This framework gives a lot more confidence as a beginner or even as an intermediate level artist. And it gives you an idea of how you want to process this whole painting. Process and progress is really, really important to how you can connect both of these once you start adding these lines and the spring, but you just know that this is where I want to add the colors which are in head bonds. And this is where I want to show the snow. This is where I want to show their trees like I am right now. It becomes way more clear in terms of picture in mind. Some loose and simple lines to show the Treatise. Now you can even avoid the stage or we can come back to it later on and add these lines. You can make it directly with your brush. Again, as bigness, I say that we are taking one step closer to perfection. Hence, adding it becomes simple or makes our work more simple and the progress is nice. So go ahead and add some red. The red is really bright and nice. I am so happy to add this color. This red color brings so much of happiness to me. During this season of Christmas and New York, you add these colors and the painting automatically comes to life. You do not need to do much in this case. So as I say, the framework, if you see, I'm slowly adding and building up the framework, slowly adding these colors. So the first is red and other is your carmine, and the last one is your parallel maroon. Now pirate maroon is a very, very beautiful color which you can use in any of your paintings. I would even do a sledge painting where you will observe how beautifully this dark color makes the painting looks so much more dimensional. It adds so much more dimension. Not only in this ledge, there is one more Christmas decoration painting where we do a snowball on the amazing, I mean, how slowly, steadily you can build up dimensions into your painting. Everything had to be teaching you in this particular glass. Just wanting hanging there guys, there's so much that is there. You might feel overwhelmed at 1 in time. But if you keep progressing, I can tell you that this would be very, very rewarding. In a watercolor journey. I have tried to add as many different projects as possible, and none of these projects are similar. So I think that would be pretty happy with how you're fine MOOC. Good days of painting looks like last year I even did or journal. That is painting gang word, cancer therapy. So dark was another aspect which you can always look out for. And once this is done, just leave some parts in the middle of the ADR as your Christmas read, as well as the window which we will be painting. The Christmas red is placed on the window. Now I'm adding some amount of my darker values, iterate become mine or enthalpy parallel maroon. Guys. Again, this whole thing of adding colors doesn't matter much. Of course, it's good to have great colors, but believe me, if you do not even have these colors, you can still nil this painting. There is no rule. Oil, there is no way you will not get it. As it is a very, very simple painting. There is nothing or difficult that we are doing offered heard. It's just more details that we are adding and slowly building it up. Whole of this painting is realtime and your times makes it so much easier for you guys to follow. So follow along with me, paint along with me, and it cannot be a more rewarding process. I can guarantee on it, okay, adding some more of my blue into it. Now this blue, can we prove it in blue? This blue can be any blue that is available with you. There is no rule that you have to go by this blue. It's good to have a darker blue. Of course, that is more watery inconsistency. Always know that when you are adding the colors still consistency needs to be more watery and nice. Now this cell watery consistency will give you way more easier. Look in terms of the snow that unique I have added on the spot and another part of the mind and stuff. Yeah, I am pretty happy with how we keep adding the colors and how one simple aspect of any painting is done with it. And let's have a closer look at how we would be adding the background color. I would be using the same blue that you observe me asking for the band. But I think I would just add a darker value compared to what I did I had for my bond. So I'm just adding this color. I hope you can see it how I make my brush movements. Sometimes it has to watch the bottom, sometimes it does two words, the height, just adding the colors in a very, very simple and easy way. So do not think much while you also add the scholar is very, very simple process. Blending the colors, sang God, I didn't know more water. Water really does its job AD time. You do not need to think much while you add this water. What do we do the blending water, where do your adding colors water, they do everything possible for a watercolor painting. You know, that's the best part. Adding water in a very, very random and easy way is the best thing that you can do. You can splatter water. You can use water to your advantage. Every time. Whenever I see this, you might be thinking that why I say that what we can do all the job, but that's the truth. Actually, you are looking to all the job everyday. I'm I'm not using pigments. And if you keep using pigments, what happens is that your people or your paints, as well as you're drawing, everything looks so much overworked. We do not want to do that. And right now I've taken some CPI and when I've taken the CPR, you have observed that I did out of very, very darker value of the CPR. Then I again did wash my brush. I take only clean water that sunlight do. And this is the proof that every time you are lost and you think the people is not doing a great job or your beans are not doing a great job, whatever it is, just make your paintings bit more dull. Add more water. This really works well when you are doing any kind of a window painting, believe me, this is the trick that can be used at any point in time for a window pane think. So hopefully you will also get this and you will be happier. Do apply it. Okay, adding one darker shade. And I'm using my size two brush, but I was not very happy with how I was adding the line. So switch to my other brush status. Size six, SCADA optimal pressure. I have been using this brush for quite some long time. Every time you observe me painting, you have seen me using this brush. This and silver black velvet are one of my own favorite brushes and they really give me so much more happiness when I use it. A silver black velvet can hold a lot of water. That's one of the important aspects why I have been using it. Dot del now and every time whenever I need to use your brushes, silver black velvet is one of my go-to brushes. Some sharper lines for the inside part of the band. And I did already had lines while I was drawing. So it becomes so much more easier now to just warm my brush and adding it. Simply so many of you always tell me that my brush mitosis so easily cross the people. I do have a framework in my mind when I use my brush. And that's the best part about sketching more in detail. But do make sure that the sketch is light so that it doesn't show off from your people. Why I see this, your people as white and we do not want these colors to be transparent. And then your graphite mark showing up. That's one thing which you need to keep in mind though while you do a very detailed sketch, always it is the extra graphite Marx, would they have both your eraser? And I think most of you might be having or need abilities, not any liability. So use very lightly any normal eraser that is available with you. I think that can easily do the job of kneadable eraser working. Now I am adding a very, very light wash or loads just go over the colors that you have added. Nine dots would slowly moving to the water from the brush that you are riding on top of the paper. So I guess this looks pretty nice. Sign dog, beautiful. I would go ahead and just blend it. Again. Blending is an amazing aspect of watercolor. The more you blended, the better the outcome it is. But do make sure that you do not end up lending that. We do not even want that. But blaming really does a lot of good work when you are working on the skies, when you are working on water. So these bigger areas where you work, hence, those are the areas which you need to keep in mind. Okay, I guess that looks good. And going ahead and adding few more lines. Once I've added these lines, psi would keep adding some of my greens. Now, I am using my forest green are any kind of dark green that is available on your ballot for this read, as well as keeping some whitespaces because it is knowing rate. That's what we want to show this nowhere. Make some small, small dots. So with the green color that you have the sister dark shaped or bring in case you do not have a green of this kind to start on the top down matters. So Prussian blue or any other blue that is available. And then you will have a color which is more of a dark green, and you can use that for your red. I will also add some red dough in a few places along with it to make sure that you leave some white spaces because he did not know last night. And because of this, no, you will see that there is some settlement of snow on this trip. So that's how we go about it. It is taking a bit longer time, guys. You see there are so many details that we are adding onto this painting. Though the painting looks really simple, but there are details which we have to add. It is a step-by-step process. I always say this that do not do not get worried or do not think that you cannot do it seriously. You can always toward, That's why I'm here to help you out. Be confident while you approach a subject to not lose your patients at any point in time. And always, always think that watercolors is easy. You just need to partner with this medium. As you go ahead with your painting, make sure that you add these kind of black small, small areas, which I'm also adding this as basically for the window panes that you have. And I just wanted to have a darker color compared to the white that I could have had. But darker color really gives that feeling. This red becomes more prominent and it becomes more highlighted. Whereas there is a darker values in-between along with it do to see this sub-band getting so beautiful and slowly, steadily it becoming so much more lively as if I can't stay there and as if I can just be there. So amazing rate when you start painting it, you don't know where you will land and how you will land at it. But slowly, steadily as the work progresses and as you know that this is taking shape, you just feel so much happy. I always feel this. I am so happy when I enjoy the process. There have been so many times I can't tell you the next painting which you would be seeing. I will show you that I did painted two tanks. The first time. I did not get it because of one single mistake that I did. And it lead to mistakes one after another. So I had to practically abundant that painting and paint once more. There are so many times as teachers, as instructors we do being twice or thrice, one single subject. It just takes a lot out of you. But believe me, once you start doing or practicing one, not two times two, just know that this is how I'm going to approach this subject. This is what I can do and this is going to be the best that I can get out of it. Um, I might be sounding a bit more in terms of moderation, but that's how I have learned and whatever I have learned, I will be sharing all of it. So here I'm making some lines for the wooden panels that you have in the bonds. Once you have added these small, small lines, make sure that you extend it straight. If you are not very fine with adding these lines, first, try it on a rough piece of paper, see if you can make straight lines and then add it. Now this is again a very good rule that if you have. Something that you have added as a pencil map. It's great to go over it. Now, if you did not in the initial stage, then you can do it now and then go over it. So the transparency really helps at this point in time to have that extra bit which we need for completing the painting. Now I'm blending it in a few areas. Why I'm blending it? I do not want these heart disease completely, so blending will really help me to get away from those harder. Let us deal. So which you want. Now since this paper is to wet with my damp brush. So if I had these lines now, they will become a bit blurred. So that's a good way to add softer edges. So yeah, that's another way you can use it. And now I am using my white brush to add the highlights. Once I've added these highlights, I need to move on to the left side of the painting, which means that I have to go ahead and add some trees for the clown. Now, this is a pretty time taking. I would say work has, you need to add a lot of branches, trees, et cetera. So there is two option at this point, Pam, either you can just work a bit on your sky and leave or dead, or else you can go ahead and paint along with me for the trees. Now, the trees, we're not going to complicate a lot. But along with it, you have to keep in mind that you do not get overboard with the branches and just add a lot of it. Our main focus will remain has the bond, which is currently the red part that we did paint. So do make sure that you are understanding the aspect of only keeping it till the red button. Once this polyuria is dry, just go ahead and start adding these small, small lines as branches. I am always holding my brush pretty perpendicular. That's one of the reasons you can't see my lines right now, but I will change the angles and you would be in a position to see you. So do not worry. Just stop at any point in time where you think you are not getting it. And then slowly, steadily, you will understand how we can add it. So yes, that's how it goes and I am adding few more branches. Some of them will be criss-cross, some of them will be straight. Why I do these kind of changes? It is nature and nature's pretty random. I have been speaking about it that there is lot of randomness in nature and we need to show that always to our painting. If nature is not random at all, you will never be happy to see how your painting turns up. So these are the small, small things that you need to keep in mind while you paint. Okay. I guess I am pretty happy with how these small, small branches are adding up. The whole of the video is real-time. That's one of the reasons you do see small, small aspects also getting covered. And this is basically the time that I have taken to complete the whole of the painting. Yeah. If I would have attempted it the second time, maybe I could have taken a less. I'm incurring have actually saved a bit of time. I'm not really sure about it as it has lot of detail so which has been covered those, so seeming a lot of time wouldn't have been possible Fermi. Anyway, let's go ahead and keep adding more and more branches as we proceed in this painting. So always note that I pretty much proceed slowly in all of my paintings. I do not add a lot of speed door to my painting. It's also because I'd go slow whenever I am teaching, I would say going slow also gives a lot of confidence. You know, it's just so good to be a bit slow in these aspects when you are adding branches, when you are adding any kind of leaves, when you are adding trees or any kind of. Details to your paintings. So that's where I think of the whole detail part comes into play. And you might think that the details and not as important as we did all be the ban and non. But believe me, once you are done with the band these months, more details, we'll add so much more impact to your painting that I cannot stress more on it. Okay, So you keep painting this area and I will meet you soon when we have to paint them. Loose leaves of these branches. Practice. Now it's time to act these loose leaves while you aunties lose leaves, these are small, small dots that you aren't. Now, these small, small dots are nothing else than your CPR color or your paints gray color, whatever you want to add for this painting, I would leave that up to you. According to me, CPI is better. I have used the same color for the background and I would use for these months more loose leaves. Now, in the winter season we might not see a lot of leaves, but all the places does have lots of branches and sometimes one not to urine there you can see the leaves and it really gives that effect of having these falling leaves, darker leaves. So all of that is also there. I love to add these kind of small smart details to my painting. I am not going to go