How To Paint Water With Watercolor | Robert Joyner | Skillshare

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How To Paint Water With Watercolor

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

47 Lessons (7h 23m)
    • 1. Intro

      1:57
    • 2. Materials

      10:21
    • 3. Workspace Setup

      5:12
    • 4. Finger Test

      4:24
    • 5. Water Is A Surface

      2:34
    • 6. Water Examples Using Photos

      12:51
    • 7. Basic Wash Techniques

      7:12
    • 8. Vaiegated Wash Techniques

      5:58
    • 9. Reflection Hierarchy

      12:05
    • 10. Sharp Reflections

      9:07
    • 11. Soft Reflections

      9:05
    • 12. Simple Sea

      7:13
    • 13. Simple Waterfall

      10:50
    • 14. Master's Examples

      13:40
    • 15. Master's Examples Continued

      11:46
    • 16. Photo Assignment Reel

      13:54
    • 17. Robert's Take Assignment Reel

      16:31
    • 18. Paint Small Studies Assignment

      2:07
    • 19. Sea Photo

      4:40
    • 20. Forest With Lake

      7:20
    • 21. Lone Sailboat & Pier

      6:22
    • 22. Large Evergreens & Lake

      7:30
    • 23. Boats & Dock

      16:21
    • 24. Waterfall

      6:08
    • 25. Critiques

      9:38
    • 26. Critiques Continued

      12:12
    • 27. Critiques Final Round

      13:00
    • 28. Intro To Refined Demos

      1:24
    • 29. Sailboats - Refined Demo

      14:26
    • 30. Sailboats - Refined Demo Continued

      10:13
    • 31. Sailboats - Refined Demo More Layers

      10:38
    • 32. Sailboats - Refined Demo Finishing Touches

      7:34
    • 33. Natural Landscape With Pond

      9:49
    • 34. Natural Landscape With Pond Continued

      11:15
    • 35. Dock With Boats

      10:28
    • 36. Dock With Boats Continued

      8:32
    • 37. Refined Waterfall

      12:14
    • 38. Refined Waterfall Continued

      8:32
    • 39. Beach Walkers Rough Water

      12:44
    • 40. Beach Walkers Continued

      9:46
    • 41. Maine Pier Scene

      12:50
    • 42. Maine Pier Continued

      9:25
    • 43. Harbor With Sailboats

      12:23
    • 44. Harbor With Sailboats Continued

      12:54
    • 45. Final Critiques

      10:07
    • 46. Final Critiques Continued

      14:48
    • 47. Recap & Final Thoughts

      2:30
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150

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12

Projects

About This Class

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Hi, and welcome to How To Paint Water With Watercolors.

In this class we will dive deep into paint various water elements such as;

  • waterfalls
  • crashing waves
  • still ponds
  • shadows vs. reflections
  • much more

The lessons will start with the very basic water painting techniques and from there we will build upon them with more advanced ideas.

Who should take this class?

Any watercolorist that wants an in-depth class for paint water elements. Beginners are welcome but know we will get into more advanced techniques as the class moves forward. Take this class only if you are serious and motivated to paint awesome watercolor landscapes with water features.

What you will love about this class

  • This class features detailed demos for each water element
  • Then we will look at the Masters (Hawthhorn, Seago, Wesson, etc) to see how they may have used these ideas plus some of their own to paint wonderful landscapes with water features
  • Then we will use real photos of with water elements and decide which techniques we would use to paint it
  • Then we will paint each of the water photos based on our approach and ideas
  • Critiques will be offered to those that submit projects (three total critique checkpoints)
  • Then Robert, the teacher, will complete the same assignments as you so that you can compare your ideas and art with his

As you can see this is a well rounded watercolor class with multiple learning tools and techniques.

Classes Mentioned:

Watercolor Landscape Workout (perfect compliment to this class)

How To Plan Awesome Watercolor Art (fantastic for design & composition)

More Watercolor SkillShare Classes By Robert Joyner

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Watercolor Workout - Basics & Beyond (great all around skills class, don't miss it!)

Easy Watercolor Paintings

Color Harmony With Watercolors

Simple Watercolor Landscapes; Paint Your Own Loose, Colorful, Monochromatic Artwork

Perfect Gift Ideas You Can Make With Watercolors

Intermediate & Advanced

How To Plan Awesome Watercolor Art

Solve Your Watercolor Troubles

Unlock The Unique Qualities Of Watercolors - Focus On Color, Transparency, Value And Neutrals

Watercolor Flowers; Wet-In-Wet Techniques

Flowers With Watercolor - Fresh And Loose Painting Tips

Tips And Tricks For What To Do With Your Bad Watercolor Art - How To Turn

Advanced Watercolor Techniques - Working With Values, Reflections And Capturing Light

