Winter Magic with Watercolors - Painting 10 Snowy Landscapes

1. Welcome to the Winterland: Winter has always felt a little magical to me that quiet moment when the air feels colder, the winds feel softer and everything seems to slow down. Hi, I'm Masi Taparia, a chartered accountant, a watercolor, and a gouache artist, a creative business entrepreneur, and a mom to a toddler. For so many of us, snowfall lives on our wish list. And honestly, it's on mine, too. That feeling of watching fresh snow cover, everything in white, the calm it brings, the stillness, the beauty. Even if we haven't experienced it in real life, it's something we all dream about. And in this class, we are going to paint that feeling. This course is all about creating magical winter landscapes with watercolors. Think about soft skies, gentle transitions, and those beautiful texture with snow that bring the winter magic to life. In this class, we'll be exploring the snow texture in a very natural way, especially using the salt technique to create the naturally covered snow effect into our watercolor winter landscapes. Absolutely new to watercolors and worried how you will follow along with me in this class. Don't worry. I've got you covered. Before we dive into the class project for day one, I'm going to give you a good insight about watercolors, covering all the basic techniques and how watercolors work, which will help you join into the class projects with ease and follow along and paint with us step by step through each of the class projects. I will also be giving you a complete material guide about what materials I'm going to be using for this class and what materials you can begin with if you are absolutely new to watercolors. Honestly, this class isn't about perfection. It's about slowing down, enjoying the process, and letting watercolors create magic in its own way. It's about capturing the quiet beauty of winter, the cold winds, the fresh and the calm that comes with this season. So if winter inspires you, if snowfall has always been a dream, or if you simply want to paint something soft, peaceful, and magical, this class is for you. So without a further ado, go, grab your magical wands, your paints, and a little bit of salt, and let's paint those winter magic together. 2. Your Snow Toolkit: So before we move on to the first painting of this winter painting challenge, let me guide you through the materials that you would be needing to complete this beautiful winter snow challenge. And for that, the snow kit that basically you will be needing is here. First of all, you would be needing a watercolor paper. I recommend using 300 GSM, 100% cotton paper. It can either be rough grain or cold pressed. I don't recommend using hot press for this specific class because we are going to be playing along with a lot of texture techniques. So to get the textures and the blooms coming in for the snow paintings, I recommend using either a rough grain or a cold pressed paper. I am personally using this rough grain paper. Now, this paper is of the size 12 inch by nine inch, and I'm going to be painting two paintings onto this huge size like this, marking out the two spots and then painting side by side, two paintings each time. Next up is going to be, of course, a watercolor set. I have my own customized watercolor palette that I will be using for this class. Almost all of the colors that I'll be using are going to be from this palette itself. In case if I'm using any other color apart from these, of course, I will keep guiding you and sharing them with you as well. And here's the swatch card of the colors that are into this palette with the brand names that I have squeezed out. So that's about the watercolor set. You can just have a basic 12 color set, and I'll keep guiding you with the color mixes as well. Next up is going to be a set of good brushes. I'm going to be using in mostly natural hair brushes. These three, of course, are like the permanent ones, and then of course, some detailer brushes as well. So you just need a good set of round brush and a detailer brush to go ahead with this class. Since we are painting snow, white quash is a must to add in the snow details, opaque details. White watercolors will not stay out that opaque, so it's very important to have a white quash or to add in the bright opaque snow details, a mixing palette if you need it. Then you need in a jar of water for each painting, some basic stationary pencil eraser. You need masking tape to tape down your paper if you are someone who wishes to go ahead with clean edges. I will be using these masking tape to tape down my paper, each paper into two parts for two paintings. And then, of course, you need some paper towels or rough cloth for dabbing, creating in shadows, lifting colors, cleaning your brushes. And apart from these, you would be ding in table salt because we are going to be going ahead and creating in a lot of snow texture using in the salt method as well. So this is all about the materials that you need for this snow class. So go ahead, grab all of them, and I will see you guys into the next lesson of this class. 3. Basics of Watercolors: So now before we dive into the class projects for each day, let me guide you with the very basics of watercolors, understanding what watercolor medium is and how it works in different ways. Just a little inside. So the first way to watercolors is a wet on wet layer. So for the wet on wet layer, you basically have a layer of water first. And onto this wet layer of water, you go ahead with wet paints. So I've just added in a layer of wet or basically water. And now onto this wet layer, you go ahead with paints. So you can pick up any paint of your choice. I'm just picking up the paints s on my palette, and you just go ahead with wet paints on top of a wet background. This is called the wet on wet technique, and this helps you in getting smooth blends between the colors, and the wetness of the paper plays quite an important role while capturing in, you know, the softness of watercolors. So it's very important that you, you know, understand how important your paper should be. So first is a basic wet on wet layer that I taught you. Now, next is a wet on dry. So basically, your paper is dry, and onto this dry paper, you just go ahead with wet paints. I'm just randomly again picking up the paints that are on my palette here. And the paper is dry. On top of it, I go ahead with wet paints. And you will notice that this will dry out quickly and this will take time to dry. But apart from that, the most important thing that happens is that when you want blends between the colors, this techniques works better while creating in the smooth gradient skies. And this technique is a little difficult because the pans dry out quickly. So when you want beautiful gradient skies like this, you need to work wet on wet so that the water flow can create its magic and make the blends go smooth and easy. So let me show you blending of two colors on a wet on wet layer and on a wet on dry layer. So here you have a wet layer. That's a layer of water. And onto this, let's go ahead and randomly blend in two colors. So I'm just picking up a blue color. And next I will pick up a pink color. You can pick up any colors of your choice and try the blending exercise. Make sure that the colors are not complimentary colors. Otherwise, they will give you muddy tones. If you're an absolute bigner, you need to understand the catch of blending of these paints. Now here you can see how beautifully both colors have blended getting in that smooth transition. Now let's do the same blending without using in the water layer first. So just going ahead with wet paint. And now I will go ahead with a wet layer of the pink color. You see the blending becomes difficult. Plus, you need to run multiple times and it may even dry out. You see the unevenness in the drying here, this extra stroke, and here it is a beautiful transition. Of course, here I use the colors in a little diluted consistency, so the color variation, but here you can see with the blending, this sharp line that has come in at the blue area here, see, because the blue had already dried out and here, if you see the drying is still even, everything is evenly wet. So that is why when you are going ahead with smooth blending of skies or backgrounds, it's important to go ahead with the wet on wet layer. And when you are going ahead with a simple detailing part, you use the wet on dry method because you can see the uneven drying that happens with the wet on dry layer. That's about the basics of a wet on wet and wet on dry. Let me just quickly name it for you. So this is wet on wet. And this is wet on dry. This was about the two things. Now we are going to understand what is a gradient wash. So gradient wash is basically going to be you begin with a wet layer. And as the word suggests, gradient. You need to create different tonal values of the color, pick up any color of your choice that you want to study this with and begin from the top or bottom where you want the darker values and moving from the top, just keep on blending it with the help of water till the base. So you will see the top has the darker values, and as you're moving towards the bottom side, it turns lighter, creating in the gradient of the color, going ahead with another layer. I only add the color at the top and moving downwards, I'm only blending it with the base water, and you will see the gradient, the top is dark and moving downwards, the color has lightened naturally because of the wet layer. This is called a gradient wash, wherein you just work with the value of one color and create in the tonal variation of that color with the help of water, and you just have the darker values either at the top or bottom, and alternatively, you have the lighter values moving in, creating in the gradient. So that's about a gradient wash. Next up that we are going to learn is going to be a variegated wash. So variegated wash will basically be a wash with two colors. So this that we did is actually a variegated wash. Let's go ahead with a different set of two colors here. Go ahead with a layer of water first. So I have the pink at the top, sorry, the blue at the top. And at the bottom now, I want to go ahead with the yellow color. But blue and yellow when mixed together creates a green color. So I will begin with the yellow. And as soon as I reach closer to the blue, I will leave a little white gap, and I will just go ahead, clean my brush and use a damp brush and run over here. So you will see both these colors have blended naturally without forming in green color. Otherwise, if you just see the same color, that's the blue that I used, and let's pick up the yellow. All right. And now here at this point, if I blend these two, you will see the green color that is being formed. Can you see the green that is formed here, and in this case, we've maintained the whiteness. The variegated wash is basically a wash with two colors. But along with that, I'm trying to explain you when you blend in two colors which create a complimentary color, like the primary color, blue and yellow mixed together creates a green color like this. But when you go ahead leaving in a little gap, it creates in that smooth transition without forming in the complimentary color. Another way to get this blend is you can use in color that goes well with both colors. So say a pink color when mixed in with blue will give you a purple and when mixed in with yellow, will give you the reddish orange tone. So in between, you can use the pink color for blending. Alright? So I've just gone ahead with a layer of water at the top again, going ahead with the blue. At the bottom, I will go with the yellow. And now in between to blend these two, I'm going to go ahead and use in a pink color. You can use carmine, scarlet, permanent rose, any pink that you wish. And moving from the yellow from the lighter spot towards the blue, Now you see when the blue and the pink are meeting to each other, they are creating in a transitional light purple tone, and the yellow and the pink together are creating in this beautiful lightish orangish red hue here. If you darken up the color of the pink base, you will understand it better. You see the purple color and the orangish, reddish color that's formed here. So this way, you can use a transitional color that I call while bending in. So while creating in this, you can use either the whitespace method or use a transitional color. So in this case, we use the transitional color pink to create a harmony between the blue and the yellow into the sky. Of course, there are different ways of adding in this, leaving in white spaces, creating in the cloud spots, but I'm just teaching you the basic blending how you can go ahead with. So this is about the very basics of watercolor, the wet on wet technique or gradient wash or varigated wash, and how you use the white space for blending, or either how you use a transitional color, which I call the transitional color method, a color which works in harmony with the other colors of the sky to create a smooth, easy transition into your sky. Now another important technique perspective to this class majorly is going to be a little bit of the dry brush texture. So coming into the dry brush texture, it's basically texture used to create in depth into the snow spaces onto the mountains creating in the texture. For that, you see, I have picked up pure pigment onto my brush without much water. So your brush should be dry, damp and your pigment should also be or, you know, with very less water. And you see you drag your brush, and you get this texture. Now, my paper is a rough green paper, so it's cooperating more with the dry brush texture or detailing. So the dry brush texture works best with a cold press and a rough green paper. Onto a hot press paper, it is a little tricky to get the textures or more. Most important thing when working with a drybush texture, your brush shouldn't have any water. Your pigment should be almost equal to a dry pigment. You pick up the pigment, you hold your brush at an angle of a 45 degree, and you drag in whichever direction you want the movement of the dry brush texture to be so you see this is used for creating in the snow texture onto the mountains, into the snow field, and a little dry brush texture onto the cottages. So this is how you can use the dry brush texture. If you're using an expensive brush to create this dry brush texture, make sure you quickly clean up your brush and get it back to shape so that you do not ruin the bristles of your brush. Alright, that is about the first basics of picolors. Now in the next lesson, we'll study a little more things about pertaining to this class or some important techniques or little texts and trips that may help you. 4. Exploring the Salt Texture: Now the next important thing before we dive into the class projects in this class, we are going to be using the table salt to create in the snow textures into our painting. So understanding how the salt texture works is very important. Like here, you see in this project, the snow effect onto the tree we've created using in the salt texture. So it's very important because the texture will play a different role every time, depending on the wetness of your paper, how you sprinkle the salt, the size of the salt particles, and the placements on how you sprinkle them onto. So let's begin experimenting and understanding about this important thing for this class project. So first, I'm going ahead with a wet layer of water. And onto this, I will go ahead with pains. I'm using in the Pain's gray color. All right. Now, let me give you a close view first. So here you can see this is a very fine layer of wet paint that we have. It's not too wet and it's not dried, and it's just a very shiny, easy layer that we have here. So now you see onto this wet layer, we'll just go ahead and sprinkle in the salt. Now, by the time this one dries out completely, I'll go ahead with an extra wet layer, so I will pick up extra water, and I will go ahead with the same color. You can see the extra water effect with the paint as well. Alright. And onto this extra wet layer, I will go ahead and drop in the salt now. You can see the extra water already on the edges. Now I will just go ahead and sprinkle up the salt. And we'll wait for this as bell to dry. And another thing what we'll do is we'll go ahead with a little dry layer. So I will go with very less water into the background and little pigment. All right. This is a very dry layer that I've created. It's not completely wet and not completely dried either, and on top of it now, I will just go ahead and sprinkle up a little bit of the salt. All right. Now we'll wait for this as well to dry. Apart from this, we'll just create in a perfect wet layer that we had created earlier. Now onto this perfectly wet layer also, when I go ahead and put up salt at a spot together like this as a block of salt, the texture that will come in will be different as compared to the sprinkles. Now here, I've added in some salt blocks and just going to splatter a little as well. All right. Now we'll wait for all of these to dry and then see how the salt texture works differently with each of the method. So now everything is completely dried and I have not frinsed off the salt yet to show you how the salt has reacted. In this case, you can already see the beautiful snowy bloom that has come in. Here, the salt dissolved itself completely because of the excess water that we had on the paper. So there is no texture and all the salt has almost vanished away with barely any salt remaining. In this one, you can see the salt is almost dried as we had put in, and it's completely white because the space was dried, there is no texture. In this case, if you see, where you add it in the blooms, you may have got such a huge patch like this. And in the rest of the spaces, when I rinse it off completely, you will see these natural booms because onto this one, I had added patches as well as sprinkled a little as well. So now let me quickly rinse it off and show you the textures. So now let's have a close look at the textures. This is the perfect snowy texture that has come in. Here completely, there is no texture. You will just see some fine dots and all the salt had melted away. In this one, there is very little texture that has come in because of the wetness of the paper. I was not too wet, so you will see the texture is very less. In this one, if you see, you have got a mixed texture effect. You've got some small blooms because of the sparkles, and wherever you had put in patches of the salt or blocks of salt, you will see the texture there is like a block that has come in. So when you play along with the salt texture to create the snow effect into your painting, this is the method that works best. And if you use bigger blocks of salt, as in the particles of salt are bigger, it will create a different texture altogether. So this works the best. This will not give you any snowy texture. This will give you very limited to almost no texture, as you can see, and this one is a combination which, of course, you can use if you want to create in bigger patches of the snowy effect onto your pine trees or into your snowscapes. So this is about how we'll be working in with the salt texture for the paintings. And this is one of the techniques that we are going to be using in this class, exploring a lot. And along with this, we'll be painting a lot of wet on wet this time, adding in the details wet on wet. So as we progress with each class project, I will keep guiding you with the details about that project, the techniques to that class, the thumbnel, how we are breaking down the project, and moving with that class project. 5. Project 1 - Northern Light - Thumbnail & Color Study: So let's begin with the thumbnail for our class project for day one before we move on to the final painting. So this is what our painting for day one is going to look like. So basically, I am using an approximately a five size paper of which the bottom I'm keeping for the um colors watching now giving you a rough outline of what the project is going to look like. So this is going to be our painting space of which 30% is going to be the snow area, and the top is going to be the Northern lights that we'll be painting. And onto the horizon line here, we are going to have a small cottage. And across this entire space, we are going to have in the pine trees coming in, and then we'll be having in the snow splatters. So we'll first begin painting the wet on wet sky. For the sky, we'll be using the wet on wet technique. And then we'll be painting the details of the snow, which are going to be, again, very simple and easy quick ones. Then we'll be adding the details into the cottage and the pine trees, and then the snow splatters, along with some glowing stars into our Northern lights like these. Now, if you notice in the background, we also have some soft pine trees from behind of these detailed ones that we've added in. And we've created the footprint effect, wet on wet onto the snow space into the cabin. We have a simple snow covered cabin roof, and here we have little light detail going on, which is the yellow and the orange, and the rest of the cabin is brown and white detailing. Alright. So now the most important thing here is you need to understand the wet on wet movement of the colors into the sky here. You see the softness and the glow that is maintained here. That's because of the water magic, the water control that we have while painting the sky. So the colors now that I'm going to use are going to be for the sky first. So for the sky, I'm going to use in the bal creen color. Next I'm going to use a little bit of the Prussian blue color. You see here this little light blue highlight. You can even use Cerlean blue, peacock blue or a sky blue color. I'm going to be using the Pushian blue color to get in this little light blue glowing effect. And lastly, for the darkness, I'm going to use indigo with paints gray. So now, along with guiding you with the colors, I will quickly even watch them for you. So first one here is the cobal green color. Now, in case if you do not have this green, you can simply create a color like this by mixing in green, blue and white. Now, of course, the color tones in your palette will make a difference depending on which greens you have. But in case if you have a good emerald green color, mix it with a little bit of the Prussian blue or serlean blue and add in white gouache because bal green hue is a little pastel color, which is more opaque as you can see. It's covered the white space completely. So that's about how you can create a cobalcreen color. Now, the three colors that we're using in the Northern sky is cobaltreen Prussian blue indigo. If you want, you can even use paints gray mixed in with blue if you don't have an indigo color. Then for the snow area here, I'm going to be using in the ultramarine blue color in a very light consistency. All right. So the ultramarine blue color for the snow and for the footprints. But in a very light watery consistency. So it's going to be like you just pick up water and just pick up that hue of the ultramarine color like this. You see, it's covering just like a white space. And while this is little wet, you pick up the ultramarine color and you will just add in the snow foot the foot effect. But see, the wetness of the paper here, again, will play a role. You don't want the paper to be too wet, neither the paint on your brush for the footprints. So you just add in like this. And if you want, you can just dab it a little to create it and turn it into a lighter one. So that's about the snow space. Now, into the cabin, I'm going to use in the naples yellow for the light. Then we're going to use in a little bit of the orange to give the warmness to the light. And the rest of the cabin, we are going to cover it up in brown tones. So I'm going to be using in the brown tones of light red, burn sienna, and then use pains gray to create in a darker brown. And for the pine trees, I'm going to use in the pains gray. Alright, so we are going to use in the pains gray for the pine tree here in the darker consistency. So that's about the colors that you will be using in for this class project. Now, let me quickly show you the color mix as well for the covalt green in case if, you know, many of you may not be having the same color. So let's begin with a simple practice exercise. So I'm going to first begin in with a very basic green that may be in everyone's palette. That's the sap green color. So just picking up a little bit of the sap green. All right. And now I'm going to pick up, again, another blue which is available in almost every palette, the Cerlean blue color. All right. Now, when I have a mix of these two colors, let's just watch and see how this color has turned out. So you see it's turned out into a pretty green, which looks like the darker color of the cobaltreen color. Now to this color mix itself, I'm just going to go ahead, pick up this white quash and add in. Can you see the color, how it changes into a beautiful pastel bal green color. And now swatch this color here, and you have your cobalcreen color ready. You can add in more white to turn it into a much lighter consistency. You see, let me swatch it just closer next to these and you can see how the color is almost a similar tone. Of course, you can vary the proportion. You can add on a little more white to get much lighter consistency for. So you see just a little more white, and you can get in good tonal variations as well. So that's how you can use basic colors. I use sap green, serlean blue, and whiteqah to get in this cobaltreen color without using a direct cobalcreen as well. So that is how color mixing makes a lot of difference. Same way for indigo. Let's pick up the Crucian blue color and pick up the pains gray color. Of course, Pain's grave has to be in a little more consistency ratio basically than what the Prussian blue will be because you want a beautiful dark blue color, and just watch it closer to the indigo. You see? A similar indigo color. Of course, you can add in more water, get in a lighter tonal value of the same color again. You see, a lighter indigo shade. So that is how you can mix in your colors from your own palette and use them as well. You don't always need a huge palette or all the ready colors available. Color mixing is very important. You need to go experiment with different ratios of proportions. So here, if you see, you can even mix your indigo color from a basic palette. You can mix the cobaltrene colour from a basic palette. Of course, you need white gh for mixing a lot of pastel shades easily because pastel colors are usually opaque as you can see. So to get that opacity as it is, you need to use white wash. White watercolors will not give you that opaque look. So that's about the colors, the basics about what you will be needing. Now coming into the pine trees shape. So you can just go ahead and learn to add in simple pine trees. I'm just using the color mix that we have here. You just begin in with a simple center stem or branch, and you just move on criss cross, a little diagonal and you see how the pine tree is taking shape. The entire, you know, logic here has to be that at the end, it needs to take up this triangular shape. So you begin with smaller length foliage at the top and moving downwards, you increase the length of the foliage, and you will see how beautifully the pine tree has come in. And the same way, you can just add in some very, less foliage trees. So just some simple, very, less branch details, you see. This is also a pine tree. This is also a pine tree, and just a simple stem with just very less foliage as well, is also a pine tree. So you need to use a mix of all different ones to create in that natural effect. Now, another thing is understanding the wet on wet control. So let me just put in a layer of water here. Now, into the bottom of our sky closer to the horizon line here, we are going to have in a good layer of the cobalten color. Alright? Now, while this layer is wet in the sky, we are going to create in the background misty pinetree effect. So for that, you need to pick up the paint's gray color or the indigo color in a consistency such that you don't have excess water, so it has to be more of paint, less of water. This area shouldn't be extra wet. It's like a medium wet tone, and you just begin dropping in simple strokes like these. You see how they are just retaining the space in which I'm adding them, but having the soft blend with the cobalt green in the background. So that is very important to understand. Now, if you would have excess water, let me show you that as well. So let's create another background here, picking up some cobald green. So now this space, you can see it's extra wet. Along with the wetness, I'm picking up extra wet paint. Alright. You see this paint is very liquid and watery, and I begin to drop it in the shape of pine trees. You will see it's moved completely and covered up the cobalcrene color, and it's not retaining the strokes that we had added here. And here it has just become a blend of two colors, no shape, nothing. So that is why water control and the water on your brush, while adding the details wet on wet is very important to understand. Now this is still wet. So on this wet thing, if you want, you can still pick up little medium to dry paint and add in more depth by adding in another wet on wet layer like this. Now, I'm adding it in such a way that the previous layer is still visible at spots. Again, you see here how the shapes are retaining their place but having the soft blend into the background. So that is why water control plays a very important role when adding details wet on wet so that you have the crisp looking details coming in. So that's about how this class project is going to be, the color theory, the outline of the class project, the basic understanding of wet on wet. Now, as we move further, we'll go ahead and paint this painting together step by step. I will again guide you with all the colors as we begin painting the final project. So let's move on to the next lesson and begin painting this class project for day one together. 