overboard with this. So a bit of it here and there, and then I would leave it. I'm close to completing this painting and that's the best part. When I'm close to completing your painting, I would not do a lot of additions to my painting. It's just a few details. Now you can see from a different angle, right? Initially when we were painting the branches loop might not be in a position to see everything but slowly steady. I do give different views of my painting. That really helps you to understand how it is coming together. Okay, I guess this is good to go. I'm pretty happy with it. Maybe one or two more dots here and there. And then, let's go ahead and let the paper dry off completely. Once this paper is dry it off completely, we would just remove the tape at an angle. Okay. I'm blending it a bit as I know that there's not a lot of leaves, so blending it would really help. At this point in time. I'm going ahead with my size 2 as caught up boiler brush. This brush is great for not only watercolors, but even for acrylics anguish. So in case you are ever thinking of purchasing some good brushes, this might be one of the brush that I can suggest you for your future painting. Okay, you see how I'm blending these leaves? I just went to overboard with all of these leaves. Here you can see it. I, I do do these kind of small, small things were going. There are hardly any leaves which you see during the winter season. It's only few of them here and there that you observe. And then when you go overboard like this, you have two blended with your vag ground. That's what I'm doing. So we all do mistakes. It's just how you cover it up. That's really, really important. I will show you, I have done so many mistakes in my past for my watercolor paintings some days I feel, I mean, I'm full of mistakes. But if I do not do these kind of mistakes, I can never understand what's the right way. So doing mistakes is good. And now I'm splattering some snow. I am using my white brush to splatter. There's no go ahead and add some snow wherever you think it is necessary. Once you have added this node, let it dry off the Hubble final look. This Bosch's really nice. It is basically or designer gouache from, from insulin Newton. There are many other gouache that you have in the market. It can be roost role, it can be gimmick wash, it can be any other goulash that is good to go White Nights. Then there are various brands that you see now in the market and you can go with acrylic wash, whatever you feel is good to go and whatever is available with you. That's the first and the foremost thing. Even titanium white is an opaque medium. So if you have titanium white rat, then Chinese white, you can do this kind of exercise. So yeah, I guess this is it and this is the maximum plateau that I doing. Again, do not go with the fluids. Latter, like stars as many as you want. It's a little bit of snow, so we need to only show that. Once done. Go ahead and remove the tape. As I did tell you, remove the teeth are at an angle. Do not try to go fast. Orals, you might rip off your paper. We do not want to repair paper. Hence go slow while you remove your tape. I will meet you in the next lesson where we will paint wet salt, some snow, and some glass. 7. Day 4 Snow Heart: Just go through the colors that you need for completing this painting. It's untrue a blue or pushing Lou, White cosh, good. Parallel maroon. And SPM. You can go ahead with the salt for this painting that we need background. It's simple table salt that we use at all. It's very exciting. We are on day four, and this time, I know that we need to make snow hot. So it's kind of good how we are progressing. We are touching upon very different subjects set each and every point in time and slowly building it up. It's not a very easy one. So modifying that all the paintings that you are doing is going to take some time. So don't get disheartened than the way and tried to hang in there. I always see it. This whole process is pretty rewarding, but you need to keep practicing it. Now what I'm doing is I'm trying to make a hand. How do I make a hand? Both of my hands and holding this snow hot. How you go about it? First make a middle line, and then on both the sides, make it equal how you measure it? I just measure it with my pencil. You can also use your scale to measure it. So I just see how much science it is on the left and then exactly how much size I need to add on the right and make us lumping line like that on the left as well as on the right. So it's kind of pretty good way to understand how you go about your painting. I structurally always break my subjects. That's been the way I work with my subjects. You can see that even more in my earlier class. That is your florals watercolor master florals class. And it would be quite happy. Don't know now, exactly. I'm showing the inside as well as the outside of my hands. If you see wherever my hand is joining, the inside part is smaller, whereas the outside part towards the left is bigger. That's what I want to even show on my paper. So I extend it on the left and then just go towards the left side, which is London. But the inside of it, as I am saying, is smaller. And That's how we go about it. Now is the time to meet the thumb. Now, how we make a Tom, it is going to be simply the person is wearing gloves. I were showing you without loves my hands. So you can wear gloves and check it yourself. It actually looks something like this. I tried it on my own and then only I am coming up with this one. So just go ahead, try it. The term is also pretty big. This is absolute cold winter months because of so much coal and chilly weather. You need to wear something like a gloves, which is a pretty warm enough right? Orals, how do you go in your cold weather or how do you actually during this extreme climate that was there in my mind while I was working on this gloves. And now I am extending it from the left and from the right. Okay, I need to tell you one thing. This is my second attempt with the current painting. Why do I say this is my second attempt? Kid did not go well and the fourth step damped. It took me two times to understand how I want to work with it. Right now the way I am actually drawing the heart and do not use it, I will show you how you need to add this drawing. It's just that how I experiment first and then if I do not like it, I go about changing their drawing. So I would say, you do not need to add this right away. Wait for sometime. You will see how I'm changing the shape and size of the heart has this doesn't look very good to me. So I will just shift the middle line. So I always extended on the left and on the right by shifting them with you, like, I would make a middle line, shifted a bit towards the left and then I add on the left and on the right, I just take an equal size on the left. As well as an equal size and the right. And then extend my heart from the middle towards the left as well as towards the right. It's kind of pretty good way, I would say. It looks very structural as well as there are chances of less mistakes in this case. I have been using this in many of my other urban sketching practice. And see this, That's where I exactly learned how to make things more structurally, how to go about it without even using a scale. So here in the whole hand, how we approximately take it, how we consider nothing requires any kind of a scale measurement. It's just your pencil, which you can use for this drawing. Once you are done with this drawing, makes sure that you take off all the extra graphite marks. Why I am so short that you need to take all the extra graphite max. You're working with a very transparent medium. In case you're working with something like wash. Our acrylics are oil paints. You do not need to do this or else the process of taking off the extra graphite, Max's important advice, the lines will show up and we do not want that to happen, correct? That's another aspect of painting which we do not want. Right now, everything is pretty dark, so I would go ahead and make my lines look a bit more curvy. So that's what I did there. And then I am picking up all the extra graphite marks which I have on the people. And you see how I'm just trying to get the perfect handle. I'm after perfection. Believe me, you do not need to be after this kind of a perfection. Just go head and painting your heart out as the most important aspect with watercolors, whatever and howsoever you are able to do it, do it that way. No problem at all. We now go ahead and start applying the permanent red, which is from the bran, the primer. And it is now called as art philosophy's. So you can take any debt that is available with you. There is no need to use the same red, which I'm using, and maroon color if possible. If you do not have this color, you can go ahead and use carmine or roads. If you have any other darker shade of red and pink. You can also use that for this painting. Slowly. Sadly, you will understand that always you do not need or the sheets that is given by the instructor. You can always make your own sheets. Then go ahead and apply it on your paper. I really believed that and I loved that approach myself. You will absolve me in many of my paintings, I go with limited palette. This is another one where you, we are usually using four different colors and that is your shop and draw a blue orals. You can also go head with Prussian blue. If you have problems in getting even Prussian blue, Go head with any other darker blue, indigo or else whatever is available on your palate, you stack along with their dam using CPO, which is a pretty dark color, brown shade. You can also go ahead with Van Dyke brown orals. If you have gone sienna and a bit of blue entered, you will get all dirty blue mixture, that blue and brown mixture, basically a brownish mixture. You can also use that instead of CPR. So these are the things which you can keep in mind while you do any of your watercolor painting. Use your color theory if possible, or color wheel if possible. That would be great in any of your paintings. Those would be my suggestions for you. Do not try to use many colors, so we always have the option of using a lot of colors. But that's not how we go about in any kind of painting. I would suggest that. And I hope that slowly, steadily as you progress in this class, you will understand it even better. Okay, go head and keeping the area with the red. I am right now not applying the maroon. It's just that I would love to add one whole layer of red and then only go over it with the maroon. Now, the bot. I'm using perylene maroon now for this painting, you can go ahead and use any dark shade as I did earlier. And even for darker shades, I can mix my CPI and do it. It would give me even more darker shades with that grant up. Go ahead and add some more maroon and few of the other areas where it is necessary and try making a few lines on a wet on wet. Why? Because these are knitted gloves. And the you will have some kind of Netflix which would show off. It is all pretty small painting and hence, I'm not trying to add a lot of details into it. But along with it, I need to make sure that I'm not missing out on the bills which are absolute requirement. Like you have to create some amount of dark and light shade. Now, that gradient would really help you to add lot of depth to this painting. Now depth is really important. Shadows are important, brightnesses important or darker sheets are important. So all of this really goes hand in hand. Now, if you observe the hardest in my hand, it is in the middle, which means that there will be sharp shadows that will be seen wherever you are. My Tom is I tried to add some darker value. And the middle of my hand, I again try to add some darker value. Go about it. Pretty Stoli, just follow as I am painting. This is not enough painting really. The only aspect which I learned from my first failure was I went with the background in the initial goal. So what happened is my people was not drying it since it's already winter, close to Winder, I would say in the another side of India. And because of that, the assault was not drying up and the water was there on the people, which led to many bleeds or the red. And the whole painting cannot come to live that way. Hence, when I attempted it the second time, it became pretty easy for me to know exactly where I did my mistakes and how I can fix it. So I went with the first part, which is painting the hand and bringing the gloves first. Then go about the painting the background. Drying of the background will take lot more time as we all are in the window season and it takes quite some time for the background to get dried off. Another thing that I want to tell you is if you are using Arches, 300 GSM, cold pressed paper, it will take even more time. As the paper is quite good. It is ticked. So water will stay on top of the paper as well as when you are sprinkling salt. It would stay on the people for a more longer time. That was the aspect which I wanted to discuss. If you are going about with disordered technique first, you might face that problem. Okay? Go towards the right of your hand. And then someone darker value. I have mixed my CPO with the maroon. Maroon which I had. And once I did and my CPR do it, I think I can get a darker shade that way. You can also use red brown for this. I leave that up to you. I did not want to use more colors. As I did say that I am good with fewer colors and few sheets. But as bigness, you might want to just explore all the colors that you can have. And it might be a bit difficult for you to exactly know how much pool of Gallo I should put myself. For this kind of painting. So all of this pixel bit of time for your understanding. So do not worry, keep at it. That's what I would say for you. There is no best way to go about in any painting. Initially, when I tried the first time I told you I did the background and then it did not turn out exactly the way I wanted. So it does take some time to understand how your watercolor is behaving which one you should do first, which one you should not do first? And what are the difficulties you are facing? There is a practically speaking from Whenever I know watercolors and it's being no few years. So I started in 2018 forth for us are completely gone on most into watercolors. Still, I do these kinds of mistakes. So mistakes are dead. You cannot say that I will not commit any mistakes in watercolor. And for, watercolor is not a very forgiving medium that you want no, As cannot get back to your painting with watercolors. So once you have applied the color on top of your paper, since lifting is a bit tough. And if you aren't even lifting it, that's fine. But you will not get the exact outcome that you want if you have already applied the colors where it is not necessary. So these are the aspects which I feel you should keep in mind and do not worry about happy accidents. Happy accidents will keep happening in this kind of medium. And slowly, steadily you will get to understand how you should go about any of your painting or even what you should avoid in any painting. So like my learning was not to paint the background first, whereas I always do it that way in case I'm even applying sorted, but in this case, it did not work that way. So it's okay. But there are different approaches that you will absolve me taking. Like, we do have a coffee mug that is kept on offense. Coming up. In the later projects. There, I would be working simultaneously and I would be painting the background first story steadily adding the colors to my foreground. Later on. I always loved to go like that. But every time that strategy doesn't work. So you have to keep exploring. With watercolors, keep changing their ideas with watercolors. I am mom, pretty happy to let you know all this. I love to always so people know what are my mistakes and how they can improve from my mistakes. Seriously, if I do not discuss as an instructor my own mistakes out and you'll get to understand what are the problems that we face. Go part, painting some darker areas. And right now my hand is completely dried off or you can say the paints on mossy dried off because of which I am doing the blending technique. Wherever you are not sure about adding the colors, go head and slowly added, or is let it dry completely and then blend your colors and add. Just a way I'm doing it absolutely fine. You can go with layers on this painting. You may not go even with those, you can do everything at one go. So the point of the whole of the painting is to enjoy whatever you enjoy