Advancing In Watercolor - Intermediate Tips & Methods For Painting Fast & Loose

Advanced Watercolor Landscape Masterclass

Advanced Watercolor Class; Brushes, Values, Layers & More

Watercolor Beginner Technique Masterclass With Easy To Do Projects

Meet Your Teacher

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Robert Joyner

Making Art Fun

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Transcripts

1. Intro: Hi there, I'm Robert Joiner and welcome to how to paint water with watercolors. And this class we're going to dive into many water types, including waterfalls, ponds, running rivers, rough surf conditions and so on. And I'm also going to give you a tremendous amount of resources to learn from, not just step-by-step demos and explain the process and techniques that you can use to paint water. But we're going to also look at the masters are from We're segfault lesson, maybe some Hawthorne and other masters that does have done a wonderful job throughout their career to paint some amazing water scenery. And then we're going to look at real life photographs of water, and then determine how we can approach painting it based on the techniques I've shared with you in this class. And then once you analyze how you would paint it, then we're going to follow through with actually painting the scene based on our ideas. I'm going to do all of these same exercises as you, so that you have something to compare your thoughts and ideas too, which gives this class a very well-rounded learning opportunity. For those of you that want to paint amazing water elements within your watercolor landscapes. So this sounds interesting to you. Then we're going to get started with my materials. I'll show you a little bit about my workspace setup. I will show you a simple exercise you can do that will help you understand the water to pigment ratio. And then we will dive into the heart of the lessons, starting with water is a surface, so a lot to cover, but I'm sure you can get through it and I'm sure by the end of this class, you're going to have a lot of tools and techniques to use to paint some amazing watercolor landscapes. So let's do it. 2. Materials: All right, Before we dive in, let's look in materials. As I mentioned in the introduction video, you don't have to have every single color I have. You don't have to have the same brushes. I'm simply doing this to share my thoughts on materials, the things out we'll be using. That way if you have questions about some of these colors and brushes and paper, hopefully this video answer it. And then of course, along the way, if you feel like some of the materials I'm using may benefit you. And of course you can always purchase them at your own convenience, but you do not have to have all of these things to get started. Okay, now let's talk about paper. I'm going to be using a 140 pound cold press paper. It's not as heavy as the, say a 300 pound paper, a 140 pounds is heavy enough, however, to do all of the studies and paintings we'll be doing in this class. It's also the same paper I use all the time for all of my watercolor painting. Some artists prefer a heavier paper, like a 300 pound paper. But for me that's just a little bit of an overkill and I just simply don't need anything that Fick. One advantage of thicker, heavier paper, however, is that it doesn't really buckle as much as thinner paper. But again, I'll be using a 140 pound cold press paper. I buy full sheets, 22 by 30. I then fold that in half to get to 15 by 22 inch pieces. And I fold those in half again, and I end up with pieces that are about 11 by 15 inches. So that's the size of this paper right here. So that is 15 by 11 inches. And I will use this size for most of my work. So as we get into the course, the ideas and lessons, we'll start to combine and we'll do more finished work. And that's the size I will be using. So cold press paper I think works pretty good for landscapes. It has a little bit of texture to it, which is nice, rough press, which is another common paper and surface that has a little more texture than the cold press. And that may work for some of you, but I find the cold press gives me that happy medium, so it's got some texture but not too much. There is another surface is hot press and that's very, very smooth. Typically that's used for high detail sort of work portraits, things of that nature and Abu Dhabi using that in this class. Now as far as watercolor paint, I use Holbein, that's the brand up. Prefer. Very soft and buttery, very good selection of a has always been very satisfied with it. I've used it since I've started watercolor back in the year 2000. As far as my hughes, I'm going to go over those. I don't use a lot of them. It's a limited palette and it helps me pretty much get any sort of color I need or ever could imagine on my palette consists of alizarin crimson cad red light, burnt sienna cad yellow, pale yellow ocher, cobalt, turquoise, ultramarine blue, spirulina blue, and then umber, now not pictured here, which would normally go. And one of these pails or pans right here is neutral tent. So that's sort of a gray. Some folks like Payne's gray, but I've always like neutral tent. I may use some of that later on in the class, but for now, I won't need it for the first section or so. Now my palette as a John pipe palette, it gives me a large mixing area. So as you can see, once I remove the water, I've got all this surface to mix. I even had these smaller areas here that don't have pain in. If I needed a small wash, I could use those as well. But a good large mixing area is beneficial because you can mix up a large wash. Even if you need to small washes. You can do those side-by-side and still have plenty of room. The next thing I will cover is brushes. I will first start with my sort of go-to brush. This is a number 10 pointed around is by silver. This is the golden natural series. Again, a number ten, it gets to a pretty good point, which is fine. So if I needed to do a little bit of detail work, they can get the job done. I also have a few specialty brushes. This is a sword brush. So as you can see by the tip, the bristles discarded distinct shape to it, similar to a sword. This is my larger one, this is a half-inch, and then I have a smaller one, which is by silver as well. This is a golden natural. This is a quarter-inch. These are great for Dawn Lindberg detail work. I'll use this a lot when we get into grasses, trees, and rocks. So very good brushes to have. This is my small number 6 pointed round, a little bit smaller than the initial one. Plus it gets too, and I showed you plus it gets to a little bit finer point. So again, a Princeton Neptune number 6 pointed round. I will know that these brushes are very cost effective. So you don't have to spend a fortune on a brush for ten or $15, you can get a really good brush that most of these are natural and synthetic, so they're a blend. But I've had these for multiple years and they're still brand new. They come to a really good point and they work great, just as good as the more expensive brushes. The last brush I'll show you is my quill. This is a number 8 Princeton Neptune. This can put down a very, very large, large wash. No, it's got a large belly to it. I have one that's actually bigger than this, but the number eight is fine. It works really well for the size. Are there we're going to create in this class. If I were working on a larger scale than I would break out my larger brush. Actually, I have one more brush to show you and then I'm going to show you a not so traditional brush I'll use as well in this class. This is a bottler. This is a 1.5 inches. You can see it's very square. So we've got more of a geometric sort of end and Bristol to it shape. But this is really good for put now a large amount of wash and hue. And it's really good for painting a lot of landscape elements as well. But I really like this brush. I don't use it probably as often as I should, but I'm going to be using a, using it, excuse me a lot in this class. So again, that's an inch and a half Princeton Neptune bottler brush. So that's pretty much it for my brushes. Last thing is just a pencil. This is a to B pencil. So I will use that for obvious reasons and that's to put out my drawings and things like that on my palette. I will keep my two water reservoirs. So I've got one to wash my brush with to remove paint. And now I try to keep one of them for just clean pure water over the course of three or four demos, this will start to get contaminated. I'm so I'll will change both of them. But if this one starts to get contaminated, be sure to change it. You want to have one reservoir that's always very, very clean, pure water that doesn't contaminate the colors you're trying to mix. I do have some rags here. These are very, very important. I'm going to go over this in the next lesson. But a key, a few of these rags I give these a Home Depot, they're very cheap if I can take on and fold them up. And I put that right by my water reservoir for reasons I will share in the next lesson. The other things I will share with you here will be paper towels. You may want to have this just for a little bit of cleanup. And lastly, this is a board. This is actually a piece of gator board. I've had forever, kinda thick, very sturdy. And I put this white piece of paper over it just so you guys don't have to stare at how gross this is. Again, I've had this since the year 2000, since I started painting, but this gives me a really firm Stir surface to paint on. I can put my art on it. And the paper you don't necessarily need I get out is do that for aesthetics. So you guys again, I'll have to look at what that board and then I keep my board at an angle. This angle keeps all the water heading downhill. If you paint on a flat surface like this without it being angled, then what happens is the water will start to puddle up in different areas of your paper. And that's kinda undesirable. Second, create backwash ballooning, things that you may not want in your artwork. So again, if you don't have a little level like this, a little three-foot level. You can get a tuba fore roll of masking tape, anything to keep keep it propped up. But you definitely want to consider that. And a little Mr. bottle, we may use mainly use it to keep my paints from drying up under the bright lights here. And lastly is some masking tape. You may want to tape your paper down on the corners. Some artists will take the tape and tape around all the edges of the painting. That's up to you. I don't use this a lot. If I use it is just to tape the corners and to keep the paper relatively flat while I'm painting. Okay, so that's it for my materials. And the next lesson I'm going to go over my setup, why I have it this way and then show you a really good tip, a very important tip, I should say, about your water and managing water, okay. 3. Workspace Setup: All right, Welcome back. I'm going to go over my setup, why I keep it this way, and then share some ideas on what you can do to sort of help manage water and things of that nature. There are very important to watercolor painting. So again, you know about my board. You know that as angle that's very important with your paper. Obviously. Well, you may not know this at all because I haven't painted for you yet, but I am right-handed. So I'm going to keep my palette on my right-hand side. I have seen this many times where you move, say you have a right-handed painter. They had their stuff over here and they're constantly having to go back and forth over their artwork. And then you're risking water paint, things like that dropping on your art. And that's going to not help you a lot with watercolor painting. You want to try to eliminate silly mistakes, and that's certainly one of them. So again, I'm right-handed. If you're left-handed, you would have it over here. Typically when I'm painting for myself, I do not put these water reservoirs on my mixing palettes. I like to have the extra space, but for this case is like that so that I can show you my water and my palette and everything in one camera angle. And so you get a chance to see me go to the water and you get a chance to see all that stuff because it's important in watercolor painting to see how paint is mixed, to see how much water is being put in and that sort of thing. So for this setup I'm teaching, have my two reservoirs again, one is used to clean the paint off and then one is just for clean water. When I want to mix paint. As I mentioned before, to this one over times going even though you're trying to keep it clean, you're washing your brushes here, That's still going to get contaminated. So be sure to change that once it starts to look dirty. Now, a very important you listen to this because I can tell you this has been a huge game changer for my watercolor painting. And this towel right here by my water reservoirs help eliminate unnecessary water building up on your palette and getting into your artwork. So here's how I like to work. So let's say I had a dirty brush on e to clean it. I will clean it. And now I need somewhere to get that excess water off the brush. So I'll just go right to my towel and I give it a pat and that will remove the excess water. Now my brush is damp, but it is not dripping with the water. Now, I can go into my paints, get out the pain. I need, clean my brush again and then go into the freshwater. And if it's too much again, tap it and then get what you need. So again, let's say I have a dirty brush I've been painting. I need to clean it. So clean it. Pat tap, grab the next color as I need. Clean my brush, tap, tap, freshwater. And now everything stays clean. The dirty water stays dirty. And then my pinks and the pans here, they're not swimming in water. And I don't get a lot of excess water pulling up on the palette. Very, very, very important. I can tell you if you're not doing something like this to manage your water out of your four-year watercolor painting, then you're probably got a lot of water issues is all going to end up on your work. If you're careless about how you manage the water, when you're mixing paint, when you're cleaning your brush and so on, chances are you're not really doing what you're supposed to do on your artwork as well. So again, very important that you do this after a couple of demos. This will get really wet as well. So I'll just take it outside and a ring it like this and it removes all the excess water and then it's ready to go again. But again, that's very, very important that you consider that or something similar to it. For your painting, some artists just like to put a roll of paper towel was like that. Maybe it's used paper towels as well, but I'm a little more resourceful. I don't like wasting that sort of paper and products, so the towels are reusable. I've had this these towels for multiple years and they continue to work over and over over time. They'll get really dirty and contaminated. I just give them a good rents in the spigot outside and they're almost as good as new. So anyway, so that's going to cover it for my setup. I'm going to show you one more lesson and I'm going to discuss how I like to mix paint and then also the two kinda paint types we will use in this class. And then give you a little test that you can do to make sure you're using the right style of painting, okay. 4. Finger Test: I wanted to take a moment to talk about mixing paint and one of the common issues we all deal with with watercolor painting and that's motor. Okay, so I've giving you the tip about having this towel here and the previous lesson. Now let's look at the two sort of paint mixtures we're going to use the most and that's going to be thin or water down paint. I refer to that as T. And then thicker paint which is sort of in-between milk and honey. There's a little finger tests you can do. So let's say I want to mix a little bit of blue here. Well, actually I'll just do Alizarin crimson and a little bit of my brown. And I want this to be fairly thin. So a good tests you can do is to run your finger through the paint. And what happens if you had the right amount of water is it's going to automatically back run where you drag your finger through the palette. So I'm going to move this over so you can get a little bit better shot of that. So again, let's say I want a very thin mixture of paint here. So I want it light T. Okay? So something like that. Now the finger test is this. So when I've run my finger through that paint, again, you're not going to see the palate because of water or there's so much water there that it runs back into that groove and that's going to give me a fairly pale wash. Now, conversely, I'll leave this over here so we can get a good angle at it. If I wanted a thicker paint and this would be styled number two. So I can mix a little bit of pain in there. I'll go a little bit more. Okay. So we'll get something like this gone. Now as I run my finger through it. Okay. It doesn't backfill as much. So we're are rubbed my finger on the palate. Add tends to stay open like that. So that finger test is a really good test to do. So if you're trying to do a thin wash and you wanted to be very transparent than obviously if you just hit a little finger test, then that would tell you that it's wrong. Now you can use the tip of your brush to, but that doesn't really work as effectively. So the little finger test is good. You can clean it off if you want. And over time you're not going to have to do that because you want to start to get familiar with the paint and you can kinda tell the way it's responding on the palate. If that's thin or if that's really thick. Okay. So as I put that thicker paint down, That's going to be more opaque, less transparent. Then I can say, Okay, well, I need something a little bit thinner for the next round and then I can start to see how that is moving across the palate. That that's going to be very thin and transparent and maybe more of what I need counter the two types of paint we're going to be using, the two types of mixes, I should say. So one again is very watered-down thin, the other is thicker. The little finger test is something that may help you determine if you've got the right mix on your palette. Obviously, we can go thicker. You can go with a damp brush and, and very little water at all and give these really very opaque strokes down. We use that once in awhile for highlights and details and kind of finishing touches about I don't use it very often. It's either a very thin transparent wash. We start going a little bit thicker. End of that milk and honey zone to get a more either more color or we simply just seemed to go a little bit thicker so we get maybe a little more intensity out of our wash. Okay, so that hopefully is a good tip about your paint and that'll help you as we move forward. 5. Water Is A Surface: All right, Welcome to the first lesson. And we're going to talk about water is a surface. So just like concrete grass, anything like that, it receives light and shadow. And of course that lightened shadow will change drastically depending on the type of light It's under. Is it a hard light? Is is it a soft light? Is it a sunny day, a cloudy day? Is the sun behind you, is in front of you, is a to the side and so on. All right. So that's point number one. Point number two is what type of water is it? Is it a calm pond? Is it a running river or is it a choppy? See, he always have to pay attention to the type of water you're painting. And that's because it has a huge impact on what I shared with you in 0.1. So if you're dealing with a still pond, you're going to have much sharper edge quality, much greater reflections and things of that nature where if you're dealing with a choppy see, then of course the shadows, the reflections and things like that are going to change quite a bit. We compare that to a much calmer water type. Now the third thing is once you analyze what type of water you're painting, then he can decide on techniques and tools. And of course, I'm going to share a lot of those techniques with you as we move forward in this class. And lastly, the shape of the water. Water is typically part of a design. In other words, you may have trees, he may have rocks. You may have a beach, shore with boats and figures, things of that nature. So you always have to consider the shape of the water because it has to work as a whole, so it has to fit within the design and composition of the scene you're doing. And of course, we're going to discuss that quite a bit as we move into this class. So in the next lesson, what we're going to do is just look at a few photographs and then analyze some of the things I just shared with you in this video. And then that way it will put us on the same page. And then as we move forward into painting the different water types and conditions, then we're going to really be able to move forward a little bit quicker because we're starting to sort of see things in a similar fashion. Okay, so I'll see you in the next one. 6. Water Examples Using Photos: All right, our first image here is obviously a very still pond. And the things I want to point out to you, our reflections tend to mirror the environment, right? So you got to think of a situation like this, the pond and this water surface as a mirror. So where this tree is here, AGC that comes down and it lines up and we're getting almost a picture perfect reflection of the tree and the other elements around here. Notice to the sharpness of things. So when we look down here in the foreground, notice how sharp the edge quality is. You can see a lot of detail. Now if we get back here to this tree and we just sort of pay attention to that reflection of the tree and the water. Notice how the colors and the edge quality is a little bit softer, so it's not quite as sharp and that's because of perspective. So with water, It's very much yet the treated very much like any other landscapes. So if you were in some rural scene or in a city, let's say the edges and the objects that are closer to you tend to have sharper edge quality. So we can see a lot more detail. And when things sort of move away from us, They, they, they tend to get a little bit blurry and not as much edges to them. So very important that you understand that because eventually, when we get into painting some of these water scenes, that's going to have an impact. Own your work. So that's one thing I'll kinda want to point out to you actually two things. So remember, when you're dealing with a very calm scene like this, things have to line up. So where the edge of this tree is, it comes down. You can see how all of this lines up. With that where this tree comes down, we got an angle like this. Well, it's a mirror here, so it's going to go the opposite way. When things are closer to you, the reflections and whatnot, they tend to be a little bit sharper and edges, a little bit crisper and color where they tend to go away from us and get further away. Things get a little bit blurrier. So I just wanted to point that out about this one. We'll look at a couple more here and then we'll sort of move forward in it. So this particular scene is very still to a very gorgeous scene here. But we do have ripples and the water. So we're starting to see some, a little more movement to what's going on. So if we look right in here, especially now notice how that reflection right there mimics what's going on in the sky. So we have the white, which is right through here. And then we had the blue which is right through here. Now, if we took a swatch, okay, so if I took this white swatch right here in the sky and came down here and the water, Let's say what? The color in the sky is going to be lighter in value than what's in the water. Okay, So typically, reflections are a little bit darker than the actual subject. We can see that a few places pretty much all lovey here, but I'll point out a few of the places where that's true. So if we look at this group of trees here, these trees are vertical so they don't tend to get a lot of light. Verticals are probably some of the darker elements in the landscape. But when we look, but they do receive more light than what's going on here with the reflection in the water. So this color here would be a little bit darker in value as a whole. Then the Trees itself, we can see that big time right here in these trees. How this reflection is darker than the actual object that is reflecting the trees and the bushes. So just something to keep in mind. So again, reflections tend to be darker than what is reflecting with water. And then ripples. Ripples are something that have an impact on the water and on the reflection. And again, we're dealing with perspective here so we can see more of those ripples in the foreground. Okay, So these, the foreground is always going to have more movement and rippling. Then the middle and background. So when we get back here towards this area is very smooth, but it's probably the same amount of rippling going on. It's just that as things move away from us, we're dealing with perspective. And you don't see as much detail as things versus things that are closer to you. But there are ripple. So we have some ducks are something that are sort of swimming around here and they're causing some rippling effects and the water. So that rippling effect is disturbing. This smooth blended sort of field. We can see some of that impacting and here as well. So we can see some of the just a few ripples moving through there. And then of course as we get in here, things get much more impacted. So I'll just something again to keep note and to keep in mind. So again, the color choices that you make, ten or your reflection, they should be a little bit darker than what is actually reflecting. Things that are further away. Again, this is sort of repeating, tend to be softer. Edge quality is much softer. As things get closer to you, we're dealing with a little bit sharper edge quality, more detail, more rippling. And again, we can sort of see all of that going on in this particular scene. Let's look at one more. And this gives us more of a more movement and more rippling effect. And when you have water that is moving and kinda churning like this particular scene, then obviously the reflections are impacted. So this water we're still like the pond then we would have much sharper reflections. But because we're dealing with a very choppy scene, then we're not getting the same feeling. Okay, So that's something that's very, very important to note. And but again, as you, we, we sort of look a little bit back here. Let's say we can see some reflection going on. There's a little subtle reflection in that rock. And this, and that's because this is sort of moving away from all of this rippling. And that's kinda churning the water in this area. There's a rock right there, so we're getting that sort of rippling effect as the water moves over that rock. But I'll here near the edges where things are calm, we're getting a little subtle reflective quality in that. But again, it's very subtle that, but look how much darker that rock color is there, as opposed to what is really in nature. So that kinda light gray. But you're not going to see that same reflective quality as the water gets closer to us. We're sort of getting these sort of reflections and here very kind of white sparkling sort of movement that is flowing with that, that, that water. So again, just something to keep in mind as we move forward. And now you sort of know a little bit about how to treat a scene like that. And, you know, as you all move through these a little bit quicker, but as, as I do that, here you can see this sort of reflecting gone on way back here. We can see the mimicking of the verticals moving through the water, but that's getting disturbed by the movement in the water itself. But if we compared what's going on back here to what's going on in here. You can see in here we've got much greater detail, much sharper edge quality. Then what's going on in the background? So that's again, things that we, we have to keep in mind as we paint water. This'll be the last one. And then we'll actually get into some techniques. And then we'll start applying these to all of this by saying this is a really good investment of time. Because it sort of gets you thinking a little bit and analyzing a little bit about the scene and the type of water and everything you're painting. So on this rough see, we're seeing very little reflection and you can see bits and hence that brown and here, but it is just really getting disturbed. And as you move back in this area, there's absolutely no reflection. That's because it's so far away. And things are getting broken up with the waves that you don't see it. But look at all this detail, these shadows in the water. That's because the sun is probably over in here shining on the scene. So the back of the wave, In tops of the waves are getting light, but this part is getting shadow. Okay, so that gives it this water has a three-dimensional feel to you. To it, it has height. Therefore, it's going to be impacted by this sort of shadowing effect here. So even though water is a liquid, when it sort of has this wave feeling to it, it becomes sort of a vertical element. And we have to consider shadows in that. And we can see the shadows playing a part back here and these waves as well. And that's just because the back of that wave isn't getting light. We're starting to see in the foreground a lot more rippling going on. I mean, a lot of backup here. We're seeing a lot more rippling or our reflection in here as subtle, but still it's there. So we had this cliff and then all of this right here is a reflection. So reflection of that big stone mass rate there. So look at all the rippling going on and here. But then as we get back in here again, it's sort of smoothes out. So anyway, that's just stop right there. That gives you a little taste of the things we'll be dealing with in this class. And again in the next lesson. And we're going to move crack forward and start diving into techniques. And then once we get some techniques under our belt, we're going to start applying these to some small studies. 