6. Project 1 - Northern Light - Part 1: So let's begin in with our first class project into this winter painting class. And we're just going to begin with a good simple Northern Light and a snow feel with a small cabin that we'll be painting. So at the bottom here, I'm just marking out the rough snow space. And at the top here, I will just give in a small cabin. So you can either go ahead paint in a red cabin or a brown cabin as you wish, and we'll just be giving in simple snow effect onto the roof of the cabin. So just adding in the roof and then we'll just be giving in the simple light effect on the inside. All right. So inside in the cabin, we'll show the glowing light effect. And at the top here, we'll just give in simple snow effect. And then we'll be giving in the dimensions. And across here, we'll just add in some background pine trees and a few detailed one and a simple snow space here. So we'll begin in with the sky, which is going to be a pretty simple Northern sky. So the colors that I'm going to be using is going to be the Kobal green hue. This is from Mgelomssion that I'll be using, and I'll be using a little of the indigo along with the peacock blue colour. Now, in case if you don't have a peacock blue, you can use a serian blue, Prussian blue, you know, any tone of a color which is like a medium to dark tone of blue is fine. So I'm going to be using in the cobaltreen hue and the indigo here. So I'll first begin in wetting in the sky completely, and then we'll go ahead with the wet on wet details. So first begin in with a good layer of water into your sky, make sure that it's evenly wet. And as I told you, we'll be painting two paintings on this because it's a bigger size paper that I'm using, so I've divided it into two equal parts. Now, I'm just going ahead, adding in a layer of water. Now, I'm going to leave the house space blank and not going to add in the layer of water there. In the rest of the space, just go ahead and leave the snow space also blank for now. Make sure in the roof you don't take any colors because we are going to just leave it white and give it a little snow effect later on. All right. And in the rest of the space, I've added in a good layer of water. So I've added in the layer of water. Now I'll begin in with the cobalt green color first, and we're going to paint a very simple Northern sky effect. So from the bottom space, I'm going to be pulling out this cobalt green color towards the top side. Now, across the cabin that you're adding, go ahead carefully. And now from the top, I'm going to pick up the indigo color and the peock blue color and given little lighter blue prints first. So first, I'll begin with a little hint of the peacock blue. And now I'll just pick up the indigo color. So my indigo is from white Knights, and the peacock blue was from Shinan PWC and the Kobal green was from a Michelomsion. Of course, you can go ahead and use in any brand. It's not necessary to stick to the brands that I use. It's just about the color preference or the choices that you pick up according to your liking. Now I'm going ahead with another layer of the cobaltren color in a little watery consistency, as you can see, and I'm tilting my bow towards the top space so that the colors bleed into each other and have that Northern Light effect. But make sure it does not move just in one direction completely. So I'm altering between the top and the downflow of the panes. You see? I'm just pulling out some strokes from the top. Towards the top space, I really want a good bold indigo effect. You see when the colors are in a good liquidy consistency, they flow and create their own effect. And on the right side here, you can see how I have a good glowing spot also because of the light or tints. Now, from this space, I'm just going to lift up this excess water flow. You see this little peacock blue hint that's coming in there, and now I'm just going to pick up a little drop of water and drop it here and let it create a good glowing spot. But it has to be well blending, so I'm just going to quickly rotate in. So just about the cave in space, I want this glowing spot to come in. So slowly and gradually, you will see how the pins are flowing, creating in that glow and the soft blend as well. Alright, so that is it for the sky. But while the sky is still wet, what I'm going to be doing is I'm going to pick up a little indigo color in a medium consistency and using a smaller size brush, just going to add in some background pine trees effect on the horizon line here. Now, while doing this, make sure your paint is in a medium consistency, and plus, make sure that you don't pick up excess water. Otherwise, the paints will spread out. So you need to maintain the consistency of the paint as well. You see, adding in some simple random pine tree effects as a background blurry effect. And then in the foreground, we'll add in some detailed pine trees. Water control A will be very important when you add these details here. Now into the snow space as well, what I'll do is I'll quickly go ahead with a layer of water. You see how the colors from the sky is just bleeding and giving in that beautiful blending effect. And for the snow space now, I'm just going to pick up a little ultramarine blue. Just created little snow piles randomly. You he at the top, just giving in little of the shadow effect while this is still wet? And now just creating in some step effect using the same ultramarine blue. So just using the tip and creating in some, you know, the snow steps that have been locked into the snow, simple detail. And that is it. Now we'll wait for this much to dry completely. Then we'll go ahead with the details into the cabin and the details into the cabin that we'll be painting on the top of the cabin as well. And one last thing using in the little indigo color. Over the cabin as well, just giving it a little of the background pine tree effect. And while doing this itself, I will define the top of the cabin well. So you see the back of the cabin has been defined. So, that is it. Let's wait for this to dry completely. Then we'll move further. And then at the bottom here, we'll go ahead and see whether we do colours watching or you want to write in a note if you're sending it to someone. But I'll be going ahead with a good colours watching out here. 7. Project 1 - Northern Light - Part 2: So now everything is completely dried and we'll begin adding in the details into this cabin here. So first for the roof, I'm just going to begin in with a layer of water. And to show in the snow, I will just be using a little hint of the indigo. So just adding in this layer of water into the top roof area of the cabin. And now I'll just pick up indigo color and pull it out from the edges. So you see this will act in as the snow on the cabin. So just on the edges, drop in this indigo color. This will define your roof and the snow space. Make sure that the indigo is of a very, very, very light consistency. Now, I did not mark out the window space and the door area. So this will be the entry to this cabin here. And here I will just put in a huge one window scene. All right. Now into this, what I'm going to do is into this area here, we'll just go ahead with little tones of the yellow and the orange color to show in the light. And I'm pulling out that orange a little on the outside as well to show the light falling onto the rest of the cabin, as well, right? And then into the cabin, we'll add in the brown color. But that we'll add in once our snow area dries completely. Otherwise, the brown color will begin to bleed in there. Now, this cabin space here, we leave white the door, or you can just add in a very small indigo color layer just like the roof here as well. All right, just a small tint. Now, by the time this dries out, let's quickly add in the detailed pine trees. For that, I'm going to use in a mix of the indigo and the pains gray color and a little hint of green in between as well. You can use any darker color that you wish to need not stick to the colors that I use in, but I'm going to pick up majorly the indigo color and just vary it a little here and there with different tints. And we're just going to go ahead and add in some detailed pine trees onto the horizon line. So you see just pulling out timble foilage Same way, we're just going to go ahead and add in a few of them onto the horizon line. Now, you can just vary the height and the kind of trees that you add in. Somewhere you can just go ahead, add in very little fooliage detail. Somewhere you can go ahead with some detailed foliage. In between, you can just add in some, you know, very dried kind of pinerey effect like this. Alright. So just vary as per your liking. Need not stick to anything specific or, you know, just one way of doing it. On top of the roof, I will add later on once the roof completely dries out. By the time, I will just quickly add into the left side here. You see how I'm just pulling out the simple foilage effect. It's very important to vary the height of the pine trees that you add in so that you get in that natural effect and vary the foliage as well. So that it looks natural, realistic. And you will just see I'm just dabbing my brush very randomly to create in this foliage effect. See how I'm just moving in crisscross, and it gives in this simple detail. Now, it's very important that you vary the heights throughout, so keep that in mind when you're adding in the pine trees. You see how loose and easy it is to add in these pine tree foliage detail, and it looks so realistic when you just let it go loose and, you know, not focus a lot while adding in. That makes it more realistic and natural. And that's actually the beauty of nature. Nothing is same, nothing is, you know, seen same to each of the eyes. Every two eye sees things differently. Now in between, I will just add in some very dried kind of pine tree. So, you know, basically just the center and very just dabbing in the foliage here and there randomly. And now my roof is also dried. So on top of the roof as well, I will just take in some pine trees. All right. So just a simple fooliage that we've added in. So now, this is dried completely, and we are going to go ahead and first add in the details into the cabin. For that, now I'm going to go ahead with a reddish brown colour. You can pick up any brown tone that's available in your palette, and you can use a burn tumble or you can use a bun sienna color and just begin adding in the roof details the cabin details, basically. I'm using here the light red colour. Which is a brownish red color. And into the rest of the spaces now in the cabin, I'm going ahead, adding in this color. And while I add this, I'm going to use in the darker tint by either using in a vende brown, or you can mix in a little of the paints, create to your light red, and just onto the edges, create in the shadow effect while the paint is still wet. So you see how I'm building in the depth across the main spaces and creating in those three D effect, giving those darker hints. Now into this space as well, I'm force going to be going ahead with this light red color. All right. And in the center, again, to blend everything well, I'm just going to be picking up a very light hint of the yellow in a very light consistency and blending it with the brown. So you see, we've got that glowing effect coming in, but we still have the browns as well, and all of the blending has happened well. Now, after this dries out, we'll define the window much more better and deeper. Till then, I will quickly pick up the vindic brown color, which is a dark brown colour and define in more details. So you see, I'm just distinguishing the front part of the cabin from the front view here. So now, even this is completely dried and I've picked up the paints gray color. And just using the pointed edge, I'm going to be adding in the details, add in these details very swiftly and creating little, you know, details onto the cabin, giving in some lines and textures, very little, not much to add in. So you see just simple details, defining in more of the cabin that we've added in. And now, lastly, using the white quash, we'll just add in some details. So I'll just pick up some white quash. And give in some snow details on the cabin. Make sure you pick up the white quash in a good thick consistency so that you get in that bold effect after drying. So just onto the window, giving in that little snow effect, and even in the roof, giving in that little highlighting effect, right? And towards the bottom here as well. I will just quickly go ahead and show a little of the snow collected towards, you know, the bottom of this cabin. All right. Simple details that we've added in. Now at the top. I'm just going to go ahead, splatter in some stars. Make sure this also your white quash is in a good consistency so that you get a good layer of these stars. Now, if you want, you can just, you know, turn a few of these stars into glowing spots by blending them into the background and then add in the depth to these. So these big dots that have toned out, I'm just turning them into the background damp star. So you see just creating in the dull background using these, and then I will just add in some glowing star effect to these. Not going to add much of these just a few here and there, since I have some big splatters. So the background has to be very dull. And now to the center of these, I will just pick up the white uh in a thick consistency and drop in the center. And you will see automatically these stars have that cling effect. Now, somewhere randomly, I'm just dropping in some bigger star detail. And lastly, if you want, you can just use in a little hint of the white and add a little snow onto a few of the pine trees. Just some snow collected onto some branches of the pine trees. You need not add it to all of them just randomly somewhere. At some spots, you can show some snow onto the pine trees. So basically, just using in the white gouah add in the foolise effect with the white gouah and that will act in as the snow on the pine tree. Alright, so just little snow that I've added in, not much of it. And that is it. We are ready with our first painting. And now before I peel off the masking tape, I will quickly go ahead, pick up the colors that we used and create simple swatches like this. You can go in any order and add the color swatches. It's not necessary to stick to the pattern that I'm doing. You can even create in your own different pattern if you wish to, and you can add in more colours All right. So that is it for the first painting of this winter class. I'll see you guys into the next painting, and then we'll peel off the masking tape and tear off the two paintings apart. Thank you so much for joining me into this class and painting along with me. I will see you guys into the next painting. 8. Project 2 - Snow Forest - Thumbnail & Color Study: So let us do a quick thumbnail study of our class project for day two. We are going to be painting this simple snowy winter landscape with, you know, this running reindeer or the fox, whatever you want to consider it as. So this simple silhouette that we'll be adding, then simple snow texture and the reflection to the pine trees and to the fox or the reindeer, as well. So that's what our class project is going to be about. So let's begin in understanding first the colors that we'll be using in, right? So let's begin in with our thumbnail for the painting. It's going to be the same size that we went ahead for the Project one. All right. Now, this time, almost at the center line, we are going to have in the horizon line. Now here we'll be having in the simple silo head. Now the siloed, you can go ahead with any other siloed if you wish to. It's not necessary to have the same one as mine. I have just gone ahead with a very rough random slow head. All right. So the silhouet here. Now at the top, we are going to have in the pine trees. All right, of different heights throughout. And then we are going to add the reflection to this. Now, understanding the reflection, how we are going to add it. So if you want to consider the light source from this point, say, the light is coming from this, so all of the shadows will fall diagonally moving towards the bottom left side. But if you want to consider that the sunlight is falling here. So light is coming from this source, your object is here. So all of your shadows will be moving diagonally like this. All right. So we are going to consider light from this source for our project and all of our reflections, if you see. The shadows are moving diagonally towards the bottom, right side. And then for the animal silhouet the reflection, we're just going to add in like a simple silhouette, which is, you know, following a similar shape outline at the base. So here will be the shadow for the fox or the reindeer that you consider. That's about the basic study about the light source and how we are going to go ahead with. Now marking out the colors that we are going to be using in. So first, for the sky, the colors that we are going to be considering is going to be a pastel yellow. I have a ready naples yellow in my palette, so that is the color that I'll be going ahead with. Now, in case if you don't have a naples yellow, you can simply mix in white to your permanent yellow light and get a beautiful pastel yellow. Next, for the pink, I will be using in the permanent rose color. You can use permanent rose, bright opera, carmine, scarlet, whichever pink is available in your palette. And then for the sky, you can either use ultramarine blue, you can go ahead and use in a little hint of the Cylean blue, Pecock blue, whichever blue you wish to. So, you have all the choices to go ahead with for the blue. Now, one important thing here to understand is when you blend the yellow and the blue together, you get a green color. That is the reason we're using this transition color pink to make the color blend go smoothly into our sky. Now for the pine trees, we are going to go ahead with the ultramarine blue color first. So we'll first form in a very light layer with the ultramarine blue color and then begin adding in the depth with the darker tint. So I've just marked a very dark tint first. So you see, we'll be using it in a lighter consistency. And then using in the indigo color, or you can use Prussian blue. You can just drop in some depth to your pine trees as well. So for the pine trees, the two colors that we'll be using is going to be a good ultramarine blue for creating in some snowy effect. And to give in the depth and the darkness, we'll be using in the indigo color. All right. So these are the two colors that we'll be using in for the pine trees. Now, in the pine trees, also, if you see in the background, we have the soft pine trees, just as in the previous class project also we had same way in this one as well. In the background, we are going to have in some detailed looking pine trees wet on wet. So I'll teach you that as well how to add them. Now, into the snow space, we are going to have in the lighter values with the ultramarine blue coming in. The shadows will also be with the ultramarine blue. The shadows for the pine trees will be with the ultramarine blue with a little bit of the indigo again like this. And then you can just go ahead and add in some wet on dry textures of the snow. I will be using this dabbing method a lot to create the shadows light and easy like these. So that's about the color for the snow sky pine trees. Now for this silhouette detail, I'm going to be using the lighter tint of Petersburg Ochre first. Now, if you don't have a Petersburg ocher, it's completely okay. You can just mix in a little hint of yellow ocher to your white and get a similar looking lighter tint. Then I will be using in the light red color. You can go ahead using a Bonsiena and then a little bit of the ndeg brown color. You can use any darker brown, not necessarily by the same name and then using in the pain's gray color to create the darker highlights. So these are the four colors that we will be using for the animal Siluhet. So that's about the color theory that we've studied everything that we'll be needing color wise. Now, let's go ahead and understand one important technique, how we'll be going ahead with the pine trees. So first, I'm picking up a very light watery consistency of the ultramarine blue and just beginning in with a simple pine tree silhouette. You see this silhouette is wet. I'm just dragging my brush left and right. All right. Now into this, while this is wet, I will pick up a little darker hint of the Prussian blue color first and just drop in some darker highlights at spots and then pick up the darker hint of indigo color and same way, just creating some darker highlights. So this way, you will see a tree will have three different color variations of the foliage, creating in the shadow effect naturally, creating in the lighter snow looking filiage and creating in these bottom depth. All right. And then we'll be adding in some detailed pine trees using the darker color directly. Like just go ahead with the dark color and just you see. Just very loosely, I'm moving left to right and the tree is formed naturally. So we are going to be using in the blend of these two techniques for creating the pine trees into this class project. Now, the important thing about the background pine trees that I was talking, so let's quickly just add in a layer of the yellow color. Okay. This layer is wet. Now I'm going to pick up a little pink color hint as well and just going to blend in with the yellow. Now, while this is still wet, I'm going to go ahead and add in some detailed looking pine trees. So using the ultramarine blue color. Now, important thing that you need to keep in mind is the wetness of the paint. So in first half, I'm adding it with a little extra wet paint. So I have a very wet consistency of the ultramarine blue, and let's begin adding in. You see how the color is spreading out completely. It's not trying to retain the shape of the pine tree. And now I will pick up the ultramarine blue with very less water, and my background is still wet. You see the dispersion is so less and just going to go ahead, add in some foilage detail. You see how the tree shape is retained. If you go ahead with little more or less of the water, so I just dapt it onto this and you see this retains the shape much, much, much better. So one was extra wet, one was a little wet, and then more dabbing. So if as you keep on removing more of the water from your brush, you will have very less pigment, and then you just go ahead and you will see you get the softness because of the wet background, but you retain the shape of the siloed that you're trying to add in. So that's very, very important when it comes to you know, working wet on wet, creating in the soft background details. If the paint will be extra wet, you see the dispersion that has caused and just given us a blot of color instead of giving us this soft looking background pine trees that we need in this painting at the background. So that's about the background pine trees, the detailed pine trees, the three colour tonal variation to build in the depth into the pine trees. Then the other thing for this class project will be using this layer on layer, wet on dry to create in the snow depth. It's simply layer on layer that we'll be working with the ultra green blue color. For the shadows, also, you will have a wet snow layer consider this as a snow layer, and wet on wet, you will be adding in these similar looking pine tree. Basically, the height that you have at the top here, accordingly, you will maintain the length of the silo heat here as well, and we are going to work wet on wet. So when you are working with the shadows as well, you need to keep the water consistency at this level so that when you add in the shadows, they retain the shape in which you're adding them and still look in as a reflection, having that soft blend into the snow area. So that's about how we are going to be going ahead with the detailed pine trees, the snow, the silhouette, the shadows, the sky, the blending and everything about this class project. I hope I've covered everything, and it's easy. This time, the color palette is also easy, easily available. If you don't have ultimin blue, you can simply use whichever light blue is available in your palette. If you do not have a permanent rose color, as I told you, you can use carmine, scarlet, opera pink, whichever you know, color of a pink tone available in your palette, not necessary at all to have the same shade, okay? Now you see when this tree has dried out, this is looking like the snow deposited on the tree, and the darker values are looking as the real foliage of the tree. After this dries out also, you can add in more depth to this. So now this tree is completely dried out. Now again, you can go ahead with some detailed foliage and add in more depth to your tree. So that's how you can just go ahead, build in your pine trees for the snow caped look. You see? Just pulling out simple this also, you can go ahead with two to three tonal variations of the color or not necessary to just directly move on with the dark color or move on with a light color. And I love dabbing a little so that it looks little well blended with the rest of the tree. So that's about the pine tree, the snow easy snow caped ones. Of course, there is a lot detailed one that you can paint as well. But here, I've just shown you a very simple big no friendly type to begin with. And when you keep on practicing these, you will automatically keep on developing your style and your depth into the pine trees. So with these, let's move on into the project for day two and paint this beautiful painting together. 