doing it that way, I would say, I am more practically using vague ten brushes for this painting, except the few initial part where I had a flat wash and either use my size it silver black velvet brush to apply the column. I am using the 10 brush right now, it's more of details that we are adding. If we add adding a lot of details, what happens is if you are using the very tip brush, it becomes difficult for you to add those details can not. You might be having a great pressure control because of which it is easier for you. But as beginners when we are starting or even as intermediately villa in the intermediate level artists, you might not want to pay that risk. And that's how I go about in all my paintings. I do not like to take any risks for my paintings. So I try to keep it simple. I go with my tenor and smaller brushes. And the mood of the painting is so much Christmas rate. I love to lit a candle, keep it by my side, feel the winter, and then start painting it already got, whenever I think about it, it gives me chilly winter weather. I can just feel that it's knowing outside are as it's very, very hard to say, I can feel my hands feeling the cool weather. So it's really, it's all there in your imagination. You do not need to always go head and experience everything. There are times where I do experience like in 2019 initial part, we did go to I think we went to a few places in the Hill area where we could see a lot of snow. From that. I did take a video and you did see me in the inner shell introduction part. I love to play with snow. So that was one of the good phase of exploring know. And you can also try it. I know that many countries might not have, or might dot, experiences cold weathers. So just have a look at whatever other people are experiencing or have a look at photos, have a look at those Christmas movies. I always fall in love with those Christmas movies every year. I wait for those Christmas related movies and I just love to watch it move, but I paint. So all of these things are there with me. I can feel the winter, I can feel the Christmas. In the meanwhile, I have been painting the background and I've been talking a lot. Okay, So few of the areas I have left it as white and few of the ideas I have added the blue as well as the sepia, go head and use it the way you want now since there is no rule of adding the background, hence, I just left it up to you. The most satisfying part of this whole painting is the salt technique. And I am always happy to do with this. You should do on the ground. And whenever your hand is dried off, ten only paint your background. This is earnest request orals. There will be bleeds and we do want to avoid those bleeds. Go ahead and add as much salt you want on your paper. This is absolute table salt that I'm using from my home. And it will give such beautiful, nice looking texture. You see how my people is changing with that texture. How the top layer on the left side looks now, they are like the snow crystals aren't gone. I am getting more and more excited words. No. That's just dumb mix a bit of blue with the sepia color that we have and then blended this snow heart that you have is in your hand, which makes sure that it actually tells you that it needs to have some shadows in it. Anything that you play, some your hand and you are holding it will have a bit of shadows. So just add these and I think that would do the job. We're not going to absolutely complicated much. So just going about it in a way, simple and easy way, adding some blue, adding some CPR Carlo in few places. Cpr I have kept on MIMO. Whereas the blue that I have and using it to my advantage, I think I'm happy now. Once I'm happy, I will leave this to dry off and then remove the tape at an angle coming, God, this is so perfect. The salt effect has dumped so beautifully. Towards the top, towards the left. I am so excited to see the final outcome. The salt effect always changes. It's not there every time you get the same effect. So tried on a piece of paper first, the kind of paper that you are using, that spine. And a 100 percent cotton is of course good. You can try it and then do it on this painting. Because of so many subjects that we are covering in this class, it is a bit extended. Practically it is a mix of three classes. One is your winter, Christmas, and New Year tensor. I will meet you tomorrow again. 8. Day 5 Celebration: Let's discuss the color's. It is Antwerp blue or Prussian blue, white gouache paints gray went so blue, red, yellow, and cadmium orange. So we are on day 5 and I am so excited to share this project with you guys. It's one-off. My own favorite. Yeah, there are a lot of favorites that I have from this season. As I did experimental lot with different kinds of projects possible. And I hope as you progress on this journey, you will understand how slowly we are building up on no different kinds of subjects and everything that you might not have wanted to try. Or you might want it to dry. Either way, you will be challenged with those kind of projects. And it is more about sharing our experiences. Whether it be a cup of coffee, whether it be on Windows, sludge, anything and everything under the sun you can think of for the winter season has been covered. Over here. I start off by marking a horizon line and then going over it with my pencil marks where I just Show that there are a few buildings and some foliage in the background along with it. This is an evening time, which means that there will be lights and there will be a reflection on the water. Though the water area is not very broad or it is not huge, hence, you should not face any problem while you paint this. Even need whitewash or any white opaque watercolor for completing this painting. So make sure that you have something like that. Do not try to use Chinese white. Go ahead with titanium white. In case you do not have your white quash, that's absolutely fine to walk around with it. Or else you can also try with white poster colors. That's another good way to try out these things. Okay? I think I am great right now with how we are progressing. Because we have started off with the lightest value that is your cadmium orange. And once you've applied your cadmium orange, and this is a fantastic color from Sarah and Newton. Believed me guys, I haven't used to cadmium orange a lot. Initially during my career journey and slowly, steadily, I am falling in love with this color. This has so much to offer. I can't tell you more about it. Try using cadmium orange. You do not need to go ahead with the same brand that I'm using as I did tell you. But whenever you get an opportunity to try to get hold of any tube that's possible from Magellan, Mission Gold, or from any other brand of your choice. That's absolutely fine. I'm starting with my tailor blue, or you can go ahead with Vin. So blue, they both are pretty close in terms of the color that we have. And then I would go ahead with my Prussian blue. Now, Prussian blue is a color that you might like. You might not like, or you might have it available, you might not have it available. So if you have any wind, so blue, Taylor blue, whatever you have, I'm I think many of you even don't have those colors. You can go ahead with cobalt blue. If you do not have even cobalt blue, try with ultramarine. Now the problem with ultramarine is it has a bit of granulation and width sometimes really interferes with my painting. And it's not that every time you will get it, but sometimes we do get it. I tried to avoid nowadays are from marrying for my paintings. That's one of the reasons of avoiding it. Nothing as such, but you can always experiment. This is what I did experiment. I found that it's not great. I mean, when I start painting with it, I did not like it very much. But but that's, that's that's my take. You can always try for yourself and see what works best for you. So go ahead and apply some more darker Prussian blue towards the top area of the sky. And now we will make water, do all the magic. Yeah, you, you always know me. I love to add water. I love doing its own magic. And I will keep adding more and more water. It would flow. And I can tell you the colors that we will get. All my god, they will look super amazing. That's what you did even learn in your first postcard. And it's the same thing that we are going to apply in this one. Now the learning from this particular, I would say postcard is more about how to paint firecrackers. And that too in the sky. And how to paint reflection of your lights, how to add lights to your painting. These are something that I have learned over time and I do want you guys to get a hang of it. And CDC, they add so much more depth to your painting. They say so much on their own. You will slowly fall in love with painting, lights and then your beautiful sky. So all of these things out there, once you start doing it, you do get a handle of it. And you will understand how you can build upon these small, small aspects of watercolor or any other medium that you are using. Every medium comes with their own challenges. And believe me guys, I have started with the acrylics and it's a great medium. It's pretty easy people say, but initially and facing a lot of challenges. So you learn over time. So it's not that on the first day we know everything. Really, really do not worry while you do this exercise, you just need to have a good blend of this guy that we also had initially this time, I just wanted to have a better outcome. I would say at how do you get a better outcome with a better blend or with better flow of water, let water do its magic. As I always say, water has got its own flow, what has got its own way of showing the magical colors. And I love to add the colors in a way that water just does play that magical. And I would say that magnificent role, which we usually do not witness if we are not allowing the colors to move on their own, or if we are not adding much water to it, that these colors can really move on its own. You see I just added a bit of water in the middle area and I just see the colors have gone a bit lighter. And when this whole of the painting were dry up, you will understand this simple exercise that we did right now gives so much more life to your painting that I can't tell you. So I think I'm pretty good. I'm cleaning the edges now. Cleaning up the edges is very, very important way or basically in your edges there are chances of background or cauliflower effect which we do not want. So do cleaner edges always now see the middle part of the painting has a beautiful blue and the top area has got a crucial though. This can only happen when you allow the water to flow on its own. Okay, with the orange, that is my cadmium orange, I have mixed a bit of blue. You can say this is majorly my Prussian blue. It gives a bit of a greenish color, but that's absolutely fine. I don't think that would make a lot of difference. So I guess you can go ahead with this kind of a color and start hiding some of your orange in few of the ideas as I'm doing with the help of my size two brush. Once I have added this, I would go ahead with my whitewash and then add the small marks, not these marks usually give you the idea that there is light. And because of that light, you are getting the reflection and the water. So this is one of the most interesting aspects that you should keep in mind why you do watercolors. Now I am taking some of my Prussian blue and adding small, small, straight, straight lines. If you observe this, water is pretty small area, so you do not need to add a lot of colors. That is to say, if you keep adding a lot of lines, what would happen at the end is you have overwork the painting. So go head with three to four lines just to show the repulse. I have always loved painting water, reflection and reports. That's one of the reasons I to always do my research pretty much in detail and depth before we pay toward the water is one of the favorite subjects that I have. Light from the time I have started painting. It is one of the most difficult subjects I must say, as I feel very strongly, if you go wrong with water, then the whole painting doesn't come together. But over here, the water portion is really less. That's one of the benefits for you guys. In case you are unable to even paint in some of the ideas, leave it, there is no problem at all. Go ahead and start adding your whitewash to do top area. I am first marking the point exactly where I would work. Though fireworks. There is only one firework that I'm adding. You can also add multiple fireworks. It's just that high. Wanted to add only one. It's neon that the Valley, New York and many other occasion we do celebrate with fireworks. And fireworks look really amazing in this guy. Though they add lot of pollution. That's one of the reasons many of our governments, as well as individuals are taking steps to not indulge into it. Still, there is some amount of child memories when I look at these fireworks when it is 12 o'clock, 2000, 22. And you just feel the fireworks all around the city. The complete city starts blowing and it is New Year, we used to say happy new year during that time. Those are my memories from my childhood, my sister, my family, we use to gather and say that to anyone possible whosoever is at home. And I think these are something which I really cherish. I hope that you too can back all of this as one-off your experience and send it to your near and dear ones as postcards. This aspect of watercolor painting, I cannot tell you how much I connect personally with that. So when I start painting, there is something that I always try to relate to myself or something that I tried to relate to nature. This whole aspect of painting art really connects me not only to the world, not only to my own people, to each and every thing possible. It acts as a therapy for me in most of the case. Okay. While I acted in lines to this fireworks, it is only with whitewash that I am doing. You can take and add this with any kind of I'm Tim brush that you have. You can have a liner brush to do it. You can have a thin tip 0 size brush to do it. Do vary the sizes of these lines. Some of them should be small, some of them should be long, some of them should be broken. That is really important while you paint your fireworks, you cannot have seam lines are similar lines moving around and all of them absolutely straight. Well, that would not work. So keep that in mind. Along with mixing some of my yellow color with white gouache to add small and thinner lines as you observe me doing right. Now. Again, the strategies C, I will go ahead and break the lines at some point in time and forth you, I will vary the sizes and shapes. I do love to move my people in and around. Why I say this. If I'm not very comfortable, I just move my paper to make it more comfort and to get that comfort and ease while I paint. So you can also do these things, these as more tips and tricks, hats which each and every person should use to get the best out for yourself, I would say, and the train yourself are the best rate that really works for anyone. You can have a closer look at it right now. How I am adding the yellow? I'm not adding the yellow at each and every place. By this is I guess a bit of Jack that I've added with my orange and with whitewash to create this opaque water color that you see, it's more of wash out. I ignore the opaque. Watercolor doesn't work very well, as we have only worked more with transparency or quarter colors. When it comes to, you should say celebration. There are 23 ways of working it out. Either you get woke up with a drawing gum that is majorly your masking fluid. I am not very much a person who likes to use masking fluid. There is only one exercise which we will do where you will see me using the masking fluid altogether. Rest everything that we have done them now is without masking fluid. So when I'm going without masking fluid, I need something more opaque, which can actually hide the transparency or the darker values. Have on the paper right now because of watercolors. Hence, this all go shed and the techniques that you see me using. So that's how we go about it. And other aspects of painting with wash right now to create this fire boxes, you need even the blue wire. See the blue sometimes what happens is when the fire cracks are this firework happens, you will see that some of the lines will be lighter. Some of the lines would be absolutely white. Leighton type that would need more of white color. Whereas the others, you can always manage. Your blue, yellow