7. Basic Wash Techniques: All right, let's do a little basic wash technique. So a little bit of water on the palette only have a few hues on my palette for right now. All we need to get started. This is my cobalt turquoise and then a little bit of ultramarine blue. Now whenever you paint water, you always want to start with the lightest hue. Typically. That's just a good rule of thumb. With watercolor painting anyways, we paint light to dark. So that means even if I did the finger tests, they're very watery mix. Now, in this particular scene, there's going to be a little bit of sky and then water, and then nothing really else to to worry about me. And I don't want to add anything else because we don't really need it. Just to understand this basic idea of how to paint water. So I'll clean my brush really good. And what I'll do is just wet an area. And I'll bring that down somewhere in here. So, um, so we'll, we'll, we'll have here is the sky in a very cloudless sky. So just think blue and then some water. So I'll start at the top of the sky line here and then work my way down. Okay, so we'll say the water starts about right here. So now for the water, remember it's a reflective surface. So what's going to reflect on the sky in this case, because there's nothing else that we're really going to put into it. And also it's a little bit darker than the surface or then what is reflecting. So I mentioned that in the kinda getting started videos is that the water is always going to be slightly darker than what is reflecting. I'll do is just turn this upside down. And I'm not going to start here. Because what's going to happen is with a sky as lighter as it goes away from us. So this sky up in here as closer to us than the sky way back here in the horizon. So in that case, the water is going to be lighter as it goes away from us and as it reflects this area back here, and it'll be darker as it comes closer to us. So I will take a slightly darker mixture here, and I'll start down here at the bottom and then work my way to the top where it meets her, the horizon. So that's sort of what we have. And you can see the water surface is a little bit darker than the sky. So this is working wet into wet. So pretty wet the paper. And then I put wet paint into it. You can't really put dry paint into it unless you just simply use a very dry brush and you dip directly into the paint and you put onto the surface. So that's just a basic wash technique. And then some of the things that we need to keep in mind about the surface of the water. Remember as darker than what is reflecting is going to be darker as it's closer to you. A lighter as it moves away. Now, if I wanted to put a little bit of movement in the water, I can go a little bit darker, perhaps in the foreground here. So we'll pretend this water is just sort of moving a little bit. That's some rippling effects. And then of course, as it moves away from us, we're not going to see as much of that movement, okay, because again, that's sort of that perspective that we talked about. So that is a very basic wet into wet. I'll wash technique that we can use. And what I'll do is add a little bit of just a hint of Horizon back there, just so we see the division. But remember, because something is, whenever I add is so far away from us, we're not going to get a reflection out of it. That's how far away it is. So I'll take a dryer to this and that I'll come back and add a little hint of something. And then that'll complete this demo. All right, at the bottom of my palette, I added a little sepia here. I'll just put a little bit of that on my palette, a little bit some of these blues. And again, just to sort of put this in a little bit better context here, I'll add just something back here just to kinda make this into something a little more recognizable. And again, sort of putting it into perspective for you. So you kinda see where the sky ends and where the water begins. And then I can soften Brill, very little water here. I can soften that edge a little bit just so it doesn't feel like it's close to us. So again, a basic wash technique here, wet and wet. Discussing the values. Okay, so you can think about that as value hierarchy. Remember, water tends to be slightly darker than what is reflecting, okay? And as the water gets closer to us, I remember we see a little more more detail, which in this case it's just a little bit of a rippling effect happening. So there we go. 8. Vaiegated Wash Techniques: All right, so let's do another little basic wash here. Let me clean my palette. Water's getting murky over here, but because I've got some clean water, I think I'll be fine. So I'll pretty wet the paper. And it will sort of use the same little shape as last time. So what we're doing is just building upon that basic wash. And that basic wash. I know I use turquoise and ultramarine blue, but it was basically a simple variegated wash. I'm sorry, a simple a gradation because it was really just a blue. So we didn't really have multiple hues. So what I'll do now is I'll get a little bit of this blue happened in here, and I'll work that blue down towards the horizon. And now let's say as we get down in here, well, we start seeing this sort of a glow going on with a red. So you can think maybe a sunset sort of thing here. And we get that happening. So there's our sky. So our sky sort of ends right in here. I'll just sort of blend that to the sides there. If I want, I can put a little shot of blue in here just to make it a little bit streaky. But that's it. Now. The water comes next. Okay. The water again as a reflection of what's happening. So if I use the same hues, but I want to go a little bit darker. So I want to go a little bit bluer, little bit less water than what I used up here. So I could do something like that. Then maybe let's get into this skill with some of these yellows, touch a red here, like this. So like that, then maybe as we get up in here, things get a little more yellow, but tried to keep it a little bit darker than what's happening. And the sky. I can even lift some of that while it's wet and the sky. And I'll do the same thing. So I will sort of let this dry and I'll add a little something back there to put it in context, just some trees or whatever. But before I do that, I can just get some darker hues here. Maybe add a little bit of blue to it, maybe a little bit of red. I can put some ripples coming through the water there. Those ripples can be even more of a yellow if I wanted to like that. Okay, So that puts a little bit of movement in that water. I'll take a hairdryer to it and I'll be right back. I'll take my small pointed round little bit. Umber, I'm e-government colors. Sorry, I didn't do this earlier. The beginning of the lesson, Alizarin crimson cad red light, yellow ocher cad yellow light, cobalt, turquoise, ultra marine blue. This is burnt umber and then umber down here at the bottom. So umber burnt number. I'll eventually put some burnt sienna right there. But I'm just going to use a little bit of blue with some of these numbers. And right in here where the horizon is again, just sort of putting in a little something back there to indicate whatever it may be. But notice I'm not making a big fuss about it and because it's so far back, I'm just going to soften this edge because again, things get softer, edges get softer as they go back away from us. So on. That will sort of put it in context for you. And we can kinda see where the sky ends and where the water begins. And hopefully you can see a little bit of the values happening here. So I'll water just sort of giving you a little bit more, a little bit darker hue than what's in the sky. And these are the things that we want to work on now so that when we get into more advanced things later on, we're not struggling with some of these basics, okay? So we have to kinda get these basics down. And then we can charge forward into some more sophisticated water scenes. But just kind of building upon that very basic wash. All right, so again, this is a variegated wash because we're using multiple colors and all the hues of stuff I've talked about being darker and lighter up here. All that stuff applies. All right. 9. Reflection Hierarchy: All right, so let's talk a little bit about reflection hierarchy. And I'll keep this real simple of course. So let's say we've got our, i'll, I'll just put this horizon in the middle, which is a terrible thing to do. We typically either higher or lower than the middle. But for the sake of this demo, I think it can easily be there. So let's say we had this sort of landmass coming here. And we have a couple of trees. Maybe one that's sort of leaning like this, and one maybe that's sort of like that. Okay. And then back here we just sort of have a nothing happening. So we have a little bit stronger vertical element there with the trees. What I can do is just almost do the same thing. I'll kinda pre wet the paper a little bit here. Again, this is simple and now we're starting simple. And we're going to build upon these ideas. So long finger test shows as pretty weak. I'll keep this, I'll make it a little bit weaker as we get down in here. So again, a simple gradient and sky here. Okay, basically using one color. I'll add a little bit of hue to that. And we'll bring it darker down here. And then a little bit lighter as we get back towards the horizon. So again, nothing big here. We can take a little bit darker hue. I can add a little bit of just a little bit of movement here to the water. That's okay. But I don't want to do too much because I want these vertical elements to have an impact and the reflection part of the design. So I'm going to not make the water too noisy, that the water gets too noisy. And I'll lose the main kind of the core lesson I want to show here. So I'll just clean my brush, what it tap out some of that. I'm actually going to smooth out some of this here and just make it a little bit darker or maybe right in there. All right. So I'll take a hairdryer to this and I'll be right back. Okay, I'll switch to my pointed round here and we'll, we'll establish these verticals again. I'll just use simple colors here. I'm not going to try to get too cute with anything. So fairly weak. You can see the test there. You can see that for this background. So back in here, basically nothing. Okay, So all the movement, all the excitement that's going to happen closer to us. Now in here, it's going to be darker because it's closer to us. And what I want to point out and really stress in this video is the hierarchy. So what I don't want to do is paint the reflections before I paint the element that is reflecting. Okay, so we want to make sure we get these verticals and first we establish the value how light or dark it is. We establish the angles, the size of whatever it is, and then we can do the reflection. Okay? So let's say this has a little bit of green to it, so we'll sort of do something like that. And will you in touch it. So these sort of joined a little bit in there. So that's good. I can take a little bit of maybe a darker color here, maybe drop a few of that few dots in it. And now I can establish my trees so I can sort of do this. So we have a little leaner there. I'll do some scumbling. So for those of you that took my watercolor landscape workshop basics and beyond, you know the drill. So and I'll make this one maybe a little bit darker, just to give it a little variety here. So we'll do something like this. So we got a heavy lean towards that tree. And I'll sort of joining a few darks down in here. And I'll do a little third one here. And we'll just sort of Push it like that. Alright, so what I've done is I've established my verticals. Okay, so now I want to bring that reflection down in the water. So I had to ask myself what type of water is it? Is it still is it's still with a little bit of movement. Is it rough sort of movement are all know what's, what's really happened in there. And what I'll do is say, this is still with a little bit of movement, okay, so we, this is the foreground. This is what's closer to us. This is the middle ground. This is the background way back here. So I'm not worried about this. But in here in the middle ground, I need to start to establish a little bit of movement there. So what I'll do is I'll sort of work with these zig-zag strokes like that. Okay, So going back and forth, but leaving areas of that blue. Now also have to think that the water is going to be the reflection rather. There's going to be darker than what is reflecting. So I have to keep that in mind as well. So I'll use a little bit of my blue, little bit umber here, and maybe even a touch of my yellow ocher and say, okay, I think that works pretty good. And so, but I think I need a little bit more there, so I'll do that. So what I'll do first is sort of establish my little kinda island here and I'm working back and forth, established in that and making sure I leave a little bit of that blue in there. Okay, and then maybe not too much because again, that's we have more foreground here to pull off that idea. Okay, So I've gotta keep that in mind. So if I use too much movement back there, in other words, if I leave too many of these blue marks revealing, then what's going to happen is it's going to look too, too detailed here. And then it's gonna look too detailed here and they're competing with each other. Okay, so now I'll get into where my tree is. I can sort of do that same sort of zigzag feel. And you can see that values pretty light. So I'm going to add a little bit of color to it. It doesn't have to be the same color, just the values are going to always be more important. And then in here where the canopy is, all of this we think sort of break apart a little bit more and we get more of that are rippling effect. Okay? So notice the angle here and here. And then this has gotta lean. So in here, we want to sort of get that same feeling of that lean. And then things sort of join and really start to break apart. And here then we sort of had this other one and here that we're going to just kind of downplay a little bit like so. Okay. So again, value hierarchy is always going to be important. The thing I want to really stress here is that we need to establish the verticals first before you do anything else. If you start to get your reflections and the water before you get your verticals, then you're going to find yourself having a hard time trying to match everything up. But I'll find a few. If you do it this way. There's a lot less guesswork. So, and then you have a lot more idea of using the right values and that sort of thing. So you can see here this is, that's pretty dark and this may not be dark enough. So maybe while that's still wet, if I wanted to and now I'm not that picky. I would probably this go back and get in here and touch some darker values in there. If if that was like, you know, something I needed to do, I can put a little bit darker value and here where they sort of meat. I'm good to go. So, so you know, a little more sophistication here, right? A little more to think about. But that's the way it is. Watercolor is a medium that will absolutely eat you up and spit you out. If you don't put thought into how you're going to approach your subject. Typically. I know for me I find I get and a lot of trouble when I just crashed forward into something without any sort of intelligent thought into the technique and how I want to do something. So always kinda backup a little bit, even though you're excited and you're ready to paint and you've got a new brush and new a new pallet or whatever, and you just wanna do it. Take your time, look at your subject, think about what you wanna do and get some sort of plan that's going to help you get there. And then of course, once you start painting it, then you may have to start making some changes because watercolor has a mind of its own. But having a kind of a basic idea of how you're going to approach something and having these hierarchies and these sort of blueprints, I'll just give you something to compare things too, and it gives you a start. And then that's a much better approach than a sort of guessing how you want to do it or kind of daunted by the seat of your pants and, you know, and you end up with something that does sort of takes you on a rod versus you being in a little more control. Another thing you can do is while this is still wet as you can scratch into it like that, you can kinda reveal a little lighter reflection in the water. But you don't wanna do that too much. Just maybe here in the air. If you feel like you have an area that's too dense or too dark, but that's that. 10. Sharp Reflections: Okay, we're going to look at sharp and soft reflections. We're gonna do Sharp first. So we'll say we'll have a little water line here. We've got some bushes or whatever, maybe a little distant action there. And that doesn't matter. It's not going to reflect at all because it's so far away from us. So a little bit of clean water, a little bit of turquoise here. And I'll add a little bit of ultra to that. And just get a some sort of really weak sky color here. And I'll pull that down into the water. And it can be a little bit darker if you wanted to, but I'm not going to worry too much about it since the real core of the lesson here is going to be about creating sharp reflections. So I'll clean my brush really good. They're a little bit of yellow cad yellow pale, a little bit of my ocher, and a little bit of red, a little bit of water. Finger test tells you that's really weak, which is what we want. And I'll just sort of put some of that down like so. And there's our lovely little bush there. And I'll pull that right down into the water as well. Now we don't need to fuss a lot about the blending and the bleeding that's happening here. Because all we're doing is establishing the light. So the light in the sky, the reflection of the sky and the water, and then the light, the sun hitting the bushes and the landscape. And everything is going to be soft at this point, okay, So you're not gonna get any of those crisp edges that we talked about. Okay, That's not quite the stage. We're after or we're in. So to get to the next level, this needs to be a 100 percent dry. So I'm going to dry this and I'll be right back. All right, I'll use my larger brush here. Mix up what's on my palette, maybe get a little bit more, maybe even a little bit of crimson. And that as well touched my blues. And we'll just get something that's a little bit darker, maybe even burnt umber, but not too dark. So I'm gonna add a little bit of water to that. So that's that's pretty good there. So there's your finger tests nice and watery. Had this point and I'll just establish some darker values in this. So I'll just maybe something like that. And so now we've got our bushes sort of go on there. So we're establishing those verticals, right? We talked about that in the last lesson. Now, if I want to, I can pull that right on down into the water and I'll just make that a little bit darker. And back in here, remember you're not gonna see a lot of rippling, but maybe one or two is fine and then we'll sort of lead that taper out. And then as we get closer to us, okay, we're going to start to see that break apart a little bit. Okay, so that's going to get a little bit bigger ripples. And then maybe even a little bit bigger still. Okay, so now we're really starting to see that movement in the water. And we're really break it apart as it gets closer to us. All right, so that's sort of giving us that crisp edge quality that we're, we need and we're what we're focusing on here already. So you start to see this sort of a calm water. It's fairly still, but we've got a little bit of movement happening. So I'm going to take a little bit of these numbers, a little bit of these blues. Now just to establish something back there, like so. But again, It's so far back there. I can just take a little bit of my damp brush and just soften that edge and that's really all that needs to be. I now, while this is wet, I want to work into it so I can take blues, reds. Numbers, some yellows, and put a few shadows in the tree, in the bushes. And I can take those. I would take a little bit darker here and just pull that right down into the reflection. Okay, so that, that part is soft. So those edges and those hues or just sort of melting into that wash. And that's fine because we've got that sharp edge quality already. And that's kind of the nuts and bolts of painting sharp reflections. And this is one technique that you can use and think about as you move forward. So we'll just sort of a recap. And I'll turn this upside down and let the wash run the other way too. But just a little recap here we establish the sky and the water was just a basic blue wash. While that was wet, we through the light and the bushes. So we use a very pale yellow and reddish tone and established a color that feels like light that's hitting the trees or shrubs, whatever they are. We let that dry a 100 percent. And then we added the next layer, which was the shadows in the bushes. And then we pulled that down into the reflections. The reflections, we get a little bit of a rippling effect back here. But we don't really want to show, but too much of that rippling back there. And then as we get closer to us, then things really start to break apart as far as the ripple. So that shows that there's a little bit of movement and the water, not too much. And it shows that, you know, the mood is sort of calm and the air is like very, very crisp. So that's a, just a good, I think, beginner lesson. And under an extra side, I'm going to soften a few of these edges at the top. Just to kinda get your feet wet again in this class. So we're going to build upon this as we move forward. But again, it's important to take small bite-size chunks, Okay, we don't want to start painting full on finished studies at this stage, okay? We want to take one technique, one idea, and come up with a plan on how we can execute it. And that's what we did here. Practice those sharp rippling reflections, and that was it. Okay, so don't try to paint. The next piece is going to be in your show, you're going to enter. And that's not really what it's about. Okay. So don't don't go too far as this dries. If I want to take it to the next level, I can add a few harder edges to it to get a little more detail, but it doesn't really need to be that for this painting. So I'll just stop right there and then we'll get on to some soft reflections. 11. Soft Reflections: All right, I've got a little sketch here, how for my soft reflections. And we've got sharp up top and then soft down below. So we're going to treat this as again, like it's something in the distance and it's not really taking on a lot of edge quality. It could be an atmosphere thing like fog. I alluded to that earlier. So in any case, we're going to practice this. I'll use a very monochromatic palette for this, or just some blues. What those some numbers in there. A lot of water. So very, very pale for the initial wash. So I'll just run that down right into the water. Like so. I'll take a little more maybe and just kinda throw some movement here. Now, in order to do it effectively, I'm going to dry this layer and I'll be right back. Okay. Now, a little more pigment here. So maybe some more blues into this water droplet like that'll work fine. So let's say we've got something a little bit closer like that and here. And then, you know, sort of move back like that. So we don't really know how tall this stuff is. Okay. Yeah, it could be tall trees, anything happening in there. So what I wanna do is pool those reflections down in the water, okay? So they're not so far away where we're dealing with this. And they're not so close that we're dealing with this. So that's what we can do is take a little bit of water here. And I can wet where I want that reflection to go. Now you have to be careful when you do this. I have a layer underneath, okay, this so if I do it too hard, so if I scrub real hard, I'm in trouble. So you gotta make sure you wet your brush and just lightly go over okay, the, the paper and try not to go over it too much. Just a little bit. And then maybe this one comes down in there. So now that is wet. I can take my paint. I can start to draw or add N. A reflection here. There's the edge of my, my wash or my stroke right is put the water. I don't want to go right up to that edge. I sort of want to go near it and then let, let it bleed into it a little bit. And then maybe I'll leave a few areas where there's a slight hint of like a ripple. And then the same thing on this side and then maybe let it break apart a little bit as it gets closer to us just a little bit. And then and we can see that soft edge quality happening. If I wanted to. I could take a little more pigment here. And I can go into maybe the base of this foliage or whatever it may be. And of course we can pull that down into the reflections a little bit. But remember, we're getting that diffused edge. That, that's really what it's all about. If you get too hard of an edge, you can take this clean water and soften that up a little bit. Now what I can do is clean my brush really good. Dry it off, and really squeeze the water out but don't squeeze and pull cave you do that. It's going to be loosing your bristles and your Pharrell. So as clean as dry. And now I can pool. And lift some of that paint. So that creates a soft rippling effect. Gone through the water and through the edges of some of this, we can pull it through here, through here, through there. So again, it's a very subtle thing. But it can be very effective for creating a few, few ripples and a little bit of movement and the water. Okay, so now we've got that little bit of a glow happening to it. So again, Don't, don't want to overdo that lifting. You only need to suggest that in a few places that normally gets the job done. But those are much softer reflection, reflection quality than what we had initially. Okay? And if I want, I can add a little bit here maybe to sub pool that reflection over, give it a little bit better shape like that. Okay, So software quality kind of focusing on wet and wet techniques and maybe add one more little ripple right in there. I could use my fingernail to like I did before, but I find the fingernail and this sort of atmosphere. It gets a little bit too too harsh. So I think it leaves too much of that white of the paper. And the edge quality looks a little stiff. So now I'll drop a little bit darker hue into some of these trees. Maybe just sort of favor the left-hand side here. So we get a little bit of asymmetrical feeling. Little more weight on the right. And that's good. So we got that little bit of a soft feel to it. Again, this may be effective for things in the distance. Creating an atmosphere that's foggy, things like that. 12. Simple Sea: All right, so let's do a basic beach scene here. This is another reflective quality that we need to think about. And because oceans are so deep, because their soul, they move so much, You're not gonna get a lot of reflective quality. But there are some kinda basic ideas we can use when we paint them. So let's do that. So let's say we've got this shore line that's kinda moving like this. And then sort of goes back. And then maybe we get some distant hills and maybe a little bit larger hill and here and sort of move this waterline like that. So that's good. Basic sky here are just some blues. I'll do a little gradation. And as I get to the water line here, I'll sort of stop. And with the water maybe it's a little more turquoise. Again, this is sort of just making it up here. I can just drag that brush along the surface, leave a little bit of that sparkle in the paper. So working a little bit quicker. And then maybe as we get to the shore, I want to leave some of that white of the paper for foam. That's good a little bit these yellows, so some burnt umber, some ochres. Again, that finger test tells you is very weak. So I'll do something like that and leave lots of white in there. And then maybe, you know, that sort of fades as it moves away. All right, so that's looking okay for now. Let's cover that up. So this is drying pretty quick back here, but I wanted a little bit drier. So I'm going to take a hairdryer to it and I'll be right back. But before I do that, I can take a little bit darker blue while this is wet. So just adding more pigment end to this. And we can sort of do a little bit darker strokes in here. And what that's gonna do is sort of create that movement in the water. And then of course, as we get back in there farther away from us, You are not going to see that as much. So try not to do too much of that in the distance. So now I'll be back. All right, so in the distance back there, maybe this kinda get all these numbers and blues and stuff together. And I'll sort of create yeah, little rock rocky area. Like so maybe it sort of goes up and then this other little rocky areas a little bit closer to us. So maybe a little bit darker like that. And maybe just kinda trickle some rocks down into the beach as well. Now, I wanted to throw some odd little palm trees in here, some shrubbery. Go. And again, not much trial reflective quality in this, okay? Because again, we're not the oceans going to churn things up and you're not gonna get that reflection going on. Now where you do get a little bit of shadow on is where the surf hits the shore because the foam has a little bit of volume to it. So it tends to cast a shadow up on the beach, like so. So you can kind of do a little bit of something like that. Maybe underneath some of these waves where they're sort of crashing on the shore. We can do a little bit of this as well, just to sort of give it a little bit of volume. So so something like that as good. So as you can see, it's a different approach than what you have done. So maybe this rock is sort of moving down into the water too. But it's simple for now. Okay. We're going to build upon that. So it's good to have again, that sort of general model that we work with. So in this one, notice that I didn't really work a lot. With reflections. It was, it was more about establishing a color, putting a few, leaving a little bit of sparkle in the paper to get that feeling that the sun's coming down and hitting the tops of the water. Some of those ripples. A little bit darker movement in there to get the heaviness and the movement of the wave. And leaving some phone line. So where it comes up on the beach and then adding a little bit of shadow underneath that foam. So we sort of get that volume of the foam moving onto the shore. He can even throw some small little marks in there to sort of had that feeling of some shadow like that foam is building up. But again, don't, don't do too much at this stage. Doing, doing too much. It'll just sort of get you ahead of it. And we don't really want to do that right now, is take a little bit at a time, understand the basics here, and then we will build upon that. 13. Simple Waterfall: All right, a very simple waterfall, but really the, I think the main takeaway I want you to get out of this lesson is more of just understanding a brushwork technique. I alluded to this in the last lesson and that was kinda like scumbling. That's when you're using the side of your brush along the paper. And this is very effective for not painting, just painting trees, but for sort of painting some of the reflective quality and water, which we will do later on, but also when you do a waterfall. So basically when you have a waterfall, what you're essentially looking at is water that is cascading down at such a rate and with such power that it has this illusion of broken water. So that's just kinda do that real quick. So let's say we sort of have a little landmass up here. And then maybe right in this area, we were getting this cascading water coming down like this. Again, this is not a finished painting by any stretch of the imagination. This is just really a quick sketch to get the idea down. So I'm going to put a little bit, we'll start with blue. Maybe I'll do some yellow into that, a little bit of this, the reds. Just to sort of knock it back. He can see the finger test shows you it's very weak. Just going to put a little bit of that up here. I've got some of these grays and stuff that are all my palette from the last demo. So I'll use that as well. Okay, so there we go. So a sub-discipline like that, and maybe down the side of the mountain or this cliff, we have some rocks or whatever. And odd is moved or put some browns. So some raw numbers TO holes, red, yellows into that. Now my brush is very dry. Now the paper has dried too. So I'm not working into a wet surface. And what I'll do is again, why I clean my brush, tap, tap, clean it again, get all that off a tap. Tap now, the excess water is off of it but it's still damp. So now what I can do is with a very, very light touch, sort of do this. You see that broken edge quality right there. That's what, that's what we're looking for with this technique. And I can change the color. So if it gets to be