9. Project 2 - Snow Forest - Part 1: Hello, everyone. Welcome back to the next painting of this winter Series painting. And for today's class project, I've just marked out a small silhouette. Almost across the center space I'm going to be having in the horizon line as well. So the top, we are going to have a pretty simple pastel sky. We'll give in some pinetree details on the horizon line. This is going to be a snow space where we'll add in this fox and the reflection to the fox, as well. So that is what this class project is going to look like. So we'll begin in with the sky first. Now, of course, you can go ahead with your own slow head. As per your choice, that is the reason I marked out the silo hit first because it would be very difficult for me to go ahead with the outlines on camera because it takes me time to sketch out things. And that is the reason I've just created in this small sketch of a jumping kind of a fox. Alright. So that's about the pencil sketch. You can take your time, create in this because then we'll be adding the shadow to this accordingly. So here is the fox. Alright. So I'm showing the light effect coming in from here. So accordingly, we'll just create a very rough shadow to this using in the blue colour that we'll be using and adding the shadow here to this fox. And to the pine trees as well, we'll be adding in the shadows accordingly. So basically, from the pine trees, we'll be showing in, like, the or let's consider all of the light falling in from here. So all of the shadows will fall in towards the bottom diagonally, moving from top left to bottom right. This is the light source, basically, here is your pine tree, so the reflection will be like this diagonally moving towards the bottom side. So we are going to begin with the sky first, alright? So for the sky, let's go ahead with a layer of water completely. You can even go ahead and add in the reindeers if you wish to or create in, like, you know, the horse carriage type of a detail here. It's absolutely your wish, what silhouet you wish to go ahead with. I just wanted to challenge myself, and that is the reason I've gone ahead with the animal silhouet here. Alright? So I've added in a layer of water into the sky. For the sky, as I told you, we'll be going ahead with very light pastel sky. So I've first added in a little layer of the yellow closer to the horizon line. Now, after the yellow, I'm just going to be picking up a little of the pinkish color. So you can go ahead with any pink of your choice. I have picked up the permanent rose color. And towards the top, I'm going to be picking up a little of the ultra green blue mixed in with a little hint of the pickup blue, but both you see in a very light consistency. So maintaining in the pastels. So when you need to use the colors in a pastel consistency, you can just use the color in a good pottery consistency, and you see we've just got a simple layer of paint, which is giving in that pastel effect. You can use any tone of pink. Basically, the pink creates a good transition from yellow to the blue that we are using in and acts in as a good transitional tone for both the colors with the blue, as well as with the yellow, and just a very simple washed sky that we've created. Now, while this is still wet, we are going to go ahead, add in some background pine trees. For that, this time, I'm going to use in the ultramarine blue color itself in a light liquidity consistency and just give in some wet on wet pine tree details. It's not necessary that you need to have the trees on the entire horizon line. You can skip some spaces in between and let them be blank. So for the background trees, you can see, I'm just going ahead with a very rough sillohad. This is wet on wet. So you will see that the foliage is, you know, retaining little shape and giving in a soft blend with the background. The key here is the water control by adding in this blue layer. Only then you will get in that, you know, detailed look of the foliage, as well as having that soft blend with the sky. So for that, while picking up the ultramarine blue color, you need to make sure it is not excessively wet. Otherwise, it will just spread and create a patch of the blue instead of giving you this finery effect in the background. So that is about the sky. Now, we'll wait for this to try and then move on to the snow space and create in the details there. So now my sky is completely dried, and I'm going to go ahead with the detailed pine tree first before we move on to the snow space. So I'm picking up the same um green blue mixing in a little hint of the endico. And now I'm just going to go ahead on top of these and add in some detailed pine trees. And then we'll move on to the snow space, creating the shadows, the details. You will say I'm not going ahead with much detailed foliage. So first, I'm just adding in a few of these pine trees. And now, while these are still wet, I'll just pick up a little hint of the indigo and drop in some darker tints. Okay. So you see, while this is still wet, you just add in one more layer using in a darker tint, and it gives in so much more depth and texture to your trees. So now you see closely, and you can see how the two colors are creating in the depth. And vile trees like, you know, semi wet, you just go ahead with this dark layer and create in this texture detail, pull out some sharp edges, wet on dry. Given the depth so basically here, you see, you don't have to follow the shape of the shadow or the length of the shadow trees that we've created in the background. Basically, let them be the blurry background trees and you can create the trees of different heights in the foreground, which will act in as the closest pine tree, and they will act in as the background f of pine trees. Same way, just quickly going to go ahead here. You're also at first going to go ahead with a little bit of the light ultramarine nose trees and then, you know, use in the depth technique and add in details with the indigo color. Once this will be a semi dry state, I will go ahead with the tuft You see, again, I'm not following the length of the background trees. Let those background trees also be visible, so you need to skip the same length. Only then those background soft flurry trees will be visible in the far off details. And now picking up the indigo, I will just drop in some darker highlights. You see pulling out some very detailed sharp foliage and giving in that depth effect. All right, so we are done with the pine trees on the horizon nine. I just given a little detail. Now we move on to the snow space. And for the snow space, I'm going to go ahead with a layer of water completely. Now, you can decide your, you know, motion of light or the source of light, basically, if you want to go in from the left edge or the right edge. I am considering the light falling in from the left top side, and accordingly, while this space is wet, I will go ahead and add in the shadows. For that, I'll pick up the ultramarine blue color and first begin adding in the shadows to these trees, a little diagonal moving towards the bottom left space. The, you know, shadow to a few of the trees, not necessary to add all of the details and all of the trees in the shadow. You can just let a few of the shadows be bold and the rest of the shadows just be there like a blue color effect. I'll just pick up a little of the indigo now and add in here. You see the simple shadow wet on wet that we're adding in. Same way this side as well. Now, you will see that my trees at the top were still wet. That is the reason a little of the color may flow from the top as well. Now, this side, the shadow has turned out too dark, so I will quickly just lift up a little of the color. And at the top, later on if we feel the need, we will go ahead given more of the depth on the horizon line. But for now, we'll just let these shadows be there. And into the rest of the snow space as well, I'll just pick up a very light hint of the ultramarine blue and just add in the snow effect. Basically, I did a mistake. I should have first actually added in this layer of the ultramarine blue. Now into the shadow, I'm going to be using in toothpick and given little strokes, just a few strokes here and there. Make sure that these strokes will turn out permanent and given that texture detail. And I'm just dabbing in a little of the paint and picking up, creating in that, you know, shadow effect. So you see, I'm just dabbing my brush and lifting up a little of the darker tints, creating in that lighter shadow effect. Now, while the snow area is still wet, just going to go ahead with the ultramarine blue, creating in some darkness, now space at the bottom, just as we did in our previous painting. Right? Now, while this is still wet, I will quickly add in a rough shadow to this reindeer that we are adding in and using in a mix of the ultramarine and the indigo. So basically, the shadow to this also will be somewhere here. So just a similar shape that you have at the top, but it will be in the reverse way. So you see a very rough outline. But in the reverse angle, so here's the yours and your I've added in the year. This is going to act in as the face, the two legs, the two back legs, the tail, right. So this has become a little or, you know, it's spreading out a little. So what I'll quickly do is dam dam damp, blended, or you can even use in this cloth or a tissue. And now, again, I'll pick up the color with a little less watery consistency. So you see how the consistency of the paints makes a difference bet on wet. And I'll again go ahead and now the pins are too dark. Creating a damp layer of water first. And now the shadow looks better. All right. Now when you add in the final detail here to this reindeer, you'll see the shadow effect much better. Of course, the shadow does not have to be the exact same shape. It's, of course, the shadow that we're creating, so it can just be rough and simple. Now, once this dries out, we'll add in the detail to the actual reindeer that we're adding in and a little more snow detail. Oh 10. Project 2 - Snow Forest - Part 2: So now for the first layer of the reindeer, I'm going to be going ahead with this Petersburg cher. This is like a pastel or sand color. So I'm just going to begin in with this color and create in the entire outline first. Now, make sure this space is completely dried. So you see towards the leg space, this area is wet. All right. Now, I'll wait for this layer to dry completely and then add further detail. Now I've picked up the light red color, and I will begin adding in the next layer in such a way that we have this light layer of the Pettersburg occur at the bottom of this reindeer creating in that highlighting. So you see how in the legs just on the edges, I'm adding this color. This area still seems to be wet. So I just completely tapped it so that now the shapes are retained. You see how with watercolors, it's very important for the paper to be dried completely before you begin adding in the silhouette. Now, I'll again, pick up a little of the Pettersburg hawker because you see at the base here where I wanted that Petersburg ocher look, everything got completely covered up. So quickly just adding in little of the Pettersburg ocho. You can simply add in a yellow ocher mixed in with white if you don't have this exact same shade. As I always say, you don't really need all the colors. It's about just mixing in your own colors and getting in right. Now, I'll use the vende brown color and define in more depth. So now at the top space, I'm adding in the vende brown. See how carefully just I'm giving in the outline with the Dako hints. Now, I'll just pick up a little pains gray. Make sure not with excess water and just drop a little at the top here, and you will see how it blends in with the color, giving in more of that three D effect. See wet on wet, how the details come in. Quickly pick up a little more of the Petersburg hawker, drop in here. Now, I'll wait for this to dry before we add in the final detail here. Till then, I will just quickly pick up a little of the ultramarine and just use it in a very fine liquidy consistency and given some fine, snow details. Again, this is too dark, so quickly using water blending in. You see, just some dry brush and bold spaces, creating in the snow. Just some simple snow effect. And turning this shadow one lay or darker. So this will act in like a little sharp or shadow here now, you can see. Now, I'll wait for this to dry completely and then add in the final detail. Till then I will quickly create in the colors here at the base. So this time, I'll pick up the light red color. Let's pick up a pink color tone. I'll pick up the indium. You see I drop the water. I'll have to again correct up this space now. Picking up the Petters per walker. And the ultramarblue color or let's pick up the vende Crum this time. So I just corrected up this entire space here, which, you know, the water off had fallen out. So I just gave in the darker depths again. And using in the white quash, I just defined this bottom space again, wherein the Brown had spread up completely. Now using in this black technical pen, I'm just going to be adding in just a little detail into the face here, just a simple I and a simple nose ski tail. That is it. And if you want just given a fine outline at certain spots, creating in a little more of the depth. I know this is not the best to endure that you may have seen, but I am also learning. I am not at adding in human or creatures, and that's what I want to challenge myself. Every class is actually kind of a challenge to myself first to improve, to grow. And then to teach a head further, of course. But sometimes I just like letting my raw faults, my raw awnings also be here. And now just going to use in a little more of the altimineblue, add in some more darker details of the snow. Just some snow cracks. See? So taker details. And then adding in some raw textures along with it. Creating in the snow bed. Just a little splatter there at the back. So that is it. We are ready with our first two painting of this series. Let's peel off the masking tape and see a final painting. Make sure to peel off the masking tape once your edges are completely dried and peel it off against the paper like this. Mm. It's so satisfying and beautiful to see your paintings come to life as soon as you begin peeling off these tapes. And now in the center, I had used a thin tape to create that equal edge once I tear off these paintings later on. So here's the first two painting from the sinter painting series. I hope you guys enjoyed painting these, and I will see you guys soon into the next painting of the series. 11. Project 3 - Aurora - Thumbnail & Color Study: So before we dive into the class project for day three, let's go ahead and do the thumbnail and the color study. So for the Class Project three, we are going to be painting again Northern Light. This time, it's going to be giving in beautiful curvy strokes. For the first class project, it was a simple blend. And for this class project, you see, there's movement into the Northern lights, and at the base here, we are going to have in the snow space and some cottages that we'll be adding in. For this class project, we'll be adding in a lot of wet on wet into the snow space here. And here, we'll just give in a small mountain range. That's about how the placement of our Northern Light is going to be. Now, first thing, we'll go ahead with the colors watching, the colors that we'll be using. So for the Northern sky, the colors that we'll be using is going to be a shade of pink. You can use permanent rose, bright Opera, or you can go ahead use in scarlet or any pastel pink that you wish to. Any pink of your choice you want, you can go ahead with. Next, will be the cobaltrin color. In class Project one, I have already shown you the mix of the cobalt green using in different tonal values of sap green, plus serlem blue plus white and how it beautifully gives you different tones of cobalt green. So we've already discussed that. So you can go ahead and watch the color study of Class Project one if you want to mix in the cobalt green color. Next up, here is the indigo color. For the sky and a little bit of the Prussian blue color that I will be using. You can go ahead and use in any blue, Prussian blue, cedulne blue, just giving in little blue highlights to get in more light and glow into our sky. Then for the snow space, we are majorly going to be working around with the indigo color. For the mountains as well, it is going to be indigo. But of course, in different tonal variations, very light consistencies, giving in the snow effect, some dry brush detail. If you observe our snow space, we have this little snowy mountain space coming up here. We have tiny pine trees in between. We have some dry brush texture to show in the ground in between the snow cape. So these light spaces are basically acting in as the snow. Now for the cottages, the roof will be with white quash showing in snow caped cottages. And for the color of the cottages, to show the light effect, I'm going to use in the naples yellow, and then I'm going to use in the orange color to give in the warm, just as we did for Class Project one, same way. And then I'm going to shift into the browns. Uh, and lastly, we are going to use in little hint of the pains gray to give in more of the shadow and the depth detail. So this is about the colors that we'll be using in for the cottages. So we've understood where what elements are going to be. Now, again, for the sky, we are going to be going ahead wet on wet. For this space as well, we'll be working a lot wet on wet with water control to get in these details. We've already, you know, understood the water control in day one and class project for day two as well. So same water control will play a role here while adding in these pine trees. For these, we'll be going in with these swirl motions, and our brush will just be moving. Instead of just moving in straight, our brush will be moving like this in circular motions to get in these beautiful strokes into Northern sky. And then with the white gouache, we'll drizzle up the snow. So that's about the simple basic color study. And this class project is very simple, very basic. And we'll even be showing this light effect of the cottages falling on the snow space. So wet on wet while you are adding in these indigo spaces, you will drop in the yellow into the snow area as well so that it has that glowing spot for the light of the cottages. As we keep on proceeding with the project, you'll be able to understand more step by step why things are being placed at particular spots. That's about the basic thumbnail and color study for Class Project three. Now let's dive into the class project and see how this painting turns out step by step. 12. Project 3 - Aurora - Part 1: Hello, everyone. Welcome back to the next painting of this winter painting challenge. And today for, um, Today's painting, we are going to be going ahead with another beautiful Northern Light. And for the Northern lights, I'll just quickly go ahead with the simple pencil sketch. So basically, it's going to be a very soft and soft, you know, details that we'll be adding in. Just that here, I'll mark out a front looking cottage. So in the first painting of this challenge, we had gone ahead with the side view of the cottage. This time, it's like this front cottage that we'll be adding and adding in the beautiful glowing light effect from between the cottage, and I'll just add another smaller one closer to this. All right. And I'll just quickly add one more small cottage on this edge, as well. All of these cottage, you can see, I'm just adding the front view look. That is the simplest, you know, detail for these cottages here. Now, just consider Horizon line for your basic, you know, details that you have to add in. So at the top, here, we'll be creating in the glowing Northern Light effect, right. Now, across this entire space of these two cottages, here we'll be having in the dark range of pine trees, given in soft and soft, wet on wet when we add in the snow area. And here later on, we'll just add in a small snowy mountain kind of range, a very small range like this, soft and soft. So basically, when our sky will be a little wet, we add in this little detail here. And here, we'll just creating some background tiny looking pine trees. And here, we'll just give in then, you know, some dry brush details along with the snow. So this is going to be a Northern light, a snowy mountain range, three cottages, and a good range of soft pine trees and detailed pine trees around these cottages, as well. And from these cottages, we'll show the yellow light emitting in, and we'll show the effect of it, as well, falling into this Snow area. So that is how our composition is going to be for this painting. Now for the Northern lights, we are going to be using in three colors, basically. So the first one that I'll be using is this cobalt green. Next will be indigo. I will be using in a little hint of the Prussian blue this time to give in a good transition between indigo, Prussian blue and cobalt green to create that transitional effect. And I will be using a little bit of the permanent rose color mixed in with a little bit of the bright opera. You can even use in any good pastel pink color. Like if you have a pink peony, you can use a pink peony or you can use, um, pink color with a little hint of white. So you basically need a little pink glowing light effect that we'll be adding here, and we'll paint the night sky here first. So let's begin in with the night sky and then move on to the rest of the details. So the main colours basically that you'll be using for this painting is going to be the bright opera, cobaltrene, Prussian blue, and the indico. And then for the lights and the cottages, yellow, orange, and the browns. So now I'm going to begin in with the sky first, so I'll begin in with a layer of water to create in our Northern sky. I'm going to leave little hints of white le blending so that we have that glowing spots and the glowing light effect, as well. Now, whenever you paint in Northern lights, have a good layer of water because the glow and the blends of the Northern lights is because of the wetness of the paints and how you make them softly blend into each other. So that's where all the magic of the Northern lights will lie. That's the blending of the pigments and how you have that softness coming in. So make sure you go ahead with a good even layer of water. Now first, pinging in with this cobaltreen color, you can even use a turquoise green or a turquoise blue mixed in with white if you don't specifically have the same color. Now, whenever you paint in Northern lights, another important tip to begin in with lighter colour tones because for blending in, you will be kneading in layers to get in the depth. Now I'm just going to clean my brush and in between run in a layer of water to keep the space white. Now I'll shift into the blue. So for the blue first, I'll pick up a little hint of the Crucian blue. And this side, I'll first pick up the pink color. Same way here as well. I will just drop little highlights of the pink. And now moving on to the indigo color. So this is just the first layer that I've added. Now I'm going to go ahead, add in the same layers again to build in the depth into this noun light, and I'll quickly shift into a medium size brush so that I can add more of crisp details now. So now, wherever you've laid down your colours and you know where which color effect has to come in, you just go ahead with a layer of paint again. And you see now the paints are turning more bold. Now I'll shift into the pink color again. So as I told you for the pink, you can pick up any pastel pink of your choice. After every stroke that you give closer to the indigo color, make sure to clean your brush because a little indigo from the edges, of course, gets lifted up again. Now, you will see as I'm adding in these paints, I'm even going ahead and creating in the flow that is in these circular motions, making the flow from top right, sorry, from top right to the bottom right in circular motions. See how the glow in the Northern Light is coming in? So you need to keep moving between the colors that you're using to get in all of the blends and the flows. So you see how, again, you just need a little hint of the colors to get in that glowing effect coming in perfectly fine. See, I'm just getting in all of my strokes like these, moving in circular motions, creating in the blends, the flow. Now, see, each of your paintings will be different because of the flow, how the colors flow. So you not always need to compare how your painting has moved as compared to someone else because the flow of the paper the flow of the paints, the wetness of the paper, everything will be different in everyone's layout. So that is a reason every Northern Light will look different on every different person's outcome, depending on the kind of strokes that you may have followed, the wetness of the paper, the choice of paints, the strokes of the brush that you may have followed. So all of these make a choice. And plus, you see watercolors are completely unpredictable and you can at times not control the flow, how things will be. So you just need to let go of that and, you know, let your creation be your voice and your style. And that will give it the beauty of the Northern lights. And You see, it has taken me a few layers with the same colors, but just getting in that, you know, direction flow and glow into the light. Now, lastly, I'll just pick up a little bit of the white wash and I'll just dilute it and add it in between this cobalt green color to get that glow effect there. So you see that bright effect that is coming in. So that is it. Now we are ready with our sky almost. Now we need to wait for the sky to dry completely and then move ahead further with the details. So I'll wait for the sky to dry, and then we'll move ahead further. Here as well, I will just give in some lighter strokes, creating in a little light effect. Now, of course, you can always go ahead, use in the darker tones to blend in this lighting effect that you're giving in. So you see just little of that glow and blend happening in. Little white effect again. I'm just dropping in some white paint. Now, let's wait for it to dry completely. Then we move ahead further. Now, till the time the sky dries out, I'll just add in the light effect into our cottages that we've added in. For that, I'm going to be going ahead with the yellow color into the entire cottage. And then we'll use in owns to blend in. I'll pick up a little hint of the orange. M so I'm using the omeilon color. You can, of course, use in any orange that's there in your palette, but not too dark, giving in that yellowish warm effect, and now using in the light red color. I will go ahead and just begin putting in this color from the edges. And once this will dry out, we'll give in the details to the windows of these cottages. But wet on wet, we've just loosely created in the outline to the cottage. Okay. To this one, I have added the brown first, and now I will just quickly add in the yellow. So there's no specific way that you first need to go ahead with the yellow or brown, but it's always easier to move from lighter to the darker tones. And now I will just use a little hint of the paints gray, mix into this brown that I already have here. You can even use a vended crown directly. And from the edges, just use the tip of your brush. And while this is still wet, just define it perfectly. So that will act in as the perfect undershadow to the roof and the edges. See? Dropping in very light effect. So when you do this, define your roof also well. So under the roof line, give a good layer so you will see that it will act in as the shadow. Again, I'll just pick up the yellow color and drop it a little So I'm using the naples yellow, so it is a very bright pastel yellow. So even when I overlay, I get a good opaque effect. You can see. And now what I will do is, while this is wet, I will just pick up little yellow and create that light effect into the snow as well. You see, letting that light effect come on the snow so that now when we add the snow, we'll just quickly be, you know, easier for us to just give in the details, dropping in little of the light red color that I use, that is the brownish red colour. Very little across the yellow, as you can see. Alright. Now we'll wait for all of these to dry completely and then move ahead further with the next layer of details. 