symbol, red, green. You can add a new color of your choice. You know, there's no particular way you have to go about this painting. That's one good aspect of watercolors when it comes to pain date, I can do whatever I wanted to. Okay. I had some more lights and you will observe wherever. There is more of detailing, you need lot more time. And I really wanted to do the sky first because this one, I was a bit scared. And what happens after or more into the painting or you can say more extensive painting that you do. You will get tired after a while. And I do not want to want this at the last row 1. That's the reason I did try to just to manage it initially and then go here to with the lights of the reflexion, et cetera later on. You can also try to do it otherwise. But as per my whole experience that I have their date, I know this is one of the best ways to manage your firecrackers, fireworks in the sky. You might have. Of course, some other ways, some other hacks. This is one of the hacks that I use for this kind of painting. You will need some amount of your Payne's gray now to work on our background, you can use Payne's gray, you can use black, you can use CPR, you can use any kind of really dark shade. There is some natural color, also natural tint that you can use. Most of them, whatever is in the colors that are closer to agree and black or very dark or dark brown. So all of those can be used in this case, it's now the last part and it would not take you even 70 minutes, maximum 17th, and it's that you wouldn't need to complete the spark. There is not much of work that we are left with. Only foliage adds some buildings that we will be doing. Now. Foliage, yes. It does take some time as we're doing it on a small piece of paper, small piece of paper leaves us with less apart on these to work with. I would say. I think if it's a bigger people, what happens is quick strokes happens, whereas when it's a small paper, your strokes that you need to add, etc, also needs to be more smaller and our hands are more used to those bigger and loggers filtrate. And this is not very great way to work out, but it's a great way to start your journey. You are working with good people. That's what has always been my idea. Go for good paper. Once you are done with the good paper, you can go with any watercolor and any brushes of your choice. Every time. You do not need to use whatever I'm using, whatever is more affordable range, do that. I have been saying about this in many of my other projects. Too. Many of you might like, few of the projects and medial view might skip the other projects. So it's okay. Therefore, I like to always remind and each and every project that this, these are the best practices that I have been using and it's been really rewarding. So why not go ahead and use the same best practice that I have used and I have really been rewarded with that. Sharing everything that has helped me really works in a great way for anyone. Because it, everything comes with experience and you might be struggling initially with a lot of aspects of watercolor painting where I might be in a position to help you. Whereas when I'm starting out with any new medium and I really want to get any help. I would also get some help from someone who is more experienced and repeat as they have more knowledge than what I do. So yeah, these are some of the points that you can keep in mind while you work on your final project. I'm just adding a few lines to show the building well, right now with my Payne's gray, I will keep adding it and go towards the right and extended towards the right Before I start adding the lights. In this lesson. Let's make some more troubles and reflection and using the tip of my brush to add it, I have taken the same bom beans green mixed with some blue for this darker shade of ripples. You can do it right now. Auras, you can even do it once we are done with all of the painting. I prefer to idle repulsive layers that really helps me to understand how I want to shape up all of my project and how step-by-step it can work out better. Okay, blending it with my blending brush effect so that there are no hard edges. I do not like to keep her disease much, you know it very well. And picking up the colors, again with my blending brush, just that, I can get that beautiful color of soft defects. And you see even the close-up is so nice. I really like it that way. Keeping things simple, easy yet interesting. Okay, now mixed some of my orange or with the white quash. You can also use yellow folders, so that's also perfect. And start adding the lights. These are small, small lights that you have. Some of them will be bigger, some of them will be smaller. Do vary the size of the lights every time you do not have saved kind of light every read it. So that's another aspect of watercolor painting. You cannot have all the houses situated at one single place or else they will not be equally spaced too. And in bigger cities where you have a good number of people living, all the cities are not so plan from the initial days. Hence, you will have some amount of randomness again. So that randomness we need to show always to our painting. I'm adding some lights even on my burning. Then going ahead and adding some lights on this part of the watercolor painting. Then adding some whitewash. Whitewash is an amazing opaque medium that can be used by any person and it is so good. Once you start using it, you will fall in love with her. For any painting where you feel that you need some amount of capacity. I will use force some yellow lights and then on top of it, I would add some white lights. I do not always directly go ahead and add the white lights. Why? If you directly go and add the white lights were happens is it would not look more organic. And for making it look more organic and to the point, adding the yellow lights and then going ahead with the right lights, make more sense. You slowly, steadily, you will get a hang of it. If you're still not getting it fully. Do not worry. Hang in there as I tell you always, and just move ahead with me with one after another painting. Slowly steady. You will be so happy with the outcome of this painting. You will yourself say, this is one of the favorites. There we have. And you, you will completely get engrossed in watercolors. Watercolors as a medium that can make you feel so much good and so much. It is magnificent, I would say. It is magical. It has all aspects of therapy in itself. Then the colors bleed into each other when they move into each other. Different odd experience, I literally cannot explain. They use taught, applying your colors on paper. Seriously, That's what it is. You have to start applying your colors on your paper. You will get it. You will just know that this is it. This is how I want this to work. This is how it should work. So yes, that's it. Keep adding some more white gouache as you observe me adding right now on top of the lights. Once it is done, then let the paper dry off and add some more ripples wherever necessary. That's absolutely fine. Remove the tape at an angle. Always, always remove the tape at an angle. Do not do not. Just peel off the tape very, very quickly. It might rip off your paypal. At this point in time, we do not want that your paper gets rid of it or I do not want her to govern to a neuron. You have worked so hard throughout the whole of this painting, and it did come out so well. Why do you want to do it now? You will not won't do so severely that that's what you have to work it out. Again once more. The whole painting will not be what you wanted. Now, I have started removing the tape. You see how slowly I go about it? I have all the patients on this Orit to go very slow. It might be if this has happened to me, I know how difficult it is if your paper gets below in the process, we do not want that. I have one class where I did fix it, okay? Hence, you can see I have all kinds of experience, the bestest not to peel off your paper with your tape. Okay, Have the final look. I am very sure you are really, really proud of your progress. 9. Day 6 Christmas Sledge: Let us discuss the colors. It is perylene, maroon, white, quash paints gray, red brown, red, yellow, cadmium orange, burnt umber, crimson. You can also use Naples yellow. If you do not have yellow or else use yellow if you do not have me use yellow. I haven't actually given the name as Naples yellow because many of you might not have it. Hence, you can replace it with yellow. Hey guys, I am back. And this is our sixth project. I know it's an amazing journey than now because we have been trying out so many different subjects and so many different aspects of watercolor painting that you might be actually looking forward to. This one, a Christmas ledge that we are going to paint today. It's one of, again, my favorite projects. This particular class, as I have told you, has lot of my favorite projects as we have dried, do explore lot more than only landscapes are only just sticking to painting your Christmas decoration, or only just Christmas area we are covering this time window. You are Christmas as well as your new year, which means that you have more options, as well as a bunch of idiots to work through the front projects and understand how each and every project can work. If you see I have just dumb made of very initial line on the left side and then I'm extending it to the right, making our u curve. And then again going ahead and trying to just extended a bit towards the right, making a more curvy and then making a straight line and pulling it down. That's how we would be doing it. Wherever I take that you need some kind of change. It just a wee I right now changed a bit on my sledge. I would just go ahead. It is that Ada and then add it. It's interesting as we have very simple sludge and this Christmas team, that's one of the reasons I have used to dread viral and all these colors, but you can always go ahead and use wooden color if required. Overall, this whole painting is pretty good and amazing. Why I would say it's not a lot of complications that we are doing in this painting. Whereas the outcome that you have is simply amazing. So once you start doing it, you will understand that these are very simple, simple projects, but we always ignore, we do not want to paint these. We are like, Why should we paid all of this? We are not really happy with all these kinds of paintings and that's one of the reasons I always tell you that do try out new subjects. Do try out something which is just out of your comfort zone. I have this thing always in my mind. The magic only happens out of your comfort zone. If you are always stick into your comfort zone. If you're always only working in your comfort zone, the magic will never happen. You have to just go head work outside your comfort zone and see how things can get better from there. That's how I have always studied and that's how I have always challenge myself. It might be initially a bit difficult for any one, but slowly, steadily you will get so much used to it. Either you have to challenge yourself for the new medium in there. You have to challenge yourself with new paintings, with new subjects. Something or the other should always go on. That really helps an artist to develop themselves rather than just sticking to one single subject. While you draw the bottom part of this sludge, makes sure that you are adding small, small lines. They are basically the Stein which attaches it to the last part that is where you slide on. Yeah. I am pretty sure about that. You all have seen it and you all know it much better than I do. I have not seen sledge really in my real life, but I have seen it so many times and movies I've seen it so many times and it always had that thing. I wanted to be in that it was something that is different. It was something that I've always seen and it Made me so curious about finding out this aspect of being dean, how we can do these sledges, how we can do the Christmas decoration, how we can do all of this. And it is something that I immediately not used to it and it takes a while to get a hang of all of this. So just make this sludge. Once you have added the sludge in the background, you need to just one small horizon line. Okay, that Sledge is more, I would say real. And that's one of the reasons I have just tried to add one small lantern in front of it. The Christmas is here. Or even if you are going out on a snowy cold night, you need a lantern or you need some kind of light to see through. So that overall aspect of watercolor painting is to even show it more realistic. Realistic is not with the painting that you have to be realistic. Realistic is more with the way you present or you just show what is the subject and how you want to add realism toward in terms of adding more objects to it or adding something extra that just meet anyone feel like, okay, I want to just sit in that sludge and go around the city. So yes, that's how I see it always. Once this is done, as I've told you, we have to draw a horizon line. And the horizon line is what it is. And just have a closer look. And then we will start with our wet on wet technique. Wherever you have extra graphite months. So do make sure that you are removing it with your with your eraser. And once you have removed it with your result, then you need to go ahead and start adding the colors. So in the wet-on-wet technique, wet on wet for the background, whereas wet on dry for those sludge. Adrian, I was working on this line, done that. A few things that I did learn. I would be discussing all of that. But before we do that, let's just add more colors to the background. As I did tell you earlier, I would be using Naples yellow and your bond amber or your Nike brown ROC. You can even use sepia, whatever is very light in shade for you or whatever, you can handle it better. I take those colors or whatever is available with you. All of this can be used to afford this part of the painting. It's interesting, you will see how we will make available a bill giving our sun. And it is not the sunrise to sunset hit somewhere in-between where you get see the son. He's going to set after awhile, whereas the color of the sky has turned yellow. And it looks so simply amazing since it is snowing. Or you can say the weather is very cold. That's one of the reasons you can't see the sun pretty well. And there are so many interesting happenings that you see both the swan, you will clear out the space and then add dumb to Naples yellow. Once you have added the Naples yellow like this, keep some areas of white. Just like that. Why I say always use the white of the paper. Why do you want to use so goulash or any kind of white that is available. Now wherever I see that you have to use masking fluid, I prefer using white wash, but you can also use masking fluid in those cases. Hence, it's up to you how you want to utilize the whitespace off your painting. I'm going ahead and adding some more colors. I would not go over my line. Don't That's what I tried to just prevent over the whole of the sky is really pale looking and I'm not going to add a lot of colors in this one. As my foreground is pretty interesting, it has that beautiful red and Maroon colors. And I want my foreground to look even more interesting when I did that, one of the reasons I love my background to be enlightened values. This scholar will become even more pale when you just see boasted as dry it out right there. That's important aspect of watercolors. Whenever it dries, it becomes one sheet like DO or to shed light on. I would just move around my painting obit, it would help me to just let the colors flow from the top and from the bottom. That's how we go about it. And let's have now another look at how we can make a soft edge of this sun that is there in the sky. I just take a damp brush and remove the colors on my tissue. I repeat this process continuously. Wherever there is extra color like on my line, don't I would remove that and then add some yellow. Now yellow is very less on my brush. That's why it started going out of the blackboard. You have to make sure you just know these went to add and how much to add colors. That's really, really important at some amount of Windsor blue or yellow, blue or any other blue that is available on your palette along with it, some amount of your buffer. It's going to be really, really light DOM and simple looking back ground. So you do not need to worry much while you paint this background. It is snow, and snow is always in very, very light shade. You can use any other blue shade of your choice. You