too much one color, I can do more or just sort of change it. So this something like that. And then all of this stuff that can just be rocks. I won't really worry a lot about that. But I'll just sort of put in some darker hues here in there. So you sort of get the idea. And already you can see it starts taking on that cascading water sort of look. So and a, just a few minutes there really were able to create the illusion of a waterfall just by manipulating brushwork. So again, something I alluded to very early on here was you have to have an approach, you have to have technique, you have to have two different things up your belt. Now can kinda just touch a few here and there, just to kinda get that feeling of, you know, it's shining through. But if you don't. Have, you know, some sort of idea of what you wanna do. First of all, then you're sort of in trouble when you're, when it comes to painting. And then if you don't have technique, you know, if you don't have the skills in your back pocket to pull things off, then again, you're sort of always in this state of mind where you're kinda guessing how you're going to do things. And with watercolor, you know, that's going to eat you up. That's going to really tilt the advantage towards the medium. And you're going to basically lose that sort of battle. For those of you that again, took my watercolor landscape workout class, you know, you know, about these techniques where we can sort of use a credit card as a way to scratch in rocks. The illusion of rocks is all were Dawn. You're not really painting rocks. If you want to paint a rock, you sort of have to go outside with your paintbrush and literally paint a rock. But in art, the only thing we can really do is create the illusion of things, symbols, things like that. Because we're dealing with a two-dimensional surface, right? So that's the idea. That's kind of another trick, you know, that you want to bring to the table when you, when you paint. So basically using this sort of approach too. And for those of you again that took that course. And if you haven't taken it, I mean, honestly, you definitely want to check out my watercolor landscape workout class because I mean, that is, I'll give you a ton of ideas in there to paint landscapes. And even though we're painting water in this class, and we're focusing on water is really hard to do that without adding in some landscape elements. So that's this negative space painting, I'm Dawn is another one of those things we worked on in that class. And so again, I'll, I'll link that up, that class and the description. So if you want, if you have free time and you can kinda get in there and check out that one and follow this course as well. Then I think between the two of them, you're gonna get a well-rounded think education of for build if no, for painting landscapes, rocks, and things like that. But the main takeaway here was understanding and manipulating, I guess, your brush to use to get these broken effects. Now, this effect doesn't work if you're dealing with cheap student grade paper. So if you've got paper that doesn't have any sort of texture to it, then it's hard to get that on mate, maybe I should say really impossible to get it. So you have to have cold press paper. A rough pressed paper is perfect to Amit can get away with that. And of course, you need to soften up a few edges here while I'm jabber and I can't help myself. But I didn't know if you're dealing with cheap student grade paper. That is, you know, it's hard to get this texture look. So just make sure you, you're trying this on the right surface and no leave that kind of artifact being going on near the edges because that's really what it's, what it's all about. Is getting that feeling that there's water does cascading down and you're being, you're kind of seeing through That's sort of foamy effect that water has whenever it's coming down at such a rush like that. But anyway, that's gonna do it for this one. So again, a very simple brush technique. We're going to use this and other situations to this sort of scumbling idea. We're going to use it to create other sort of water affects later on to add this sort of sparkling feeling, we get sun in certain conditions. So keeping your back pocket and I guess we'll just crack on forward to the next one. 14. Master's Examples: All right, we're going to look at some of the masters artwork here and just maybe put into context some of the things we've learned, see it in action with other artists. And then maybe come up with a few different ideas that the artists use that perhaps can be a little bit Yes, specific or unique to their style or approach to painting. And again, again, we're going to focus on the water or the reflections, the quality of the water, the mood of it, and some of the colors on the values. And basically some of the, most of the things we worked on here on this has actually a John yard Lee, a contemporary artist, still living as far as I know. And we've got a little bit of movement in this water. And the colors that were chosen, we can see it's very, it's pretty much all the same. So when we look at the reflections through here, through here, and then even through here, There's really nothing different about those values. So the artists really chose to keep the same value all the way through. So I've mentioned a couple of times so far that typically as things move away from us, they'll get a little bit lighter in value. But in this case artists, well, I mean, I'm just going to use the same color. We use the same color in the same value. A lot of times that is, brings a unity, a little more unity to it. Which is kinda what I see here. And also a mean. Things you learn in this class and things you learn throughout your, your painting journey. Teachers are always going to share ideas with, you know, there, there are no absolutes. And I think that's a big takeaway from this piece. And not only how the water was painted, which we'll get back to you in just a second. But just in terms of kind of being able to learn things. But then when you're actually painting your subjects to be able to say, well, that's a guideline, that's sort of, I've tried to call it a general model. So when you have a general model, what I feel is that is kind of a baseline. So that general model. Now I'll just put G, M, it gives you a starting point. So when you have a starting point and some ideas to sort of take to the table when you begin. A lot of Tom's that's better than starting with nothing. And so that's sort of what I'm trying to teach you in this class gave you some ideas and concepts that you can use as a general model. And that way we start to see your subjects, whether you're out painting and plain air, or you're working from photographs, you sort of had this thing to compare it to and to sort of interpret your subjects. And then once you start painting, obviously the painting becomes more important because at the end of the day, we just want to paint something that looks good on a two-dimensional surface. So in this case, if that means using on the same value, no matter if it's farther away or closer to you, then that's perfectly fine. Also want to note that not only was the value the same, but also look at the, the reflection quality. So we pretty much have all of these broken reflections in the foreground. But we also see them back here too. Okay, so did the artists really didn't treat any other reflections back here any different then what was treated right there. So that just goes to show you that weren't looks fun. I mean, the, the painting as a whole looks lovely. John Darley is a very talented artist, tends to be a little bit tighter, detail oriented, a little bit stiffer than, you know, certainly my work. But always something we can learn from artists no matter what their style is. But on just wanted to point that out. So we can again see that the brushwork indicates that the water has movement to it. It's not a perfectly still. Body of water. And of course I mentioned the colors and the values that were, that were picked and perhaps gave you an idea of why the artists may have chosen that. And again, I just think it's a keep a very simple. When we look at this, we've got some grays in the skies, kind of a grayish blue. Then we have a darker gray and then we got a little bit of tan. These are the probably the same colors that were used in the sky. Maybe a little bit darker blue here, but for the most part, I mean two or three colors and a few different values. And this whole piece was pretty much painted so nice and simple but very effective piece. So I wanted to share that with you in this class. With this one. This is a, I believe a lesson. So Edward Weston, this gives you a good idea of soft reflections. So if we look at the distance here, so we've got our vertical, right? And then we had this reflection on this almost blending with the Cloud. So this is, it could be a pond, it could be a like an inlet from a C or something like that. But because although this this is in the distance here, all of this I feel was put on in a very soft reflective way so we don't see a lot of broken reflections. Everything is sort of very soft. And even in the foreground here they're real, I guess we could call this the middle ground. And we got these rocks and the mud flats or whatever. The artists choose to not even do any sort of reflective quality in that. So it really gave the body of water a very still calm feeling. And of course, the soft reflections think a mimic that idea. And I do think as a whole we haven't really talked a lot about this yet, but as a whole, I feel like that water that water was very much downplayed and softened up without all that. Because I'm sure of it when the artist was there, there was probably some sort of reflective quality coming from these flat because these, these have hiked 20 ohm. They're not perfectly flat. So you probably could have easily put some reflection in there. But if you would have done that, then what what would have happened is all of this would have gotten real busy, real busy, real busy. But look how busy the landscape is. So we've got a lot of movement and variation in tone and here, a lot of movement and variation subtle. And here, then of course we got these busy rocks. All of this stuff in the foreground leading us into the picture. Notice that soft edge right there, how it leads us in, but it doesn't lead us out. And that was done purposely here. So we've got a nice hard edge, but then it dissolves into nothing. And then that sort of makes us want to go back in here and then maybe come back around. So that's a really nice design by web. Wesson was a master at design and composition and putting his ideas down effortlessly. But the design is really what helps us peace. But in terms of the water itself, the things we've covered, it's a very, very soft reflective quality. And I think a lot of the reflections were probably omitted. And this one because the busy-ness of the landscape itself, which I feel was the dominant part of this landscape and of this design. So if we just kinda circle that and read, and we come around the bottom up here, up here. And so we've got the bulk of this piece as land. Okay, so it's not water as Tom Scott. So that's really what the artist was after. And the water was just a kind of a supporting cast. And therefore, the reflective quality was downplayed in it so that he could showcase the land. Let's look at this one. This is another Wesson here. So the little bit stronger reflective quality. But notice how again, just a master at design and really so good at putting his ideas down without all the fuss. I mean. Loved to have been standing beside him to see him paint this piece and a CBO was omitted. But what's left out of a painting in a scene is always more important than what's put in. An artists tend to put in way too much. It's really, especially with watercolor. Here the key is to simplify, to leave things out. But anyway, if we look at the reflective quality as a whole, I fill this water is fairly still. We obviously have some movement in it. If we look back here, we've got these strong verticals and very tall, okay? But we don't see a tremendous overdone reflective quality from it. So we see some verticals conduct coming down and the reflections here, and maybe a little bit here. But again is very, very subtle and how it was done. So those reflections of the, of what's happening in the background there are downplayed and they're done on purpose because the, all the reflections that are done in the foregrounds, when we look at what's in the foreground here, it gets a little bit busier, starts to get a loan or busy and here, but we really see the dark shadow, the dark reflection here. And we start to see it coming down in the polls. And then we really start to see the reflections getting played up a little bit in that area. So imagine if you had that same energy, the same amount of reflections everywhere in the middle ground and background or there's, these buildings are and stuff and the trees. How busy and, and kinda choppy the painting would have been. So you sort of have to pick your spots. Okay. And when and again, we're going to talk about this once we get into looking at photographs. And we start designing our ideas around photographs and what we're trying to say with the water. These, these things will come into play when you see other artists work. These things are always jump out at you unless you have a teacher or someone that points them out to you. But sort of reading between the lines, you can almost see what the artist was trying to say. You can almost feel of what the artists left out to and why. Um, so I'm, I'm cars no sharing those things with you now. But the main thing here is just to look at the mood of the water fairly calm. A little bit of movement though, and we can see the reflections getting played up a little bit in the foreground and middle ground and then all this stuff, and you know, back in here is just very, very subtle and is lightly suggested so that we don't get lost and all the business of it. So that's that. 15. Master's Examples Continued: All right, Let's look at a couple more here, two or three and then I think we'll be good. Another Wesson. He can tell I'm a big fan of Western and just think. And you know, for reasons I've already mentioned this is leave it there. All right. So the things that, you know or I want to point out to you is that water has movement to it. We can see that by the rippling effect that's happening here. Notice that the one I mentioned, I think I mentioned this in our videos, but go a little dark mass right in there to sort of tell you where the land ands, and sort of where the reflection begins. It's always good to have a little bit of a line. But then there are certain areas like this and even like this where it starts to, where they kind of blend and bleed into each other. So you get a little bit of both. You get a sort of a hard edge in there. And then you get areas where they they sort of blend and bleed so hard edge and then it's sort of blends and bleeds, kinda using the white of the paper there. And then kinda blends and bleeds and between that. So we don't want a stiff edge all the way through. But notice how a lot of this edge quality where it meets the water like here and then it's broken. So they blamed bleed and it's sort of blend into each other. They connect. And then it picks up again subtle things but little things, but joining the water to the land is something you'll have to deal with. So just sort of keep those things in mind. Also noticed the reflections. That reflection is, I'll always, I'm have to be a lot darker than your subject. So at the end of the day, as I mentioned before, we just want a painting that works. So in this case, we've got this kinda dark, muddy sort of bank happening in here and here. And a little bit in here too. But the reflection is a little bit lighter in value in some places here it's a lot lighter in value. And notice how, and that's okay. We can get away with that sometimes. And I'll remember these things I gave you are just a blueprint there, a guideline. You feel you're into the painting and you know, a slightly lighter value is, is what would work better, then that's fine. You know, don't, don't try to put these things in stone. Ok? And that's why we're looking at this work. Pinpointing things that are similar to what we've learned. And I'm sort of sharing with you where things are different as well. Okay, so it's important to be open. Okay? Um, but look at this shape, sorta kinda leaning off like this. So the distance from here to here. No, it had been like that. So It's not like the artist said, Oh, well the reflection has to be the same size as my object, but it wasn't that case at all. So the artists say, well, I'll just put a little reflection here. And then just dab a little bit here to suggest the object. I'm not going to completely put a big bold stroke there and a bunch of reflections. Because if you would have done that, then look how that water would have sorted, just kinda broken up and it would have been too busy, wouldn't get that clean, crisp, light blue of the water if that reflection was exactly the same angle and size of the tree itself. So then again, this sort of gets into a design thing, but I'm going to point these things out little by little. And then once we get into design, you're not going to be completely clueless. And of course, you can start to put, you know, your radar up to know that these things exist as well. So yeah. So, you know, in the foreground here, no, Is this a solid reflection? You know, he could have easily been that, but the artist chose to do the choppy marks to leave some of that crisp, light blue of the water as opposed to just putting a solid reflection there. And I wanna felt like land and not water. So I'm sure that was done purposely to let that water breathe little bit until it exist in that foreground sections, so on, That's pretty much it for this one. This is a segfault, I'm just going to point out and again, the water is a very, very small component of the design. But notice the white of the paper. Notice and hear how we're getting the broken edges. So the allowed that's dry brush. And that's just using the texture of the paper to create that foam. So look how as the, as a washes up on the surf, how we get a little bit of a suggestion of a shadow underneath some of that phone to suggest the three-dimensional height of it, so on. That's just something I wanted to point out. And that one is it this one? Like I wanted to do? Let me see if I can find it. Yeah, here we go. Well, we'll end it here. So this one, we get kind of a few stages of verticals. We actually have three, so we can look at the distant mountain there. Then we've got these trees in the middle ground and then we've got these that are a little bit closer to us. So when we look at the reflections, there are sort of treated all the same. So we've got this very subtle clean stroke as broken right there one place. And that's about it. And notice we've got one little stroke there, one little dot there. Couple of streaks in here. All right, but that's it. That's all the ripple that the artist chose to show and the reflection or the rippling of the water. So that tells you the artists wanted to really make that a very peaceful, still calm water. Also, I want to point out, I haven't really talked much about this yet, but we'll get into it a little bit more as we move forward. I just wanted to yeah, this point is give you some basic guidelines. So a few general models denoted sort of use some techniques and then we can build on it. But notice how you get some vertical strokes. So let me add another layer here. We get some vertical strokes like this stroke was painted down, maybe over and then down again. This is all sort of coming down. Coming down. This was probably two strokes and he left a little bit of white there. And then maybe in here, there was a downstroke and then, you know, you kinda hit a few sideways strokes. And I felt like that was done on purpose to not show too many ripples. So here we know we probably got a little sideways stroke for that sort of light gray area. These strokes came down, so probably use a fairly small, medium-size pointed around and came down. This was probably like this, but I like the combination of horizontal, vertical strokes. Okay? And notice how again, the reflections downplayed in this foreground area. So we're right here, there's a little shadow. There may be a head of a reflection, but the artist probably chose not to do a whole lot there, because again, it would just get too busy. So the beauty of this one, I think is the stillness of the water contrasting with the semibreve fuzziness of the landscape. And the brushwork itself, where you get these horizontal and vertical reflections in the piece. So I'm very well done. Notice how to like the artist didn't put a tremendous amount of these kinda yellowish tones and the water. The artists could have easily done that through here. But you don't always have to have it. So just because it's there and typically if you're dealing with they're really still water. And you've got that sorta glow of blue in there, sort of a warm hue in the sky that's going to show in the water too. If it's a reflective surface is going to show. But in this case, the artist probably chose not to do it. Keep it simple, keep it clean. And then that way you can really show these quiet subtle reflections while versus the water getting too busy with a bunch of different hues and shapes. So basically all of this in here that I'm circling now is all one shape. All, all one shape coming through all of this stuff. And if we put a big streak of this yellow coming across through it, see you that that's going to break it all up. And that's one of the reasons why I feel that wasn't done. Just kinda downplay it. And that way you can show that nice, crisp, clean, abstract shape. The unreflected water surface there. So anyway, I'm not could be completely off base with this stuff, but that's just my interpretation of it. I think it's great to learn from the masters to analyze a little bit of how they approach their work. That way it gives you something to compare some of the ideas you've learned and use two. And then also you can sort of dive into some of the things they do. And so lease maybe start to incorporate those ideas in your work too. And then your, your work becomes much more dynamic. Your approach to painting becomes much more dynamic as well and you have more ideas to pull from. So that's basically what this section of learning with the masters is all about so well in an array here. And I'll see you guys in your next lesson, which is where we will start to dive into some photographs and coming up with some assignments on how you could approach painting those photos. 16. Photo Assignment Reel: Hi, Welcome to your first practice assignment of real. This is a series of six two-minute images. And the goal is to simply take a moment, look at the photo and decide how you would paint the water. So I've shared some tips with you in the lessons about using a gradient wash, variegated wash, hard reflection, saw THE reflections, things like that. And don't pay them. You just use pencil and paper and make a few notes about how you would approach painting that water seen. Now, the photos have other elements in them too. There may be trees, there may be boats, things of that nature. We're not concerned about that. We're only concerned about the water. So if I were to look it up particular photo and say, okay, this is the ocean is very choppy as deep. Probably wouldn't worry too much about the reflections. I would do perhaps a simple gradient and wash or maybe even a variegated wash. And then leave a little bit of the white of the paper showing there to put the phone down, maybe add some shadows where the foam hits the beach, things like that. Okay. So again, don't get caught up with the whole scene. Only focus on the water and how you would approach painting that. Now, when there's only ten seconds left, you'll hear a notification that sounds like this. That will let you know to start wrapping things up and get ready for the next one. Again, there's only six images. Each image is two minutes long. Plenty of time. They are just a scribble down some notes on how you would approach painting it. All right, so good luck, have fun. I look forward to seeing what you do. Congratulations. 17. Robert's Take Assignment Reel: All right, first up is this one and dealing with a C. But there's a little bit of a can't tell if this back here as a cloud or is it just showing a depth that is deeper than what's going on here in the foreground. But what I would do is just keep it simple. I will use a graded wash, so a little bit darker. In the background here. Think where we're a little bit deeper, I'll just say, and then a little bit lighter as I come towards us, maybe a little bit of cerulean blue would be nice here. I'll probably get away from o. Try anything with that red in it. Cobol may work good to buy things. So really you as good mixed with a little bit of maybe even a variegated wash Now that I think about it, but I like Cerulean back in here. And then in the foreground here, kind of a gradation of a little bit of that cerulean mixed with some yellow ocher, a little bit darker in this area. And then a little more water, a little less saturated, and lighter in value. As it gets down in here. We know a little bit of pale know very pale like ocher with a little bit. So really in blue here. To give me that beach, leave a little bit of the white of the paper showing there for some foam coming in like that, that Cerf. And I'm a play that up a little bit more than what's there. But since we're dealing with a fairly calm see, I wouldn't want to do too much. I think if you go with too much phone, it'll give that impression that it's kinda crashing waves and we don't really have that. So I think I would just played up a smidge. Not much. We get a little bit of reflection here and the water, I'm not getting too much shadow primarily because the sun is coming from this angle. Okay, so because of that, we can see these shadows coming across the beach for the trees. So because of that, the underneath the waves here are lit up. So we're not getting the shadow that we normally would but back behind the foam and that little bit of wave coming in and we can even see or hear a little bit on, there's a little bit of that shadow coming across on the back side, but it's such a subtle thing. I'm not sure I would even fool with it, but I think that's a pretty good approach to painting this one and probably how I would, how would take it? Now I will say my handwriting as chicken scratch. I can barely read it on expects you to read it. But at least talk through it and I've analyzed it and that's all we can do at this stage, and we'll paint them later on. Our next up is this one. And I think we've got some soft reflections here for the most part. I think what I would do with a scene like this is over. I'm going to switch colors so you can see it over here in this part of the water. I would use more of a soft reflection. I like what Edward segfault did. He sorted you used Kind of these downward strokes and then use some horizontal strokes. I think I would have kinda mix it up and there may be a little bit of rippling and here, but I think I would try to push them back a little bit. And here the reflections just to give a little more depth. So these trees feel like they're further back in the landscape. And maybe exaggerate the height of these a little bit. And then play up this reflection a little bit, maybe a little bit softer. Obviously back in here with a building is, but as these come near us, I would maybe break that reflection up a little bit and to a little bit or rippling. And I say that because, I mean, this is very calm water. This looks like a pond to me. So the only movement we're getting is probably the wind or the atmosphere that is under. So wouldn't do a whole lot. Even with the sky reflection here. I'll keep that very simple. And we can see this darker blue and the top right-hand corner impacting the color here. So maybe, maybe a little bit of a gradation there. But if you get too dark. And then he went to come in here and paint these as grass later on. Which again, I know this is not, this is only about the water about thought. I'll just throw this out there. If you go too dark and down towards the foreground. And then you decide you want to do some of these blades of grass. Then you're going to have a problem because you're going to be put in dark over dark. So I would probably keep this value right in here, you know, fairly light in this area. So I really wouldn't do a heavy gradation there in the sky or probably just keep the scarf fairly light blue, maybe even a pale yellow in there. So all would exaggerate the lightness of the sky, make it lighter in value as a whole. And then make sure we get a nice light value coming down towards us. And the water which will contrasts nicely with the darker reflections. I would this one we've got looks like some sort of inlet or Harbor. We definitely have more wind and movement here, a tide or something like that. And we can see that very clearly with all of the rippling. So this will be one of those pieces where the water in the background back here, there, because this is so far away from us, absolutely no reflection quality whatsoever. I will keep this fairly simple back in here to this gradation is all I would be after. And then as I get to the boat, we're dealing with a white boat, but we still have a slightly darker reflection here. So I would know they're definitely hit some sharp edges that look at that line right there. And that's just this peer, that line right there, come and down. So it looks a little bit longer too, because some of that reflection is getting pushed up into the rippling of the water. So I kinda like that. I like this design here. So we're getting almost some stripes happening. Like a positive stripe here with a dark, negative stripe there with the light. So if I remove that, well, we can sort of see some vertical striping going on with the positive and negative space moving into these reflection. So be kinda nice to play that up. A little bit of a reflection here. So the white of this boat is sort of come giving it a little soft gray into the water and then we get the darker peer color reflections around that. So maybe I would use a little bit of a soft gray around that boat and then sort of come with a little bit darker gray to get those reflections. But oh, but look at the design. I think it's important. And again, we'll talk about this more as we move forward. While just sort of go over quickly. Kinda what I see here, that sort of design is almost zigzag and on its way in to the harbor and towards that focal point right in here. But, you know, it's good to pay attention to those. And then that way when you get to those reflections, you kinda can sink your teeth into especially what's happening. And here, you can kinda see how that is giving you a really nice designed to work with their nice shape, I should say, with those reflections, but maybe I will try to pull that off. But anyhow, that's that. With this one we have a lot distant reflections. So I think fairly soft. Back in here, especially even in here it's fairly soft. And then maybe as we get into the tips of these, we can sort of break it apart a little bit and get a little more rippling effect. I