13. Project 3 - Aurora - Part 2: So now everything is completely dried and I'm going to go ahead with the rest of the details in the bottom area. So there I'm first going to be beginning in with a medium tone consistency of the indico color. And I will just go ahead and add in this light layer. Connecting it towards the left end here. And now into the rest of the space, I'm going to go ahead with a layer of water. Now, closer to the cottages, be a little careful. You need to let the roof be empty even now because the roof is basically the snow space, which we will just depict it with a light layer of the indico. So just across the rest of the space, given this light layer of water to give in some snow color details. To this, we'll connect to the top here, and you will see how the colors get in that soft flow. So basically connecting in that ice looking mountain with the base of the snow All right. And over the yellow, also, I'm just running in my brush damp so that it blends in with this water space that we are adding now. And now I'll just pick up little hint of the cobalt green color first, drop in randomly at certain spots for the snow. Same way, pick up little indigo, drop in very lightly for the snow space. Now, while this space is still wet, I'm just going to be adding in some darker details. You see just defining in some darker details onto this space. Now, again, the wetness of the paper will be very important to keep the blend with the snow space right. Now, across this cottage space here, I'm just going to be picking up this cobal green color in a good dark consistency. And while this area is wet, we are going to drop in this color. And next, we'll just drop in loosely the indigo color as well like this. So pick up the indigo also in a bold consistency, not much of water. So I'm adding it in such a way such that we have the indigo color also and the cobalt green color also visible. Now, if you want, you can just randomly add it in the shape of simple pine trees as well. All right. So here you see the water was excess, so it's completely covered up with the indigo color. So I will just pick up a little of this cobalt green color here and drop in. You see how the yellow is blending into the snow space, creating in that glowing effect of the cottage light falling in the snow. So it's very important that you go ahead, blend in the snow space with the cottage space lighting. Same way across this cottage as well, I will just drop in little hint of the indico randomly just creating in some darker details into the snow. Basically, some land that may still be visible uncovered by the snow. Now using the indigo in a thicker consistency, and we are going to go ahead creating some simple pine trees lose effect because everything is still wet into that wet space only we are going ahead and adding in these details, giving in that soft glow. So you see now when you do this, the water control will play a very major role because if you will have excess water, the pine trees will lose its shape and will not retain the shape and just spread as a color completely, which we don't want. We want to retain the shape, giving in that softness as well. Just some small tiny details here. Same way into this entire space that we have here. We'll just go ahead and add in some loose pine tree. Again, make sure that your paper is not too wet, not completely dry, either. Plus, your paint is not extra wet and you give in the strokes loosely. Now, into the cottage, we are still left to add in a lot of details. We'll do that once all of these things dry out, and then we'll give in the details into the cottage. But while this area is still wet, you can either use a pin like this or a toothpick and create in little textures in the pine tree as well. So when this is wet, you can do this. And once this will dry out, you will see the effect of these strokes that you've given. So be very mindful of how you put these strokes because they will be visible once this area dries out completely. Same way here as well. Just pulling out little branches in the center and just one or two strokes like these. So this will create in some textures. Now the cottages are also completely dried, inside the cottage, let's quickly go ahead and create in that window effect. So for that now, I will just pick up the yellow color again. And create in the window outline with the yellow first. Now, if you don't have this pastel naples yellow, you can just mix in white wash to your yellow and use a pastel yellow so that you can get in this opaque look even on the darker brown tones that we already have. Then once this will dry out, we'll give in the outline as well to this. And then we'll just be left to add in the snow details into this painting, which will get everything together. So first time picking up a dark brown color. So just some rough outlines. You see, I'm not taking it complete. It's just simple details that you are adding in. So you don't need to give in all of the details. And now I will just create in some brick details to the cottage as well, using the same brown color. So giving in some horizontal and vertical lines to act in as the bricks. Same way to this one as well. You can even darken up some bricks like this. Now, using the indigo color like a water consistency. So completely water just with that hint of indigo, adding the snow effect to the roofs. So it's a highlight of the indigo color. Now, adding small chimney details to the roof as well. Now using in the indigo color, just give in some dry details of pine trees. So when everything is completely dried, add in some detailed pine trees onto the dried snow space, and some loose branches here and there to give in that detail and precision. So for this, make sure that your space is completely dried and just give in some detailed pinetree effect, some small loose branches here and there. See I'm just giving in some loose detailed pine tree effect. So you can select your spots randomly. It's not necessary that you need to place them exactly at the placement that I may have gone ahead with. Your placement can vary, your style can vary. And as I always say, that's the beauty of painting. Give it your own touch, your own style, your own variations as you may wish to. I just randomly dropping in some textures. And now let's go to the final detail that's using in the white quash. For this, make sure you use the white quash in a good thick consistency, pick up fresh color so that it's beautiful and bright. And now from a little distance, just go ahead and splatter in the snow. Now, make sure you keep it a little distant because as I told you, if you will splatter it from close, you know, the spots will be bigger, you see. So keep it distant. Oh what I'll do is you can see this area is getting in the paint, so I will just cover up the space as well. Onto the entire painting, go ahead, add in the snow splatters. Of course, as you always know, these white splatters are going to be everywhere around you on your hands and your table, your rest of the spaces. So cover up as many spaces as you can, or if you're okay to just give it a clean rub later on. You see, even at the bottom space, I'm showing in this snowfall effect. Now, these two tiny dots that have turned out too big, you can quickly lift them up or blend them using in a damp brush. Of course, if you want, you can even give in a little of the glowing star effect, but I don't want to do that. Or maybe I'll see moving further. Now, lastly, let's quickly create in the grid for this painting here. So this time, I'll just begin in with the yellow first. The light red color. The pink highlight you can choose the colors of your choice that you want to add in if you're creating in a grid like this, not necessary to follow the same color tones, and you can even create more color tones as you wish. Now, lastly, picking up the pains gray color and make sure you use a pointed tip brush. I am just defining in my cottages, giving in the darker depth spots to the window panes. And I will just go ahead with a few glowing star spots. So I've added the dots. Now I will quickly go ahead and relend these. I'm now using in the white cash in a bold consistency. Just drop into the center of these spots. You're just filling in some more opaque star details. And So that is it for our painting for today. I hope you guys enjoyed painting this little different kind of loose and a little detailed snow space, giving in those darker hints, creating in that Northern Light effect. And we'll peel off the masking tape once we are done with the painting for day four and then we'll peel off the masking tape and see this grid aspell. Thank you so much for joining me into this class and painting along with me. I will see you guys soon into the next painting of this winter challenge. And till then, happy painting. 14. Project 4 - Winter Sunset - Thumbnail & Color Study: Hello, everyone. Welcome back to Project four of this ten day winter magic. For Project four, we are painting this beautiful sunset pastel sky for the winter theme. We have snow caped around this water body space, and we have a beautiful pastel sky. So let's just create a simple thumbnail first. So here's a simple thumbnail of the painting that we are going to be doing. Approximately in the center space, it's going to be a horizon line. Here we are going to have a rough water body space. You can mark out as per your choice snow area, snow area. And this is going to be the sky into the sky, we are going to have a background mountain. And in front of this background mountain, we are going to be giving in loose pine trees as well. And then in the snow spaces, we'll be giving in the dried tree effect. That's how our um or, you know, thumbnail looks like, and we'll be having in simple bird silhouettes into a sky after everything is done. Now, first, we'll go ahead and do the color study. So for the colors, you can see we are working around with pastel colors. So the pastel colors that I will be using is first one is this, John Brilliant one. This is a beautiful peach skin tone. Next, what I will be using is the pink peony, which is a pastel pink color. I will be using a little hint of the naples yellow, next, I will be using in a little bit of the lilac color, which is a pastel purple, and I will be using in this royal blue color. And I will also be using a little bit of the blue mixed in with the royal blue. So you can pick up any blue, cerulin blue or Peock blue whichever blue you want, we'll be mixing it with a little bit of the royal blue to get in some darker cloud strokes like these. Alright. So for that, we'll be mixing in this normal blue with the royal blue color. So that's about the colors for the sky. Now, the same colors that we are using in the sky, we are going to use in this water body space, that if you see on the edge of these water body, we are using in a darker color to show the shadow and the three D effect of this water body space. So for that, we'll be using the indigo color on the edge here while it is wet on wet and create in this dark bold shadow effect on both sides. For the mountain range, also, we are going to go ahead with a very light washed layer of the indigo. And in front of this, the pine tree will be with one tone darker consistency of the indigo that we use for the mountain space, right? And for the snow space, we are going to use in the ultramarine blue color in a very light, watery consistency and creating in the snow effect. And then for these dried branches effect, we are going to go ahead with the Pain's gray color and give in these details. So that's all the colors that you need. Now, if you do not have the pastel colors, you can form in your own color. For John Brilliant, you can simply go ahead and mix in a little bit of orange, yellow and white, and you will get a similar tone. Let me go ahead and maybe show you one or two color mixes to make it easy for you as well. So let's create a similar John Brilliant color. I am picking up the basic orange color in my palette, and I am picking up a little bit of the permanent yellow deep color. And now to this mix out here, so I have the two colors mixed here. I'm just going to be adding in a little bit of the whiteqh All right. And now, let me watch it close to this. You see, it's almost a similar tone. Of course, I can adjust a little bit more hue of the orange, and it will be more similar to the previous one then. So I just added a little hint of the orange, and you see we've got an exact same match. So the colors that I used was orange, permanent yellow deep. Alright. And I added in white quash, and we got the pastel John Brilliant color by mixing in our base colors. For the pink, you can pick up any pink and just add in white. For yellow, pick up a light yellow tone, like a permanent yellow light or a permanent yellow deep and add in white gouah. For the lilac color, let's go ahead and mix in our lilac as well. So for the lilac color, I'm going to pick up the clear violet first. So picking up a little bit of the clear violet color. And if you see the lilac has a little bit of a pink tone. So I will just pick up the permanent rose color a little. All right. So I've picked up the two colors, and now I will pick up white quash and mix these two colors together. Now, white guash has turned out to be a little excess. So to this, I will quickly add in a little hint of the violet again. You see, it's about a bit of a trial and error and experimentations with the ratios that you will have to do to get in the perfect shape. Now again, the color seems a little dark, so just a little hint of white. All right. And you see we've got our past lilac color. Let's watch it close to this. Now, if you adjust it with a little extra pink, you will automatically get in this. So let me just add in a little bit more of the pink color. All right, added little pink. You see? This way, you need to keep on adjusting the ratio of the color mixes. You need to identify what days colors are there in those pastel tones, and then accordingly, you need to adjust the ratio proportions and get your color mixes right. It may take you two to three trials to get the color tones right, but my point here is you don't need all the colors readily in your palette. You can mix in and form your own colors and use them. Same way for the royal blue color. You can mix in serene blue peacock blue with a little bit of ultramarine and white. So again, let me do that as well for you. So I am using the serlee blue color first, the serleon blue, a little bit of the ultramarine blue, and I will just pick up a bit of the white quash. Now, this royal blue color, if you notice, it has a little bit of a bluish purple as well. So I've picked up a little bit of the purple. You see, you need to adjust the ratios at certain spots and understand what color needs to go in more. So I identified in the royal blue color. It is the purple and the blue tint. And you see we've got a simple royal blue color just by mixing in our base colors. So the colors that we have mixed in for this is, we mixed in permanent yellow deep plus orange, plus white. You, we mixed in clear violet, plus permanent rose plus white. For the royal blue, we mixed in serlean blue, plus clear violet, plus a little bit, very little hint of the ultramarine blue plus white, and we've got these shades. Basically, you can form in your own pastel shades by very basic palette as well, and you don't need so many colors readily available. So this is about the pastel color study that we've done and understood the pastel shades. Now, before we dive into the class project, I will just quickly run you through. We'll first be painting the wet on wet sky. Then we'll be adding in this water body space. So for the water body space, we'll first add in this outline like a wet on wet layer, go ahead with the same colors to show a reflection of the sky colors. And then on the edges, while it is wet, we'll be dropping in the indigo color to create the depth and the shadows on the edges. Then we'll be adding in the wet on dry snow spaces using in the altamdin blue. And you see in the snow spaces, we'll just be giving in some dry brush texture. And then we'll be adding in these final branches and the birds. So that's how our class project is going to be moving forward from here. So now let's go ahead and dive into the part one of this painting, and let's paint this together. We've already discussed the wet on wet water control multiple times. Same thing will apply here as well, while adding in the indigo color. And while creating these fine trees as well, it's the water control, and the timing that you add in will make the difference. So let's go ahead and dive into the painting together now. 15. Project 4 - Winter Sunset - Part 1: Hello, everyone. Welcome back to the next painting of this winter painting challenge. And for today's painting, we are going to be going ahead with another winter scape, which will be very simple, easy, quick. So I'll just give you a rough idea. So this is basically going to be our horizon line almost in the center space. At the top, we are going to build in a sky. And at the bottom here, we are roughly going to create in a water flow area, and the sides of which both will be like the snow space only. But this water space, I'm not giving it a definite shape with the pencil. We are rather going to directly first go ahead and create a natural looking water space and then add in or snow details in the left and the right edges out here. So that is how our painting is going to be. So you just need a light horizon line space that you need. All right. And we are going to begin with the sky. For the sky, we are going to be going ahead with, you know, beautiful pastel tones. So just go ahead with a layer of water into the entire sky first. Alright. Now first, I'm going to be picking up this John brilliant color, which is like a pastel peach skin tone and add in a layer of this color here. Closer to the horizon line, I'm leaving in a little space for now, or rather you can just give in a very light layer of this John brilliant color because we'll be adding in a snowy mountain there as well. Next for the pink, I'm going to be using in the mix of the pink peony and the shell pink color, which is, again, a pastel pink color. Of course, you can just mix in and create in your own pastel shades as well. Need not necessarily have the shades. Next picking up the royal blue color and just going to give in at the top here. You see a very light pastel sky that we are building in. So for each of the colors, if you want to create in your own pastel colors, you can just use the base colors mix in with white gouache because pastel colors are usually opaque as you can see. And when you use the opacity of white gouache to create in, it gives you that beautiful opacity that the pastel paints should be having in. Now, while this is still wet, we are going to add in little cloud details to these as well. So we are going to use in the same pastel tones that we used in for the sky. Or just that in a little more darker consistency or maybe in a thicker consistency, I've shifted into my flat brush to begin creating in some simple cloud movements into the sky with these stones. If you want, if you don't have, say, a John Brilliant color that I used in, you could just simply go ahead and use in that pastel pink, as I told you, if you don't have that shell pink color, you can just create in that pastel pink. If you don't have this pastel peach tone, you can just mix in orange, yellow and white and create in that color as well. Alright, so as I told you again, you don't need to have each of these shades. Since I have them, I have built in my palette over the years, so I'm using them. But as I told you the color mixes, you can just simply go ahead and use those color mixes. Now I'm just giving in some simple cloud details into the sky using in these colors. W so wet on wet, just go ahead, create in some bold cloud details. I'm giving in some simple smaller cloud details as I move towards the base. Now, I'm just picking up a little hint of the Crucian blue and mixed it to the royal blue colour to give in some darker cloud hints. At the top, I'm just adding in a little more of the royal blue colour. All right. So that is it for our sky space. We'll wait for the sky to dry completely and then move further. So now my sky space closer to the horizon line is completely dry, so we'll begin creating in the water body space. Now for the water body, as I told you, we are not going to put in the colors, like, I'm not going to first mark the outline, rather, begin with the same colors that you use. That is the Sel pink color, the John Billion color, all the pastel colors, basically that you used, and you create in your own outline for the water body while adding in this water space. Alright, so closer to the horizon line, make the space short. And as you move towards the bottom space, we'll, you know, just widen this up. So first, I'm going ahead with this Jo Brillant color as first we had the Jo Brilin closer to the horizon line, then move on to the pink. You see, I'm creating a very sharp curvy movement and flow for the water space. And now using in the royal blue color. All right. I'm just going to go ahead, blend this completely. So now the remaining spaces on both the edges will act in as the snow space between this water body. This water body is basically showing a reflection of the sky that we've painted. So now I'm just going to drop in some pink randomly at spots to show the reflection of the sky colors falling in here. And you see I'm just blending all of this in maintaining in these sharp edges, giving in that shape and flow to the water body. So now to give in those cloud details, you can just drop in each of these colors randomly on each other to give in that cloud depth. You? Just creating a reflection of the cloud. Now, while this is still wet, what I'm going to do is I'm going to pick up a little of the indigo color, and onto the edges, I'm going to drop it here to create in the shadow wet on wet. So you see on the edges how this is acting as the shadow to the water body. So just drop a little while this is still wet. As I'm moving towards the top space, I'm further reducing the effect of this and just topping in very little. Right? See? Just dropping it on the edge. This will automatically create in the rest of the space for the snow giving in that breaking point and Now, if at any spot you feel that the blending has begun to dry out, you can just use a dam brush, blend in like this again. And using in this color itself, I will just create in some water strokes as well. And at the base again, creating in the darker day. Okay. Now, just same way going to pick up a little more darker consistency of the indigo and just going to run on the edge again, giving in that bold effect. So now your water space may have already begun to dry out. It may be like a semi dry state. At this point, just given this dry brush effect to create in more of, you know, shadow effect into the water space. Plus the edges will create in that three D effect for the water body area. Now, as I told you, each one's water body shape can be different depending on the layout that you wish to give in. It can be different as you like and not necessarily be the same. I just some simple dots to build in the depth in the water space. So now the rest of the spaces are basically the snow space. Now, by the time this space dries out completely, we are going to go ahead and add in the mountain that we are going to have at the horizon line. For that, I'm just going to use in the indigo and a little hint of the royal blue in a very light watery consistency. So a transparent mountain layer that we'll be adding here. So you see this much paint has also turned out so dark. So now I'm just going to use a damp brush and add in this color throughout. All right. While doing this, make sure you define the horizon line well. Now, while this is wet, we are going to just create in little snow texture that is giving in some darker folds and, you know, creating in that flow of the mountain, some darker highlights. And once this dries out, we'll give in a layer of the fine trees as well later on. H. Now, into these rest of the spaces, we are quickly going to just go ahead, pick up a little hint of the ultramarine, drop a little and just cover up this entire space with this light layer of the ultramarine blue color across the water space, go carefully and add in this. You see how the snow spaces come together here? Same way onto this side as well. Use the color in a very light tint because you just basically need a hint of the color in water, basically. See how we've created in the snow effects. Now just use in little darker hints, drop in at certain spots. Yeah. All right. Now, once this space dries out completely, we'll give in the layer of details on the horizon line and then we'll add in some loose branches and bods as well. To 16. Project 4 - Winter Sunset - Part 2: Now onto the horizon line, let's pick up a little of the ultramarine mixed in with the indico. And we're just going to give in some loose pine tree details. And as you go ahead, just use a damp brush and fill the rest of the space, creating in that misty bottom space. Is he at the top a little detail and towards the bottom, cating in that misty, flowy fat? All right. Just going to quickly go here. In between, you will see I'm just using in some filler strokes like these, as well. Now, picking up the darker tint, I'm just going to drop in a little towards the top spaces. What? So now everything is completely dried. And for the last detail of this painting, I'm going to pick up the paint's gray color in a good bool consistency, and I'm using my lineup brush. We're just going to add in some dried tree details, right? So I'm just going to begin adding in this. Now, make sure for this you use in a lineup brush so that you can get in the fine detail. You see how loosely I'm just creating in these branches. Make sure to make them look natural, giving in the curves and twists. Then from these ones, pull out for the lighter and the smaller ones. So when you pull out the thinner ones, make sure you use a fine tip brush like this so that you can give in these fine details. You see, for the thinner ones, I'm not even adding too much pressure because I really want them to be light. Let them be overlapping on each other so that's the beauty, basically of them. Adding another one here. Of course, because of the cold, you know, all of the foliage may have dropped out. That is the reason you're adding in these dried branches, basically. You can even use a little hint of the brown in between if you want to instead of only using in the pains gray color. That's also perfectly okay. But just let these branches be natural and realistic. I'll just use in a little brown from this side of my palette, which is already there and just add in a little brown strokes as well in between. So here you see at the base, I'm just adding in some dried grass detail. Same on this side as well. You see, I'm just letting my brush dance, create in these dry grass and using in the paint scray I'm just going to pull out branches. The best part about adding these is there's no specific pattern, no specific way. You can just be loose free and let the colors flow. I'm just going to use in a little