do not need to have only the shades that I am talking about. And make sure that whenever you are adding the lines, are whenever you are adding the colors, they are of very less intensity, which means that they are more watery. They have just 10, 15 percent of pigment or even less so. And the other part is mostly water. We do not want any kind of creamy consistency in this case. When you start making this legend, that's when I would ask you to make a creamy consistency. Creamy consistency would be more to do with more darker values. That is, we are applying dread than VIA going ahead and adding bromine moon. So you are having two to three different colors. So these colors look amazing, bright, and nice when you add on to any kind of watercolor painting. Another thing, it is Christmas, so we have to be in red plate. The Christmas is all about painting and read those beautiful winter season, the colors, everything just comes to life and that gets okay. Let's just go head and keep painting the sludge at. Somebody says I'm adding darker values as you have seen. And in some places I'm mining like the values of the rate. Now, I am not adding water in it a lot. As I did tell you, my background would be lighter in value and my foreground will be darker in value. As I wanted. Look more realistic, or I would say as I want people to pay more attention to the sledge rather than to find plank round. And in some more darker values of my perylene, maroon. And you can go ahead with red crown. If you do not have this perylene maroon or any other darker shade of gray color. It can be even crimson Garmin, whatever is available with you, I just need darker values and few of the places and other values can be in red. I mean, whatever red is a cadmium red or any other data is available, bright red. There are a lot of reds that are available in the market. So whatever is available or whatever you have with yourself, you will start for the spot. There are some areas which I add some of my darker values. So like Member own or you can even go with red brown if you do not have this maroon concern or any other color shades. There are a lot of ways in which you can practically walk around for your watercolors. I am adding some amount of my carmine into my red brown. And you see how beautiful the color has tone. It looks more reddish. I'm using it for the darker values of the sludge that you have towards the inside. But I want to distinguish it from the part that you have already painted using my size two, brush and adding these details. Once I've added the darker values, you will understand that we have to go ahead and paint the other parts of the sludge. An important aspect of watercolor painting. That we do is always to just use different values of one single color. Different values of one single color can play so much role in your watercolor painting. It can add depth, it can add, or it can even differentiate between his parts of a single object. There is so much that you can practically loan and watercolors. It amazes me at each and every point in time how we can continue doing so much in watercolors. Adding some of my darker value using my Payne's gray. Or you can use even your indigo. For this idea, it's better to use Payne's gray. Payne's gray has a bit of blue in it, but it doesn't show off when you are adding these lines. It is dark and take a creamy mix, show possible. Greenland make sure will actually give you the required the colors. I am leaving some spaces in white or the color of the background, and some spaces I am adding the Payne's gray color. Why I wanted to show the snow and will be some funds, et cetera, that I would be adding. So all of that put together, you can always go ahead and leave some white spaces, leaving whitespaces of the people, or even leaving the whitespaces of the snow is a very good idea to go about in your painting. Okay. I think we're just extending this ledge and now I will go from the top and let, it means they're using the tip of my brush to work on the complete parts of the painting. Why I'm using the tip of my brush. It really helps me to get those 10 nice lines. I have this brush from a SCADA optimal. I have been using this brush for quite some time. This is practically my go-to brush in most of my paintings. And then you have to go ahead and add more colors, am lines to this part of the background. Once you have added these lines, when you have, once you have added this Payne's gray color, then you can go ahead and start adding more depth to few parts of the painting wherever necessary. Like go ahead and just add more colors to your background. Hi, I'm adding the colors to your background is a great way to practically add more depth. You have to go with different shades of color. To do that. You will observe how we are creating or building up on the background too. Though this major aspect of watercolor painting in this one good, of course, remain the foreground. That's why we are taking most of our time to paint our foreground. It has a lot of detail and B, are concentrating a lot on our details so that we can continue working on the foregrounds in a better way. And the, it is the main focus of the painting. So extend it. I go very slowly while I paint lines, while I add the colors to tenor, or to the areas which are more delicate, or where I have to add more detail. I tried to take my watercolors pretty slowly. That's another aspect of watercolor painting. Whenever you are going ahead with your watercolor painting, makes sure that you go pretty slow with your watercolor paintings. It's important to go slow. If you are not going slow, it will become really difficult for you to express it. Hawaii, I say expressive. Because of the simple fact, wherever you are painting, can your watercolors, or whatever you are doing with your watercolors. It requires lot of concentration. It requires a lot of your work. So going slow really helps you to reduce that aspect in watercolors. I'm using my orange color. You can use your orange. I mean, any kind of orange that is available with you. And, and these kind of trees. Now, I would add more depth with some darker values of your read. Mostly we are working with yellow, red, these kinds of colors, even for the background area. This is basically your trees. I'm trying to leave the part of my lantern behind. I do not want to touch that area, just touching my brush and adding the colors, you would observe that I am not going ahead and doing a lot. In this case, all of this can be managed better if you are drum just masking these years of your life. All of your basic land on as well as the sludge that you have, and then paint your background, come back to it, start adding colors. So after removing the masking fluid, it just solves your problem pretty easily. Again, that's a choice that you make for yourself. If you want to paint the background first, come back slowly, steadily when you will become more experienced artist. I think that's when you will get the whole of all of that. Adding some damp brush, dry brush technique. And then using my thinnest brush, that is my size two brush, adding some lines for my crease. You can also use any other brush that is available with you like your size six optimal, I have more control, so I would go ahead with that brush. For thinner lines. This part is still wet. That's one of the reasons my columns are flowing. But I'm fine with that. Let the colors flow, let some of the trees become a bit blurred. Let some of the trees, so ADF remain more detailed. I love it that way. So I would again leave this part up to you. Do you want your background to become completely dry and then go over it? Or just walk around the way I am doing right now. This workaround will take awhile. You have to just understand it is damp, it should not be read. If it is stamp, you will get these effects. If it is wet, you will not exactly get the effects that you observed on the people right? Now. Going ahead with my liner brush to add more details to the trees. This is what it is. The background has more trees, it has more details. So you need to continue adding it. Liner brush gives more control to any individual. That's one of the reason I wanted to show you how you built it. Lines menu added with the liner brush, though, waterflow will not be a lot in this case. Hence, you can get that blurry as well as that nice effect that I was talking about. Make sure that you are adding these trees and the Gallo mix that I'm using for decreases pain script plus some amount of brown. You can also go ahead with any dark brown bike when I gave brown or CPL, whatever is available on your palate. These are just the options are these are practically the colors that I love to use for my painting. You might have your own favorites from your set of painting. You must be thinking that to how many branches am I going to add, right? But you need more branches just to show the background. And it is very important to concentrate on the smaller aspects of painting. You can leave it also, that's not a problem, but if you concentrate on the small details of the painting, your whole work actually goes to another level altogether. And you just know that this is how you should walk around on your painting. This is how your painting should look and this is how everything should get. I think those are the aspects that you have to also look into. I'm adding some darker values towards my left, but I will let the colors flow, in this case, adding some portal and then allowing the dark color of the brown to just float. I'm telling you this red brown mix that I usually meet with crimson and some burnt sienna orals. If you have red brown, if we are above with you, that looks very beautiful on any kind of painting tried to guys. It works even great when you are doing portraits. So this particular mix of color has a magic in reduction. Actually tell you that's the best way to explain. We are on to the last 45 minutes of the painting, which practically means that our painting has come to life. It's only the details that we are going to add. So make sure that right now. You are not just going ahead and overworking on your painting. If you overbook on your painting, what really happens is that the whole of the area will be worked out and even the backgrounds will be too much worked out. So make sure that there's not a lot of work that you are adding even to your background. Some of the areas, of course, you have to add the darker and lighter values as we have done. But some of the areas, we will just add the details talking. Now, let's work on the line. It's very simple. We have already added the, the graphite parts. Go ahead and paint a few parts of it. The top and the bottom and the middle will be, of course, in the yellow color as we have already added it. For this part. Once I land on is done, it might be a way small part of the painting. Part. We need to do it in a good way as it is showing the light. And trismus lanterns are so dear to me. They look so beautiful. I am so much into it that I can't tell you more about it. Hence, I love to always take you through this journey of Christmas New York and the winter. Everything falls together in this cases. And then keep adding some amount of colors wherever it is necessary. Once you have added the colors. So wherever it is necessary for the lactone part and some of the trees and branches as I'm doing again, this is just a bit of detail, guys. It is not that I'm extending it a lot or I'm overworking at this point in time, do make sure that you are not all working. We have to make some grasses and some lines for the background, as well as for our foreground pushes majorly. That's all. I think. I'm good to go ahead and start adductors. So grasses for my sludge, Adrian, I will show you exactly how it is getting worse. It is just moving it a bit towards the top and then extending it towards the right. Moving it a bit towards the top and then extending it towards the right. That's how I go about it for the snow area, I would even add some more of these grasses towards the right near the sledge. So these are the last two few parts of the painting. Do not, do not make it completely there, so it should not be all over doping thing. Do keep the white and the color of the snow intact. Tried to do that, and then only added a bit on the left and on the right towards the bottom part of the painting. You can currently have a look how I am adding it. Once I have added it, then I would go head and just remove the tape at an angle. Most of the parts of this painting is called B dried up. That studies and I would go ahead and added term on the right. That is so your painting area and few one, not two here and there. I guess. I'm happy with it. Now, let's remove the tape and have a final look at the painting. Just adding some white quash for the lantern light in the middle and then removing the tape. I always remove the tape very, very slowly as you have seen, the whole painting was your time so that you can actually see how much time it really means for a painting to be complete. I know most of the paintings this time are around the same timing, that is 25 to 30 minutes. These are mossy intermediate level, beginner to intermediate, I would say. Hence, the timing has changed and it is no more a 10 to 15 minutes painting anymore. I can't add so much of detail or icon practically work so much when it is already small and contact details painting, it really becomes tough in that case. So all these things I do keep in mind while I know that most of you are big noise and you might find it a bit difficult, but slowly, steadily. I know you all well adapted and you will have a fantastic time once we complete the sprinkling days. 10. Day 7 Snow Cracks: Let's make something different today and it would be about snow cracks first, discussing the colors. It's royal blue, whitewashed, Payne's gray, red, brown, burnt sienna, and Prussian blue. Prussian blue you can use if you do not have onto a blue. So these are domains, your colors. And let's start. As we all are celebrating this winter, I'm Christmas season together. So let's do this in a very, very simple way. I'm starting now with some amount of my and to a blue, or you can even go head with any other blue dot is available on your palette, like pushing blue, orange, you can even go ahead with the darker sheets like a non-tone blue and some other colors, lighter, indigo, I would say that DO NOT think about the colors that we weren't going to use. So there are a lot of coordinate of colors which can be used to right now. Go ahead and just mantle horizon line. First horizon line is about 25 percent of the papal. And I'm going to mark some mountains. This is going to be a very simple exercise. Only the factors we need to give it the time that is required to paint this one, as it is a bit tricky in terms of how we paint the eyes, how we paint the water, and how we show the depth of the water. If you see, I'm going based solely by adding some amount of water and just making this whole piece so more wet. You can use any size brush for your choice. I love to go ahead with my silver black velvet size six. So size a brush, whatever is available on your boundary is great. So just start from the bottom and move to goods to adopt the need to paint a gradient. And right now I am going ahead and adding that gradient. Towards the bottom we should have the DR values and towards the top they should have the lighter values. I would ask you to, and more of your indigo orals, Prussian blue into this column because I feel that the color is lighter than what we can have. Even you can go head but cobalt blue, surrealism blue, but both of these colors are way more lighter. So just rule head width or darker shade like this. You see how I have under dumb on depth now towards the bottom area, the paper is already wet. Now since the paper is wet, I would go ahead and add my darker values into the water. I have to make sure that my brush doesn't have a lot of water. It is majorly a kind of dreamy mixture. And if you can control the water, I, you can practically get these kind of marks because we do not want to bloom at this point in time there as we want these monks. And it is more of water that is 90 percent of what? Oh, sorry, less of water that is 90 percent of paints and the rest of it is water that is around 10%. You have to see that creamy and buttery feel of the paint you see. And then you can test it even on a people in case you wondered, you will see as we progress, I repeat testing many of my colleagues on my people