really liked this deep blue gradation happening. So we get, actually it's more of a variegation. So we get this deep blue, this sort of ripples into the white and the grays. And here. So that's kinda nice too. I think. I know don't want the sky. I'll have probably play that up so it kinda get that nice crisp blue. This band of clouds count as light gray moving across. Pull that light gray down to here. Obviously it would be a little bit darker than the clouds and then get that gradation of dark meeting that. And then where they meet. Be nice to get a little bit of rippling effect there. So, yeah, a nice piece, I would definitely simplify. I think that's the key here. You have to simplify what's happening in this scene. And if you try to paint every single reflection here, I think you'd be in trouble. All of this and here wet into wet, especially this area. It's all are probably do some kinda grayish greens in here, maybe some browns. And then just while it's still wet, I'll drop some of these kinda light browns and yellows browns into it and just let them bleed into each other. I'll wouldn't try to get cute and try to paint every single detail there. I will keep a very simple blob. You know, lessen his work. I will probably study that a little bit and maybe use some of those simplified techniques he does because we start really putting all those details and I think you'd be in trouble. Here. We get the streaking of this tree trunk right in there, right in here, a few other places. So we're kinda can see them right there. So I would I would probably put that soft reflection in here and then come back with a damp brush and it's the lift. Some of those streaks for the trunks. I did that and some of the demos, soft owes a hard assault reflection, I think was a soft reflection where we can lift a little bit. So maybe that would be a good way to put that trunk in there. All right. Couple more ago here. I'm with this one. I'm not going to worry about everything that's happening back here. This focus on the foreground ripples. And we got a lot of information coming at us here. I would start very light, you know what, start with this really light wash. Here. I will come back with a little bit more of a cerulean bluish-gray and work that into it a little bit. And then I will come back working maybe from the boats and the peer with this sort of greenish color and work that in this way into the blues grays and maybe hit it with a one more wash. I'll write in here under the boats maybe in a few places. Just to get that little bit darker rippling effect. But I'm yeah, I would definitely simplify here. Obviously we got some very, very crisp edges, but simplifying is the key here. Now think using a variegated wash effect and then coming back over those and you're working light to dark and layering in the ripples is the way to go. Obviously, we would have to paint some of the boats first to do that. So we always know, I haven't mentioned it yet, but we would want to establish some of those verticals. And, but then from there we would now move into those reflections, which is the key to welcome her or the focus of what we're learning here. Alright, so with this waterfall, I think I would do a lot of negative space painting. So I would definitely let me go with back to my weight here. See if that shows up. Shows up. So yeah, I would just kinda get these greens and reds, red grays, kind of use that dry brush technique to develop a really good edge quality here. Make it real interesting. I think we would want to really get a nice shape there, how it kinda funnels and to v. And then maybe hit a little bit of dry brushing. And a few places in here, especially on the right-hand side, where that breaks up a little bit. So I think doing that, then all of this is just, you know, a positive or positive painting and just dropping in some darker values, some vertical lines and then some greenish grays get those trees. But yeah, I would simplify. I'm not sure I would even do all of these stages where the water is sort of coming down and going over rocks like that. I'm not sure I would even this needs all of that. I would keep it simple first. And if I felt like once I did the edge and I did some of this negative space painting in here with the dry brush technique just to show it broken up a little bit. Then maybe at that point if the painting wasn't too busy, they may be. I will do a little bit of this in here, but I really don't think it needs it. Especially once you paint all the all the surrounding landscape around it, you know. So anyway, that's that. So hopefully my take on the assignment helped you and I'll see you guys in the next lesson where we will actually start taking these notes and putting them into practice and painting some small studies. 18. Paint Small Studies Assignment: All right, Welcome to the next assignment. So in the previous lessons, you did a practice assignment real, we looked at six images. You jotted down notes on how you would approach painting those images using the simple techniques that we've learned so far. So don't try and do too much. Don't try to get ahead of the class. Keep a very simple, basic. And then we're going to build upon these a little bit as we move forward. Now we're going to take those same six images and create some small studies. I'm going to use paper that's, that's roughly seven by five inches. I'm not going to do the whole scene. I'll just sort of extract the most important part of what I feel the lesson meant to me. So if this a scene that has soft and hard edges and the water, I'm going to try to combine those to get something that's meaningful. If it's a scene that has boats and maybe there are 10 boats, I'm probably will only paint three or four again, I'm going to simplify it so that I can really just focus on the core lesson and that's being able to paint that particular water type with the techniques I've learned. So we have six small studies to create. I'm going to do mine and I will post those demos and the next lesson for you. I want you to complete them and then uploaded to your project. Very, very important that you do this and hold you accountable. You may not love your work, you may love it. But in any case, I tried to post it and share it because it will keep you on track with the class. For those of you that do it in a timely fashion, like I mentioned in the opening videos of this class, I'm going to offer some critique videos. And that will pinpoint some areas that you are doing really well and maybe shed some light on some ideas that you could try to improve your work. Okay, so anyway, without any further ado, let's get started with the assignment. 19. Sea Photo: Quick see here. I'll just kinda lay out my my rectangle there, but it doesn't need to be anything much. I'm going to tackle. Really do this very quickly since we're dealing with a C. We don't have a lot of reflection quality. And only thing I wanna do is maybe leave a little bit of white for the surf, crashing waves. But there's not even really Hindi crashing waves even that is sort of not really happening in this one. And then rural week maybe as we get in here. And that's it. I'll get a little bit of yellow ocher here, very, very pale. And maybe even touch a little bit of red and teal into that. Again, leave some of the white of the paper there. And and that's about it on the sky. To uses blue for simple gradation. But I'm going to again keep that fairly simple. And now I'll just sort of tap this and just talking to get those trees on their fairly quickly here. And we'll do some palm trees and here, maybe a few more in the distance. We got a little underbrush there. And I'll just do some trunks and some stuff like that. I'm going to add a little definition if I want. There's even a slightly bigger one here in the foreground, but again, I wouldn't make too much of a fuss about it. There's a little bit of a gradation happening too on the shore. Disorder where it drops off and it meets the water. And now maybe a hint of a shadow behind some of the surf, the foam because the sun is coming from here. So that's sort of putting the shadow behind the phone while versus on this side. Okay. Maybe a little splash, splash, and then we get footprints and different things happening there. And now I'll let this dry. I'll add the cast shadows and we should, we should be done. So I'll use my small pointed round here, a little bit of blue, a little bit of burnt umber. And I'll play some shadows coming across. Maybe one bigger one right in here in the foreground. And that's good. So, you know, it kinda gets the, the water down effectively, I think, gives me a nice guideline into painting. See some good reminders about that sort of water condition. And that's all it needs to be. 20. Forest With Lake: All right, with this one, last soft reflections I see in this one and then maybe towards the tips album, they could break apart a little bit, but there's some movement in the water. Even though it's a pond, I feel like there could be some wind or something happened there. What I'll do is I'll bump this sort of land line up here. We'll put our little trees and all sort of put our little house or structure there. And then here we got a little bit larger landmass. So this, this shadow or reflection will be a little bit crisper than the ones in the back. So I'll just mix all of this up on my palette here, though, some cobalt into it. And again, I'll try to do this in one go. So I'll sort of get close to the trees and then sort of fade that off a little bit. Okay. I'll let that dry. And I can come down here to the green the greens in here, so something like that. It's fine. I think maybe for this side I'll do more of an orange. And I want to give those verticals before I start painting reflections. But I think what I can do with just put a really pale wash in the water. My add a little bit of blue to that. Again. Very pale. So that works. I'll turn it upside down. Actually, I'll hit it with a dryer and then I'll come right back. All right. So probably could have been a little bit bluer. So maybe I'll see if I can get away with putting one more thin wash here. I don't typically like to go back over a thin wash like that, but I think that will do okay. Now while that's wet though, what I can do is I'll establish these verticals first. I'm just gonna go to my large sword. I love sword brushes. I think they are great for foliage and stuff. Um, add a little bit of red and a little bit of cobalt to this. Hi too much. Well that's pretty good. So that gives me a little green. Now. I'll just do some trees, bushes, things and the distance. Well now maybe, maybe a little more yellow. They're a little bit of red on the palette, a little bit of blue into that. I'm actually going to switch to my small sword. And let's just sort of do a little roof line here. And a couple of windows, maybe. It doesn't need to be much more than that. So now a little bit of blue into that yellow. And I'll let that dry all of this. And while it does, I'll get the shrubs on this side or the trees and they're going to be a little bit more saturated. And then I'll do a little bit of negative space painting down in here to indicate some grass and different things that could be happening there. So for those that took my watercolor landscape workshop, you know the drill, this is not unfamiliar to you. And I'll go ahead and add some dark in here as well. And that's good. Now I can start to pull some vertical down that still wet. I'm going to take my pointed round here. And baby though, keep it a little in the green side, but just sort of maybe do some vertical walls and I need a tall, maybe a tall element there. So that's good. And I don't think you want to do much more than that because you risk over painting it and that's typically the problem. And now I'll do these harder reflections. So some numbers, some blues, and sort of do this. And then as we get in here, I'll break that up a little bit and kind of spread it out. Okay, So we kinda get that feeling. A little bit sharper reflection towards here. And I can take some of these ochres. And maybe this sort of get a little bit of a glow right there near the shoreline. So that's good. So we got some crisp reflections, some soft reflections, I split this study was all about to me. You may look at it and see something totally different and that's perfectly fine. That's normal. You know. It all comes down to your interpretation of things, you know, and then putting those interpretations down the page in a way that is effective and is meaningful to you, right? 21. Lone Sailboat & Pier: All right, so a sharp reflection and very sharp. And I'm not going to worry about everything. But for the sake of it, we've got our horizon there. We've got a diagonal coming in to appear. Okay? That sort of thing. And then at the end of that, of course, is our star, our boat. And, you know, don't try to worry about anything. Again, this is not a finished art. This is all about capturing that water. That makes sense. We want to get the water type. And that water type is fairly calm, but it's got some rippling because we can see that. So we want to sort of try to capture that. So a little bit of movement there in the sky. And then I'll pull some of that pale color down on the water. I'll go around the boat, around some of the peer as well. And then maybe where that peer is all sort of put some browns and there, and that's, so that's going to fade quite a bit. So that kinda gives me some basic colors there. A basic layout. Just for giggles, I'll put, we've got a little island and here. And then the distance, we got some stuff happening. All right, so I'm going to let dry this off really good and I'll be right back. I draw to the touch and what I'll do is I'll start again painting the verticals. That's a very important, I'll switch to my small pointed round. Get a little bit of light blue in here. I'll get a little bit of shadow on this boat. Like so maybe in here. And it's, you know, it's a very light object there, that boat. So I'll sort of keep that fairly simple like that. And now I'm going to get the peer. So I'll just do a little rail up and like that. Maybe even do some boards. So it feels like he can walk out there. Think that's kind of a nice little thing to do that I'll get into some darks down underneath here. Then I'll get some darks there, maybe some more of the boards and here. That's good. Yeah, a little figure out there with a red shirt on the little gear work or whatever, you're ready to hit the hit the open seas maybe. Okay, so now I'm ready for some reflections and I'll keep it very gray. And here. And so I'm not going to worry about every single element. I'm just going to get the 1 billion. I'm not going to worry about this one in the foreground. So just some crisp reflections is what I'm after here. So like that maybe a little bit weaker for the boat. Will also do this. And then sort of trick lid down. Maybe I'll style established as vertical. Something like that. Maybe a little flag or something that's a little color on it. That's good. So yeah, I just, you know, you want that crisp reflection is all we're after here. And this one, you always have to remind yourself what your objective is so that you don't get sidetracked and try to do too much. So for this one, we sort of knew going in that it was all about that. I can maybe lift a little bit. And what I'll do is I'll dry it right in here just to get a maybe I can do it with really thick paint. Really thick paint doesn't like to dissolve. I'm as much. I wanted to try to get a nice heavy shadow and their elbows good. So I think that sort of gave us what we needed there for the boat. And that's good. So we've got that nice crisp reflection. And if I wanted to know, scale that up or something like that, I feel like I'm in the ballpark of where it needs to be. 22. Large Evergreens & Lake: All right, so this is a real busy scene. Sort of have to pick the reflection that you wanna do here. Because there's just so much. So what I'll do is I'm going to do some of those more, more of those soft reflections, but I really want to get the shape and the reflection of the trees. So I'm going to focus on, well, what's back in here. Then we know we've got nice conical shape here. And then maybe some yellow grass and then maybe a little bit sharper, bigger tree there somewhere. I'll get a clean area on my palette here. Again, I'm not really even concerned about color. You could even do these in a gray-scale, and that would be perfectly fine. So I'll put a little bit of water down, a little bit of blue here. Water is getting a little murky, so I'll probably need to change that at some point. So i'm, I'm going to worry about that saturated blue up top. So I'll just sort of keep the sky very pale. And then ditto that for the water. So all of the really nice color is going to be in a landscape. So some ocher touch of red. And I'll run a little shot of that across like so. And maybe a little more here. Now, I'll get a couple of layers happen in here. We've got this brownish red happening. I'm going to put, DO that out a little bit of blue. So we'll sort of back in here. We're getting that sort of look at those and blues in there just to sort of mix it up. I'll throw some numbers in this little bit of blue, a little bit of yellow. And then I'll just do some kind of abstract strokes there. I'll switch to my small sword. I will make these a little more on the green side. Little bit of dry brush and scumbling happened in here, kinda using the sides. That those some darker values in this as well. That's good. And then yeah, I think over on this side, I'm just going to fade that out. Do a little stick or a twig or something on the shore and be done with it. So all of that still wet. So it's a great opportunity to crash while we're here. And let's do these reflections. So pulling them down, maybe AB and here, I can just sort of do that for that. All of that in the background there. Well, let that dry. A few dark notes. And now that dries, I can do this one in here. And then maybe as this gets a little bit closer to us, I can do a little bit of this rippling effect. And the water, not too much, little bit of blue, a little bit of burnt umber. And maybe they're a little dark activity here on the bank. And a feudal twigs or something happened in here is to get a little reflection. Opportunity more than anything. All right. I think I'm ready for that distant tree. Saw sort of those some yellows into this, some numbers and pull that straight down. Excel and another thing that's good. So maybe a little bit too crisp and here, so I'll just wet my brush and soften that a little bit. But I think that's good. So again, this was a busy piece. Lots happening there. But my goal was to do those soft reflections back in there. And maybe a few more crisp reflections. Well, on this side, which I can probably let that dry. Maybe I'll do that. I can plot this out to dig a little bit too dark. And another thing I could do, and I'm a wet my brush, dry it off really good. And we'll see if we can do a little lifting. And here, few highlights or just some soft reflections. There. I'll go with some blues and numbers under this thing that looks good and so on. Like a news will be much more than that. So let that ride like it is. And again, another nice study there to build upon everything that I've learned so far. 23. Boats & Dock: Okay, So we have a lot of boats here, and I'm only going to focus on maybe a couple. So let's and also a seawall, the cars, the homes, not even want to fuss with that. I just said that's because again, the footnote, we're talking about reflections, trying to capture the right type of reflection. This is very crisp and there's multiple layers to this is sort of a very sophisticated sort of idea, but we were going to always simplify. That's the key with art. If you over-complicate complicated things and you try them, get every single little ripple Amin honestly, you want to just take a photograph and be done with it. So for the art, we want to interpret what we see on a two-dimensional surface like this. And hopefully at the end now we have something that's sort of, you know, charming and pleasant to look at. So I'll sort of start with my dry dock here. And then I'll add a couple of both saw do a boat here. Maybe do another one sort of facing us right here. And sort of go on like that. And just kinda taking the boats that are there more or less and the elements that are there. And is rearranging things a little bit just to sort of just get something down really. And then we can get it, get to work here. There's a motor. So we can see the top of the motor like that. And then it sorta began that sort of thing. And then it kinda comes comes down like a wedge. And and kinda has a little bit of height to it, do something like that. So I'm not going to do again all that stuff. So we'll actually, maybe you would throw a little mass on this one though, a mass on that one. And this one will just sort of keep it more like a little rowboat. And with though like a little little pier there. So that's it. So again, I won't do anything else, maybe something fun. They're also a little figure on the dock and if it plays out, that can do it, then I'll do it. So I'll start with the putting a little tone down for the water. And for this one I'm going to wet the paper. I'll go around the boats for now. And I'm drawing nice and loose here, not again, trying to get everything super tight. Soon as you start getting tight on any level, does trickles right into the work itself. So let's kinda get some colors down here. So I've got a little brown, a little blue, little teal or cobol. I want to start with something real pale like this. And I'll sort of put that in a few places here. And obviously where it's wet, it's going to act as a conduit for that paint. So it's going to just move it around for me. And now I'll take a few grays, some of these browns maybe touch more blue and teal. And I just wanted to kinda make this so it's not a flat wash. So I'll sort of got these, all these little ripples. So I can kinda just start hinting and suggesting some of that in there. Now, obviously that's going to fade and wash out. So I'm not expecting a lot of that to even make it in the final cut, but if it does make it then fine. But it's just going to keep it from being a super super flat wash. So I think at this point, I'm going to take my small pointed round and I'll just get some of these. And we'll keep the color is fairly simple. We'll just some browns. Mixed in with some of those blues. And we'll do a little bit more. I'll put a little bit of red over here just to have another color. And then maybe we'll do this boat more tan. And I'll keep that tan sort of flowing. And this here. So that's good. I'll just sort of bleed that down into the water. And now I'll just take some of these neutrals or whatever's on my palette here, mix it all together. And I'll add a little wash here. For our peer. I'll take that color and maybe tied into a few places. And again, it's going to get real sloppy and running. So don't don't stress about that. This is the initial wash, so we got plenty of ways to go to redefine things and the lift a little bit of that in there to get some of the white of the paper. And then I'll take cobalt alizarin and add a few dark notes. And here. And I can do that here because this is all pretty dry. So it's not really going to hurt anything. Drop a kind of a dark notan here, maybe not. So I'll take a hair dryer to it and I'll be right back. Okay. Now, I got to crack for with these verticals as much as I want to paint. The reflections. I've gotta get the vertical is first. So I'm going to go up in here. A slightly darker color here of that tan. Probably need a cooled off a little bit. And I'll get this shadow area painted. And then we've got one more in here. I'm going to sort of looking at that basic shape and just kind of mimicking it without trying to go too far. Sometimes, just having a head of light and shadow is enough without having to copy every single detail. And I'll just drop some dark into that. So I'm going to let that do its thing. Now I'm going to move over to this boat. I'll switch colors here. I'll get into some blues. And the value itself here is pretty good. They can easily go too much darker here. Maybe ofs where, uh, do a little detail there and then move on to the next one. So I'll sort of get something like that. Maybe had a little bit of line here. Maybe rural week. I'll come up this side. The boat like that. Touch a little bit detail on here. Never know what these things are, but she was nice to have a few dots in there, you know, dot, dot. And now I just want a little drawing, which is always nice to add a little bit of color in here to kind of let that do its thing there with a life jacket who knows what's on there? So now let's get the shadows on the dock. So I'll just use some of these numbers with some blues or something like that. And we sort of get in here. I'll do another one on this side. Only to sort of carve out the side of that boat like that. We'll do a little carry that over. Like that. I'll go ahead and do a vertical like that one a little bit stronger. We got a lower rail or something like that. So we're we're working it up, right? Well, working it up to the point where we can start to add our reflections. And we're gonna go ahead and do that. So I'll get to some of these blues into these browns. And I want to make these fairly crisp. I'll go nice and dark, fairly thick on the paint. There's your finger test. I want to leave some of those blues in there too. So it's all sort of connecting here and then sort of do that. Now on the back of the boat. And a sort of trying to mimic those shapes a little bit. And I keep it nice and loose people don't want to, don't panic. If you don't get it right the first time, you know, we'll we'll try again. I know. So lift this a few of these notes in there just so it doesn't it's not all the same. I'm going to take a wet brush and soften where they meet. I'll I'll like to add too many hard edges where objects meat of MHC just sort of blend and bleed into each other. Kinda goes in the air. And then we have our little vertical here. And enter that on this one. I'll do another little figure in here. I will do a couple, a couple buddies. They're talking about how awesome their boat is. And we can carry those reflections down. And here as well. Now because we have sort of this choppy water, I want to kinda hit a few dark notes here and there like that. And then maybe back in here. Do that. And then let me grab my small little rigor here. We can had it's actually a soft brush and a little detail here to the pier. This may be some boards and little cleats or something. Maybe a little dark line under this boat. And now it just sort of getting a few dots. Few darks, a pool these reflections down just a little bit more. Just in the boats. Okay. So just kinda like in that this to make a little bit more out of them front that boat. All right, so again, kinda sophisticated the now in terms of if you really start to analyze that piece, but remember the goal always. And that's, you know, it's not your next submission. And to the art contests we're working on reflection types, trying to develop our vision, what we see. And then sort of connecting a technique to that that helps us to put our ideas down on the page. So all in all, I think this one will work pretty good. So I'm happy with that. I'll let it ride. 24. Waterfall: Got ourselves a lovely little waterfall there. So let's sort of again simplify that, work on that. And remember that general model we got home. So I'll put our waterfall on here. And again, a sort of gone back and forth. But we got some bushes and stuff in here. This we're covering it up. And then sort of does this with the land. And then we have all of these trees and stuff like that. So we know the drill, we know what it's all about here. I'm going to do a little something in the sky there. And then I'll pull down some or I'll put some cobalt and a little bit of yellow ocher into these. I don't really care about layers with this, some sort of going to start off to the side. And notice I'm mixing in some Brad's different things in here, different hues just because that's what I see. And I'll sort of get it close to the edge, but not to the edge of the waterfall there. And we'll go with this one, get a fairly dry brush and get some of these browns and reds going again. And then I want to take that dry brush and get that texture of the paper gone. Okay. Now work it side to side, down to different angle just so it doesn't get to us so predictable and Anya swirl, swirl, funnels in here to this little V. And kind of let that bleed right on up into the sky for now. Do a little splashy splash in here to let you sayings run. Hi. So I'm going to take a dryer to that. Well, maybe before I do my take some of these light grays and earthy tones here. Again, dry brush. And I can kind of hint at the waterfall sort of breaking up in there. So when we sort of see that don't want you see that kinda effect. If you start paying every single rock and every single crevice, Amin, who more power to you man, more power to you. But I just, I don't treat things that way. I'll kinda look at it. I get the gist of what it's telling me it's doing. And I'm just trying to get an impression. I'm not trying to copy nature. I've been there, I've done that. And it will chew you up and spit you out and say, nope, sorry, you're not going to copy and nature today. Alright, so that's pretty good. And now I can even soften some of this too and just kinda lift it just so it has that real transparent look to it. Like that. And now I'll take a dryer to it. All right, draw to the touch. And now this water is done right? So I can take some blues, really weak sort of batch here. Maybe hint at a few overhead trees. And have some fun doing some abstract strokes there where you can sort of let loose and not worry too much about things, right? And then maybe down in here, I can get some looking at the image. It's just a bunch of small growth and everything down here, but I'll just pretend we've got like a little evergreen here. Couple more like that. And what sort of do a little twig? I reach an up like that maybe. So again, focuses the water. And I think we were able to capture that pretty good. And that completes my assignments. And now it's your turn. 25. Critiques: All right, I'm gonna go through some of these projects here and give you some tips on how we can improve and get things a little bit better. I'll look at this project first, and this is pretty good. We'll just say all in all, you know, try to keep a lot of these strokes and the water, especially in this yellow, orange to a minimum, you don't really need a lot, especially in the distance, as things fade away from us. I remember the reflections and allow that sort of movement in the water will quiet down. And then as it moves closer to us, you're going to see more of it. And that's just perspective. I mean, that's like standing outside and seeing the amount of detail at your fee and close to you and then looking farther away. And then realizing that things merge, all that detail merges into almost nothing. So I just tried to, if you want to show depth and distance, just keep that in mind. So you don't want the background is busy as the foreground. I'm looking at this one. So when I look at your water here, so if I look at the water movement and the foreground here, I'm seeing these ripples and things like that. So it tells me it's not