Acrylic Seascape Painting - Basic Fundamental Demonstration | Robert Joyner | Skillshare

Acrylic Seascape Painting - Basic Fundamental Demonstration

Robert Joyner, Making Art Fun

Acrylic Seascape Painting - Basic Fundamental Demonstration

Robert Joyner, Making Art Fun

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2 Lessons (20m)
    • 1. Introduction

    • 2. Demonstration

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About This Class

In this class I'll demonstrate how to use good acrylic painting fundamentals to create a loose, and expressive Maine landscape painting.

The focus is:

  • Develop a good composition
  • Use layers
  • Be patient & paint confidently
  • Value & Tone
  • Much more..

Who is this class for?

All levels from beginner to experienced artists that want to learn more about developing their approach to painting successful artwork by implementing good fundamentals.

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Acrylic & Mixed Media Essentials Part Two

How To Blend Traditional And Contemporary Color Theories With Acrylics

Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

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Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Hi, I'm Robert Joyner. I'm excited to share this class with the year old skill share. This course is designed to illustrate how you can develop really good basic acrylic painting fundamentals. We'll start with the basic composition, lock it in and then at a few layers to bring this painting to life. So if you like to nerd out on some acrylic painting elected, add to some techniques that you already have that this is a fantastic class. You grab your paints and let's get started going to kick things off with composition. 2. Demonstration: I'm not looking for perfection here, so I'm not looking at the image and trying to copy every color. I see I'm more interested in value and tones. Okay, so I want the painting to work. Tend to keep my white mixtures away from a main colors. S a little bit of fatal blue little touch of the iron oxide here. I just want to kind of gray that down a smidge and I think that's good for now. Put to the edge. And so right away, just going to wack end. Um, this area that works, I'm gonna go to Mawr of ah, darker grey Here, pop in this. I'm not gonna worry a lot about the windows and the different things on the building right now. I'm just going to rough it, and and that's good. And in this building extends over. I would take a little bit of my yellow here and just mix right into this just to warm it up , OK? Had a little bit of warmth to that building lead up in Andrew to, and I think that's good for that part. Just to change up the colors a little bit. I want a little bit of contrast with this darker building, and we'll say this building is something like that will go right into my blues and just just mix that up a little bit. Maybe a touch of the yellow and that's fine. This building here has a real buttery color to it, but I don't want Teoh tryto put that color in right away. I'm gonna take my yellow mix it around with these kind of grayish color is already have on the palate and kind of wack in this building there. Front side is catching a little more like and I'll fix all that the details later on. And just to tie that and I kind of just start you touched the this color, the different areas, and we go and put that roof line in there on this goal, mix a little bit of my fellow crimson. Just get a darker roof. I think the darker roof would look kind of nice right here again, just kind of touching that brush here and there with that color to get some a little bit of unity and harmony, and that's going to establish a little bit of a dock area I'm not even sure how that's going to look or even show in the final painting. But we'll go and put that in there. Now there is have a brownish dock area. I mean, you can barely make it out, but there there is a little bit of, ah, wall. I want to establish a wall right here. Okay, Someone to go ahead and put that down. And maybe between these two boats there, you can see that wall area on. Uh, this is going to kind of touch that in here. Here to kind of start to pull that down in two. The water area. It's gonna touch in here where some of these other boats are to start to get into some light colors. I'm still using my bigger brush here. Sorry about the camera bump there and going to my white. I've already got some graze over here, so I'm trying to mix that up. I'm going to warm that up a smidge with some bread. Maybe a little bit of yellow. I know that the shadows over here, I'm not going to put that in right away. And then our boat comes down something like this and all of this is is white. I'm just going to kind of leave it like this for now. I'm going to take that same grave. I'm gonna push it into my yellow and again just just for variety. I don't want all of my boats to be to be the same color. Whether they're like that in the picture or not. Another one here on a yes wheelhouse area. That's good. And the others in the far back. I'm just gonna push those back a little bit. Not too concerned. Amount those And who knows if they will even make the cut? We have our water area. I'm just going to take some of those graze dark in that up, a smidge just dropping that reflection in. And we have a little reflection with these guys and so on and again it's rode rough, not looking for perfection here. Just looking for a first layer, That's it. And this kind of shopping that water feeling of water right now the things I wanted Chunkin for the big shapes, OK? And that we're like the buildings, the boats, the background, the foreground, the doc on DNA. Now I can start to think about those smaller details. I think I will use my round Someone go through a little bit smaller brush Now I will start with the background like I did before. That's pretty good. That's kind of what I'm looking for. I'm going to establish the top of this building there. I could be anything right there comes up. There's not really much on that building. Looks like there's some like little windows and or little ease or something pitched in there. I think that's good. Something like that. I'm a see if I can mix