bit of the browns here as well, given some loose grass details. On other spots as well, you can just pull out some loose dried grass. See? Lose just given in some more details. And now before we just move on to the final details, I'm going to pick up this ultramarine and give in some darker snow details. See, I'm dabbing them a bit a bit, as well, so that it has that little soft effect, but little of a bold effect as well. See? Okay. Now, lastly, let's quickly add in just a few birds into the sky. You can use a technical pen for that as well, or just use in a light consistency of the pain's gray color. See very tiny bods closer to this mean tree that I'm adding in? I guess, these many trees, these many boards fit perfectly fine. So that is it. Now, lastly, quickly just going to create in the color grid at the bottom. So that is it. We are ready with our painting for today as well. I hope you guys enjoyed painting this different kind of the water body that we worked around with. Let's peel off the masking tape and see the final painting. So here's a final grid from day three and day four. I hope you guys enjoyed painting this with me. I love the outcome of this one because this is usually not my style of painting whatever, but I loved experimenting and I loved how it turned out. And I can't wait to experiment more with this style loose and flowy and adding in the slow details in such a simple format. I hope you guys enjoyed painting these, and in case if you're liking this class so far, make sure to drop a review so that it can help me reach maximum students. Every review matters. And if you have some points of improvement for me as well, you can feel free to drop them, as well. It will help me also improve as an artist altogether because art is always learning. Thank you so much once again for joining me into this class and painting along with me. 17. Project 5 - Winter Landscape using Salt - Thumbnail & Color Study: Hello, everyone. Welcome back to the Project five, where in words, we are going to go ahead and study the thumbnail. The painting for Project five is this what we are going to be painting a beautiful snow landscape with a couple walking around into the snow space and a beautiful snow caped tree. So for the snow caped tree, we are going to be exploring with the salt texture. Now, I've discussed this salt texture in detail in a specific lesson, so you can visit that lesson and understand the water level of salt. And how your layer has to be wet and how salt reacts to different layers of water. So you can study that to get the perfect texture into these snow cape tree using the salt method. Now coming in to the simple thumbnail study and the color study for this project. So we will be going ahead with the same size as we have been going ahead for the previous four paintings. You we are going to have in the salt texture, the salt texture. A simple snow space. You see, all of this is soft blend, not distinguished by a prominent horizon line. And here we will be having in two humans and then the shadows to all of this that we'll be adding in. So the colors that we are going to be using, for the entire background, the two colors that we are going to be using is going to be the indigo color and the pain's gray color. All right. And if you want, you can add in a little hint of the yellow occur in between. So this is the color that we'll be using in for both the tree spaces. For the sky, we'll just be having a very light wash of the pains gray color. And for this bottom snow space as well, wet on wet. When we are adding in all of the details at the top, we'll just be adding in a simple wet layer like this, blended. And on the edges, we will just be adding in some Daco depth for giving in the snow details. Alright. This is how we are going to be proceeding in with the basic, you know, study of the Trees, the snow space. Now coming into the colors of these human figures, for one, we are going to be using in a red color as a pop, and for one, we'll be using in the blue color. So for the red, I'm going to be using in the permanent red color. And for the blue, I will be using in the peacock blue color. Of course, you can go ahead use in a Cerlean blue or aprucian blue as well. And across these at the bottom, we are going to go ahead with the pains gray only. And at the top, as well, a pains gray and just show in the highlights of the human figures. A very rough figure. You see we are adding in wet on wet. This is how we'll be adding. While the red and the blue is wet, you will just define in the face the bottom body. And once you are ready with the texture of snow into the trees, we will go ahead, use the pains gray color, and just add in branches. Just going ahead like this and giving in branches in between the snow on both sides. This is how we are going to be adding in the trees and now coming into the shadow part. So again, now this time, we are going to consider our light sources from this space here, right? So all of the shadows will fall downwards towards the left side. So say for this tree, you will just use this color in a light consistency, and I like using this dabbing method to create the natural texture of the shadows. So just add in the color and dab. Same way for these two human figures, also, we'll be adding in the backward shadow. Then some small trees that you will be adding, you can add in the shadows, and we'll be creating in some dry brush texture in the snow spaces. So if you see a project closely, first, we'll work on the entire paper together, giving in the pains gray wash, then giving in the Taka values at these two spots. Then adding in the snow texture, letting it dry completely, and then rid of the snow, then adding these branches into the trees. These two human figures, shadows and the dry brush. So that is how our class project is going to be simple, easy, and it's going to be, like, a very beautiful one because the texture of the snow is going to be different for everyone. And it's, of course, a magical thing to just watch how the textures, um, unveil itself and how the textures will be different around. All right. But the most important thing before you dive into this class project is go ahead and look into this lesson of the salt texture because it's very, very, very important to know how salt will react to different levels of water. Otherwise, you will not get the texture right into your painting. So that's about it. I will see you guys into the painting now. 18. Project 5 - Winter Landscape using Salt: Hello, everyone. Welcome back to the next painting of this Winter painting challenge. And today we are going to go ahead and play along creating in Snow, using in the salt for creating in the textures. So I'm going to use in simple table salt, alright. And we're going to create in the snow texture using the Salt method this time. So let's begin in first with a simple study of where things are going to be. So approximately this is going to be a horizon line. So 60% is going to be the sky. The bottom will be the snow space. And here we are going to show the snow filled kind of the tree effect using in the Salt method. And this is going to be a simple sky. Then the simple snow. Then here we will be adding in two human figures. So just the back of the human figure. So just a simple body that you can form in. Majorly I'll just be going ahead with the pans directly and doing this part. Alright? Not much of the details that we'll be adding. And then we'll be adding in small shadows to both of these human figures, diagonally moving towards the bottom left side. So that's going to be our entire composition for this painting. Now for this painting, I'm going to go ahead one more step further, and I'm going to be using in this violet shadow color, which is like a granulating color. So, you know, when it will react even without the salt, it will create granulation. And with the salt, of course, the granulation and the textures will be more. If you don't have the violet shadow, it's perfectly okay. You can just simply use in your simple pains gray color for the entire painting. But I will be using little violet shadow just for creating in that granulation along with the soft texture. So first, we'll begin in with the sky now. For the sky, we'll first just simply go ahead with the simple layer of water. And after adding in the layer of water, we'll just add a very light layer of the pains grey color, like almost equal to just a simple wash of the paints gray, which will just be of a very light tone. All right. So I'm first pinning in with the water layer. Now I'm going to add in this layer of water into the entire space because I'm going to add in the snow area also wet on wet while we add in the sky and everything. So we won't have a proper prominent horizon line. It's majorly going to be a very soft and soft kind of detail that we'll be adding. First begin in with the pains gray color, a very light layer of the pains gray onto the entire space. Even for the snow, just go ahead with, you know, a different proportion value different tonal values of the pains gray color. This is turned to dark here. You see, I'm going with very loose random strokes this time. You don't have to worry much, just go ahead loosely into the snow space, just create in some darker snow spots. Now, I already know that I'll be adding in this human figure here, so I'll just add a small soft shadow while this area is wet. But I'm going to turn this very light at the moment. You see, a very light shadow I've added. We'll add the more prominent shadow with the dry brush technique on top of this. But for now, just add it in simple details. Now let's go ahead, add in the violet shadow color, and I'm just going to create in simple tree like structure. And I'm using the color also in a very liquidy consistency, as you can see. Now, in case if you don't have the violet shadow color, I told you you can just go ahead with one layer darker consistency of the pains gray color. Add in these two huge tree like structures on both the edges. Very roughly that I'm adding in, you can add in a little hint of the pains grey along. So this is wet on wet that you need to add in because we'll be adding in the salt texture, and the salt texture is added while, you know, your paints are wet. So go ahead with this layer of the paints on both the edges. And now we are going to go ahead and sprinkle the salt. So just take up some salt now and just sprinkle it from afar. Now, make sure when you sprinkle the salt, it is not too wet. That is your paper is not too wet. Otherwise, you won't get that beautiful texture effect of the snow on the trees. So I have mixed in a little hint of the violet shadow color, as I told you, and a little bit of the pains gray. You can just go ahead with the pains gray alone as well, and slowly just prinkle salt from afar. And then we'll have to wait for this to dry completely. You see? Make sure it's not excess at a spot completely. You see, I'm just scattering it around everywhere. And now I'll wait for this to dry completely, and then we'll go ahead further. So now, as you can see, the salt is completely dried out and you can see the textures that have bloomed in and there's no effect that has come into the foliage of the tree that we'll be creating. So I'll quickly go ahead and just rinse off all of the salt and then be back. So now after rinsing off the salt, you can see how beautiful the salt texture has turned out creating that snow effect. Now, into this, we'll just be adding it in some detailed or branch look, and we'll let this, you know, soft texture tree be there. Of course, we could have built in a little more texture with the salt. But of course, with every um once layout, the texture is unpredictable because where the salt splatters and how it comes out will be different. I could have gone ahead with a little more salt splatter, but I was fearful that, you know, I didn't want to cover up the entire s piece also. But whatever has come in, I'm happy with the result of the salt texture. Now it's time to add in more detail to this painting and get everything together. So now let's go ahead and add in the details that we have to add in for the trees and the human figures here. So first, I'll go ahead with the plains gray color in a good thick bold consistency, and we'll just add in the details to the tree. Basically, you just have to add in some branches and the stem details and create in that tree look altogether coming. So I'll just begin in with the mean branch here. You see, I'm going in with a very rough shape so that it looks realistic. And now from this, I'm just going to leave in some random gap and pull out some small branches in between. So basically, you will see that kind of, you know, the branches visible between the foliage that we've created in. See? Make sure you use a pointed tip brush to do this and just randomly add in a few branches at the top as well. Same way onto this side as well, I will go ahead and add in a few of these details. You see how in between randomly, I'm pulling out a few branches visible. So you see, we've added in the tree details with a simple technique. Now using the same paints gray color in a little lighter consistency, like just like a water consistency, quickly add in the shadow effect to these trees as well. So you can just add in this and dap quickly so that it turns light. So you see, even the shadow of the trees is moving towards the bottom left side, just as we added in for the human figures here. Same way for this one, as well. So since I want the shadows to be light, I quickly tag it and you can see how the shadows have acted here. Now, let's go ahead with the human figures. So for the first human figure, I'm going to pick up a red color. So I'll pick up the payroll red. You can go ahead with a maroon or a red of your choice, and I'm first pinning in with the top body. Now, you can let little random white caps be there and just create in a rough outline. All right. Now I'll pick up the pains gray color. And while this is wet, basically, these are, you know, you don't need to add in much of the details to these. So just adding in little pains gray. And so basically in the head space, I've added in the pains gray color, creating in the shoulder outline and the hand. And the bottom body. So you see a simple human figure that we've added in. Same way. The other one as well. For that, I will just go ahead and use in a blue tone for the body. You see with the blue itself, just pulling out simple hand strokes as well. And same way, I will just go ahead with the pain's gray color, add in the head roughly and the bottom body structure. And now, you see, we had already added in the soft shadow to this already. This actually turned out a little extra broad, but then now it's okay because I cannot do much about it. But same as we added in the shadow to the tree. Going to go ahead, pull out the shadow to these human figures again. We already had a soft shadow. So this is just an additional detail. So quickly add and dab and you will see how beautiful the shadow turns out this way. And then on top of it, you can even go ahead, add in another layer with little dry brush stroke to create in more depth. S. And now, if you want, just go ahead with some dry brush strokes into the snow space as well. Anywhere where you feel that the colors lay out darker, you can just quickly go ahead with the tabbing technique and create in that beautiful glowing effect as well. You just add in some branch detail before we just wind up this painting. Make sure that these branches are bold. And lastly, let's pick up our white quash and splatter some snow. So for that, make sure you pick up the white quash in a good bold consistency. And as you know the game of splatters, it's going to be everywhere. So you got to control your splatters as well as if you want to cover up your space close by. So just creating the snowfall effect everywhere around. It will majorly be visible more onto the trees, basically, because the bottom is already like a white space with just little hint of the paint's gray color. So that's, of course, not going to be having in much of the effect. Okay. So we've added in the snow as well. Now, I'll quickly create in the color gray at the base. This time, we've not used much of the colors, basically, but whatever we've used in. So first, is this violet shadow that I used in for the tree space. Next, we used in the pains gray color. Next, we used in a little hint of the red. And lastly, a blue color that we used in. Now to maintain the harmony, I actually need one more color, so I'll just watch a little hint of this Pettersburg occur, which is like a white colour, but with a little yellowish tint, so that can reflect like the smoke tone that we used in. So that's about this painting. I hope you guys enjoyed painting this with me. I will see you guys into the next painting, and then we'll peel off the masking tape and see our entire grid together. 19. Project 6 - Country Side - Thumbnail & Color Study: Hello, everyone. Welcome to the sixth class project of this ten day window painting challenge. And in today's class project, we will be creating this beautiful atmospheric landscape wherein we'll be having a water body space, these background blurry mountains, creating in that winter misty atmosphere. And in the background here, we have the greenery details in which we'll be using a bit of the salt texture. And then these two small cabins out here, so beginning in with a simple thumbnail study of the colors and the layout of the class project. So we are going to begin painting the entire space together wet on wet just as we did for the previous project. Same way for this one, as well. We'll be beginning together, and we'll begin with the sky as a major part. So our sky is going to occupy almost 60% of the space. And then our bottom area will be the water body area. But if you notice the water body and the sky does not have that sharp distinction line as we are painting everything wet on wet together. We'll begin with a wet on wet layer on the entire space. And while it is semi wet, we'll add in the background mountains, these background blurry greenery details, and the water body space as well, wet on wet. And once everything dries out, we'll add in the bold detail of the branches, birds, and these two cabin and little rock details into the sea area as well. So here we'll be having in the cabin, your we'll be having in a boat, and here we'll just have in some simple branches peeking out from the greenery space. And in the background, we'll be having in two blurry mountain atmospheric ranges. So for the colors this time, firstly, to begin with the sky, I'm going to begin in with the Prussian blue color. A very light watery layer of the Pushian blue is what I'm going to be doing. So in a very light consistency, the Prusian blue color, then the two mountain ranges will also be with the Prussian blue color, but in a little one tone darker consistency than what we use for the sky. And then the second mountain range will be in the third darker consistency range. So you see three colors, we'll be using three tonal variations, beginning in with a very light wash for the background, then moving on to one tone darker for the first mountain range, and then moving to one more further tone darker for the second mountain range. That's how our background is going to be for the greens, you can go ahead and use sap green, olive green, whichever green is available in your palette. I will be using in a little bit of the hooker's green mixed in with a little bit of the olive and the sap green. So these are the greens that I will be using for the background. Then in front of it, I am going to be using in a granulating color, which is the violet shadow color in front of it only to add in little or, you know, brown hints. If you do not have this violet shadow color, it's absolutely okay. You can go ahead and use in a medium to dark tone of brown, such as a vindic brown. You see, it's giving in the same effect as the violet shadow color has given in. So you can either use the brown color or purple or any granulating color to create in that muddy effect out there. Then onto the spaces, we will be using a little bit of the salt texture, if you can see closely, there is very little salt texture that we've added in here in the background to create in that misty effect again. For the water body space, wet on wet, we'll first go ahead with a light layer of the Crucian blue color. And then while this will be wet, we'll go ahead add in indigo highlights. And while this will further be wet, we'll just add in some more depth with the indigo color, some wet on wet waves and shadow details, you see, simple wet on wet technique that we'll be using And this is how we'll be painting the water body space. And then for the cabins, we'll be using in the same Prussian blue and the indigo color for one of them and one of them, and the white gouache for adding in the snow detail. For the branches and the birds, we'll be using in the paint's gray color. All right. For the birds and for the branches, we'll be using in the pain's gray color. And we'll be adding little highlights with the white gouache onto a few of the birds, as well. So that's about the colors that you need for this project and how we are going to be proceeding first with an entire wet on wet layer, then adding in wet on wet the mountain ranges, then adding in the greenery, wet on wet, then the salt texture, and then the wet on write details that we'll be adding. Now, again, the important thing that you need to be careful about is going to be the water control while adding in the mountain ranges and the greenery spaces because if your background will be too wet, these mountains will not retain their soft shape and if your paint will also be too wet, they will spread out completely into the entire sky and not retain the shape of the mountain that you need. So it's very important to make sure that you have a control over the water, the wetness of the background, and the water while adding in these mountain ranges. So as we move further into the class project, I will still keep on guiding you step by step as to how to proceed in with the painting. So in the next lesson, let's begin creating in this class project together. 20. Project 6 - Country Side - Part 1 : Hi, everyone. Welcome back to the next painting of this winter painting challenge. For this painting, I've mapped out two small cabin here, which is not exactly in the center, a little left line, and a small boat that I've added here. I've not added the details to the cabin. That will be directly with our panes. Now, onto the cabin line, this is approximately going to be our horizon line where our cabin or the cottages end in. Alright, I'm giving a very rough line because I don't really want it's all going to be a soft painting to geto. So the top, we are just going to go ahead with a simple blue sky using in a very light Tustian blue color wash. And, um, then we'll be adding in some soft mountains. Then again, we'll be creating in some simple, you know, foliage for the tree, very rough soft ones. And then we'll again be using in the salt texture this time as we used for the last painting. So just going to use in a little salt texture here as well. And we are going to have a soft seascape as well, close to these cottages and a small boat along with a rowing effect. And then we'll add in a few birds into this painting. So that's how our layout is going to be for this painting. So we have to begin in with a lot of softens of details. Now, the only thing that you can do is you can either cover this house area or the cottages area with masking fluid or masking tape or while adding in the paints and water, you can just make sure that you don't add the paints there. So what I'm going to be doing is I will be adding in the layer of water into the entire space. But when I go ahead with the colors in that area, I will be careful and add very light hints of the blue only there, which will act in as the base to all of the details that we'll be adding in. And we are going to paint everything in a very soft manner, so we won't have to wait for the paper to be always drying out completely because we are going to be working in wet on wet, creating in the details into this painting. So just beginning in with a good wet layer of water first, not too wet, but not too dry either. Now, as I told you first, we're just going to begin in with a light wash of the pollution blue color in the sky. So just begin in with a very light Prusian blue color and in the sea as well, give it a good layer of this prussian blue color. As I told you in the cottage, I will be giving in the light layer of the blue while adding in this detail itself because this will act in as the snow details on these cottages. Rest of the colors, I'll be very careful while adding in close to that space. Now, while this is wet into the sea, using in a smaller size brush, I will just move on to a little hint of the indigo in a medium consistency, but water control. And I will just begin defining this soft horizon line that we have to maintain in. And while doing this itself, just add in little wave movement. Now into the sky, using the Prussian blue color, beginning with the first layer of the mountain. Now, again, this is too dark. So I just cleaned up my brush, creating in that soft background mountain effect. Go ahead with a light color because we still have to add in one more layer of the mountain. It will all have a soft blended look with the painting because we are working wet on wet, as you can see. Alright, so this is the first background mountain that we've added in, soft detail. Now, again, moving to the sespace just going to go ahead, build in some more darker details. You see? Lose adding in some more wave details. Now moving on to the next mountain range, of course, with this painting, you may have to be a little quick because you can't let any of the space dry out, but you need to wait for it to, like, you know, be 50% dried so that you can work on with the next layer and so on. So you see, my painting is not completely dried anywhere, but it's at that point where I get the soft blends, but the colours retain the space in which I'm adding them. Now, along with this, I'm going to be using in the olive green color. You can use olive green, sap green, whichever green is available in your palette. And I'm going to pick up a little mix of the olive green and the viridian green. And I'm going to begin creating in the greenery details that I have to add in here on both the sides. Now, as I told you, close to the cottage, only the blue colors that I add in, and then remaining colors, I will go ahead carefully. Now I'll pick up the viridian green color or I'll rather pick up the hooker's green color, which is in my palette and just begin now, some spaces you can give in little pine tree, like, details as well. Now, onto this side, I'm going to go ahead with a little bit of the violet shadow color that we used in the last painting and drop that color here a bit. Now, again, water control will play a very important role here as well. So you see I'm dropping it in little tree shapes, and you have to be a little quick with this because we have to still go ahead and add in the salt texture while this is still wet. So I'm just mixing in a little bit of the violet shadow along with my green. You see water control, how it spread out quickly. Now, from the roof space, pick up the colors if the colors are moving in. See, going ahead with the darker violet shadow color. And again, we'll just pick up a little bit of the hooker's green, add in some details. Now, all of this is working fine, but you can see the mess that is happening for me is this water body space, so I will quickly pick up a light layer of water and blend all of this in again. Because as I told you, we really want a good soft effect this time. He's just adding in some loose foliage detail. So I've used in the mix of the green and the violet shadow. And now, again, I will just pick up a little of the indigo. Now, I'll pick up the indigo in a little darker consistency so that I can give that definite look on the horizon line. But it will have a soft blend because you can see the green and the sea area again. Everything is wet, so So you see our horizon line and this space has just been blended. For the cottages, I will work around with the whites later on and create in the depth. Now, by the time this filage space is wet, quickly go ahead and drop in little salt texture here. But this time, be careful only in the filage space, not into the sea or the mountain spaces because the paints will catch in the texture there as well. Now, again, in this case, also, if anywhere anything is looking dried out, you can quickly go ahead, drop in some paints along with the salt. So at certain spots, the paper was beginning to dried out. So I'm just adding in this color effect again. And now again, I will quickly drop in the salt texture. I'm just blending it lightly with the top space because I really wanted to have that soft edge. Now, we'll wait for this much space to dry out and then move with the next layer of details. 