before we go ahead and start painting with it, I would go ahead and switch my brush size to why I do switch my brush because at some point in time I feel that I mean, those models strokes and that is only possible with my smallest size brush back, I could leave it up to you how you want to go out there tans absolutely fine. Because every time you will have a different way of moving about on any kind of painting that you aren't doing. So just go about it as you want to apply, as you want to change the size of the brushes. I would leave that up to you. Right now. I'm building practically kind of depth you need for your show. Cracks of the ice. Now, every time when you are trying to paint, I stared has to be learned in depth that you have. Why? Because these cracks and do change, as well as if you see any frozen lake or any kind of frozen water body. Every time there is no one every time the temperature changes, this kind of cracks you get as well as the kind of or the number of cracks that you have will also change, which means that practically you Cannot always go ahead and bring the same kind of crags you would like to do. And they should not be on lot of cracks. There should be more, there should be less. So it should be a combination. We cannot keep, but actually painting on lot of cracks. And at some point in time, wherever you feel that you want to pick up the colors, use your size. Size. I mean, this is exactly about six MM of my flat brush that I'm using right now to pick up the colors gets from insulin Newton and it is a Winsor and Newton Cotman brush. Very, very handy and it is great to lift any of your colors wherever it is necessary. So keep lifting the colors. And then once you are done with the lifting of the colors, we would add on some water, white quash wherever necessary. Now white quash we, I would like to use it later on in the whole of this study as post-doc, the white gras status, very minimal or very less possibility of adding the depth. And we have to be very, very careful while we add any kind of depth to our painting. So let's go ahead and paint outward hilly area or the mountain area which you see. The mountain area. I would like to first word and I'm using my size six optimal brush to add the water on top of the mountains. Once I have added the Watteau, I would go ahead and add my burnt sienna on top of it. You can also use Naples yellow and burnt sienna orals. You can go ahead with any other brown color that is available with you like burnt umber or Tennessee and now whatever is available, I am not over here to tell you the exact colors that you should use. I would always say that the important aspect of watercolor is to loan and loan link only comes from your practice. And for your practice, whatever you think is best or whatever is available with you. As such, go ahead and use it. I have started adding some of the marks of burnt sienna for the area. So go with some darker values and few of the ideas and to make sure that you are leaving the white of the paper. Why we do leave the white of the paper? In case you do not leave this white of the paper. Sometimes it is possible that you may actually need to a bit of a problem as you have to add white quash to show the snow. So every time you might not have the white quash and using the white of the paper is always really, really nice. So we of utilizing whatever is available with you and sometimes even after using white wash. You cannot get the exact color that you want. So always using the resource status available with you, which is majorly your paper is the best thing to do. I'm adding slowly the bonds in essence, the paper is small as well as there is less space for my mountains, so it is a good idea to go slow at this point in time. Secondly, I want to tell you that in a few of the places I am trying to add some water so that it Start blurry and nice effect for my monuments. Whereas in few places I'm leaving it empty. Leaving an empty is also a great idea to go about in any kind of a painting. Okay, I think this looks so good. Now let's add some amount of blue to get that darker brown color. And I'm pretty happy with the color that I'm getting on my palette. Every time you do not need to have all the colors, you can always go ahead and prepare your own colors. Let's go ahead and add this darker, dirty mix of brown. Or you can say this is closer to the color like Van Dyke brown or any other dark shirt that you would love to add to your mountains. And if you see the rocks that I'm making is towards the right and slowly, steadily. That's how I would like to paint it. So it has a particular direction in which It has been in a position where it is like the wear and tear has been towards the right-hand side. And that's how I save or roles, even if the ridges and valleys which are there on the mountain is in a way that it shows off the white that we want to actually see it. Go ahead and try adding some darker values and few of the other areas stored. There might be a point that I would go ahead and use my white quash for few of the areas. But before using whitewash, you have to make sure that the area is completely dry off. If it isn't dry, then it is o real big problem as it might give you some amount of muddy mixes which I really don't want. And this is a place where we can actually, uh, white the muddy mixes all together. So keep adding this darker value as you observe me doing it and slowly, steadily build up your subjects. Each and every part of this painting is important. Why I would say we do not have a lot that we are doing in this painting. It's a distant mountain, then the cracks of ice, which we see. And then there is a sky, the sky that we would be paying LinkdIn be a clear sky even so I would leave it up to you how you want to paint it. I do like to give it a very light shade of blue. So I would go ahead with my royal blue that I have on my palette from Sennelier and then added though for the top area of the sky. Again, this is an option to leave this guy clear. Absolutely. So just go ahead with whatever you feel is good for you. Giving a bit of a color actually makes it more interesting. And I can say it gives nice edges to my painting. Another reason I love to add colors to most parts of my painting. Now since this is winter season and there will be lot of whites. So practically even in future, you will have very less opportunity to play with the colors. And whenever there is an opportunity, I love to grab it. That's how I see it. To soldiers to Blender the sky with some clear water. I always have two jars of water available with me. One is the fresh supply of water and another for washing my brushes. You'll know that we are done with the whole of the painting. It is practically not complete. Hence, each and every part that you add has to go hand in hand and it should look really, really organic. I have been seeing about this thing pretty often in many of my other classes too, that you're painting has to look very organic in nature, as if it is just nature and it has got its own problems. Which means that everything that you see will not be similar and there will not be any symmetry. We have to go about that in a way that you do not have any symmetry. And you get the colors of the sky. That is clear sky. Now, if you do not have a clear sky, if you have more clouds into it, accordingly, you have to change. The dorms are the values of this guy. And that's how we go about it. I would let you know more about it as we paint us know man, how to add more values to the sky, how to play with the colors, how to actually work on a vase, one sheet like this. To me, it is a smaller sheet, but I know many of your Lamarck like to waste paper. And you are just starting out with your journey of watercolors. That is where whole of this class is going to help you. We are going to paint where I do of subjects and variety of subjects gives you a choice to go ahead and experiment what you really want to paint and what you really want to add onto your kitty in terms of how the colors should work, how the techniques work for you, how you can walk around with the brushes or the minimal supplies that you have. Every time, I suggest you alternate colors as I do not want you to be spending initially on any of your painting supplies as you progress in your journey, go head an add-on to your supplies. Okay, let's paint the cracks. I have been painting the cracks for a while. I'm talking to you. Though, cracks that I'm painting is in a very, very simple way. As I'm going ahead with some darker values and few of the areas and some lighter values and the other areas I'm using my size two brush. Why I want to actually keep a control. And that's one of the reasons I love to use this size two brush so that I have a lot of control over my brush and I can add darker values wherever it is necessary and even. Larger brush strokes by just applying more pressure. And towards the bottom, I have a larger brush strokes while I go to what's the top. Of course, it becomes more and more tenor. You will see the eye status going away from you whenever you absorbed it will have a tunnel tracks. You cannot see very far off various whatever is closer to you, you will see it as more broader. Okay. I guess this is what I wanted to tell you in terms of how to paint your eyes cracks, keep adding it, but do make sure that you belong to add a lot of depth. If you see towards the bottom, I have four to five. And as I go towards the top data to go through all the videos which are more in white. I had bothered those cracks and now I'm going ahead and adding some light wash even on my mountains, basically towards the bottom of my mountains. Let's go ahead and add some more Guassian q of the places wherever necessary. And then once done, I would like to just check on my sky once more. I don't know why this has happened, but I see that there is a small cauliflower effect, which I get in the middle of the painting. And I really do not want it. So I would just go ahead and blend my colors once more with my brush. And I really wanted to just take this cauliflower effect out of this painting. I get these kinds of effects do happen on sometimes it is very much possible that if your people has lost at sizing or if your paper is not doing great in terms of it has become pooled and there is good amount of air that has gone into what? These small, small things. Looky public and so beat very short that you are not using an open people after a long time. Always use your people very quickly then avoid who have opened stock. Do not keep it open for a really long period of time. Even now when I make my own sketchbooks side to keep it wrapped in plastic sheet so that air can't get into it and I can use it for a longer period of time. So those are the things that I do for myself time and I would love you to even know whenever you see that there is a problem like this occurring. And they're smart tips and tricks can come really handy for you. Okay, I guess I'm good with this. And now let's go ahead and let our sky area dry off. In the meanwhile, we can add some more darker values for our regions as well as for our mountains. This is just more of detailing that I'm doing practically. I am done with most of the bots for my mountains, bit of detailing here and there. And then we have to work a bit more on our cracks. Why I say we have to work a bit more on our cracks. They look more artificial to me hands off. Now, I need to add more depth as well as I need to blend a bit of my white quash with my background. Those are the aspects that I would like to add onto my painting as I wanted to look more and more organic. So yeah, you see how I'm going ahead and blending it to my background. You can do this exercise. Has you do not want your brush to look like it is showing crags which you cannot associate to iterate. We have to look out for things which you can associate with, as well as which looks a bit more realistic. I'm not seeing with watercolors, I'm trying to get realism, but it should not even look artificial. That's what I would say, what the color has its flaws. And it cannot look exactly the way you can get an outcome in any kind of acrylics or oils colors. I'm just going ahead and adding some dry brush marks. You can also add these dry brush marks if the top area is the white shirt just a wee I am doing because the idea was more white than I needed it. And just adding a few more details. Now for my quash, there is some amount of good amount of work now that is left for the wash and just do my body. I'm here to guide you. Most of the painting is done. I outlined is completely done. It's only fine tuning of your painting which is left. Now is the time to blend your colors. How do you go ahead and blend the colors of your quash with water? Just take some water on your brush that is your size two is caught up trash and try and drinking it. Now since the washes or deep dry off, that is an added advantage to us. So it becomes really easy for us to just stop blended with our background, but do make sure that your brush doesn't have a lot of water. If you observe, I am kindness the cleaning my brush and then going ahead with a damp brush to blend it. Damp brush is very, very important for blaming. You will absorb most of my paintings where I'm using blending technique and that's majorly done in my watercolor florals masterclass. It is mostly a damp brush that we used to. We always pick up the colors on top of the tissue or just take off all the extra water on the tissue and then start painting it. So use the same technique and I feel that it's more of a fine tuning, as I have told you last three to four minutes of your painting is left and practically most of it, you have already done it. There is less. Then I would say, you now need to do for this part of the painting, It's only some amount of Dhaka values that I would love to add for this painting as I see the cracks of the eyes to not look very, very realistic, or I would say not exactly even realistic, like you can get in a watercolor. It looks more artificial and doesn't look more organic in nature. That's one of the reason I would love to add some more depth. Whenever you are going ahead and checking a photograph, you can understand that there has to be some darker value to show the depth of the water had few places are completely frozen. So many times it has happened to me that I just feel that this painting did not turn up exactly the way I wondered and I would go ahead and leave it there. But that's not the ideal case guys. Whenever you have this or get this kind of fulfilling, I would really ask you to again, look into it and just complete the painting. Because when you complete the painting, you get to understand, maybe this is not the best way to go about it, then you can have a better outcome. Initially when I just don't get it till the white Bosch, I was not very happy and I did step back, relax, came back to the painting and then started adding this darker value. Now this darker values, basically my Prussian blue or indigo, whichever is available with you, do not think that I can only use these colors if you have any more color like Mayan blue, blue, they are all darker shades of blue. Go head and use it. Add some more darker values in the cracks area which you see towards the bottom. You have to get distinctly that the bottom is more visible to us. Hence, the cracks that we see over there needs to have more depth and slowly, steadily. You have to add this step as you're painting is completely done. If we go ahead and write now tried to walk around with the cracks a lot, it wouldn't not give us a very good outcome. So go slow and going store would really help you to understand how you should paint each and oblique rack over here. I'm using my size two brush to paint around these cracks. You can go ahead and use any size brush status available with you. If you were working on a big old people, you can go ahead with your pixel size brush. I will receive this. The brush size will change according to the size of your paper. If you are working with a smaller size people, you will have smaller set of brushes as well as you need to be very, very vigilant when you were adding any kind of colors. Though using a smaller people helps us to actually save a lot on, on people. But it is a bit difficult to walk around with most of the time, as it is. In terms of giving the abutment east to west to paint, it becomes very minimal. Why I say this, you will have locked less opportunities to paint well on a smaller size paper, come back to bigger size people and there are a lot less chances to commit mistake. If you see that smaller cauliflower effect took me so much time to actually blend with my background. So those are the things which you need to keep in mind. The rest, it's perfectly fine. There is no problem. What size you use, what paper you use, everything is perfectly okay. Keep adding some water, darker values and few other areas towards the top. And it is very, very less space that I will be utilizing for desktop here. And then keep blending it with the background. If you see I'm right now only using water rather than using the premium mixture of my pins and that's it. I think this is quite what I wanted. I would let the paper dry off in a while. Why I do not want to walk even more on it. I think I have got their desired effect that I wanted. And this is a great way to paint your eyes. So leave it here. And 10. Finally, look at your painting before you remove the tape. Do have a final look because you should not change much once you are done with the painting. And I guess this is a term, do not overwork on your painting. That's very, very important. Even adding details, you need to know that you are not here to overwork on any of your painting. Blending is perfectly fine. At the end, whenever you actually absorbed me, I'm just blending my colors. I'm not picking up any colors. It's just a blending part which I feel I wonder do it in a better way. I did Let my people drive because of which the light did change. I was working on a natural light and yeah, it has it is evening already. Hence, you can see the change of the light. Remove the tape at an angle, and then you see this nice crisp edge which I get go head down user for gifting it or for your own holiday cards. You want to just make any kind of calendar out of it, use it for that purpose. Anything can be done. I hope to see you in the next lesson. 