a warm Great. So I'm gonna go into my raw sienna. Uh, let's go with a little bit of my faith. It's a touch of the failure Blue. I'm just looking for that warm gray. I think that it will work. So I've got some some darks already down, so I could leave some of that. So what I can do is just simply leave some of this dark area for the windows. I don't need every single window. This there. I don't need to define all of those windows. I just wanted to is all you need now. I'm looking at these I'm gonna take a little bit of this blue and then this kind of work that, um, right into these that area there, it doesn't need to be much. I'm not even going to try to make that into anything there. Um, actually, we go with a smidge of the green. I think I want to just indicate an angle. Maybe on that building. Maybe it could be a roof line or something. Maybe add a little bit of yellow to it. A touch of whites. I don't want to make this too chalky looking. I got a little bit of that. Greatest mixture will be here. I did that just cause I don't want that building to be two. Prominent. Okay. Pushed out a little more to the yellow. This is smidge. Go a little bit darker. There's a little shattered there just to give some vertical interest. Maybe I could do something like this and and just got touched that in here I have this sort of thing light hitting the boat there. And that pops the boat. We have a kind of grayish boat behind it. I want to keep it that way. Our guest from Grey's over here. I can pull a little bit of that yellow in the air, the woman up in a little bit, cool it into that area, and that starts to tie things and a little bit. And just when I and this little touch to these boats my lightness up just a little bit, it's kind of pooling that color, blending it around a little bit. So it ties and it's not too stiff looking just so I can add a nice shape here on this boat like that little bit sharper feeling and it's gonna put some darkness were behind them. OK, so So maybe, um, there's something some sort of big doorway back there. Something up unused that dark, too. And this roof line I couldn't even use that dark to start to, though. Instantly shadows and that sort of thing shadows under the boats Now taking that so have that same greatest mixture on my brush. I'm going to tone that down a little bit of this Sienna. I don't want them to be the same, so it's going to tell a little bit of ah, different colors around. Maybe that was like that, and so long again. I don't want these to all be the same. So I'm taking that color. It is tapping it into some yellows and different tones, just just to break it up a little bit. See, maybe weaken dio a roof type thing here. That's fine. All right, that's coming around. I'm looking at these balconies. Now. I just want that feeling a three dimension here, so I'm just gonna add some shadows underneath. Um, things like that doesn't need to be perfect right there. That's good. Going to go ahead and establish some darks and here and we have some windows changing it up with color is not getting stuck with what I'm seeing. Now I'm going to pull some of that white of the boats and the the sky and through the painting here and because is moving this way, there's a little more sky towards that corner, some darks, and we have that building and we can kind of start to pull a little bit of that reflection down in here again. I mean, I'm still thinking rough, Not not too perfect here. Maybe I'm gonna put some sort of like a light blue shirt on this one. and the fishermen had those kind of orange slickers. That's good. And maybe maybe this one has slickers as well. It's faces on those folks. We'll go into the Sienna a little bit, This kind of grayish white color. I can start to pull a little bit of this into the reflection to kind of this feeling of, Ah, red line there. It's nice turquoise on that boat, too. A little bit of red on this one. And let's see, Maybe there's a little there's a buoy or something on this boat there. We're like some turquoise time ago, this ridean blew a little bit of white and let's see what we get here will push that to a green. And we just have some detail on that boat and this one we're gonna go just a nice dark gray . I just want to anchor that boot a little bit and now a little bit lighter color and just gonna add a feeling of like windows back here to some of these boats again, thes are aren't important. Maybe we'll put a little dark. Top that and let's go with a little bit of ah, have a light top this one. I can start, uh, indicate some of that stuff and it's pulled down into the these reflections a little bit touch a little bit this orange darks here. Just pull some of those darks into the water. This a smidge on this, Really get that feeling of reflections and different things happening in the foreground. I don't go with some green. Some of these greys don't want everything to be bright blue. It's looking pretty good. I'm just kind of pulling things together a little bit here through a little highlight on his face. We gotta hand down here. Maybe around some of these buildings, maybe, or some trim coming down. They're gonna do a few splashes in here without reflection down. I want to This add a feeling some vertical interest here on that could be like a little crane or this small, little something happening there on the dock. I will go a little bit lighter. Um, maybe there's a little light on this one. Pull a little bit of that down on the water. We have some of these ah reflections as well, and it's at its end color here. I don't want to get too far, but I would like to have a little bit of color on that boat and the scene. I don't like strong color, but the pain is to be to Doley there. It will change that up. Make that one a little bit darker. Good. I think that's fine. For now. I think I'll let that rest and then have a peak of that. Just, you know, once it dries and kind of see how that comes together, that's fine. We had that kind of loose feeling. Maybe some figures here. Fishing boats, old rusty, you know, Doc, and build up in layers. Let the layers dry. Take time in between the layers to clean your brushes to keep fresh water to clean your palate. I hope you enjoyed the demo on. I'll see you in the next