21. Project 6 - Country Side - Part 2: So now, as you can see, the salt texture has dried completely. I will quickly just get rid of the salt or particles remaining. By the time this was drying, I had quickly given in a whitewash to the cabin spaces that I'll be adding in because the color had flown in there. Now I'll quickly just rinse this off first. So now let's go ahead and add in the details one by one. Firstly, I will pick up the same Prussian blue colour and begin creating in the details of the first cabin here that we had added the pencil sketch for. So the front of the bin, I will add in with this Prussian blue color here. And for the top space to depict in the snow, I will just use a very light layer of the indigo and given the outline. And just using in the damp brush now, I will blend it in words. So you see we put that snow effect onto the cabin space. Same way even at the bottom, just going to give in little wash of the indigo for now. Now, by the time this dries out, then we'll move on to the next cabin. Till then let's pick up the paint's gray color. And I'm just going to add in a few branch details this side, just as we added in the previous painting. Same way, going to create in some branches moving in between this foiage that we've created. So see, I'm using the pains gray color in a good cold consistency and creating in the main branches. And then from there, just pull out some small branches. For that, make sure you use either a detailer brush or a pointed tip brush. You see, I'm just letting the strokes be natural as much as possible. Now using in the pain's gray color. Let's create in some small rocks as well into the water space. This little color that has bleeded, it's creating in that natural soft blend basically what I needed in here. All right. So I'll just let that be there and let this beauty reflect on its own. Now this is dried completely. So first pick up the indigo colour and let's add in the detail into this cottage completely. So picking up the indigo, I will just highlight the roof space. And to this cottage here, I will be filling up the front space with this indigo color. My pencil sketch were completely hidden because of the white layer of paint that I had added. But since I know my outline, I am just following that. All right. So for this cottage, I've added the front with this color, and I will just define the roof of this cottage again using in this dark hint. Just giving in some highlights and using the same indigo color, I will just define simple doors and windows. Now you can follow your own outline and detail for the cabin, not necessarily to have the same right? Now, I will just use this indigo color and create in fine lines into this first cabin that we had added. You see little pictures. Now using in the white. Let's add in small chimney on top as well. And given that snow look, Now, first, since I'm working with the white right now, I will pick up the white and add in a few words. I'll just pick up some fresh white quash again. Oh, So using the white, add in these birds first. Then we'll add the highlights with the black into these birds. And now, lastly, we are left to add in that rowing boat detail. So for that, again, moving on to the paint's gray color, a very fine boat. A small circle and the body of the human figure and using the tip of the brush, just a small hand and the rowing boat stick. If you want for this detail, you can go ahead using a technical pen. You see, I'm just adding in that stick detail. Now, to add in the reflection to this boat, use the same pains gray color in a light consistency. Just create an inverted scene of the same thing that you created at the top. At the moment, I know my reflection is a little dark, but I will quickly just go ahead, use a tissue or a rough cloth and dab it. And you see the reflection, it has turned out so beautiful and light. Now, just some final details onto this side as well, going ahead with some simple branches. Not much, but a little. And if your birds are completely dry, pick up the pinks grey color, and just on the edges, we'll define the birds. So onto the left, right wings and the bottom space, add highlight of the black. So basically the center is maintained in the white color. All right. So we've added in the boats, as well. Just adding in a layer of the white paint again. Now, using the white into this second cabin that we had added, let's create in some texture of the snow. You see, not taking it across fully, but just a little. Now, wherever you feel that the lines were bold, blend it with the snow space, creating in the snow texture. Just adding little texture. And lastly, let's go ahead with the snow splatters. I will shift into a bigger size brush so that it gets done quickly. Using in the white quash, just go ahead, splatter in the snow. That's it. Not much, little snow that we've added in. And now I will just go ahead, pick up my technical pen, a waterproof pen, basically, and just define some gold outline to this cabin so that this stands out. Mm I'm going ahead with the color grid. Firstly, picking up the olive green color. Next, the hooker's green. Russian blue indigo. And lastly, the pain's gray color. So one last thing before peeling off the masking tape, I'm just adding in a few boards into the sky as well for this one. Uh, I just was not liking the boards layout your, so I just quickly thought, let's add in some detailed boards at the top very randomly. All right. So that is it. Just add it in some boards as well. And there's very limited snow effect in this one, as you can see, because the rest of the painting is already light just as in this one. So you can see the snow effect coming in here only majorly. That is it. Let's peel off the masking tape and see a fine painting. Make sure you begin peeling off the masking tape against the paper. So if you see the top of the sky so light that it's almost mixing into the paper. So that's the lightness and the depth we created in into this painting. And both of these painting, we've used the salt to create in the texture of the snow and a little texture here. In this one, I feel the texture could have gone in a little better, but since my paper dried out quickly, that's the reason I've cut in very limited texture in this one since it was an entire wet on wet creation that we were trying in. But nevertheless, you see, as I told you, this class is a lot of learning for me, as well, and unlearning a lot of or things that I used to do previously. So I hope you guys enjoy painting both of these with me. I will see you guys soon into the next painting of this winter challenge. And if you're liking this class so far, make sure to upload in your class projects into the project section and drop a review if you feel, you know, this class is worth trying, and it may just motivate someone to go ahead and try this class. And if you have a constructive feedback for me, as well, I'm always open to improvement. Thank you so much, once again for joining me. See you guys into the next painting. 22. Project 7 - The Cottage Night - Thumbnail & Color Study: Welcome back to the Project seven of this ten day Winter painting Landscape class. For today's class project, we are going to be painting in this beautiful, soft Northern Light with these bins in front of it. And for this, we are going to first go ahead with the simple thumbnail study and then move on with the color study and a few basic techniques as needed. So first, laying out the outline of our project, we are going to begin in with the same size as we've been going on previously. The bottom will be the snow space in front out here. You will be having in two cabins and, um, then around this a little bit of the foliage, like just last time and some soft background details using in the snow texture and the beautiful Northern light at the top. At the base here, we'll be having a little bit of a fence moving towards this small cap in, some rock spaces, and some loose branches in between popping out from the snow. So that's what our project is going to look like. Now, moving on to the colors. So for the Northern sky, we'll first see the colors that we are going to be using so the first color that we'll be using is going to be a little bit of the cobalt green color. I've already discussed the mix for the bal screen in the previous class. That's the first class project, basically. Then next, I'm going to be using in this cadmium light green. So if you see this glowing green light here, that's using in this cadmium light color. Now, in case if you do not have this cadmium light, we'll, you know, study a color mix for that as well. Next tap, I'm going to be using in this John Brilliant color, the color mix of which also I've already discussed in the previous project and shown you how you can mix this color on your own. Next up is going to be a little bit of the shell pink color. I will show you a mix for the shell pink color as well. Next up, we are going to use in a little bit of the pink peony. Prussian blue. Prussian blue is absolutely optional. You can directly move on to Indigo as well. And then we are going to be using in the violet color. That's a bright clear violet. So these are the colors that we are going to be using into our Northern sky this time. So we begin in with the cobalt green, moving on to the cadmium light green, then a little bit of the John Brilliant and the shell pink and the pink peony mix. At the top, we have the indigo, a little highlight of the Prussian blue if needed, and then the violet color here. Then at the base closer to the cottages, again, we are going to be going ahead with a little bit of the violet. And if you want, you can either add indigo or this violet shadow color, which is a granulating color. It's absolutely okay. If you do not have a granulating color, you can just go ahead with a mix of the violet and a little hint of the indigo to give in the darker depth. So that is about these two spaces that we'll be adding in. Now coming into the cottages, for the cottage, the colors that we'll be using, firstly, to depict the light coming out from the cottage, it's going to be the naples yellow. With a hint of the orange. And then for the rest of the cottage space, we are going to show this light reflecting onto the walls of the cottage as well here. So for that, I'll be using a little bit of this Pettersburg ocher, which is a beautiful light tone. And then we'll be using the tones of brown, which includes the Burn Siena, ndeg brown, and the Pain's gray color. To depict the darker shadows of the house here as you can see. All right. So that's the color tone that we'll be using in for the houses. For the snow, we are going to use the same colors of the sky. You can see the snow area has a reflection of the sky colors coming in. So basically, all of these colors in a very watery light consistency. So first, like here, we have these cottage. So to depict the cottage light falling onto the snow space, we'll be going ahead with the yellow and the orange highlights. In a very light watery consistency like this, it's basically water with just a little hint of the color, and then across, you can just add in little violet, little pink highlights to depict the colors of the sky falling out here as well. A little bit of the indigo highlights in a very lighter consistency, you can even quickly dab and create textures into the snow space. That is about the um, snow area. For the snow on top of the cottage, it's going to be a very light wash of the indigo, this is still dark, very dark in fact. So it's going to be like a light wash of the indigo with a little hint of the violet. All right. You see just little violet highlight wet on dry, and then just some pains gray strokes that we'll be adding in. So that's about the color of the entire painting. Now coming into a few of the color mixes for this project as well. So let's go ahead and form a few color mixes. So for the first one, we've already discussed the Copaltrene mix in the first class project coming into the cadmium green light. This is from the brand PWC, the shade that I've used. That is Shannan art, their professional watercolor series. Now, to mix this, let's begin in with the sap green color. Alright. So I will just pick up a bit of the sap green. And to the sap green, so picking up the sap, sorry. I buy mistakenly picked up the same color and mixed in. Alright, beginning in with the sap green. Now, to the sap green, I'll go ahead, mix in this space till yellow. So let's begin adding little hints. Alright. I feel we'll need a little touch of white because this cadmium green light is basically a pastel tone. Alright? So I will just mix in a little hint of the white gouah as well to this, adding in a little more green and yellow. So now let's just test this shade. So this is turned a little extra pastel. So let's go ahead, add in just a little hint of the sabcren again. Begin adding in very light tones. All right. Now, let's watch it here close to this color. You see we've got an almost similar color tone. You can adjust in with the help of yellow again. All right. So let's just watch by adjusting with the yellow. You see how you can get different tonal variations by adjusting the ratios of the paints that you're using. So using in the basic colors such as yellow, green and white, you can create in this pastel light green color. For the pink peony color. You can just mix in any shade of pink with white quash. Just you know, basically, pastel colors are more opaque, as you can see. It covers the whiteness of the paper. So that is by using a white quash will give you an opaque color consistency, and I prefer using a white quash for mixing in pastel colors if you do not have one. For the shell pink color, you can just go ahead with a little mix of the red, pink and white quash. So let's just go ahead and try mixing in the shell pink color. So picking up a little bit of the red. I am picking up the permanent rose color from Wincor Newton. All right. And now to this mix, let's go ahead, add in the white wash. Adding in little hint of the red again. M. I guess we'll just go ahead with a little tint of orange, and that should do our work. Okay, that's gone too orangy, but we are almost getting there. Yes. And now let's watch this color and see closer to the shelpin. You see, we've got the same tone for the shelpin color as well, and we mixed in orange, red, and a little hint of pink with the white wash and we got the shelpin color. Of course, ratio and proportions will be a trial for everyone because How you mix the colors, plus what color tones you are mixing. Like say, I have the payroll red, and I'm using the pure orange from megalomsion and the permanent rose from Windsor Newton. So say, instead of this permanent rose, you may be using scarlet or crimson. So accordingly, the proportion and ratios will vary. And once you go ahead with different proportion and variations, you will be able to understand it better what's working best for you. So here we have the mix of orange, red and rose plus white guash. And we've got the shell pink color. Right? And here we mixed in sap green plus yellow, plus white quash, and we got the cadmium light green. For the pink peony, you can just go ahead with any pink plus white. Crucian blue, you can just go ahead with any medium to dark tone of blue. Indigo, I've already shared a mix of mixing in blue with black or pains gray. Violet is a ready color or you can mix in pink and blue if you don't have a violet in your palette. And rest of these colors are colors which are readily available. We'll just go ahead with one more color mix. That's the Petersburg ocher. So let me just quickly go ahead with a mix of the so we've picked up yellow ocher and two yellow ochre, go ahead, add in lot of white. And there you go. You've got a similar Pettersburg ocher color. So let's just swatch it here. Alright. This is the mix that we've created, and let's swatch the original pigment color here as well. You see? It's the same color tune that we've achieved. So it's basically yellow occur in a pastel form. So you can just mix in yellow ochre plus white quash. Again, white quash because pastel colors are opaque and this is Petersburg Ochre directly from the tube. So that's about the color mixing for this project, and we've already discussed all of the colors that you can mix and how. So now going ahead with the process that we are going to follow. First, we'll be painting in the Northern sky, using the wet on wet technique, adding the colors, letting them have the soft blend. Your we'll be adding in the violet and the violet shadow color with a little bit of the salt texture. If you have a closer look, you have the little salt texture coming in. Then we'll wait for everything to dry. Then we'll go ahead with these bins wet on wet. Then there's snow space, and then the wet on dry details that we'll be adding. And lastly, the scatter off snow using in the white quash. So that's nothing new in the technique section, what we've been following since the previous class projects. The main point here of focus was the colors that we're using, the color mixing that you can follow and form in your own colors. So that's about this class project. Now in the next lesson, let's go ahead and paint this beautiful Northern sky together. 23. Project 7 - The Cottage Night - Part 1: Hello, everyone. Welcome back to the next painting of this winter painting challenge. To begin in, I have given in a cottage outline, and I have just marked the horizon line almost at the bottom of the cottage space completely, and we are going to paint a beautiful, colorful sky like Northern sky, but in a very simple plain manner, the main details this time we'll be adding is to the cottage. We'll be giving in, like, brick details and everything. And this bottom area is going to be the snow space, which will just have the reflection of the sky colors coming in the snow. So we're first going to begin with the sky. So for the sky first, begin in with a layer of water, avoid the cottages, the roof space completely, and just go ahead carefully closer to that space and let it be all blank, and just go ahead with a layer of water into the sky first. To see closer to the roof space, I'm going ahead quite carefully. Alright, going ahead with the layer of water good even so that we can play along with the wetness of the paper. Now, first, I'll begin in with the Kobal green color. I am going to begin adding in this cobal green color here first. It's going to be like a simple Northern sky that we'll be painting this time. Along with the bal green, I'm going to go ahead and use in a little bit of the me green color as well. So just a little hint of this green colour to create in that bright light effect. Then I'm going to use in the Jon Brilliant color. Now, if you don't have a John Brilliant color, you can just create a good pastel orange with the help of a little hint of the pink and use this color here. You see I'm using the paints also in a good liquidy consistency so that they blend and flow naturally. And next pick up a good pastel pink color. You can use the shell pink color, or you can use the pink peony or any other pastel pink that's available in your palette and just lay the colors close to each other. Now, I'll just pick up a little bit of the cobalkreen color, place it at the top. Now on the left top side, I'm going to go ahead with the indigo color. And in the remaining spaces on the right side, I will go ahead with the violet color. So I'll use the bright crystal violet. See, little violet highlights. Now, at this point, if you see the blendings don't seem to happen naturally. So just go ahead with the same paints again as a second layer and just drop them at the same spots, and then you will see the colors bleed into each other naturally and create in the soft blends. You see, I'm just dropping in the second layer of the pigments. See the pigments are in a little liquidity consistency. And now I'm just going to tilt my paper in directions so that the colors bleed into each other and have soft blends, but make sure not excessively covering up the spaces. So at this side there is excess. I will quickly dab it off Now, at this point here, you can still see that the blends are not happening in smooth and soft. So you can pick up any color that you wish the blends mix smoother and just drop the colors again and you will see the magic happening again. So you see the flow control has to be such that you need to be quite quick while tilting. So you will see the soft blends, but in the controlled way such that each of the colors are still visible separately. Now at this spot here, as you can see, I've left the spaces. So there I'm going to go ahead. While this is still wet, I will quickly lift up the excess colors from here first. And onto these both sides, I will go ahead with the violet shadow color. So if you don't have a violet shadow, you can just mix in a little bit of the paints gray to your violet. And along with the violet shadow, I'm using in a little bit of the bright clear violet and just creating in little background foliage detail wet on wet onto both the sides. Be very careful closer to the cabin spaces, dropping a little at the top of the cabin roof. Now, at the top, I'm just blending out all in and creating in that foliage kind of effect. See? Just using the tip of the brush at the top. Now, I will just use a little bit of the salt only at these spots of the violet color. So go very carefully. You don't drop it into the rest of your galaxy or Northern lights just into these violet spots to create in the texture of the trees naturally. You see I'm going very carefully so that I don't go into the rest of our Northern sky or the galaxy into these spots. All right. Now we'll wait for this to dry completely and then we'll move ahead further with the rest of the details into this painting. Till then I will just do one thing. I will paint the windows of these two cabins that we've added. So for that, I'm going to begin in with the yellow colour first. Just use a hint of yellow in the center, and on the edge, use this bright orange color. I'm just lifting a little of the orange so that we can have a little more of the yellow touch in the center. So I'm using the naples yellow. You can use any bright lemon yellow or bright yellow that is available in your palett. Now we'll wait for all of this to dry completely and then move further. 24. Project 7 - The Cottage Night - Part 2: So now my sky is not completely dry, but my cabin space here is completely dry. So let's go ahead and paint in the details into the cabin because we'll have to go one by one, adding in the details here as well. So I'm going to go ahead with the wet on dry. Now here, you can simply just go ahead use in like I'm using the Petersburg ocher using a litter of the orange color to depict the effect of the light falling out here on the cabin space, like this light reflecting onto the wall of the cabin, and I'm going to use in the light red color. And just going to go ahead, create a soft blend between all of these. Now, the roof space, go ahead carefully, leaving in that fine white line for the snow at the roof to depict in there. Now, closer to the window as well on the top and three sides, I'm leaving fine white line to define the window much better. Now, I'm going to go ahead and do some color lifting, so I will pick up the yellow color, drop in at spots, giving the base outline. Now, at the top here, I want to drop in the dark vende brown color. You can use the dark brown that may be available in your palette. While this is wet, just drop in the darker highlights which create the shadow to the roof. So you see, if you feel that your paper is something that will dry out quickly, so first, you can go ahead with a layer of water and then work wet on wet creating in all of these details. Now, this side, I want the light effect coming in, so I'm doing the color lifting and letting the spot be light here. After the vendi brown, I will quickly pick up a little bit of the paints gray as well. Whenever you pick these darker colors to just add the shadow effect, make sure you don't pick up the colors in a too liquidy consistency. Otherwise, they will spread completely and cover up all of your lighter spaces as well, and just drop it at the top, so you see automatically it blends in while everything is still wet. Just dropping in a little more yellow and quickly doing in the color lifting to create in this glowing spot here to show basically the light effect that is falling in here. Now, from the shadow space as well, if you want, you can just randomly go ahead and do some color lifting so that the shadow also looks natural. Just little, you see. Now the shadow is maintained, but we still have some glowing spots. Now, I will wait for this space to add in after this area dries out until then into this space, I will go ahead with a mix of the indigo and the brown tones. So leave the roof empty of this one as well, and closer to the window space, go carefully, using in a little bit of the brown. Now, the same way as we added in the lighter tones there for this one, I'm just going to put in little darker hints of the indigo. Alright, so that is for our cabin spaces first layer. Now we'll add in the brick details into this one. And by then, what we'll do is now we'll paint the snow space of first layer. So for the snow space, what we are going to do is we have the cabin lights here. So here, we'll give in little glowing effect of the cabin lights. That's the yellow and the orange color. And then we'll use the same sky colors to just create that snow layer. So go ahead with a layer of water first so that it's easier to create in the snow effect because basically in the snow space, we're just going to have in, like a layer of water with just little hints of the colors that will drop in here. So first, using a light yellow closer to the house spaces or the cabin, then a little hint of the orange, very light effect to show the light effect. And now I'm going to go ahead with the John Brilliant color a little very light. It's like you see a water layer that you're adding in, a little pink highlight this side. Now, the purple and the indigo color. You see, simple snow space that we are adding in. You see, I'm using the colors in a very light consistency and just like in a water like consistency and creating in the depth and the details. So it's very important that you use the colors in a transparent consistency. Now just using the indigo randomly adding, you know, the highlights on each of the sides, creating in the snow effect. And All right. Now, we will have to wait for, you know, part by part things to dry out. So basically, both of my cabin are dried out. So the center space of the cabin is what I will be painting. And for that, again, I