perfectly calm water. There's a little bit of movement or wind or something in it, but it's not a lot, right? So that would tell me that we need a little more of that rippling effect at the ends of these reflective shapes here. If you wanted to be a soft reflection, then it can be soft, but you have to do away with all of this detail. All right, so in other words, a soft reflection is going to be very bloody and very bulky. Look in on this document to show what tremendous amount of detail where you get all of these little sticks and things like that, they're coming up. So if you're trying to make that soft, the half to get soft edge quality. But this has hard edge quality. So I have to look at it as a sharp reflection and with a little bit of movement. So you're, you've got a sharp reflection with no movement and the actual reflection itself. And then over here you've got a bunch of little dots which would serve well in the bush itself. But it doesn't really serve well for the actual reflection because the reflection quality things or you don't, you don't want to show those little kind of leaf sort of patterns on the going to bulk the color as a unit. And then kind of movement into a little bit of a rippling effect. And of course, his big Bush should've been shown down here too. So we've got a little bit here, but that doesn't really resemble the shape of this big green bush at all. So the reflections should sort of mimic that shape. Same thing for this on the left-hand side that could've kinda come over here. So you have to think more like a mirror, sort of reflection. And then over here we've got some hard ripples, but the timing of it or some sharp rippling going on and reflective quality. But the timing is a little bit off because you're doing it into a wet surface and it's sort of dissolving a little bit, so on, make sure you're timing that a little bit better. This was not too bad. Yeah, It's got some nice movement. And the reflections, it looks like it's got that sort of choppy. I'm feeling where a yellow movement going on, maybe a little bit lighter color for the boat would have been nice. And because we had this tall mast here, that reflection should have come no way down and here. So we didn't really get a very good mass from flexion there like we could have. With this one. Same thing. I think. You can lose some of the rippling going on back here. So things merge and are a little bit smoother back here. And then as it gets closer to us, it breaks apart. So if you could have put this quality, I'm circling here with my mouse closer to us and this had this be more of almost a solid color, then it would have been great. But see the sharp reflections that are closest to us or our soft. And that's because you timed it. And appropriately, Nike should have a time. Those hard reflections are sharp reflections on a very dry surface. So again, I would have made this more of a solid color, maybe a little hint of a rippling in there. And then here as it got closer to us, I would have let in that brick apart like he did back there and had that on. Did that on a dry surface versus a wet. And this was working pretty good. I like what you did here. Watch your horizons, everything sort of sloping down. So make sure you get a nice straight horizon line. And I think that would kinda keep it from looking like it's going up hill. But all in all, not too bad. This is one of my favorites so far what you've done, so you get you left the white for the, you know, the foam and stuff like that. That's move it ends and good movement and the C. So I like what she did there. I'll add this one. I liked the gradation you did from dark to light. And then we've got this. So just take your time. Like when you're working on reflections, think about the mirror effect. Okay? So you had this shape of the land and here, so bring that down in here. And then on top of that, these trees would have come off. So I didn't quite get the reflection from the land itself, so it just kinda get that in and then extend the trunks from that. So we should have seen a little more white space in here of the sky and a little bit better reflective quality that matches on the shapes that is reflecting, but a nice waterfall and I like what you did right here. I think that's really good, very charming. And yeah, I think you're on the right track there. So I'll let that one rod. So now we're getting into your projects and your assignments. And yeah, this one is looking pretty good, so we've got a nice rough look and see a nice gradation, nice and dark back there. You'll have some good I'm foam action here on the beach. And biggest thing I see are these shadows are really long for how tall they are. So if you want these long shadows, he's long, skinny trunks, then I should have seen some of that and the actual tree. So we should have some trees that are way up in here based on those reflections. So just, again, they're just keep your drawing in mind and practice that a little bit. You can fix that stuff with just pencil and paper and just kinda sketch it out really well and understand how reflections work and how shadows work. Because there really our shadows are for like a telephone pole type of thing. And these are just really some very small or short bushes and trees. So last one is this one and I'll know not bad. I just think you have to take your time, you know, you know, paint your vertical and make sure, you know, if you're trying to do a soft reflection, if it's not, the paper is not wet, then just give it a light stroke. If you give it too much water. And then you trying to paint into a wet surface is going to dissolve too much. So I think one of your biggest challenges is going to be mastering the wetness of the paper and the wetness of the paint and timing it. That's that takes experience, that takes a little bit of time to get that down, but just practice that a little bit because this just looks like a 10 maybe a little bit too wet. And then you sort of went back into it a bunch more. And so we get a sort of kind of a busy soft reflection. You want those soft reflections almost be painted in one or two strokes. So they look effortless. And then I think that would have kinda clean that up a little bit, but this is not too bad over in here. Nice hard reflection. I think your timing is really good because you get these sharp looking quality to your ripple. So I'm okay with that. So that's going to be my feedback for you. 26. Critiques Continued: All right, Next up here, we've got this one on. These are excellent, really good gradation activity going on here. Good use of color, a little bit darker in the water, a slight bit of movement here in the simple gradation. And then the variegated wash is lovely. So it says here you are excited to join the class the summer, relatively new to skill share, even painting, haven't painted and almost 20 years and I look forward to learning summer, so I am excited to have you here in the class and welcome back to painting. So this is your a value hierarchy. Know which element to pink first. So this is all pretty good, nice gradations in the sky, the water. And then we've got no good quality, good reflection going on here. Nice and hard, but a lot of movement there. So that's looking good. I think you're on the right track there. So here's our salt reflection here. That's looking pretty good. Maybe you could have left a little bit of, maybe a little bit shorter. So let the little bit of white here of the sky. Because whatever height it is, I'm, I'm assuming the land line itself is maybe in here somewhere. So maybe bring in that reflection down in here would have been about right, in terms of size. But as far as their reflection quality itself, That's a nice soft reflections, so I'm happy with that. I love your sharp reflection there. I like the layering going on and I thought she did that really well. This is your simple C. So that's looking pretty good. You could probably go a little bit lighter or less on these shadows. So just a little thin line there, I think would do the trick. You don't want to give them too much. But, and maybe just not quite as dark. Might've looked pretty good, but all in all, that's good. So I like your waterfall there. That's looking pretty awesome. So good job on that. So here you're getting into your your assignments and I can see you're breaking everything down really good and thinking about the different techniques and colors and whatnot that you would use to paint these. So this is all really good. I won't read over every single one on camera here, but I do think you have a great attention to detail and that shows in your work I'm doing solid. This is great. This is a lovely gradation in the sky. Love the gradation and the distance there. Left a little bit of white there for the foam coming in the waves. Good long reflections. They are coming down reflecting into the water. So that's all looking pretty good. A nice soft reflection there. So that's okay. And then you've got the nice sharp reflection here for things that are closer to us, you can have maybe made these bushes on the right a little bit taller, just make him more substantial, maybe even a little bit darker in value does so they, especially towards the bottom, just to anchor a little bit more and make them feel like they're a little bit closer to you, but so that's pretty much it for yours, but great job so far. I will look at this one. And so we've got the soft distant reflections there and then we've got other modes. So this is all looking really good. I love your grade gradation there are you using and where if you're using hot press for that S really smooth and it looks good. Like what you did. I like here. Actually let me start down here. And yeah, I'll work my way up here. So let's just start here for a second. So this is your beach scene, so that's looking pretty good. I can't quite see everything there, but I think for the most part you got the movement and the C, you got little shadow there on the sea foam. So that's working pretty well. So these are this is your hard reflection. So bringing this brownish, sienna color down and here would have been nice, less movement back here. So this would almost be a solid strokes and here maybe a hint here and there. Just a little bit of that shell 1 and then make it busier and more broken up as it gets closer to us. And that's just near your basic perspective happening there. So this is your hierarchy here, so that's looking pretty good. You could have gotten that the trunk a little bit cleaner would have been nice, not so bulky. Dessau, it resembles the trunks a little bit better, so it didn't quite capture that Trump very well of the, any of the trees, but I thought all and all that was pretty good. You just have to sort of take you Tom and think about the reflective quality, the mirroring aspect of reflections. And this is your gradation happening here, not too bad. And this is your, Actually, this is your variegated wash there. So all your sunset. And then we've got the variegated or the gradation, which is working pretty good. And then we get back to where we started. So all of this is looking good. I like your beach a lot. Like the perspective on the feeling of like I'm walking on that beach. And you're seeing that makes you just want to walk straight down there. But yeah, like the gradation in the water, the cache shadows coming down and I like the movement and the water. It looks like he's got enough movement there to where you're not gonna get a lot of reflection. But all in all, I thought this was a good project and this is your boat here, so not too bad. I would go with a little bit wetter paint to see how you're getting this dry brush. So make sure you've got good a good amount of water in your brush and your paint mixtures. So even if you're going to go dark, you can mix up a nice dark mixture and just make sure it has water and you're not putting it on with a dry brush technique because you're going to get these sort of broken things and that, that's not really what this reflection is all about. This reflection is should be nice and wet and they should have nice clean lines to it. So I think if you can work on that a little bit, it will be better. And probably just made this mass a little bit too wide, you know, with these strokes. So you all were just kinda think one line like a snake coming down and maybe not go so far left to right but kinda reflected that boat a little bit cleaner to and then the mass, you know. So, you know, get your boat in and then get your, your master. And I think that'll look pretty good. Lovely waterfall there. So that's looking good and we're back to the beach. And that's that. Look at this one here. So let me scroll down and get a feel for where to start here. So we'll get down in here. So this is your simple gradation that's looking pretty good and your variegation, that's all fine. So this is your were hierarchy. So that's looking good. Start to see these trunks a little bit cleaner in this one. And then we got the tree mass here. So that's looking pretty good. Soft reflections, not bad. It's just not quite joining. I think it's a little bit. So this is real short. So these distant trees back in here, bushes, whatever they are, they are really short. So they, they should have probably stopped about where there's a dark started here. And then you've got a tall group here and that is coming down pretty good. But there's no way this should be reflecting as low as what's on the right. So think about the mirroring sort of quality that happens here and tried to get the height of things a little more accurate. All right, so this is your sharp reflection, so that's looking pretty good. I like how you sort of kept somewhat smooth and the distance and the letter break apart here, so that's not too bad. So this is getting into your some of your projects and your beach scene here. So that's looking pretty good. I like the foam coming up on the beach and all that. That's a nice little touch. They're like the little white you left here in the paper too. And this was working well too. So this is your waterfall, so not too bad, like that. So good edge quality there on the edge of the waterfall. So this is the beach scene here. Get into your projects. So yeah, this is looking good. Maybe kinda go on a little bit darker on the gradation and the water and maybe a little bit of a shadow here on some of the phone, this show it, but it's really, you don't really get it because of the direction of the light. But maybe just on the backside of the foam, we could have gotten a little bit of a shadow there. Alright, so distance soft reflections here a little bit harder on the right. So I think you're on the right path there. That's okay. So I know these are just quick studies. This one sort of bleed it out a little bit. So the timing was a little bit off. Painting wet into wet. It could have been any had too much paint on your brush? It could have been the paint was too wet or it could have been the paper was just too wet. So you really have to time it perfectly or the wash is going to get away from you. So it just kinda work on that a little bit. I can see, you know, went back to it a few times. This one's better though. This one's a little bit better. So this is your sailboat here. And that's looking pretty good. I would like to see more back and forth rippling gone on and the water. So it just looks like a flat wash and here and then you just sort or roughed up the edges. So that's sort of gone back and forth, back and forth and getting that really sharp, crisp rippling effect and showing the blues and the crisp edges of the ripples that would have been nice. And here this looks like a great soft gradation, almost like a cast shadow versus like rippling. But what you could have gotten that a little bit better. Now this is good. I like the reflective quality, nice and loose. You didn't never paint it, so that's looking pretty good here. We're just sort of missing value, you know? So I think if you were to make these verticals darker than they pop out against the sky. But everything is a little bit too, too much of the same value for the trees and the reflections. So you're going to have to work on getting things a little bit darker, especially for the verticals here. Then what you've got just so they pop against these flat surfaces of the water and the sky. So that's just sort of a it says ya couldn't manage to do the pine trees, but really they're there, just go darker. Okay. And that's going to help you quite a bit. Okay. 27. Critiques Final Round: All right, Let's look at this one and this is your simple gradation that looks really good. So your variegated wash, that's looking pretty good. It's like a little horse head back there. But yeah, that's looking pretty good. So with this, this is looking good too. Yeah, I'll have a big problem with that. I think the reflections are are good. I mean, just a little bit overworked. I just think the strokes just look like you're really working hard at it. So just relax. Let it flow and don't overwork thing, just make it carefree. He noticed feet kicked up, kick him back in a relaxin and as paint and having fun with it. You know, this is your soft reflections, so that's looking pretty good. And so he did another soft reflection there. So a little bit different paper it looks like so so I'll looking good. This is your sharp reflection. Like how you kept the somewhat clean back here. And then you let it break up a little bit as it came closer to us. So I think you're on the right track there. So your beach scene here that's looking good. Got the little shadow there on your phone and nice, rough look and see. Nice stroke quality there as well. So I like what she did. Good waterfall, nice edge quality. I don't have a problem with that. So you're getting into your exercises there so I can see you're thinking about your techniques and your edges and stuff like that. Lovely soft reflection there. So great job on that. And this is another salt reflection. So you didn't really get it sharp. As I got closer to us, it had been nice to see maybe a little soft back there pool this dark down and the reflection and then let this breakup a little bit as it got closer to us. It's just the pay of this went all wet because you can see this edge quality. But you could let this dry a little bit and then painted this one and then give me a little bit better edge quality. But you have to do that when the papers dry. So here I can see when again on different paper that's looking pretty good. So you got some nice vertical strokes and do some horizontal as well. But so now we're getting into your beach scene here. So that's pretty good. Nice gradation back there and nice shadows coming down the beach. And here's your sailboat. See if I can get it all in there. So that's looking pretty good. So yeah, you know, just just, I think a little bit noisier with my brushstrokes would have been nice. So just so you've got some strokes that are coming this way, some that are coming that way, this way, that way. But just kinda crossing them, you know, letting them overlap, he know, I think would have been good. Like to give back and look at my image of this one. Not that what I did is perfect or anything. I know I have plenty of room for improvement like everybody else. But you'll see I'm sort of cross over and overlap and do that sort of thing. So I've been nice to see that and yours. So just for bringing the shape of the boat down a little bit cleaner and then a nice skinny mast. Just one is just sort of gets a little bit lost there. Just to y dy now. So that should have been much tighter reflection for that mass, but that's pretty much all for your project. There will look at this one here. And let's scroll down here to your beginning. So your variegated wash us looking great. Gradation is fantastic. So here again, we're missing the skinny trunks, so land skinny trunk and then the tree tops. So that's the quality is good. But we just have to get them little bit more of a mirror reflection of those shapes. So this is going pretty good. I think it's probably a little bit too busy back in the distance. Again, the key to making that perspective work is to make it quiet back in here. A little bit of noise. And then it kinda of a lot of noise versus, you know, it kinda got a little bit a lot of noise and a lot of that. So yeah, I had that quiet, semi quiet and then sort of busy atmosphere going on. And for this one, probably just a little bit too much movement for our soft reflection. So just a little bit to, you know, going back into a gone back into, going back into it, fussing with it a little bit. And you just want to paint it in a less strokes, you know, can paint that and six strokes, that sort of thing and just get it down and get out and you know, let, let it do its thing. So lovely beach scene here, like what you did a lab grade. Loose brushwork in the water has fantastic. I like everything really that you did here. So great job did or that here too, you get a great feel for your brushwork and ACASI, you're constantly going a little bit darker, a little bit lighter with your brush, with your color choices, so that's good. Yeah, you have a really good feel for that one. I like what you did there. They maybe could taper this a little bit more, the top little bit skinnier, you know. And so it kinda has that skinny and then it flares out wider as it flows down. But really good. I like what you did there in terms of the edge quality and a good job on the rocks and all that stuff too, That's looking great. So your beach scene here, like how you added to your boats there. So congratulations. So on stepping up and doing your thing, they're good gradation, good foam and nice shadows coming down and all that stuff. So I'll have a problem with that. So good soft reflections here, excellent on this is a good example of just kinda put things down and leave him alone. And then here, it's just the timing. So you sort of went down, everything was still wet. Probably this right here was wet and then it didn't quite dry enough. We came back in with these harder dark reflections and they just didn't quite get that sharp look at the end. But all in all, not bad. This is good. This is that back and forth overlapping quality that I was alluding to earlier that you can work on. But I liked the gradation and the water itself. And then the reflections are working pretty good too, so I'll have a problem with that. So get the whole view of that and that looks great. So hard and soft. So you get your soft back there that's looking pretty good. Love that soft reflection there. These are fantastic. And then you get this breaking up closer to us. So excellent job handling both of these. So that's all looking good. Ditto this for all of its, all that. Looking great. So your boats here and just overpay that a little bit. So just take your time, put your drawing down and make sure you're happy with that drawing to make sure you understand the drawing. And then paying it. About thing here just got a little bit too cluttered. Maybe. I'm busy. So you've got a nice feel for staying loose sometimes. And minimalistic like in this. And I know this has boats and stuff, but it'd be nice to see that sort of feeling and these two, you can get it. But you just have to sort of know where you are gone with it before you start going. I felt like maybe this one kinda took you for around a little bit and you weren't quite in control of it as you could've been. I had to do mine two or three times to before I got one that I'm I felt like I was in charge of what was going on and it wasn't taken me for loop. So on this mosaic, good. I'd like the waterfall effect there and the like here, foliage and the distant trees. And as fat for this one, and look at a couple more here. So these are your gradation. There's all the engrave. Really good. I like this right here too. That's all pretty clean. So you're sharp reflection, That's looking good. I still think it needs to be quiet back here. Okay. We're trying to show that distance. We're trying to show to two different, two or three different layers, whereas quiet. And then it starts to break up and then it really breaks up. So you soft reflections, I think are working pretty good. Just need to know more of the sky color here. They're just kinda coming down too long, you know. And it just doesn't need to be that long so that just this being able to control the wet paint on the wet surface, knowing when the timing is right. So if the paper is too wet, it's going and course put all your brushstrokes down here. It's going to dissolve too much. So if you have a wet paper or a wet wash down here and you're going to get ready to paint these soft reflections and you want them to go maybe this far. You almost have to only paint to hear because you know, it's going to bleed some, so you have to compensate for that movement. So this is your beach scene here. I like the different varieties of what you did. You really embrace this challenge and a love, this one right here on the bottom right. That's fantastic. But good job. This all do they have these all look good. Lovely waterfall or a problem with that? And your beach scenes Looking good. Nice gradation, little bit of C phone, they're so soft reflections. And then your hard reflections could have gotten more solid. And here again. And then pull that green to the right of the paper too, because of the green is clearly on the right-hand side, but it's not quite coming through because you didn't put the color over there. But I'll know not too bad, good job. And we'll look at this one. So your waterfall is pretty good. That's not bad. And you got a nice little beach scene here. Lot of foam happening in the water. Good movement. And then your soft reflection again, I think the wet the paper and the wet paint sort of throw it off a little bit. But this reflection and a distant tree should have been much shorter. And then this would all be enlightened value because of the sky. And then this would have maybe come down and here. So it's just pulling them down a little bit too far. They are based on the height of them is getting me. But all in all, this is not bad. This is a pretty decent reflection there. Again, it should have been a little bit quieter back in here. That's kind of a common theme I'm seeing with everybody. So more of a solid color starts to break up and then it really breaks off. So so here's seems not too bad, is it just a little bit fussy here towards the end. Bunch of these, it'll keep those reflections moving back and forth, back and forth. And don't get in here and start doing these little choppy strokes. Because then that starts to look like leaves and detail that should be up in here. The reflection is going to be smooth, it's going to be simplified. And you have to kinda put the stroke down and leave it alone. So that's my advice to you on that. And then we've got one more, which is just really one picture. So you're going to have to do a little more than one to really get feedback, but try to catch up and I'll look at yours and weaker. So whenever I do the next round. 