11. Day 8 Winter Cabin: Okay, so the colors are Naples yellow, Payne's gray, Prussian blue, crimson burnt amber, red brown burnt sienna, and Prussian blue or any other indigo color in case you want to keep it for yourself. So here we are. Today I'm going to explain you something about perspective. Now. This is Diego and I could have taken it more slowly in future projects. But I do feel that you guys are ready now to understand a bit more about perspective and architecture. Perspective can be confusing at first. But once you have a grasp of the basics that I would say, you are drawing and painting will look way more authentic. And they were really look like they are real and original. So there are three things that I want to tell you about. Perspective has simple rule for perspective is to trust what you've seen. If you establish your horizon line and vanishing point. That's what is the major important aspect. Those two things once done, you just know that majority of the work of this particular painting is completely done. Fosters you only need to connect the lines that you observe right now. Now this is a 2 perspective which we are working on. Now. Both the sides, the lines of the squared on the left as well as on the right, will converge to one single point, which is majorly your vanishing point. Now you can place your vanishing point either on your horizon or you might not even place it on your horizon. I have always absorbed it. That way you can decide what you want to go ahead with HIV, according to me, sometimes you can place it on your horizon. Sometimes you can place it come up the horizons. Sometimes you can place it below the horizon. You can even place it outside the people altogether. Vanishing point works like that. It would all converge to one single point. This is one of the very simple illustrations which we are doing. There is a line for the window num. This will also converge to one single point, that is the vanishing point. Window doors. The lines of these window, everything you will see, I'm placing 11 single line and both of these lines will meet at 1. That's how you work with perspective. This is one of the basics for urban sketching. Though I might not be right now covering everything about urban sketching. This is one of the projects which you can work on as urban sketching. But I can tell you one important aspect of urban sketching, which is majorly the perspective and the rule of architecture. The rule of architecture is decided by only two major aspects. That is your vanishing point and another is your horizon. Again, this is a 2 perspective, as I did tell you, the left side also converges to one single point. That right side also converges to one single point. You can also do single point perspective. Now, single-point perspective means the left side will converge to one single point, whereas the right side will remain as a squared and it will not converge. Whenever both of these lines are converging. It can converge on the paper. It can converge outside the paper. I would leave it up to you how you want to decide it, according to me by both the points are converging outside the paper. Okay. Along with it, I would just add a few fence. Now fence is very important. It is a cable-like structure which we have in this cold winter season. Because of this structure, I think I would love to stay somewhere like this, which has hills in the background. It is no. Then you have a small cavemen, a cozy night or cozy day over there. You are sipping coffee, you are sipping tea, whichever beverage you like. It's just amazing to even think about this kind of all whether according to me, you need to go head though with the background and the background do does have some mountains. So once you have the background with the mountains, pick off any extra graphite months which you have on people. Always, always do that if you do not take up all the extra graphite mass from the paper, it would be very difficult for you to work with watercolors. Now, watercolors is a medium which is not opaque. It is a transparent. Because of its transparency, these lines might show up. I'm using my kneadable eraser to take off the colors. And then I have taken some Payne's gray. You can even use Prussian blue or indigo for this spot and start applying it towards the top area. Once you have applied, it, just blended. With some water and take it towards the horizon line. That's how we go about painting these bots. So it's always pretty amazing to see how to blending happens. The better your blending is. I always say the better your painting would be. I have seen this pretty much often in most of my paintings. The better as my blending, the better as my outcome. It takes a while law to have a good blending with your round brush in case you are using a flat brush, It's better to go head and blend it with that with your flat brush. You can always see such a beautiful blending. You do not need to go ahead and do these kind of movements with your brush. Much over here, we have to go three to four times over the same place to get that kind of an effect. Okay. I think I did a small mistake. I did go over the roof and I would just start take off that extra Carlo with they have both my tissue. Once I have done this, I would go ahead and take my size two round brush to add two colors. Firstly, ethos, you can go ahead and use any of your darker values. For the mountains. It is the Prussian blue that I'm using right now for the mountains. And mixing it with a bit of your paints gray to get the darker color. Either you can make the background or you can go ahead and paint the fulcrum. For me. I always go ahead and paint the background first, let it dry, and then go ahead with my fulcrum. With every painting that I do there is so much which I learned. This painting that we are doing the, not actually think much while we did the perspective or while we were working on the simple points of rule, like a horizon line then now with the 2 perspective as well as vanishing point. Every day in my work on a project it from this particular series, you will learn something new. That's the aspect of watercolor painting. Whenever I do something like this, I make sure that you get the complete learning and take away something that is different from each of these projects. There are so many things that are there in a watercolor project or even that are there in watercolors. Not only the rules of perspective, it is more about what kind of techniques you can use, what kind of watercolors, what kind of wet on wet, wet on dry. There are many points where you will see that the paper is wet hands whenever I am applying the colors, it is giving me a soft edge for my mountain, as well as look. Now when you are applying the colors, they are darker in value. Once it is dry it off, it would become the more likely. So do apply the colors in a way that you just know after this date would turn to shade lighter or one shade lighter in case you are using any of your student grade paints, it might don't do shade dry dough. And if you're using parties grade paints, it would just be one shade lighter. I am still blending towards the right side. It is a bit of applying your colors and how you get that kind of a blending. Then nothing extra that I'm doing over here. It's just adding a bit of darker values and few of the ideas. Now I'm mixing my yellow ocher or Naples yellow, whatever is available with you. It's good to go. I love to use my yellow ocher and Naples yellow in this case, as it is building which is made up of stones. Hence, go ahead and just apply the scholar do apply to goods the left side and then blend it a width of bit of burnt umber. Or you can take any kind of burnt sienna for it. As you can't see my palette to Westside, Therefore, I'm making a point whenever I am applying the colors, I do mix it in front of you and then only go ahead and apply it. Not this color that we are applying right now on the paper. It has. Got a lot of water in it. Now having a lot of water is so very important. In this case, orals. If it is very creamy, what happens is the kahlo would make the building look more transparent, but there will be lot of pigments on the paper, and we do not want so much of pigment, not the pigment and water ratio is really important when you're working with watercolors. This should be really less what DO when you want to make darker values. And there should be a lot of water when you want to make lighter values. That's another aspect which I always look forward to whenever I'm doing any watercolor painting. This is a very simple flat brush that I'm using now, either you can keep this far, you might not also keep this. It's just that my blending brush had some blue in it. So I wanted to avoid it. Hence went ahead with this flat brush. I did not want the blue to come upon this yellow or to show up on the yellow. And I have tried it a lot of times to not show that up. But what happens is mostly whenever you have blue in your brush, it can mix up at your yellow ocher and give a bit of a darker value, which we really do not want for this painting. Usually for a building, one side is lighter in value and the other scientists to occur, usually the light falls. Takeaway hand some my Docker scientists to words the front. I would add some burnt sienna to it as well as some Van Dyke brown or some red brown, whichever you are more comfortable with. Orals, you can even use bond amber. These are the suggested colors. You can always experiment with your colors and add it. I like to usually add two different shades of colors while I am painting. Either it be the left side of the building or the right side of the building. That's very important. Changing the colors and mixing your colors really helps to add so much more value. And so much more. I would say depth into your painting. You will slowly realize that how your painting changes everything altogether. If you change the values of the colors and apply it on your paper. While I was adding colors, you did also me, Ethan picking up some of the colors from the top side. That's what I was saying about altering the values everywhere. I did apply my blend sienna, I did change some of the values for a few of the ideas by picking up the extra Kahlo or wherever necessary, picking up some of the colors from that particular place and rest of the area, you can always go ahead and add the darker values. Go ahead and just apply some colors for your door, that is towards the left, and then add some of your typical values for the Windows, which is two words to again, the left side of the painting, I'm going ahead with a simpler brushstroke that can help you to add this color. Go towards the top and even add some of your tongue brown color for the Windows. I have been all bass adding these colors in a single particular color, YC, this key, same right now, and then always go ahead and add the darker value like this with the tip of your brush. Do alter the colors each and every place possible. I can tell you that does add a lot more depth. And 5 you ask, well as the person who observes your painting things, you as a way more mature, dumb artist. Anything which looks absolutely one single color and black dot doesn't make a great watercolor painting. Whereas if you change the values in a few, alter the colors, it makes lot more addition or there is lot more maturity in your painting. Majority only cups with watercolor and with experience. If you absorbed right now I am adding some smart, smart dots with the darker values of brown or Payne's gray and then letting it flow. Now why do I say let it flow? My people was too wet and when I added the colors, it did make a plume rather than remaining hard edge. It was really soft. That's one of the aspects of watercolor. You can really play with what you want as a soft color and what you want as your different kind of hard edge, soft edge, wet on wet, wet on dry. These are really the playing aspects of watercolor and I have always done it in many of my paintings. And I can tell you we keep altering between different kinds of techniques and techniques. Really asked that amount of flavor to your painting. For my rule, find the mixed some amount of microbes in into my burnt sienna and stop that and get to watch the top area of the left side of the roof. Now once i delta roof, you will make with the darker value and another side with the lighter value. The left side, of course, would be with the lighter value as the light is falling on it. Whereas the right side or the back, which is towards the front, I'm facing you, will be with those darker values. That's how we go about it. I did apply some amount of my burnt sienna and then just wash my brush and started applying what? I did apply some crimson into it or mix some crimson into it. Who can also use red brown or any other color which is closer to red prompt that you have. You can always prepare your own colors. This is one of the example where I wanted to show how you can prepare your own colors and then apply it. Again, adding some amount of darker values. Two words though, top side of the roof. Once I added the color, I'm going ahead and then blaming it with only water. I do wash my brush pretty often. I'd take off all the extra colors on the tissue you have been on solving mean doing this for quite some time. I'm altering the value of the columns within the roof that I did paint right now, some of the places you would see is with the lighter value in some of the police would be with third taco value. Why we change or alter the alkalosis you are building is I mean will have some amount of red Enter. That's always the case with any kind of building that you observe. There will be some amount of wear and tear which will happen for any building and then not. You need to even add some of the colors in a way that few places are DACA and few places I like to because of that wear and tear, we are showing it like that going ahead and adding some darker values and few of the places to complete the small building that we did paint and now applying some water towards the left side, do make sure that you are adding the clean water. What usually happens in this case is I have the color and the brush I did use for my painting had some blue or some kind of yellow in it. That's one of the reasons while I'm applying even the clean water, the painting becomes a bit darker in value. I'm using the same paints gray or makes some amount of indigo or Prussian blue in it and then apply it. You'll see how beautifully it did blend with the background. I'm adding some dried trees. Now along with the branches. Dry trees and branches look very pretty. Once you are done with the whole