will go ahead with the mix of the indigo and the brown highlight. So begin in with the indigo first. So you see for this detail, you need to make sure that you go step by step, making sure the spaces are dried, and now I will move on to the brown. Now, at this point, of course, to you, it may seem like a separate, you know, detail that you've added in between and, you know, different block altogether. But don't worry when we will add in the brick details, all of this will take shape and define everything more and much better. Going to go ahead, create in some color lifting and put in some glowing effect. Now for the snow space of this cabin top here at the roof, I'm going to go ahead with a light wash of the indigo color, and leaving the edges, I will just drop this wash layer of the indigo. So I'm leaving the edges white, as you can see. And if you feel, just go ahead, use this dabbing method and you will see the realistic effect of the snow that comes in. So I quickly added in a layer, dabbed it, and you see the snow effect on the cabin top. Same way onto this other cabin here, I'm first going to go ahead with a light layer of the violet color, very light layer. So you see, I'm almost using a water consistency. And just going to dab it. And you see this roof is overlapping this roof. So there I'm going to go ahead with a little darker effect to show the shadow of this roof also falling in here. Do you see this roof is overlapping this one. So just giving in that overlapping effect. Using the indigo color, just creating in the highlights on the edges, giving in the depth effect. Now, using the indigo, creating in the depth here as well. So you see this helps us define the roofs in more depth Now, first, I'm going to pick up a little hint of the pain's gray color and using the dry brush stroke, going to add in some drybush at the top of this cabin here. Very little only till the window space and just little dry brush strokes. Now, let's shift on to a detailer brush. So I'm going to use a fine tip brush. So this is size 550. Let's quickly pick up some pains gray color and create it in a diluted consistency. And now, using this fine tip brush, let's begin adding in the brick details into this cabin out here. So for the bricks now, it's like, you know, you can just go ahead randomly and just make sure there is no excess pigment. So you see I'm going ahead with very rough lines. You see, giving in the pick details. In between, I'm just giving in some brick, defining in some bigger picks. So same way, go ahead and keep on adding in some simple bricks. In between add in some bigger blocks, some smaller blocks. No brick needs to be of the same shape or same length. You can keep on wearing as per your need or as per your style. Oh C, somewhere I'm giving the bigger bricks aligned on the edges and somewhere in the center. The whole key here is to use this fine tip brush so that it can help you define the details. Now into this cabin, I will just give in some simple textures. Not going ahead with the detailed brick look onto this one, some simple highlight and dry brush texture. Across the window pane, just define it well. Now on to the roofs, just giving in some simple lines and textures. Define the roof outline of the side. Now I'll again pick up a little hint of the indigo color. Just creating in some simple rock shapes in front of this cabin here. Using some browns, giving in some dry brush, basically some dry grass randomly here and there. Very tiny. Using in a dark color, you can just give in a small fence detail. You see, very crooked and simple lines. Nothing in detail that you need to worry about. Just a simple fence moving towards this cottage out here. Now, a shadow to the rock spaces that we've added. So just use the same color and create a little darker depth underneath. Now, I will quickly first, you know, just remove the salt. 25. Project 7 - The Cottage Night - Part 3: Now using the paints gray, I've removed the salt first, and now I'm just going to add in some simple branch details here in between this foolish texture that we created using the Salt method. I'm loving how the salt is giving in beautiful results into these window paintings. A few on this side. And now, lastly, let's do the white gouache magic and create the final depth into our painting. So picking up some fresh white gouache. Defining in some roof spaces, some snow. A small window out there. So snow collected in front of the cabin. Little snow onto these fence that we've added. Somewhere on the rocks. A little snow here and there. And now, lastly, let's go ahead and splatter the snow effect. So I'm going ahead with a good white layer or sorry, a white paint, or, you know, good, bold consistency, and going to square ahead. Before I begin to splatter, I will cover up the space here. Alright, go on to the entire painting, giving in the snow effect. So you've added the snow detail as well, I will just pick up a little hint of the brown and create a small chimney here. Using dark brown to give in the depth on the edges. Dropping in little paints gray on the edge. And now let's go ahead create in the color grid. Just dropped in a little more snow. The bigger drops, I will quickly tap them. So you see after drying, when you understand that at certain spots, the snow effect is dried out till, you can go ahead with the next layer again like this. Now, let's quickly do the colors watching, beginning in with the John Brilliant. The pink color Coval green. Violet. And I will do the indigo color last. So that is it for this painting. I hope you guys enjoyed painting this with me today after we are done with the second painting of this mood board layout, then we'll remove in the masking tape and see the painting with the clean edges. But I hope you guys enjoyed painting this with me today. I will see you guys soon into the next painting. Thank you so much for joining me into this class and painting along with me through this printer painting challenge. 26. Project 8 - Galaxy Winter Landscape - Thumbnail & Color Study: Hello, everyone. Welcome back to Project eight of this ten days winter painting class. For today's class project, we are going to be creating this beautiful warm galaxy with a snow caped cabin and some snowy pine trees, a bit of which is messed up here, but I still like it. And then these little footprints moving into the cottage space. So let's go ahead for see the colors that we'll be using in for this class. So for the galaxy, this time, we're going to be using in the warm colors, and then we have a cottage here, alright on which we'll be adding in the snow details, moving further. So fast for the galaxy, let's go ahead, see the colors. We're going to frost begin in with the beautiful pastel yellow color to create the highlight and the glow into the galaxy. Along with that, you'll see a little bit of the orange, which is giving in that warm glowing light effect. And then we'll move on to the tones of brown. So you can use whichever browns available with you. I'm going to be using in this little bit of the light red color, a little bit of the burnt sienna. And the vende frown. And then for the darkest parts here, we are going to be using in the Plains gray color. So these are the colors that we're using into the sky. For the pine trees as well, we are going to be using in the Pain's gray color here. All right. Now, we are even going to be using in the Petersburg ocher into northern sky to create this little light effect from behind the pine trees here happening. So I've already discussed the mix of the Petersburg ocher in just the previous class project. And next up, moving on to the cottage space, we are going to go ahead with a little bit of the light red color or you can pick up little orange as well and then move on to different tones of browns. And then once this will dry out, we are going to go ahead and add in the dry brush texture. For the top of the cottage, we are just going to go with a waterl layer of the pain's gray color first. And then using the white wash, we'll show the dripping or the snow collected effect. So you see, just a very light wash of the Pains gray for the snow space. At the bottom here also, this time, we're just going to go ahead with the Pains gray snow. And while this will still be wet, we'll just go ahead, pick up the pains gray color and add in small footprints coming out from this cottage space. You need to do this while your snow area is wet, alright. And if you want, you can just use the dabbing method as well to turn these footprints into lighter effect giving in that beautiful blended effect. So that's about the footprints as well. And then once everything is done, we'll use the white quash, add in all of these snow collected in front of the cottage, dripping from the cottage roof, adding the snow effect onto these pine trees using in the white quash, and then the splatter of the snowfall as well. So that's about how we are going to be going ahead. Now, one thing to discuss here is the dry brush texture. For the dry brush texture, we've already discussed in the basics. Your brush needs to be completely water free. You just dab a little bit on the color and you go onto a dry base and just move your brush in the direction of the dry brush that you need. Alright, here we need them in these vertical strokes. Alright. So just moving my brush vertical like this. Same way, you can go ahead with a darker color then. So I've picked up the pains gray color, dab off the excess pigment and water. And once this layer is dry, just go ahead on top of it in such a way that the previous color is also visible, and the new color that you've added, that's the pains gray is also visible. In between, you can, of course, pick up some fresh paint, add in some bold lines to give in more texture effect. You see? Just some beautiful bold lines in between to create in good texture, detail, depth. That's what we have done here as well, added in some bold paints gray line in between to create in more of the depth. So that's about how we'll be adding the texture onto the cottage. Very simple. The only important thing to keep in mind, your cottage should be completely dried. You shouldn't have water onto your brush, and after dabbing onto the pigment, also dab it onto the paper towel or the cloths that you're using and then go ahead and just move in the direction of the texture that you needed. And we've already discussed the footprints. The rest of the painting is going to be simple. For the sky, we are going to go ahead with the wet on wet technique. We are going to use the paints in a good flowy consistency and make the play of water flow here and create in all of this softness. So you need to be really quick as well as, since we'll be playing around, you know, moving up taper, creating these smooth soft blends. So you need to be plus, you need to be vigilant about how your paints are flowing in which direction because we want the glowing effect coming from behind the pine trees and onto the edges, we want the darkness. So we need to make sure that, you know, the dark colors do not cover up the entire spaces. So accordingly, you just need to be a little careful and quick while playing along with the sky space. It's going to be a quick, easy, simple one to follow along. So let's move to the part one of this painting and start creating this galaxy window painting together. 27. Project 8 - Galaxy Winter Landscape - Part 1: Hello, everyone. Welcome back to the next painting of this winter painting challenge. And again, I have marked out a simple cabin outline already and the horizon line. So this is going to be the snow space. Now, this time, we are going to paint in a galaxy kind of a situation here and like a warm galaxy. And then here, we'll be adding in some snow caped pinrey details. So for the galaxy, I'm going to use in yellow, orange, brown and paint gray. That's what my galaxy is going to look like. The cabin top is going to be, of course snow caped, and then the pine trees with the snow caped look. That's what our outline and, you know, painting is going to look like. I will just quickly add in a little of the um outline that I missed adding here for the snow cape look. Alright, so that is about it. I don't really need this bold line at the moment, so I will just eradicate and lighten up these as well. So first, we'll begin with the galaxy. So for the galaxy, begin in with a good layer of water because again, the flow of the pins is what is going to do the magic. Now at this space here where we are going to be adding in the pine tree range, I will keep the space light only so that I can have the pine trees snow caped effect naturally. So while painting a galaxy, it's very important to have a good wet layer so that the paints and the colors can do its own magic. Beginning in with a layer of the Pettersburg occur so that it can create that lighter effect wherever we need in the galaxy. As I told you, this area, I want to maintain it light only. Now next moving on to the naples yellow color. So beginning in with the naples yellow color here. Next, moving on to the orange color. You see the colors are in such a flowy consistency and they're naturally bleeding into each other. And now moving on to the light red color, which is like a reddish round color. So at this point, I know everything seems like, What is this. But when we will make the colors flow and bleed into each other, that's where the magic will begin to happen. For now, just begin dropping in the paints. And of course, it's not at all necessary for you to have the same placement of the darker or the lighter tones. Your galaxy can have its own flow, its own flow of the colors or the paints completely. Now I'll pick up the paint's gray color and drop it at the edges. Um So I didn't want the pain screy to flow towards the center a lot, so I quickly lifted up the water from there. You see, you got to be careful. Now, I'll again pick up the yellow. And the Pettersburg color again. And I will use the paints gray color and drop a little here because these will act in as the soft background blurry pinetree effect. You see how the colours are actually bleeding now because of the second layer of paints that we added in and created in that soft blended effect. I love how beautiful the blends have happened even without twisting my paper in any directions. They've naturally gone ahead and blended and created this beautiful galaxy effect that I was looking for. And that's the magic of watercolors. At times, you don't really need to take any efforts. The colors, the water flow, the way you place your pigments or the wetness of the paper does its own magic. You just need to sit and, like, watch how things happen. That's the beauty of watercolors. At times I feel, and I'm loving how this galaxy has turned out. Just keeping this little glowing spot, lifting up the excess paint. So you see the edges are dark and bold and in the center, you have that light effect. From the edge, I will just dab the excess water, and you will see the Pettersburg ocher doing its magic by flowing in between the pigment. You can even use white if you don't have a Petersburg ocher. It's not necessary to have the exact same shades as me. Go ahead, use the shades that's available in your palette and create this beautiful Northern light or the galaxy effect for this painting. Just dropped in a little more yellow. So you see, when you lift up pigments, it's necessary to make sure that your brushes are clean, topping in some yellow at the rooftop. Just keeping it a little tilted towards the right side. Now, that is it. I will let all of this dry completely, and then we move ahead further. So now my galaxy is completely dried, and I'm going to go ahead, begin with the next details. So using in the light red colour, going in with a layer into the entire cottage that we are adding And while this color is wet, quickly pick up the paint's gray color and going to add in the darkness that will act in as the shadows. On this side, a very fine line. Going to pick up the little of the light red colour again. So that's for the first layer of the cabin. Pretty simple. Not much of the details to add in. We'll paint the roof with the snow details later on once the cabin dries out till then, let's go ahead with the pine trees here. So going ahead with the paint's gray color. Let's begin adding in some pine trees. I'll shift it to a smaller size brush so that I can get more precise control. And quickly blending this again into the space space here. Same way, adding in another very loose background pine tree. Now, picking up the paints gray in a bold consistency, I'm going to add the one huge pine tree here, which will be like the snow capped detailed one that we'll be adding. For now, I'm just adding in the details with a pinks gray color. Once this dries out, we'll go ahead with the details of the white quash as well. You see, very loosely just bringing out the foliage effect. Now, at the base here to this one as well, I'm just going to cover it up completely with the pains gray color. And while this huge pine tree is wet, just take a layer of the pains gray and add the rest of the water space and blend it into the snow space here. Then the remaining area, it's like a water wash with just highlights of the paints gray. Again, if you feel that the pains gray color is dark, you can just tab in like this. Just picking up the paint's gray, adding in the details on this edge now. So you see these lighter trees will act in as the background ones and this foreground detail. Simple trees, simple details in the front. Again, just going ahead with light laos of the paints gray. And while this area is wet, let's just add in some footprint effect as well. In a very light consistency. Just dabbing quickly a bit to create the lighter effects. 28. Project 8 - Galaxy Winter Landscape - Part 2: Now into the top of the roof as well, pick up the paint's gray color. And just going to drop in. And now using in the water, just spread it onto the entire roof. Again, dabbing technique at the top, because I just want the darker effects on the bottom of the roof and the top, I want it to be bright. Her I'll use the white quash. Now onto this cabin space here, we are going to go ahead with the dry brush texture. So using in the mix of the brown and the paint's gray color, or you can directly use in a darker brown, just go ahead with very simple dry brush. You see, simple dry brush texture that we've added in. We'll wait for this first layer to dry completely and then add in some more details and textures. Till then, I've picked up the white quash, and we're just going to create in some snow details now as the foliage. You see random shapes that I'm acting as the snow spots onto these pine trees. And now you see why we added this entire space as just a paint's gray color layout because now these white spots are defining up these space, giving in that snow effect. Now at the top, just drop little snow effect on some of the foliage so that it all looks well blended. Same way, you're as well just going to go ahead with some snow details. Now, to give this snow effect a much more blended look, what you will do is, while this snow area is wet, you quickly go ahead with a light hint of the pains gray color. If this spot was completely light, I would have gone the other way round. That is, I would have begun in with the lighter spots first. But since we already had a dark galaxy underneath lao, I had to begin with the pains gray then white. And now just at the base of these, I'm just dropping in little pains gray so that it all has a well blended look. You'll see a little paints gray effect at the white creating in that lightish gray colour tint. Now onto this side here, just going to show some snow collected close to this cottage space. Now, again, onto this cottage, go ahead with one more darker color, and we are going to add in more of the dry brush. So this time, I'm using a smaller size brush so that we get in more precise details. You see the dry brush effect is creating in the texture. For the dry brush, it's very important that you don't have excess pigment, neither excess water and with a damp brush, just given this detail. And now, using the darker color, just given some darker details at spots to give in more of the natural wooden effect. You see just some darker spots that I'm dropping in. Now, let's go ahead with the whitewash and add in the snow details into the rest of our painting. Firstly, defining the roof. Now using a smaller size brush, pick up the white quash and just show some snow falling like this from the roof. You see, giving it the natural effect. So you don't have to take it everywhere at certain spots, you can just drop little Now, S we just going to add in the snow collected in front of this cabin. So using the white gouache, just given some white highlights like this. You see? Make sure for this, you use the white quash because only that will give you this opaque look on the brown color because otherwise, white watercolors will dry out dull. You see from the bottom shown in the snow collected completely at this cottage space. And also, we've added in the good layer of the snow detail. Now going to pick up the Pain's gray color. Just dropping in the darker highlights again in between the snow and sports. You just adding in some darker pine trees. So if you go ahead and see in your pine trees, you will have so many beautiful colorful layers of different tones of the gray and paints gray and the white, creating in all of the snow and detailed effect. Okay, now we've covered up the snow, the details and everything, and now it's the final thing to splatter in the snow effect before that. Let's just quickly go ahead with a small window detail using in the white quash. So even at the window pane, bottom, giving in, you know, the rough droplets of the snow effect. Now, lastly, let's splatter in the snow. Now, of course, if these platters go into your previous painting as well, it's perfectly okay because even we have the splatters there. Alright, we've added the snow splatters. Now, let's go ahead with the last detail that's creating in the color grid here. From the cabin space, I will just blend a little of the snow splatters. All right. So let's quickly draw the color grid, beginning in with the Pettersburg occur. As I always tell you, you can choose the colours of your choice. And it's not necessary to just stick to the colours that you may have used in the painting. You can use contrasting colors to create, you know, a beautiful effect into the painting if you frame it. Next, I will use the brown color. And lastly, the pain's gray color. So here's a final look at our grid from the two North and Sky and the Galaxy kind of the paintings that we did for this winter painting class. I hope you guys enjoyed painting both of these. I am absolutely loving how my paintings are turning out for this class, and I'm experimenting and learning so many new things. These class projects are taking almost 30 minutes each class project. But then the details that we are adding in are worth every minute that we are spending out here. I hope you guys are enjoying painting these winter scenes with me. I will see you guys soon into the next painting of this series. Thank you so much, once again, to each one of you for joining me into this class and painting along with me. I'm always grateful for each and every student who's joined and learned something from me. Thank you so much for helping me grow always. 29. Project 9 - Bird House - Thumbnail & Color Study: So welcome to Class Project nine of this Winter Magic class. For Class Project nine, we are going to be creating this beautiful bird house with a Robin Hood bird on top of it. Alright. Now, let's just understand the colors that we'll be using. So we'll have the simple outline of the bird house. You can go ahead with any silhouette that you wish, and on top of the roof of this is where the bird will be, right? So here we'll be having the bird figure. And the rest of this is going to be a very misty kind of winter background. So for the background colors first, I'm going to be using a very light layer of the yellow ocher. It's going to be like a watery layer just as I laid here. You can see the yellow highlights. And then in the rest of the background spaces, it's going to be the paint's gray. So the entire background will be painted using just these two colors in a very misty way. Then these Details of the branches also we'll be adding in using in the Pain's gray color. Alright once everything is dried out in some different tonal variations, coming to the bird, for the bird, we'll begin in with lighter tone of the Petersburg ocher first, then moving to our permanent red color. And for the highlights, we'll be using in the browns. So you can use in B Sienna, ndeg brown and a little hint of the pain's gray as well. So that's the colors for the birds that we'll be using. So if you closely observe the bird closer to the belly space, we have the glowing spot, which is using the Petersburg ocher and the brown tones. On the edge, we have the red highlight. And at the top, we have the brown highlights. You can use whichever shades of brown is available in your palette. And for the lighter space, if you don't have a Petersburg ocher, you can just lay over yellow color first or pastel yellow and go ahead with that as well. Coming to the bird house, it's again going to be shades of brown. So I'm going to be using in the light red color, the vente brown color, and the pains gray color and mixing these colors as well in itself to create in different textures. So we'll begin in with a light color base, and then you can see the dry brush texture and the strokes that we'll be adding to create the wooden feel. That's how, um, we'll be proceeding in. So just going through a quick walk through of the class, we'll first have a pencil sketch ready. The pencil sketch can be of your choice. I am going ahead and I will just have the pencil sketch ready into the painting as we begin in the next lesson. First, we'll paint the entire background using in the color combination of yellow Oca and paints gray in a light watery layer. Then we'll go ahead, paint in the first layer of the birdhouse, which will include the first layering. Then we'll paint the birds. After that, everything dries out. We'll be adding in the texture onto the bird house, these dry branches into the background sky. And then once everything that also dries out, we'll be adding the snow details on the bird house using the white gouah. And for the bird, we'll begin in with the lighter layers. We'll paint the entire bird wet on wet. And then we'll be adding in this e and the big detail simply. You can choose any reference of the board house and the board that you wish to if you want to go more simplified or more detail. That's absolutely your choice. So that's about this class project. Again, the dry brush texture we already discussed in the previous painting, Day Class eight project, wherein we added the dry brush texture into the bin. The same method we'll be using here as well into the board house completely. So that's the same logic and the same technique of drybush. And the color study we've already done, the colors here are very basic and simple available in your basic palette in case if any color is not available, for the yellow ocher, you can go ahead with a very light of yellow if you don't have a yellow ochre. For the Petersburg ocher, I already told you you can go ahead and use in a very light wash of yellow. Red colour is a basic color in the palette. For brown tones, you may usually have a born sienna and a dark brown color. So if you want to create a lighter brown, then to the vende brown, you can go ahead with little mix of orange or reddish tones to get a bone sienna or a light red color. And for the darker browns, you can simply mix in pains gray or indigo to your browns and get the darker browns. And, of course, you need white wash for the snow details. So that's about the basics of this class project. Now in the next lesson, let's begin creating in this painting together. 