28. Intro To Refined Demos: Hi, welcome to the next stage in this class. And that's going to be taking the ideas that we covered really and making more refined paintings. So everything to this point has been small studies, sketches, basically working with individual techniques. And then we put some of that together in the assignment and did some more small studies. So we're going to now step up the game a little bit, go bigger. So the paper I'm using is 11 by 15. That's plenty big enough to give you the room to paint a little more detail and of course to do some more finished artwork. But again, we're just going to build upon what we already know. So enjoy this section. You can count all maybe five or six demos, if not more. I'll try to get as many examples as possible. And then that should give you a lot more information to rely on and to build upon the skills you need to paint some beautiful water, watercolor art. Okay, So enjoy, and I'll see you guys later on. 29. Sailboats - Refined Demo: All right, so this is 15 by 11, so I'm going a little bit bigger. I'll have my format here. And I've got some masking tape that's taped to a piece of foam core. Everything is the same on the palette. Nothing's changed really, other than I've got cobalt blue and ultramarine blue, all these colors are pretty much the same. What I'll do with this one is trying to incorporate a little more detail. And of course do a little bit more of a finished painting for this exercise. So with this one, I'll, we've got the buildings and then we've got the reflection. So I'm going to bump the main land law on the say in here. We've got a boat that sort of coming across the side like that. And it's got several layers and all that. So I'll just sort of leave it there. And then we have the other boats that are sort of a little more in the foreground. Here. Now we have a building back here that sort of starts of our right and there. And look, don't, don't don't try to, you know, getting things perfect with your drawing. I mean, just sort of get things laid out to where you can work on the shadows. So I'm not even gonna do all that detail in the building. I'll get a roof on it. And I'll get this sort of tower feature like that. But law this here, I'll just sort of make up. I'm not going to copy it exactly because I'm I'm just not a fan of what's going on with that shape. It shifts a little bit. It's interesting, but I think I'll know how well that would read for the final piece. And then back here we just have some nonsense buildings. So seawall, it's kind of like a sidewalk area. And then again, we've got our our boats. And here, so maybe this one comes down in here. This one's a little bit lower down in here. So I'll do maybe something like that. And we're getting a little more of the side of the boat on the right as opposed to the left. There's booths coming out like this. And again, we've got these tall masts, different things going on, a lot of detail there, but I'm not going to draw every detail because as soon as you start drawing every single detail and nuance of the votes and stuff, then it's going to become a really stiff painting. And I'm just not really about that. I'm going to get the gist of what I feel is important. And the rest, I'm Aleve, the imagination. So we've got to bring that one down a little bit lower. Well, I'll put some sort of interesting shape on it like this. And even though this mass is cut off all sorta at it. Now I want to draw some of those reflections, okay? So I'll get some of these in here. And the rest will not really make it into the picture. So, so sort of falls apart here. So now we got our big evergreen there. So that's sort of coming down in here. So I guess a nice long reflections, nice long lines. And I did this purposely so we can work on that technique of things being a relatively flat, relatively flat and then moving, getting that kind of squiggly look. And then we've got our roof. And here in our boat. And behind the boat, there's just some, again, some nonsense back here. Like so. So maybe some a little warmers. And here are some detail. I'll throw some windows. Notice those red doors aren't really getting lit up very well. And the reflection. So my name is sure maybe I'll exaggerate that, right? So this is our light. So that's where the light reflection here, right? So be catching a little bit light. And I don't want to run that green reflection on down. All right, so that's our drawing. And again, there's a left out more detail. Then I put in. And that's because I just, I'm not a big fan of adding too much detail. So this is our tree bush. Okay, I'll just do some sort of roof. Few windows over in here. This it'll be just nothing on the right-hand side. Maybe over in here. We'll do some few figures. Right in here. Maybe. We'll just see how that goes. Again, the main focus is going to be the boats. And that's step one is getting this drawing. Now. So now comes the fun part. And I'll get all of this cleaned off really good. And then we'll start putting in our wash. Now something I alluded to earlier on in this class is that when I talked about sharp reflections, is that we generally will paint a watercolor painting light to dark. So the first GO can be really light values, so the light tan, not the dark, light green. Then we can come back over that later on. I'll with darker, so we want to keep things fairly light value. Okay, So I'll go with a little bit of cobalt. It's like I had some Alizarin crimson on my brush or in that. And the blue. So lots of water and very weak in the sky. And because this is so lightened value, we can keep it and just let it blend right over the buildings because of buildings will eventually be a little bit darker in value. So a little bit of that same color, just a little bit weaker. And I would just sort of do this, some movement there in the sky. And now I'll do another wash and we'll contact with that building there. So just some yellow ocher. I think I'll be fine for now. And then we can make adjustments to that later on. So again, very, very weak. And I'll add a little bit of CNO numbers to this. And we're all these figures in boats and stuff are or figures. I'm going to go around that for now. So we'll sort of do that. So a really pale green for now. And here. I'm, I'll touch that in a few different places. And then off in the distance there. This will be ruled pale. Nonsense stuff happening in here. Alright, so I'll go down below here. I'm Aleve a little bit of gap there for some white, some details. That'll be for the boat, some figures or something. And then for the shadow, the cast reflection, I should say that reflection in here. I can keep, keep it here, but I will keep the boat white and keep the reflection a little bit. Tanner. I'll kinda do that all the way through here. And so again, yellow ocher. And then how does though some blues into this should give me a little green. That's probably a little too blue though. Oh, do something like this for now. So that's good. We're going to come back and do that a little bit stronger. I'll later on, but for now that'll be fine. And now I'll go back to our sky color. Needs to be a little bit darker for the water, especially towards the bottom here. So I'll just add a little bit of water this. As we get up in here. I just want to make sure I get a gradation down here. So I'm gonna keep these ripples sort of moving in a slight angle, slight angle this way. All right. A little bit of sienna into this with a pale blue and just a little something here on the boat. And maybe you just a little something underneath it. Okay. So I drag my hand in there. So I'm just going to hit it one more time here. Okay. All right. I'm going to take a dryer to it. And before I do always like to get all of this excess off. So it doesn't get blown back into the painting. So when it's a 100 percent dry, I'll be right back. 30. Sailboats - Refined Demo Continued: For the next layer, we need to start introducing some shadows. Obviously, this is just a light wash, lightened value. Light in that it's very transparent, but we need to add the darker values now to bring definition to the scene. I'll start with the verticals. And I, for the next layer, I'm going to use my Da Vinci number five. And then it really introduced this to you in the materials section. But it's a little bit smaller than my typical wash, which is my number eight Princeton. But I think this will be a goblin to get a lot of that detail on there. Let's start. I think with this main building here. And think a little bit of ocher, a little bit of burnt sienna. Here, maybe a touch of ultramarine. There, you're going to touch a red and that, and these would be no thicker. And I think that'll probably work and they're so I'll push that even more towards red, here we go. So shouldn't need much. So I'm going to again do the sunny side here. So we've got our dimers and here there's going to be a little bit of a cache shadow here as well. So I'll deal with that later on. So a couple of dewormers and the cast shadows will really bring definition to that. So that'll come a little bit later with something like that as good, a little bit here as well. And that should do it. And maybe off to the side here. It looks like there's there. She is very faint. I'm going to do a little side building there. Now. I can go ahead work some shadows underneath that. So a little bit of ultramarine blue, some burnt sienna, maybe a little bit of alizarin crimson. So these would be my darks. Okay, So bringing this down and here. So for cast shadow like that, do a little assumption or this one too. Obviously these guys will have a little something under them as well. I can kinda connect that down into some will take my smaller pointed round into some windows. And we've got a couple of red doors and here. So I'll say the doors are here and here. So all I had a few more, maybe a little bit larger windows. And here. And then maybe back here. Do a little sampling like that. Little bit of love, window action. And here as well for the dewormers. And now little bit Simpson blue. And I'm going to add a little bit of little bit of hue to this side. This is sort of puppet against that building there. Like that. I'm gonna do a red doors, but they're not going to be as saturated as what's there. So maybe something like that. And a little bit of blue into this burnt sienna. Alright, so for this stuff in the background there, I'll just go with some blues. And I'm just going to kinda suggest do so I'm a little foliage. Maybe a few more rules. What will, how sort of something back in there? Drop a few dots and there. All. So that brings me to back to this building and just touching a few windows. Just maybe a little bit of detail on here. Just to give that building a little, little bit of life there. So now that brings me to our big evergreen here. So a little bit of ultra cobalt, cad yellow light, yellow ocher. Have a nice rich green. So I'll want to keep this fairly simple here. So just doing a little bit of scumbling. And here. And it's kind of let that fade out. Has a good psalm down towards the ground. Can do it. Maybe a little flower pot, something like that in here. Take a little bit of blue and touch into that, maybe even some browns, ochres. So again, over on this side, I'll switch to my pointed round here. Again, just some very simple suggestions. So we'll say so Windows. And to sort of suggest that some buildings in the background there, again, that's not really that important. A tie that green in over in here in a few places. So this is all dry. I'm pretty quick too, so I can go ahead and take some blues, Alizarin crimson. And I want to get some of these cast shadows. So we'll sort of do something like that. And maybe give it a little more of an angle like that. Give it that feeling that it's dwell on this. Another little vertical here, maybe, maybe even a little chimney here. 31. Sailboats - Refined Demo More Layers: So that's getting that area filled in nicely there. I know there are some steps and all types of stuff in here, but you have to remember simplifying is always going to be the key. So I'll just do a little bit of dry brush in here. And we'll call it a day there. And well, maybe a few windows on that boat there and that's pretty much done. That will little detail maybe in it. Maybe a little blue line, red, and they're a little bit of ultra into these browns. I'll do a little cache shadow on the doors. All right, so I think that's going to work out pretty good here for that area. I can suggest a few figures, things like that in here. Tooling around Jilin on the harbor. Harbor walk there. And that's good. I'll make these boats here really. Once you start adding, cached the reflections and stuff, we're not going to need a whole lot more on these boats either. So what I'll do now is start pulling Hughes down into the reflection. So maybe a touch more brown into these blue little bit awkward. So now so we'll fairly so there's bring in that color down. So fairly smooth. And then I'll start, you'll start to break up as it gets down in here. So what does add a little bit of water, a little bit of yellow to that. I think this needs to be a little bit darker. So what I'll do is add just a little bit to that. I can even make that a little bit paler. So I'll just sort of bring that down like that. And then again, as it gets down in here, I'll start to break it up, but that'll really be broken up with that red. So some sienna. So that's probably a little too much cad red and that is I'm going to wipe that all. I'm actually switch to back to my smaller brush here. Touch of blue into that as well. Little bit teal. So I want to suggest some red, but I don't want a lot of it in there. Okay. So we'll say roughly in here is where all that starts. And then again as it Tom gets in here, we're going to break that up a little bit. And we'll get some of these blues, mixed them with this. And now got our boatman here. So I want to actually paint it right over that. I can lift it though. While it's still wet, wasn't paying attention, I guess. So now you get some blues into this little bit of yellow ocher and start to pool these three colors and whatnot down here. And again, breaking it up in here for that reflection. It's breaking up a little bit too much back in here, so I'll just get rid of some of that. And a little bit of blue. Maybe a touch more water. And I'll go with our boat, reflections here like that. And then of course we have our monster Green Tree, which I want to really put a little bit of red and of this just so it grays out some. So now we've got our kinda tall vertical here, which I'm actually going to kinda pulled down in here a little bit. So now I'll get big, kinda blending that into the browns. And then again, be shorter, kinda come down below the reflection like I'm Dawn here. And this sort of leave those gaps in there. And now some blues TOO, clean my brush some water and will do. Touch a little bit dark in there. And we'll go a little bit of brown and this. And then I'll just sort of kind of lead this fade out like that. Right. So I don't want to touch a lot more into this until it dries. I'm just going to glaze that to make that a little bit darker. And I think what I can do while this drying a little bit in here and set note for me is I'll take my small brush here and some blues. And then maybe I'll add some detail. And some of this, we'll do a couple of light blues, maybe dark blue, maybe add a little, maybe something red, I think is kind of nice to dress it up a little bit to find that edge a little bit better. And I'm just tying that dark right into the boat here. It's good. So I'm going to take a dryer to this and then that way I can get these darker notes in there, we should be good to go. 32. Sailboats - Refined Demo Finishing Touches: All righty. So I can take some of these blues, see it as maybe push it more towards the green. Here we go. So now we're going to get a nice dark seawall there like that. And then and pool some of these dark brief notes down and into the water reflection here. Again, I'm not going to try to get all of that stuff and they're just hit suggest at it. If you dormir maybe are low, strong vertical here. Maybe getting a little cache shadow or something here. We can just kinda run some. My reflections would've across the water like that. And then I'll disorder. And that's good. So a lot of this is dry in here. And I've got some, this is matte acrylics. I used to use gouache. I still do once in a while, but if you followed my P, follow my work at all. You know, I do do a lot of acrylic courses and painting as well. So always have this around. So I'll put a little bit on my palette here. I'll mix a little bit of water with it. And we're going to do some maths. So I'll sort of start and here, I like to break them up a little bit. While versus one solid line I think it does looks a little better. Make it a little bit bigger, maybe towards the bottom. And we'll do another one here. Now I'll go a little bit darker up in there. And maybe a few highlights. These little shoulders. Pull that down and to the reflection as well. And I think that'll probably do it. Get lift a little bit of this. So we'll make a little more of that reflection there. All right. So the goal again was to just get a little more detail and just do something a little more refined with the piece. So we've done a lot of studies, small studies. So stepping up the game a little bit, door, a little more finished work. And this, spending a little more time with the technique and trying to refine things a little bit. And what we're after there. And now I'll do a little signature here. And we'll say it's done. 33. Natural Landscape With Pond: All righty. With this one, I'm gonna do more of a nature scene. And I'll just try to really wing it terms of making up a design and think of a lake, a little bit of movement to it. That's kinda where I'm mad. Okay. So we got a line may be coming down in here, that's our water line. Maybe a tree, sort of. And, and here. And we'll do one more, maybe a little more upright. And there maybe a few little stragglers in there. And then over in here just some bushes like this and then maybe a bigger one and here, but I just want to crop it about right there. Maybe a little twig coming out or to some foliage. And the distance back here, what does halves kinda some yellowish land, some distant hills and trees, but a lot of lot of nothing in there early. And there may be a little distant mountain or something. So the sky really is just going to be very pale. So I'm going to just pre wetted actually will do something like this. There's actually some blue on my brush from a previous painting. So I'll sort of leave it at that actually and clean my brush and then get a little bit of yellow in the air like that. So again, very weak. I'll pull that sort of yellow color. And at the bottom down here. And then maybe getting a little bit of the blue of the sky here. So I'm just going to drag this really fast. We get maybe some sparkling there. Well maybe something like that. Sort of clean my brush. And we'll sort of blend all that and let that do its thing. Now I can do the the land though, a little bit of brown into this. Knock it back a little bit. Something like that. A work leaving a little bit of white there where it meets the water and a few places, um, it can merge in a few places too. And I think I'll do that distant mountain there. So I'll go with a little bit of cobalt, maybe ultra. Want this to dissolve into that sky. So very weak hill so far away that it's just not much to it. Okay? Think what I can do is do some mix up some greens here. A little ultramarine in that disorder and knock it back. Maybe a little bit of sienna. Maybe. I'll just do some distant bushes and here. And I'll sort of trickle down a few on here. Now I'll switch colors, go with some ochres, some reds, maybe reds. Here, the bank to. And now some distant hills and bushes there. That's pretty good. At this point, I want to put a dryer on it and then we'll keep on them pecking away. I'm trying to figure out how what that is. I feel like I can get. I want to do this wet and wet over here. The artist wanted do some little distant trees and stuff. And they don't need to hold their shape too much, you know. So just something like that. And that can take that color. We want to tie that color in a few different places like that. Okay, now take a dryer to it and I'll be back. Okay. Draw to the touch. And I'm going to take my small pointed around a little bit of ultramarine here and drag a few shadows across. I'll maybe a few dots Psalm, who knows what that could be back in there. But maybe a little bit of the yellow there. Those give it a little more interest. Now I'll run some more shadows. And I like this. And then now just some fun lulu strokes and they are looked like some grass or something. And think actually what I probably should do here established the vertical on this side. So I'll go cobol yellow. So I'll get this sort of nice green but allowed this is going to fade. Alma do several layers. It looks something like that. To start. Now add some ultra blue, some of these browns to it. Maybe a little bit of red. And do some shadows. This will be a neutral tent, burnt sienna, touch, ocher. And I should do it. I'm going to go to my small needle. And then I'll sort of do this sum, a little bit of loose stuff here. Just to give it some detail. Something like that. That's probably pretty good. So I'm going to tie that into the bank here like that. And now we're ready to sort of pull that down and to the reflection. 34. Natural Landscape With Pond Continued: I feel like we need to load a more pop here of color. And here this is sort of grab your attention. A, we get this sort of red, red bush in here and get a little bit of blue sienna and a little something in that bush. Every now and then just try to draw grass, do a negative space grass, you know, top of a little sang some neutrals. And just no change enough colors important. You don't want to find yourself doing the same color with this stuff where it gets your wash or just get really flat. All right, At this point, I'm going to auteur or ocher into this stuff. Maybe it touches sienna. I'll switch to my point around. We'll get our tree and here we got one more. Here. This one will go a little bit thicker and paint. And we'll sort of bring it down on the bank here like that. And a little bit thinner here. So a little bit light foliage or something there. We go, even smaller brush here. And getting some little twigs you there. Scratch a few branches or something. Will grass, blue, sienna, neutral tent. Touch a crimson in there? I've got this sort of Bush happening here. So we'll get some shadows working for that bush. I'm sort of raw, run that shadow down until all of this stuff here as well. Now, let me give you some detail on the trees. Scratch a few in there as well. Little bit of foliage. And just maybe suggesting some things back there and it could be a little house. See you then. Arm up, pull down some reflections. Now though, some blues into this stuff. Maybe some CNRS. And then again, have a break up a little bit as it comes towards us. Keep some light values there for a second. See. So I'm bringing out a little bit of detail here. So 10 neutral tan, blue, very dry paint here. And I'm going to do a little bit of negative space painting here. So I'm gonna sort of carve out some grass like that. So a negative space into some sort of positive space. Does it give that a little more detail? See, I think that looks a lot better. Let's switch to my large brush here. Sort of get some because some of these browns and stuff going on again. And now leaving a few little hit heads of ripples there and then just let it really fall apart. As it gets near us. I'll go quick there. Maybe get that nice dry stroke in those. Maybe make this side a little more blue. Suggests some reds. It was a small pointed round here. And use this one. This one, maybe a little bit darker in there. A few dark nodes and they're all this excess paint. Wipe that off. Not too bad. So maybe no more information right in there. So I'll pretty happy with that. 35. Dock With Boats: All right, with this one, we're going to do little scene here that is mainly some little fish shacks, huts and whatever. And this gas and distance stuff here. Back in their disorder, nothing. Maybe a little boat. And here and there are main boot sort of coming like this. Everyone do a little mass, something like that. And then maybe one sort of little bit smaller back in there. So reflections are going to be super choppy or malicious, say the water is going to be super choppy. So we're not going to get a ton or reflections, okay, we're not going to get the house We've or the shack reflections. Reflections because the atmosphere is a little bit too rough. So I want to take a little bit of blue with these reds. And we'll get a little bit of a sort of a grayish color and what though a little bit of ocher into that. So or just get some clouds. And here and go with something like that. And we'll let that dry and here. But in the meantime, I'm going to get a little bit of water down on in this area, the water itself. And that's good. Actually, I just want a little glow of like the sky. I'm going to, so I'm going to go to super pale here, like that. I'll get a little bit of color in there. Okay, so nice and loose this point. And I'm going to hit it with a drier and I'll be right back. Okay, So we're drawn to the touch. And now I'll start to get these distant trees. So I'll keep this and the brownish family here. Maybe you want those from reds in there. So let's get something in here. And then 0, this is our shacks here. Let's go with a little bit of cobalt ultra. Touch the yellow ocher into that. And now we're going to sprinkle in some little tree tops here. Suddenly my batter work. Blue, brown, neutral tent fall, this is whatever. And here we'll get some little shadows towards the bottom here. And then right above this boat. Again, just some just abstract stuff in there. Change colors. So we'll go something that's going to be maybe more red here. Go to my smaller pointed round. And we'll get around the back of that boat. Kinda save this as a little bit of a shack or something in here. Little bit of almost pure color here. Dry brush. And we'll get a little something happening in there on that boat. Up in here too. And on the bottom. I'll go with cobol here. Gives us a little bit of color there. Lattice need this to dry a little bit more to go back into it. So what I'll do is I want to give one more little round of just reflections and whatnot and here, Just a few. For now I'm just going to wet that brush. When the sort of gives some hard and soft edges on those ripples. I just put in there. So now take that right on up into the boats here. So a little bit dark here. So on this boat, I don't want to keep this one dark. Sort of go around the tip of that boot, give it some detail. And sorta keep the top of that bot light. 36. Dock With Boats Continued: So still wet and here are those reflections. So not a lot I can do here. So maybe I'll sort of put a few cast shadows or something on the house. I think this is setting up pretty good. I'm going to go to my large sword, some yellows, blues. There was some reds in there to knock that back a little bit. And we're going to need to just get some branches. Foliage. Does different things that could be happening here that would make this a little more interesting. We're breaking it up into the sky. Area two is kind of nice. Go with my quill. Blues browns, neutral tenths, little crimson, red. And now we want to be able to get these reflections in here now. Darker reflection but tons of movement and this stuff. So we'll get him out worried about reflecting the objects themselves. Just because again, there's just too much movement in the water to get make that happen. So and we'll get a few dry brush strokes and here. Alright, so ticker, dryer to it and I'll be right back. So a little dark line down there. Clean the brush. I'm just going to feather that and then let it let it bleed up a little bit. Small. Too much water. So I'm gonna get rid of this. So lavender, brown, neutral tent. And you dark mass spec, they're flat. Acrylics. Dots. Little bit a neutral tint, and do that. Oh more brown. So I'll just get a total mass there. We'll go a little bit darker on that boat. So let me take T ball for this. So I think that's sort of works. La signature on this side. Small little strokes in there. So make sure we have enough small strokes. 37. Refined Waterfall: All right, let's do a more refined waterfall here, so take it like three levels coming down, switching and then down again. We'll sort of favor all of that to the left. So it will start up here. Come down. And here we'll switch gears a little bit. So and then. You know, Big four right in here. So rocks, all that stuff in here. Rocks here. So in this case, on this corner, we'll have a kind of a big rock. And turn it down here. So we'll try to get the focal area and hear. Maybe a couple of trees in here that maybe one in the distance back there. A couple of trees and then maybe some trees and rocks in there. All this stuff doesn't matter. Sort of try to keep you in that area. Pre what the paper? You may say, well, I thought we got to keep it dry around the waterfall. You're right. But by the time we get there, there's going to be dry. Or I should say. So we're going to try to work very, very weak and very late with this first round of color. And I will give this water a little bit of time here just to sort of soak in that paper. It shouldn't take long. This is only 140 pound coal press. And I'm under really bright lights. So that's going to dry out fairly quickly here. You can always tilt your board to try to gauge that shine. That's a good way to do it, and I think it's pretty close to that point. So I'll start with my mom. I've got some colors on the palette, some greens and neutrals. I want to mix everything up here. So we sort of have this neutral color and that's really good. So I can sort of start in here. I'll stay away from the water a little bit here first and we'll throw some yellows into this. Again, there's our water, so I'll sort of stay away from that, maybe a little more yellow and here clean my brush, just get some violets. Mix it with maybe some browns and some of these new rules. This will be a white tree. So I'll sort of go around that a little bit. Who those that violate down in here. Let's get some greens now, some of these sort of. Bluish greens. Here. Make some stuff up there. And now sort of start to go near that water a little bit. Around these. Oh, like trees lose yellows. Let's get some reds. Here as well, so clean the brush. Dry at all. And now. Soften a few edges, blend a little bit. So that should do pretty good. Switch to my small now. So we'll get. A little bit thicker paint. OK, so whenever I do my finger test here, we want that to be not as watery. That's what we had. What I'll do now is sort of get. Near this water a little bit. Pull a few strings. Down in here. And because it's wet, it's going to dissolve a little bit. But. Not as much as you think. All right. So what I want to do is make sure this is dark enough where the rocks are, that when I use a credit card on it, it's going to give me some good dark values. So some blues. Well, streak that down in there like that. Oh, dry that off a little bit. Switch to my smaller brush for a moment and then. Start to see. Some of that streak in going on there. OK. Coming off the top there. So I think all of this is ready. So make sure, you know, you're using that flat part and really bearing down in through that paper. So we'll get a nice rock and hear. And then this one. Here. Maybe few side scrapes like that and then put that right on down. So. Put some up here. I will just sort of pull a few down on that side. So this points the rocks are in place. I think I can start to do some negative space painting. So I'll go with some darker greens here and. I'll get a tree in here. Maybe a slightly bigger one in there. Cleaning the brush. Remove the excess. We're going to soften a few edges. If is violets. Maybe mix up a little bit more with some of these colors into it. So we'll do a branch here. Here. We'll get some Browns. In the brush, soften these edges, especially, you know, away from all of this. Think small. 38. Refined Waterfall Continued: Needle here, blues browns, neutral tense. Maybe do some little cracks. Just a few of these. And so we're pull that down. Darks back in there. I'll do a big rock right in here in the water. One other one in here but a little bit lighter. Oh, another one here. Grays. I'm going to add a little bit of color to that rock there. I'll go a little bit darker. Towards the bottom of it. Really weak through a little shadow on one side of the tree here. Soften the edge. Sort of feather that into the water there like that. This one is thicker paint here, browns and reds and few details and all that rock soften that edge. Ab has that kind of feeling of as turning the corner there. Soften a few of those edges. All right, somebody like a dryer to it and then we'll hit a few details on it. And think, should do it. Make that rock a little bit darker. We worry about, okay, mix all this stuff up. Actually, I'm going to switch to my small sword. And Let's do some positive trees here. I'm thinking we've got a whole branch coming off. This one will be a lavender into this just to sort of make it a little bit almost smoky side. I didn't get some of these grays. Turn this into little birch trees. It a little bit darker right in here. All right, So there's your slightly more advanced waterfall there. So I'll just really taken my time and adding a little more detail, more information there. And does really work in with those same techniques though. So nothing's really change other than this, you know, putting a little more effort into it, but the techniques and all are the same. So that's that. 39. Beach Walkers Rough Water: I've gone with a square layout this time. And the water is going to be sort of a C. Want to downplay it and just have a few little waves coming in. And we'll do some shadows underneath their real loosely painted will have some rocks back in here with little cliff or something. Maybe a few figures walking on the beach. So our land line will be just above halfway point like that. So in here will be our cliff. There are rocks. And then down here, something like that. Because little trick but rocks in there. And we'll do some little background trees there. And maybe kinda curling around like this. So there's our water line, something like that. And a few, few figures here. And so we'll leave some of these white, the white of the paper in here for some waves. And may be up in here. Do some tall evergreens. And then let's do like a little cabin, something like that up in here. And pretty wet. Sky pride is come right down to the water and just stop there for now. I'll let that soak in for a minute. And then I'm going to wet all of this and here where the rocks and the beach, all that would be. And then I'm gonna do the water dry just because I want to preserve some of the white of the paper. So the initial wash will just be a light value in the sky and a few light greens baby in here, some light grays and the rocks. And a little bit of a beach color there. So rural week with some cerulean here. And I'll get a few streaks. I've gone across. Take some of these neutrals and blend those into a few places. As I get down towards the trees in here. So again, just some few light greens in here. And that should do it. And then I'll have some sepia, some blues and some ochres and here. And I'm gonna go little more blue. Then a lot more water. And we'll just get a little bit of this, a little bit of color, do a little bit of CO2 down on those rocks. So Sienna, ochres and does something like that. For the beaches, good. Wash run. A few different places. Take some of that spirulina in Dublin that wash there. So it's not all yellow. We're a little more yellow in here. Should do it. So I'll hit it with a drier and I'll be right back. So at this point, I'll just start in the back. Work Law where you forward go with my pointed round here. I guess some greys. Like this is a little getting a little bit to soupy. All my palette. So neutral Tet, touch of blue. And we'll do, is to do some trees back in there. And now we've got everything in here. So I'm gonna do some negative space painting around those trees. Like I need a little more green in there though. So let me go with some turquoise, some yellows. Naca back a little bit with this ocher. It's not too bad. I'll put some cobalt into it. That's all something like that, uh, work. And go around. This house. Here. There's a little chimney or something. And that can just sort of fade up and they're kinda rough up those edges a little bit. We get some bushes and stuff down in there. As wet my brush. There's a few of those little colors up in there. And I'm gonna go back over that with a much darker color. But for now I think that works pretty good. I can start to put a few darker colors into the rocks. So yeah, maybe you something like this. So maybe in here, some of that color. So we're a trickle it down like that. Let that dry. Take some of these dark browns. We'll do some shadows on the beach here. And this flattering, I think works pretty good. And run shadow a pin here to the bottom of the rocks. Again, that's dry and I don't want to get in there too much, but this is just dry enough. I can start to work with those trees. As I do that, I want to carve out the top of the rocks. So some negative space painting there. So a little bit of blue, a little bit of red into that as well. So a nice dark green. And we'll get some DOD, tall pines, evergreening looking trees here. Leave some of those greens in there. Put a little bit of blue and brown into it. And as we get over in here, do some negative space painting. So maybe there's some bushes, different things happening in here. And we can do a few dots like that. Maybe we'll go over the top of that rock. So now working with that negative space painting CB. And just give some interesting edges in here like that for those rocks. Thrown some detail there on the house. What tall trees in front of it. So we just kinda wanted to kinda sit in there, but not too obvious. 