part of the painting, you will observe it slowly. Okay, let's have some amount of darker values towards the top area. Some of the places still wet because of which the water is flowing. That's absolutely fine. Do not worry. It's more of Mr. its distance. You will see these trees. So some of them can of course become more flowy or you can say more soft in your approach. Now blend your Kahlo with the background. Now this blending really helps anyone to go ahead and painted in a bit away. Yc, my dry brush technique will start from here. If you're more about dry brush technique, it's about taking off all your extra colors on the tissue and then just applying your brush in. Dr. Mano. This helps in so many watercolor snow kind of paintings or even working with mountains, or working with any kind of other ideas for your buildings, et cetera. You will observe this more often in urban sketching. Over here, we are doing on new technique right now. Either you have acrylic brush like this, which has a sharp edge on the backside. Autos, you can take a palette knife and had these kind of lines. What it usually does is displacing the color from the particular place which you observe right now. Now displacing the color allows the white of the paper to show off easily. And rest of the area can remain as DACA value adding some branches. Now, these branches are pretty simple to add. The tip of the brush needs to be used for the branches. Once you are done Pinto branches, then go ahead and add some more branches towards the left side. This particular technique can be used in many of your other watercolor paintings. This is just a one-off where I'm using it. It is pretty oftenly or pretty easily used technique for many watercolor artist in many of the places. So it's another technique that you can load. I'm user to know any future projects that you'll do. I always saw move my paper or whenever it is needed. Why I do this? So it really helps me to add the colors in a better way. I would say, I'm mixing all the colors that is available on the palette. It might look pretty strange to you, but I love to use the colors that are available to me and get her darker value like this had the fence and even now blender lower side of the building. Why I like to blend it, it would look more organic in nature and it will not be like it is separately. They're present on the body of the painting. This is so important to know where to exactly blend your colors. If you can blend the colors wherever you're burning is ending or you cannot make it more organic. It really makes it tough for anyone as an artist to understand why does working that way. Blending again a bit. And you'll see I'm using the same color that is available from the fence and just add in the damn brush onto it. The damp brush really helps to blend it. Again, washing the brush and then blending it. I need to act offense once more. After this is done, it is easy to add the colors on the fence. And then these small, small lines, now, these lines really connects the offense hand. It is important to add these lines. Again, the major aspects of watercolor painting is to make it more organic in nature. And organic means that you have to add these lines to have to walk in a way that it just looks original. Photo, I would say because it's not a photograph, we know it, but it should actually appeal to the eyes of the spectator ion. I have been solving this as well as communicating this in many of my other projects to your OK. Now, basically you taste the last five minutes of the painting and there could be only detail, step big on hugging. I did add some amount of my brown color towards the right side. And again, I think some pre some in the bank account. It is a bit far away from the blue trees that we did until towards the left side. It is blue or you can sit game screen, whichever you want to see, or whichever you want to actually target in terms of the colors, some crucial blue, indigo or you want to use paint scree. Everything is good to go. Now I am taking some brown dark mix and adding these bushes data, some kind of dry trees or dry plants, which usually arises when it is cold winter season. Now the cold winter season, these try plants really gives that kind of look that it is snow. And those were really give that kind of an outcome of watercolors and make it look more real. Real, real. I would say we're not behind realism. But real means whatever you can usually observe in a winter season, that all will people trade in this. Class. I know I have been actually pushing you lot harder than many of the other classes. And this case, this one is majorly for anyone who wants to give what colors or try. And from beginners to intermediate level, each of the subject, each of the painting has so much that it would take a bird off difficulty, or it would be a bit difficult for any one in this topic. But believe me, once you are Intuit and once you start painting along with me, you will frankly fall in love with this journey. This journey is something that I really wanted when I would have been upping tar and hypo, searching for subjects that the challenge me that were something different from what everyone is painting are from, which I can learn. And usually these kinds of paintings are from books that you usually buy or data and many kind of painting. So you can usually do only through learning from various different artist or together. I tried to package everything possible from the bookie effects to your drum. Other kind of techniques like the palette knife or anything, which can seriously art so much more flavor him to any of your watercolor painting. Adding some more lines towards the top area of the roof. Once I have added these lines, make sure that you just had someone taco values rid of unnecessary and these darker values, so R, So, so beautiful if you observe, I would keep adding more and more colors or dark shades wherever city and then just add a bit more colors on my Windows as I tom tell you, podium, go head and now have a look at your painting. Step back, Lu understand, we do not want to overwork. Hence don't have a lot of lines or lot of additions. Kingdoms of your hard lines, et cetera. This is really important to understand that not adding a lot lines, a lot of your details really helps you to stick to your painting and really helps this painting come to life. I am so much into this painting. I just know that this painting is one of my own favorite where we did touch upon some aspects of urban sketching. Usually which no one would have thought altogether. If you're doing any winter postcards or any winter or greeting cards, right? I think of these aspects are small, small experiences which I would love to share with my near and dear ones. I hope you do feel the same. Let your paper dry off now. Have a final look at your painting and peel off your tape. Do not do not overwork guys on this painting did a lot of chances of over-working. That one of the reason I have been telling this do not overbook. If you overwork on this painting, it's a small piece of Paypal. It would not turn up. Great. So meet you in the next lesson now, tomorrow. 12. Day 9 The Cable Car: Let's discuss the colors. Payne's gray, Prussian blue, red, forest green, mint green, Winsor blue, burnt sienna, white quash. So these are the colors that we will need today. Let's relax. Okay, So after a day's of regular work, I invoke that you guys aren't a bad diode. So this project is going to be simple and it is going to help you relax. We will learn by increase in the process and how you can paint by increase with a flat brush as well as with a round brush. You can paint it with a round brush that has no need of applied pressure altogether. But since I wanted you guys to know a bit about the techniques, hence, I wanted to introduce it during this particular project itself. Let's make three basic lines. Potter cable car. It is a major type. You usually see in any kind of mountain area where you love to visit. There are many places in India which has it TOM. It starts from her to her. If you visit by any chance, just go ahead and check out the fascial. My experience for rope way as a child happened there and then of course, moved on. And I did visit many of the other places in the hemochorial as well as I'm talking. When you have this kind of an arrangement. Just I guess we will move on to just draw this role-play post. Once you have added your horizon line, or basically the place where you want to paint your us know. Then we will go ahead and just add or you can draw the ropy. It's a very, very simple process of drawing, but do make sure that the proportions are correct. First, when I just try drawing it, it did not work well, so I had to erase it and then hung can draw. It is not a very easy process. Each and every time when you are going ahead and drawing something we are drawing does take some time, and it is the basic skeleton for any kind of a painting. So give it the time that it needs. Everything that you see today is realtime, has all the videos that I have included in this lesson is real-time. So you are not going to face any kind of difficulty in terms of you cannot follow along or you cannot paint along. So all those things I have taken care of from the initial beginning itself. Now, if you see little Viz, very small and thin, we will go ahead and make it a bit broader. Use your eraser to the full extent possible. Never ever hesitate using your eraser. That is really, really important. Going ahead and working in a way that is simple to you. I am giving a closer look. For this one. You just mark a middle point and then just extended towards the left as well as towards the right. Once you have extended on both sides, just joined from the left and from the right. Make it a bit curvy as well as for the bottom area, we will do the same process. I hope this is simple for you. It is, it is a different subject altogether. I have tried to cover so many subjects in this class that sometimes I myself think, Okay, I think that we have gone too far somewhere or the other covering so many different subjects from the window, New York, as well as the Christmas season. I guess. This looks great right now. So I would go ahead and continue with my drawing process a bit more in detail. And then we will paint the sky. The sky is going to be simple, easy, blue, beautiful sky that we usually see. I'm using the mint green from the White Nights and it is a beautiful color. I have, I just tried it in this painting. And practically I just felt this is one of the most beautiful colors that I have seen. No. Do you need to actually matter the colors? No gays use any color that is available with you. Only blue is also fine. So go ahead, use your colors where whatever is available on your palate. Let's add some water for the wet on wet technique. Now, wet on wet is a very soft and beautiful technique than I have been using for the sky for many years now. Just apply the Quanto lethal area where you have to pay. We do not want the blue to get into this rupee. So leave that area and then start applying this mint green color on top of your people. It's a very, very light wash that I'm applying initially and then slowly I'm blending it to the darker values. If you observe this, pretty color, looks amazing once you apply it on the paper and then slowly you take it towards the bottom. Towards the top people have darker values. So just TO wheat, then slowly go ahead with any blue that is available. Now, dilute blue as well as when so blue both looks amazing. And this both one is from San Antonio, that does my table blue. Winsor blue is of course from Newton. Both of them are kind of similar. Hence, I'm not sure that whether you will be very happy to use either overt or if you have any one of them available. But you can go ahead with cobalt blue. One thing that you might have got from this painting is so we are not applying any flat wash. In this case. We are going ahead and adding the columns only in few years. And once we have added the colors, we're trying to just blend it with the bank round. You didn't see that? I caught some lines like from my flight, I went ahead and I did blend it with my round brush size. Do I love to add all the colors? So what Maya John brush? Because it really helps me to keep a control. Now going ahead with some pushing glue or you can even go head with some Payne's gray on indigo to add some darker values of the clouds as you observe me doing it right now. Branding a bit more violet, I go to the bottom. Once I'm done with this spot, I would go ahead and start adding more colors for my snow. But let your paper dry off before you go ahead and add colors for your snow organelles then might be some quality flower drip effect. Your water will move from one area to another. Take a very light wash of Payne's gray indigo or any other shot taco value that you have on your palette, and then start adding these colors though I'm doing right now. It is, again, are very easy and pretty. I would say it's not more and more easy. It's more about how you just had the colors, each and every place. We are not going to add the colors. I want to show the white of the paper for the snow. You can also keep white completely in case you are more inclined towards making this No, it in white of the paper. I'm even find with that, I love to add the colors as I know, the shade of this particular color will go lighter once the paper dries off. It's always better to go that way to add the colors and then get like the values. Once you get the lighter values or you will be way more happy with the painting. And slowly, steadily, you will understand that this painting is coming to life. It's just 10 minutes of the complete painting we have done so practically right now you cannot see what we are going to achieve the upcoming time, but with the Cloud hour, but this guy and with my snow being done, major part of it is covered. Now let's make some brown with green that you have. Now. This green is any green that you can think of like poorest screen and you will get a color. The way I did test on my palate itself. So go ahead and test on your palette or you can go ahead and test quandary or Paypal, whichever you are more comfortable with desktop and then start applying it. I did use the tip of my brush to add this straight line. Do not worry if you want not much comfortable adding this way, I would show you a very easy trick of adding your colors for the pine trees. Now, you just need to make this straight line. And then we will go ahead with our flat brush the way I'm showing it now. And then just extended towards the left hand, towards the right. It's the most simplest way, or it is part of the boost simple ways of working with watercolors. If you are having a flat brush. Now, flat brush really helps you do just extended towards the left hand, towards the right in our pretty easy and simple manner. Now I'm using my round brush to extend it a bit more on the left and on the right. It's pretty amazing the way I absolve the tree. Now taking the shape, I did use my flat brush as well as you can even use your round brush. Now both I would say both the brushes are blue, so do not think that I was working with my round brush right now, once I'm done with my flat brush, I wanted to add a few more drops off, darker green and seal few of the areas, or just add one or two smaller lines and one or two dots here and there. That's how I go about adding my pine trees. I hope you did like the way we add the colors to our increase with our flat brush. Because what happens is many of you have told me We are not very comfortable painting pine trees with our round brush. And we do not get a similar kind of a tree which you paint. So try it with a flat brush. You might get similar kind of an outcome. Hopefully, it does add some good amount of tips and tricks which can be used even in your future projects. Secondly, there are usually a bunch of pine trees which are there together at one place. So whenever you are going ahead and adding any kind of snow, makes sure that your pine trees have some snow or else the snow has settled down. It is just a full season, RL. So I can say the season is almost over and renters somewhere around February, March, the snows is still there on the ground, but yeah, the trees the snow from the trees have started melting. So anything you can actually showcase with pine trees, you can have white added onto it, which means that it is more of a window feeling that you will get. If you do not have the white, it would be more gre