30. Project 9 - Bird House - Part 1: Hello, everyone. Welcome back to the second last painting of this Winter painting challenge. And I have marked out a simple slogte already, which is a bird house and a board on top of it. I've uploaded a picture of this sketch that I've done into the project section so that if you want to follow along, you can refer to that, you know, outline of this entire silhouette that I've done. Or you can choose your own bird house and the bird, as well. Now for this painting, we are going to paint a very snowy soft background, and then the main detailing will be these silhtes that we'll be painting in. So we're first going to begin with the layer of water onto the entire paper to begin in painting a soft background. And once that dries out, we'll begin adding in the details into the rest of the space together. So first go ahead with a good even layer of water onto the entire sheet. Make sure it's a good even layer so that you can work wet on wet getting in all of the details right. And we just need a very soft, easy background. Now I'm just going to go ahead with little pains gray color and little indigo color mix. You see just onto the edges that I'm dropping out this color. And now I'm going to pick up a little bit of the yellow acre and drop it a little between the blues. Now, while this is still wet, we'll quickly go ahead, add in some darker highlights. So I'll just pick up the paints gray. And from the edges, just begin dropping in some darker highlights of the color because remember, watercolors dry out or tone lighter. So you need to maintain in the tonal variations while adding in the details so that after they dry out, they are bold and good. Now I'm just going to go ahead, splatter out some water for the snow effect this time. We've previously used in the salt method for creating in the snow texture, and this time, you're just using in the splatter of water to create in these blooms which will act in as the snowy space into your painting. So go ahead with a lot of these splatters. Make sure your brush does not have excess water. Otherwise, you will get in very bold splatters. You need kind of controlled splatters so that you have those small blooms coming in. You see, going ahead with a good amount of splatters and then we'll wait for all of this to dry out completely. All right. Now, we'll wait for this to dry completely, and then we'll move ahead further. Alright, so now my background is completely tried, and we are going to begin painting into the details of the bird house. So first, I'm going to begin painting the bottom standofd for which I'm going to go ahead with the shade of light red color first. You can pick up any medium tone of brown that you have, and then we'll build in the depth. So first, I'll just go ahead with a layer of this brown into the entire space. And then using the darker tones, I will create the, you know, three D effect into this log as well. So basically, these are wooden bird house that we are painting. So you can give it like a little rough edge, and as well as you can go ahead with the wooden color of your choices, and then we'll create in some wet on dry textures as well to give in that wooden details. And while this color is still wet, I will just add in some darker values on this side using in the vindic brown color, mixed in with a little bit of the pains gray. If you don't have a vindic brown color, you can even directly mix in pains gray to your brown and use it to create in the tonal variations. So what I will do is I will go ahead, add in the layer first. And then once this dries out, I'll go ahead with a little bit of the lifting technique and create in the lighter values. So that's about the bottom branch bottom that we've added. Now we'll go ahead with this main treehouse here. So here as well, I will first begin in with the yellow aqua color. Now, between the top and the bottom, there is a fine line that I've marked out. I will leave that cap for now so that the colors don't move into each other and we have that definite spacing remaining in there so that we can give in that definite shapes as well. First up here, I'm going ahead with the very light layer of the yellow ocher color as the base, and now same way, we're just going to work in with browns and build in the depth. And once this also will dry out, we'll add in the texture of the wooden details to this as well. Now for the darker brown, again, I've picked up the vindic brown color. You can go ahead with whichever darker brown is available in your palette. So you see majorly from the edges, I am picking up the darker color and dropping in on the edges to define the edge more precisely. And this is also giving in the shadow and the depth effect to the bird house that you're painting in. So wet on wet, we've added in these details for now. Just going to go ahead, blend in a little. Now, by the time these two spots dry out, we'll go ahead paint in the bird, as well. For the bird, I'm going to use in the beautiful red color, so I'm going to go ahead with the painful red colour. Was going to go ahead and mark this entire board out with this beautiful pyull red color. I will just leave the face details blank and mark out the rest of the space with the payroll red color. It's a beautiful, bright red that I'm using. You can use scarlet or permanent red, whichever red is available in your palette. Now at the bottom in the feather space, just giving in little fine outlines as well. And now to add in details to this, I will pick up the light red color and begin dropping in little light red details from the base So at this side here, we want to maintain the brightness of the red color, and at the top edge here, we'll go ahead with the darker details. So first went ahead with a little bit of the light red color. You see at the top also here, just giving in that detail. And now I'm going to pick up a little paint screen mixed in with the light red so that we get that harminous brown color and just go ahead and using the tip of the brush, just add in these darker color highlights at the top here. So you are adding all of these while your red base was wet, so you will see the colors blending into each other beautifully, and all of the colors will have a soft blended effect. Now, going ahead, doing a little color lifting to create little bright spot. Alright. A very small bright spot that I've added in. Now I'll just define the feather of the bird here as well, more precisely and sharp. We'll give in the leg details of the bird after we are done adding in the details on the roof of the cabin. Now, this space has dried out here, so I'm going to go ahead, pick up a smaller size flat crush and just dip it in water and do a little lifting here. You see just on the left edge, I'm going ahead and doing a little lifting technique. You see it's turned a little lighter and now I'll pick up a good dark mix of the paints gray with a little hint of the brown and define this space here. But for that, first, make sure this entire lifting space is dried out and now just go ahead. So I've added a darker color, and now I'll just use a dam brush and blend it into this spot here. So you see if we've got that lighter three D effect on the left edge and the darker effect on the right side. 31. Project 9 - Bird House - Part 2: Now in the same way, we are going to go ahead with a darker color that is going to be the mix of the paints gray and the brown, and we are going to add in the top details and the dimensions here as well. So here as well, I will just go ahead and now begin marking out the shape again with a dark bold color. Just at the top, I've added that in, and now just going to use a damp brush and give it a soft edge, blend it all in. So so you see now this space has got a lighter tinge to it already because of the look that we've created. Now, here also, I will add in the darker color, but between both of this here, I will leave a fine line empty. You see a very fine gap that I've left in there we'll be adding in a white color later on and just blending it in. Just dropped in a little paints gray. Now to the bird as well, the parts are completely dry. So I will just begin in with the black color here. I will leave the beak space empty for now. Once this flag dries out, I'll add in the beak detail as well. Now using a very light spot of the indigo mixed in with a little hint of the ultramarine, I will just add in a very light shadow of snow onto the roof. All right, so a simple snow effect that we've created. Now, once everything is completely dry, let's go ahead with the next layer of details. So now I will give in the details at the base here, so I'm going to go ahead with a good mix of a dark brown mixed in with pains gray. And with the same color, giving an outline to the second edge of the roof and going to go ahead with a very light hint of the brown color, almost like a water layer and just add in into this white space, blend in with the pains gray a little roof detail. Now, using the paints gray, let's mark out the bird hole. And now we are even going to go ahead, give in some texture that's a wooden texture. So I'm first going ahead with the pains gray color texture since I have the pains gray paint on my brush loaded already, and then I'll move on to the brown colour to add in a little texture with the browns, as well. And for the wooden texture, you just basically need to go ahead with random strokes and just give in simple dry brush texture along as well to create in that wooden effect. Same way at the base here as well, giving in little wooden texture with the pain scrave first. And since you see I'm using a rough green paper, it's helping me given these textures better because it glides out more easily and smooth. Same way at the top, from here into the roof, I will just move out some cracks, like, you know, basically some roof space visible in between the snow that I'm trying to show in here. And now seem way just going to use in a little bit of the vended crown colour and give in a little texture and strokes with the brown as well. Make sure you use a pointed tip brush to give in these details. I'm just going to give in some fine lines. Now using in the red colour, quickly going to add in the beak. And using in the indigo color, just going to create a small shadow of the bird, very roughly onto the roof. So just from under the birds space, gave a very rough patch, very light shade indigo and a very rough patch like this to show the shadow of the bird. And another thing I'm going to use in my technical pen to add in the details of the leg to the bird. Okay. We're almost through the painting, going to go ahead with the last leg of details. For that, picking up the pinscre color and just going to go ahead with some rough branches into the background. You see, very loose dry branches. Going to keep on pulling out some loose branches. You see, I'm making them go very loose and just very light, and I'm even going to lose in a lighter consistency of the same paints gray color and add in some lighter ones as well. So we're almost through the painting, and now let's pick up the white quash and do the snow magic. So I'm going to just pick up some fresh white quash, and we are going to splatter in the snow effect, and we'll even be adding in a little detailed snow at certain spots. So you see the major splatters are actually going to be visible onto the board and the tree board house because rest of the space is already very light. And now going to use in the thick white quash and just going to create in little details. Some snow collected over the birdhouse? Is he just giving in some bold strokes? Some snow dripping from the roof. H. All right, so simple snow details that we've given in, and that is it. We are ready with our beautiful Bird House painting for this winter painting. I will just go ahead with a little paints gray. And lastly, let's go ahead quickly swatch out a good color swatch. So beginning in with the payroll red color, And going ahead with the browns? A. And lastly, going to us in the bende brown and the pain screener. So that is it for today's painting of the bird house. I hope you guys enjoyed painting this beautiful bird house with me. I know it took us a little long to add in the details plus layers on layers for things to dry out, but it's definitely worth it and to level up yourself as well and challenge yourself with a little detail painting. And for the last painting of this painter painting challenge, we are going to go ahead with a misty forest winter view, using in the granulating watercolors. So in the next lesson, we'll paint the last painting of this challenge, and I will see you guys into the next painting now. 32. Project 10 - The Mist - Thumbnail & Color Study: So welcome to the final class project of this ten day Winter magic, and we are going to be creating in this beautiful misty winter landscape. For this, this time, I'm going to be using one granulating color from my latest set. So the granulating color that I'm using is this PFL green. Now, let me tell you the pigments that are there. It includes a yellow pigment, a red pigment, a green pigment, and a black pigment. Alright, I will quickly just begin creating in the thumbnail. So we have a snow bed here. On top of it, we'll create two small bins, and in the rest of the space, we have the pine trees in the background, you can see we have the misty pinetree effect. Let me first quickly swatch out this color for you. All right. This is the color that I am using. It's a granulating color. So you can see the little granulation effect of the tones that have come in here. You can see the underlying yellow that has separated from the pigment, the different tonals of the green. Now, I know not everybody may be having a granulating color, and that's absolutely okay. We'll go ahead and try out some color mixing to get some granulating tone. Or also you can see how the pigment is separating into two tones, creating in the granulation. Now, if you want a similar looking color, let's go ahead and try mixing in a little bit of color mixing magic again. So I'm picking up a little bit of the ultramarine blue color, and I will pick up the yellow ochre color. We'll just go ahead with a little more altamin A little hint more of the yellow ochre. And just going to pick up a little hint of the satrine color, a little hint of the red color. Now, this has gone towards a little extra brown tone. So I will just go with a little more ultramarine. All right. Let's swatch out this color and see. So if you see here, we've got a dark green color for now, and the granulating color here, you see the granulation. This color is almost similar to this color. So what I will do is I will just pick up a little bit of the hooker's green and mix it to this green mix that we got. We just got one tone lighter color. Now just adding in a little mix of the cobalt green color to this. So closer to this, I will just lay a little bit of the cobalt green. And you see we are getting an almost similar tone. Of course, the granulation may not be same, but you will get that same two tone effect, at least. Alright, now to the center of this, let me just drop in the mix of the ultramarine and the yellow ochre. You see? So my point to say here is you don't really need a granulating color. If you don't have one, it's absolutely okay. So in the background, you can just go ahead with different tonal variations of the greens. Wet on wet, we'll be adding in the misty pinetree effect. I will even be using some basic greens from my palette as well. So you can see the different tonal variations of the greens. The most important technique here will be the water control so that these background details half the soft blend, still have those distinct views. And the rest of the details are just with pains gray. This entire fence is with pains gray. These cottages are with pains gray and the white gouah doing the snow magic. So the colors here is basically tones of green and pains gray. I am using a granulating color and some basic other greens from my palette, but you can simply mix in different greens with the help of blue and yellow, or you can simply begin with VaridanGreen, and just go ahead with aridian green, emerald green, hookers green, or a basic green mixed in with a little hint of blue to get this steel color kind of a look in the background. Of course, the granulation will make a little bit of difference, but that's absolutely okay. So the flow of our class we'll be creating this entire misty background first, adding in all of the miss detail. We'll be painting the snow area using a green tone and a little bit of the wash of the paints gray at the bottom, you can see. These fence detail, we'll be adding wet on dry and then adding in soft shadows to the fence showing the light is falling from this side. And then we'll be adding in these wet on dry details of the pine trees and the cottages, and then the last final detail with a white wash. So that's how our class is designed for this final project. A simple layout, simple color tones of greens and paints gray, all you need, and step by step through the entire painting, I'll guide you through every step. So I'll see you guys into the next lesson now. 33. Project 10 - The Mist: Hello, everyone. Welcome back to the last painting of this winter painting challenge. And today, we are going to go ahead and use a simple granulating color to create in a simple, misty kind of snow painting that we'll be doing. So the bottom is going to be the snow space. The top is going to be a simple, misty sky, and we'll just be adding in a misty range of pine trees in the soft pattern using in the granulating color. And this will be the snow area where we'll add in a simple fence later on and the shadow to that fence. So the granulating watercolor that I'm going to be using is from the brand HWC Holbin Artist Watercolors, and the color that I'm using is PFL green. Now, this has a pigment, yellow, red, green, and blue, and the granulation comes out beautifully. I have a swatch of eight, and you see, when I go ahead with a lot of water, you can see the yellow pigments separating the blue pigment separating the green staying in there. So that's about, you know, granulation about this color. So it will give in that beautiful misty effect that I need for the pine trees. Now, in case if you do not have this, you can simply mix in a little bit of your ultramarine with a yellow aqua color and get a granulating green color and go ahead and use that. Now first for the sky, I'll just go ahead with a good layer of water. So beginning in with a good layer of water for our painting. I'll just begin in with the sky first. We won't begin in with the snow area for now. We'll let that be dry, and we'll add in the snow details once everything in the sky dries out. So just mark out this snow space roughly. Now, into the sky, I will just pick up a very light layer of the indigo paints gray mix, which is on my palette, a very light you see layer that I'm adding in. That also have given in a good gradient from top to bottom. Now for the granulating effect, at the bottom, I'm keeping the paper a little extra wet and now I will just squeeze out a little bit of this granulating color on my palette. Now for the first layer, I will begin with the color in a little light consistency. I'm using my size eight round brush. I'm just adding in simple light strokes. You see the granulation, the different colors that are coming in, the blues and the green separating and that little yellow highlight that's coming in. Now I'm picking up the color in a little thicker consistency and just going to go ahead with some more detailed looking front trees. Again, I'm adding the detailed looking trees in such a way such that I still have that background layer of trees also visible. Now, for the granulation magic to come in, you need to make sure that your paper is, you know, wet because the granulation magic only happens because of the wetness of the paper. If your paper will be too dry, the granulation magic will not happen. It's very important to have that wetness for the pigments to separate and do its own magic. So, you see, I've just gone ahead, added in some loose pine trees and letting the granulation happen in. Now, I'm just using little water and creating a little misty effect into the background of the sky, as well. Now I'm going to pick up the color again. And just going to go in with some detailed pine trees. And along with this color, I'm going to pick up a little of the indigo and the pains gray as well. You see, we are still working wet on wet, so you can understand how important it is for your paper to stay wet for a good enough time for you to add in all of these details wet on wet. And specifically, if you are using in the granulating technique here, I would recommend for this project at least use a 300 GSM, 100% cotton, either a cold pressed or a rough pressed paper because granulation shows best on a grainy paper, textured paper, rather than a hot press surface. So my paper is a rough textured paper, so you can see how beautifully the granulation has shown in. And along with the granulation, how I have even used little darker hints at the base here. And I'm almost done with the sky, some last pine trees on the right edge here. Then, of course, once everything dries out, we'll go ahead with some lighter detailed pine trees in the foreground as well. Now, while this is wet, just going to splatter little water and you will see more of the granulations. So go ahead with a little splatter of water. That's it. Now we'll wait for this to dry, then move further. So now once this is completely dried, if you have a close look, you can see the granulation that's happening. You can see the colors that have separated the yellow color effect that you can see, then, sorry, the blue colour tones that are coming in and the green tones that are separating in. So there's a beautiful granulating color. Now for the rest of the painting, I'm going to go ahead with the snow space. So going ahead with a good layer of water here. And for the snow area, I'm going to go in with just little highlights of the same color. So first, I'll pick up the mix of the indigo and the pain screen. All right, a very light layer to act in as the snow. And now I will just add in a little highlight with this granulating color at spots. So whatever it is left on my palate, just using a little bit of that color only. Now, we'll wait for the snow area as well to dry quickly and then go ahead with the next details. But before this dries out, I'm just going ahead with a little more indigo to create some darkness into the snow area as well. All right. So now we'll wait for this to dry, then go ahead with the next layer of details. Now, using in a Tacodin color, I'm just going to go ahead and add in a few of the detailed pine trees. Using in a detail or brush. So I mixed in a very dark green with the help of an indigo color, which is looking like almost a black color, but it's not actually black. So you see now here you can see how beautiful green it is. See, I'm adding in a variety of these trees with some detailed foliage, just some loose foliage, and some loose branches as well in between. So you just need to alter with the kind of pine trees that you're going to add in, and here I'm going to add in a simple cabin. For that, I'm going to go ahead with the pains gray color. A small cabin silhouette. The roof I will add in with the whiteqh later on for the snow details to be there. And just adding another one here, a simpler one. Okay. So we've added in two simple cabins, as well. It's just creating in some light details and using the diving technique to turn them lighter. And now going to go ahead and use in the Pain's gray color and add a simple fence detail. Moving towards the bottom, towards the cabin side. And you see as I'm moving towards the cabin, these are turning shorter in length because of the perspective. Like, these ones are closest to your view. And as you are moving far from your perspective point, these are turning very tiny and small. And now quickly going to use the same color in a light watery consistency and add the shadows to these if you want to take help of a rough cloth or a tissue to dab off any excess or darker highlights if you haven't using the paints grain almost like a watery consistency. So I don't really need the dabbing help here. So, you see, we've added in simple shadows. Even the shadows are huge, closer to our view. And as they're moving further, the shadows have also turned smaller. And now I will use in the 0.3 technical pen. Giving in the little. You can, of course, use in the pains gray color as well to do this, as well. Now, I'll wait for these details to dry completely and then add in the final detail. So I just thought to level up this painting a little more. By the time these details are drying out, I have picked up a green shade, whichever green you wish to go ahead, use it in a little, very medium light consistency and just go ahead and, you know, add in, like, a soft background pine tree and just soft details. And keep your tissue paper handy and dab this entire thing. Can you see a background misty pine tree coming in? That's exactly what I'm trying to build in a little more mist into the painting. Again, in the foreground, I added a little more and just went ahead and dabbed in. So this way, you can go ahead and level up and create more depth into the painting. Now, I'm going to pick up the white and using in the white I will go ahead and add in the snow details. So first picking up the white quash and just going to create in some snow textures onto these wooden logs. Of course, for the wooden logs, you could go ahead and use in the brown color as well, not compulsory to use in the paints gray. I just wanted to keep it simple and not switch in between more colors. So just adding in some simple snow details. Now onto the roof. So you see a simple roof snow covered. Same way to this as well. And now we are going to go ahead and splatter in the snow. Before that, I will just go ahead with the paints gray color in a light watery consistency and just darken up the shadows a bit because at certain spots, the shadows have dried out quite light. So you see, you can just go ahead on top of the shadows again and just make them more bold. And finally, white quash and the snooze platters. Oh So that is it. So now before peeling off the masking tape, I'm going to quickly go ahead watching the colors that we've used. So beginning in with this dark green that I created a little of the indigo color. In the center, I will watch this granulating color that I used. You see, whilst watching the granulating color, I dropped in so much extra water so that after this dries out, even the granulation effect is visible, I will go ahead with the paints gray color. And this last green that I used. So make sure to peel off the masking tape against the paper and once your painting is completely dried out. With every peel that you do as the white edges come in, the painting begins to have its own charm altogether, and everything suddenly turns out to be more beautiful, I feel. So that's a final grade for this filter painting challenge. I hope you guys enjoyed painting these two paintings with me. I hope you guys also got to learn a lot of new things because it was a lot of experimentation for me as well, and I'm so happy with learning in so many new techniques and new text shoes coming in. Thank you so much, once again for joining in and supporting my Skillshare classes. If you like this class, make sure to drop a review so that it can help me reach the right audience. And in case if you have any feedback or suggestion for improvements, I'm free to hear them as well because they will help me improve in my future classes. Thank you once again for joining me into this class and painting along with me.