40. Beach Walkers Continued: And then sepia brown to that. And now I've just got to do the same thing here. So let's get a little line coming down. And then it kinda the right into these rocks like this. And then again, negative space painting, shadows. Shadow, and here, I'll switch to more like a blue-gray now. Probably not quite dark enough. And it's kinda take him but whatever it gives me really. Then we get in here, this rock and do a little Tableau shapes in here, got the figures on them beat somebody go around top so their heads. And you didn't know this. Some little abstract strokes, some little cracks and crevices and whatnot. And some of these take a small point around here, almost pure red luteal bit of water on the brush there. So I'll give that figure. A red jacket there. Give this one time a blue coat. This say they were walking towards us here. Drop a few dark nodes in here. Shadow soften that little edge there. Throughly in water. Touch. O draw The fav the way. We don't need to see any of the white caps or anything. All right. Scott, let that dry a little bit and the water is given there and we'll go ahead and mix up a little bit of blues here. And then I'll take some of these grays. Looks nice and fluid there. So we're right in front of some of these. Let's get some little shadows. And now blue, sienna, red. Hello. Around a few hard edges here where the rocks touch a few of those dark notes into the trees. Little dots there. That's good. So let's take the tape off. It's going to get rid of that straight line so I can kinda just join that. Well, get rid of it. What I'll do is take a dryer to it and I'll put a few highlights on the figures. Little bit of white here. Let's call this a few little highlights here and there. And a few little dots would be total washing up on the shore there. And then I'll do it. 41. Maine Pier Scene: All right, So have a little dark scene here from main. And I'm going to change it up a little bit. Bumped the tree line up in here. Like really the water line down in here will be the pier. And we'll have that peer sort of gone out on a slight angle like that. Now this is halfway. We don't want to break it halfway, either brachii here or brachii here. So when I go beyond halfway, something like that, and we have a ton of pilings and different things underneath. And then we get into our reflections. And here then we have a like a little dry dock. And here are my habits or a balance and around the corner there. And I'm, I'll put a few figures right in here and we'll give them away to get up there. So we'll do a little ladder, something in here. Now this is where I wanna make my change. I'm gonna do a little shack coming about like this. And then going off the page, a little something there, couple of windows. And back in here. And we got a little trees, few layers which I kind of like I'm going to do a tree or something back in here too. And all types, a little boats and different things and here. And then typically these peers have a little pull some hanging there, sort of pool the nets and pots and stuff up on the dock. So reflections. Reflections. And then down in here, I'll just do some rocks like that. So we're not going to get much reflection. And here because all that stuffs too far away. So a lot of the reflections of this be in the foreground there. Clean off a little spot. So I kinda like the sky in the photograph. So it's just really simple, gray, warm sky. I'll put a few streaks of these grays. I have my palette. Once I get down in here, I'll leave the white of the paper. I'll go a little bit darker for the water. So a little CNR, burnt sienna, ocher, little something on the pier. And for now, how does to a little bit of teal for the house. Little bit of a red under these browns. Mix all this up. And for the rocks, just give some grays, a little bit of blue. Something like that I'll do for now. So hit it with a drier and I'll be right back. I draw to the touch. I'll go to my point at around. So back in here a lot enough then. I'll go a little bit thicker now. So we'll get something like that. And I'll let that dry a little bit there. And then I'll do this layer last. I'll want this is sort of stand stand out against that gray. So I think I'll do that little tree there. So maybe again some scumbling. So we'll just sort of do like this. I'll go around pipe there. That's good for now. Drop a few dots in there. So our Sun, so we're coming from this side. So I'll touch a little bit of blue, maybe a little raw umber and here. And what will shadow there? And we'll put all of this and shadow. And well windows there would be little shadow. I'll use a little bit of that light gray is to trick a LAN. Some boats. I think that's drying enough to add a little bit, a darker hue here. A little bit of yellow to this. I'll give it a feeling of green and then sort of do that sort of thing there. And we can kinda make some of those tops interesting work. So now I think we need to work on that p are a little bit, so I'll add a little bit of brown to this. And we'll get underneath that peer. So will the user B are rocks coming down in here. So now I just have some fun really with drawing 10 million posts. And now I'll take some darker hues. Mixin there. They get a little bit darker hue to and get under those. Eve's. Alright. So we'll continue that. And here. So I'm going to put a shadow on that side. So maybe another little boat and they're kinda engineers way out. Okay. Yellows touch it. Actually will keep these, this more of a gray, blue-gray at here. So do some rocks and rural loose and we don't want a ton. A hard edge is right here near the edge of the painting. We'll do something like that for now. Little bit of blue dots in there. That'll soften up the edge or two. Right where some of these dots are, we can sort of drop a little bit a darker note or two in there and just make them feel like something. 42. Maine Pier Continued: So for vertical here with the figure. So I'll put this figure, maybe it's sort of an orange jacket or something. And then we've got our other figure. And here, so maybe more of a bluish shirt. The little shadow in there, maybe we'll bucket or something then on peer, little bit darker there. At this point, I think we need to get some reflections. So I'll get sort of a greenish hue gone here. Throw a little, little bit of water in there to loosen up those edges. So we've got a little bit of a shadow underneath as well. So we gotta kinda get that in there. And then got our figures. Like so. I'm not gonna make a huge fuss about the reflections. I'm just going to keep it simple. So we'll keep it sort of rough, right? Because it's sort of on those harbors and it could be a little bit of movement there. So I'll add really light value here. And it's adding a little bit of movement there. And the harbor. This is all dry. I'm pretty good. And let's go a little bit darker for those trees. Good dark color here. I'll get a little shadow like that. A few dark notes here. Window or two. Should have a little shadow there, right? Doc. Or from the house. View, perspective lines for the peer. Go a little bit darker or a couple of these boats. All right. Tom will connect these dark. Notes here to the all right. I'm going to take a dryer to it and I'll be right back. All right. So I've got it about 80 percent dry, a lepto wet here. I want to add a few more rocks and there. So I'll use my credit card. Scratch out a couple. Don't think that's pretty good. Okay. So a little bit of my white oh, you know what? Let me get some verticals in here. So I want to really dry brush. See here. So let me get strong vertical. Maybe one more in here. And we'll do a couple of antennas and masts, whatever. Those boats, a few few dots in there. Splattering. All right. Let's take the tape off, see what we got. Maybe I'll turn a few of these. And the little birds Onto the next one. 43. Harbor With Sailboats: All right, I got another little scene here. Well, I'll say this is in the UK or something like that, but does googled, think boats and Docs or whatever. So we have that. Obviously I'm not going to do all of these buildings, but I'll do enough to sorta get the gist of the scene. So we had that and then I'm going to add a few boats and here. So we'll just get some sort of interesting shape. Well it on, make that building a little bit bigger. And then once we get into here, it's really just want to become more lot looser, more abstract. So especially once we've turned the corner and now we've got a bunch of homes. And here I need to make these a little bit lower. Maybe this little ramp here to get the boats down in the dock. So trees and maybe pick him back up over here. I'll do another little boat there. That's pretty good. I think maybe a front of a boat and here like that and then maybe just a boat sort of facing us. And there may leave that out. So now just a simple wash to get some sky color in there. And I'll bring it a little spot on the palette. Very minimalistic palette. So I'm not going to do all the colors that are there. I'll start with a really light blue and we'll get something like that. Golan clean my brush on this, Get a little pale yellow and a sort of mix that in there like that. You can even go with a really weak Alizarin crimson and here your little red in the sky maybe. Alright, so I'm gonna pull that down and here, even though a little bit of blue in here. So I'll go around these boots. This going to have a little bit of color. So I'll do a little bit of sienna. And I'm sure we'll have to come back and do a lot of work in this section. I clean my brush and then just get some more of these reds. Like I'll just make this entire building bread. See a little blue building, bluish gray. We'll maybe do something like that. Mix all this together. Good. Though a little water in here, break that up. Clean my brush, dry off the excess. Lift a little bit of the sky as well. Alright, so drier and I'll be right back. All right, so we get some groundwork done there. And now it was time to work on the verticals. So put a shadow for the front of those buildings. Buildings. So a little bit of Clemson blew neutral tent maybe. Oh cool that off a little bit more. And then we'll get our shadow side. Do a little shadow there. Maybe this building is putting a shadow on it. Beside it. This gray building. So I'll do open like that. Go a little bit darker blue for that building. Take some of those blues and drop in that blastula. All right, it goes from Greece here. So we've got a building there and sort of comes down, bots this one. And then in here again, I'm not going to worry about Dawn a whole lot. And they're all right, Let's some neutral tense. Yellows, greens. Maybe a little more neutral tent. Touch of yellow. Over radian. Drama. Brush off really good. And just do a little bit of scumbling in here. Maybe leave a little roof or chimney here. Again, just maybe a little bit of tree action, they're disappear and then I'll bring it back right there. Okay, so whatever these grays are, use that. We'll get our little seawall and here, turn the corner. So dry brush in there. All right. Maybe I'll get a dark side to the roof. This will graze here. And I'm going to dot a few figures long that once I get them in there, I can use just a damp brush there to remove just a smidge of that. Give it a little transparent look. All right. 44. Harbor With Sailboats Continued: Okay, This work on these boats. So it is getting some grays. And we'll add the shadow side here. Maybe this was a little bit darker. And we have little windows and stuff like that. If somebody's darks now. And here, we probably need to go a little bit darker on that seawall. Ok. Now take those grays, pull them down. Like so. And where I want it to be lighter. This use a damp brush and lift is drying it off in between. And now. And I'll let that dry a little bit. All it is. So I'll get blues grays, some CNRS, and we'll add a few dots. And they're clean my brush. And I'm just going to touch that pain with some water and then lift a little bit of that. So that'll be a figure. I'm going to use my small sword. And I'll just do some perspective lines. Now while this is a little wet, we can throw some details on the boat. Maybe get a little bit of color in there too. Maybe even a little bit of a red over the yellows. Always nice to. So that kinda gives us our focal point there. So when I hit this with a dryer, mainly just drying that wet stuff there. And then I think we'll be ready to add those finishing reflections there. And while this is wet too, I will go ahead and maybe we'll do a dark roof on that one. We read here. Maybe a few more chimneys in there. Make a house out of some of these. That's probably enough detail. So now dryer and I'll be right back. Okay, So whenever I do these reflections, I want to add a slight angle this way. And that's because we have perspective gone this way. So little play. All those angles. I think that will be good. I'll just mix up everything that's on my palette here. It's probably going to be too weak. So I'll go blue. Ochres. See you in a touch of green touch or red in there as well. Okay, so now I've got some light red here, kind of a pink. But really I'm not going to try to get all of those colors. And there I think this sort of keeping this reflection simple is going to be the way to go. Again, trying to keep that angle happen in is important. And then back in there, it starts to get really weak. So really this sort of playing that out. Dislike that is fine. All right, so okay, so keep it nice and loose here. Be sure you don't tell them. Too tight with the reflections. Just keep it simple. Keep that brush kinda overlapping if you want that sort of choppy look. And then really break apart. And here, I'll switch to a smaller brush and then work in beautiful dots and stuff in here. So now really weak. This going to lift a little bit right in here, is to sort of suggest that light building. But again, keep it simple. That's the key. So blue is pretty much the same colors here. Neutral tent, and does some dark. So I'll write in here, especially where these boats sort of meet. Clean my brush and it's sort of feather that out so we don't have too hard of an edge. And then I'll bring that right on down to the reflection. Okay. Go with my small needle brush. So we'll do a few highlights to a few nice mass there. And we'll do a few highlights on a couple of these figures. Just a smidge more color, ultimate focal point in here. Take the tape off. I'll just touch on a few darker notes in here. And I'll do it. 45. Final Critiques: All right. We'll start with this one and I'll know not too bad. I mean, this was a pretty challenging piece to say the least. I thought you handled the wash as well. I think your values are really good. I would say the him The thing I will have to be careful is of course, I think you mentioned this in your notes, but just making sure that reflection comes down to a match. So I'm going to get him a little color picker here. So we want that come down in here somewhere. And I make it even get a hint of like an orange or red or something for the roof. But the figures could have been a smidge taller, but that's common nit-picky thing. And I thought towards the tip, a daily Canvas go and do it with black. He could have gotten a little bit more of a sharp reflection and hear what some of these I like the softness in the background. But here as things get closer, a thought, he could have waited for the paper to dry a little bit or just dry it felt that were looked a little bit cleaner. But again, I mean, I think you did a good job. Lot. Zhao, I'm over here were the big tree is watch out for these sort of outlines that where you didn't quite get close enough to the subject. So you could have probably just blend that a little bit better. But yeah, I mean, yeah. Again, a good job. This a few things there to think about and perhaps on I'll help you on your next one. Next up. With this one, I would say. Pay attention to let me see if I can make this black and white here for a second. I think here of values. This is sort of a consistent thing I saw with your art. On. It's just, I think you're a little bit light on dark values across the board. So let me go with some grays here. So for example, like the verticals that trees, the verticals in a landscape are always going to be darker. So you could easily have made these darker in value, because right now they're, they're actually the same value as the distant trees. So just using a little bit darker notes and here would have been nice. And you could have kept that going around the base of some of these rocks. So you see how we start to negative space paint a little bit and we get some interesting edge quality. It doesn't mean you have to do it everywhere. But I think certainly sprinkling in a few of these dark trees. And things of that nature in here would have been nice. You could even afford a few darks down in here, spatially silhouetted the figures. The figures get washed out on this because it's just too, there's not enough contrast there to pop them. So if I remove this and this, I'm going to start to see where those darker notes of could've helped you a little bit with your rocks. You'll have to do a little bit of wet and wet, but then come back when things are dry and hit it with some dry strokes to get a little bit crisper edges on some of those rocks. Because rocks have a very jagged edge to him. So we want to get some of those hard edges. And that would have been nice, could have gone a little bit darker, I think. Under those waves a little bit too, but just an overall theme I feel with you as just a lack of really using the darker values. I almost feel like you don't use them. So a lot of time, certain areas of your paintings get washed out. But if you use them, I think you can use them advantageous Lee, and especially with the verticals and especially with showing, you know. Focal points and stuff like that. They work really well, but something I would consider looking at and probably taken all your work and just sort of desaturating it. So you see it on a grayscale is a good way to tell and study your ability to use values. Okay, so that's my advice to you. So with this one, I thought it was pretty good. I think it's a little bit too choppy back in here. I thought this has been a little bit quieter. And here, not much, but just a few sort of maybe make it quiet. And all of this back here should have been a real quiet. And then maybe we start to get that choppy feeling in here. So I just thought it was just a little bit too busy all over the place. So you've see if I take that out, how busy it looks and then that's going to quiet down a little bit for yet. But all in all, I think you've got a good touch. Overlap some boats, all of your boats or sort of they're not touching each other. So you gotta, I'm going to go with a red. So you got one boat here. He got one there. One there. Okay. Now I'll go around all of these. But none of them were touching each other. So it was nice once in a while when you start thinking about your design. You can have one floating by itself as fine. And then maybe have another one sort of pulling it this way. And then maybe that's touching a third boat. Okay, so you're getting a little bit more of an interesting use of shapes. And some things merge and touch each other. Other things. Don't. So just keep that in mind in terms of your composition on if you're going to get houses this close to each other. Again, either put one in front and then one behind, and make sure that's clear through your values. So taking that value, I wouldn't have gone that dark. I would have probably used. And me see here. So we can use a value like this, so that goes behind very clearly. And then you could get your roof line and here. So I'm just making sure things are readable and they're not disc sorted near each other, but you're not really sure what's going on. So just to make that really clear and obvious, Other than that, I thought you could have used just some lighter values and general back here. So pushing this stuff back a little bit, and value would have been nice. And then we get to things that are closer to us. Don't be afraid to use darker values again, just to show depth and the landscape. Okay, So by using a few dark verticals here, whatever sort of China gauge, and use the things that you've got that then we start to get a staggering, This looks farther away than this. So if I go to your piece here, and again, I'll make that black and white. You see how this is. And the distance is just as dark as some of this. So if you go this dark way back here, then you gotta go pure, as dark as you can possibly go here. So I would have, again made this lighter in value and then may have been fine here, just added a few more darks. But as my advice to you. 46. Final Critiques Continued: All right, great use of colors. I can see you're layering to how you went lighter at first and he came back darker. I think all in all your the drawing is good. Advice I would give to you is be sure to watch out for tangents like I'm over here by this boat. So if I follow this around and does this, Let's see. The thing about it is that's going to break right at the edge of the paper. Okay, So either crop it here. So I am going to make this, we'll pretend this is the edge of the paper like that. So I'm cropping that boat where there's not much of the left side showing or given enough room where you can let me get a little bit of dark here. You can have a little somethin over in here. Okay. And then the edge would have been maybe right in here somewhere. So that's something you gotta be careful, love it. Don't be afraid to change the color of the shirt on a few of these figures. And you can add like a light shirt there. You can even add a red jacket. That was a very red wasn't red jacket and they're on that figure. So, you know, just having them all the same color. You know, it just doesn't have enough variety. Other than that, I mean, really, you're on a great path. Really like what you're doing. I would say, you know, just keep it up in, you know, watch out for your designs, your compositions, and just keep, keep that momentum going because I just think you're doing a really good job in this class and you've nailed the others too that you've done with me. So good work. All right. Next up, you didn't have a big image. This is the only image I have, and it's just a cover photo. So whenever you can upload the entire photo without it being cropped loudest. I've critique this one for a second. It's a great touch. You get a nice loose style too. I would love to see the whole thing. But from what I can see is pretty good. I would say the big thing here is the same thing I mentioned to the previous student is watch out for tangents. So here we've got the mass going up right on the edge of the building. So this is a case where I would have maybe thought about that a little bit. And let me just for the sake, I'll just get a green there. And I'm just going to get rid of this. So I'll get rid of that mass for a moment. And then I'll grab white here. And then maybe pull that down in here. You could have extended that boat over a little bit. Okay. So, but again, this is a really good touch. Figures, probably a little bit Swati here. I will just made less of them. Just maybe a little bit smaller even and just sort of get rid of the bulk on them a little bit, just in terms of proportion. There, just a little bit too big and wide. But other than that, I thought maybe adding a mast over here just for height would have been nice, something like that. But great use of hard and soft edges and you're on a good track. Think, you know, as you get deeper into your studies, you're going to get a much cleaner with your values and stuff. But these things like tangents are sort of hard to see sometimes. But one thing when I pointed out to you, you're like, I can't leave that and see that, but I think you'll start to notice a little bit more. But really good work. How a bush I again, I could have seen the whole picture because I like what you show me, but that's that. All right. With this one, I thought you did a good job. I like how you you gate you put the darker darks over here on the left-hand side. You kept this a little bit lighter in value. I thought maybe that distant bushes and stuff could have been a maybe a little bit lighter in value, so it doesn't compete too much with the dark and the foreground. So, I mean, if you wanted to do a little sprinkle like a little dot back there, That's good. You just have to be careful of things that are too big and that could, you know, possibly become a little bit too distracting. So here you can see how that new immediately goes in the distance. Because the values a little bit lighter, maybe slightly overworked in here, like this, too much glom back into it. But that's as watercolor for you, which is so hard to to give those values and all the mixes just right, so when we put it on, you know, it doesn't dissolve but it looks to me like maybe when you work in wet into wet, that things are maybe getting a little bit lighter, then what you want. So having to go back into it, maybe drop a little bit darker notes. So maybe wait for things to dry a little bit more or make sure your values are a little bit darker than what you typically use. But for the most part, I think you're again, you're on a good path. I think the reflections are good. They're nice and crisp up in here. And I'll know not bad. I was a challenging piece. It was sort of simple, but I think to pull it off decently, it required I touch your you're clearly on, like I mentioned before, you're on a good path and you're going to do really well as you move forward. This was working really good. Loved the reflection. I like the style really clean and crisp. I like the kinda cohesiveness of it. The figures look pretty good back there. And the boats look good and you didn't put too many details into it. I would say all ontologists may be a little bit in terms of being cohesive. I will say that tree is just a little bit overworked. So when I look at all of your strokes and here and in the building and a few other places, it's just nice and quiet. And then other areas just get really busy. Salaam. It just work on using a big brush, maybe bigger brush than what you think you need. And using less strokes, probably the same thing back here. So using a big brush and just kinda getting that down and a couple of strokes, whatever it is back there. And then maybe coming back. Just with a few details. Disorder suggests something sort of what you did over here on this side, on the left-hand side, that's nice and clean. And it's not too choppy looking. But all in all, I would say, just again, get, get all this stuff down, nice and clean and simple. And whenever you do these light highlights over top of something, I'm not sure what you're using. If you're using acrylic paint, if you're using Chinese white or whatever, I would say, just make sure you use a small brush which it looks like you're using. Make sure you put plenty of water with the paint and just try and try to get it a little bit cleaner and not soul broken up. So you see all of this artifact thing and there, there, there. So have some strokes that are nice and clean and looks sort of bold. And it looks juicy and doesn't look too dry. Versus things that are sort of put them on and their dislike. There's just not enough paint to dry and just comes out, comes across a little bit sticky. But, you know, you're on a good path. I think you've, you've done well with this class and your style is really good. And that's, those are my tips for you. And last one is this one. So we've got the waterfall. So what I will do is again, take this into a black and white. And all in all, I just think he could have used some darker values in here. So. I'll go with something like this. So just some and probably may go to a little bit bigger brush here. So let me go to a bigger brush and a little bit darker value. So just something like that, maybe something a little bit darker. And between these trees just saw a few of these pop a little bit. Maybe darker on top of that waterfall. And here, Something like that with a rock. Bring some of those darks down and here. See now I can go a little bit darker. So all in all, I think I'm just working on your values a little bit. And don't be afraid of using the darks, sprinkler him in there. And I'm just kinda giving you a little visual here of how that could've change. Some of this just made it a little more readable. And certain places. So that pops the trees. Obviously. We could get some lighter values on some of those rocks. And here, you know, just to pop that focal point a little bit. So I'm kind of getting few more rocks and here, and over in here. Maybe just a few few darker notes just to hint at rocks in there. Okay, so just those value just help pop, you know, the trees in the background. And then working with some values around those rocks. And just defining some, I think would have looked good. Just having a few of those. Being a rock, he only need like three or four or five or so. You had a really say yep, that's definitely Iraq. And then the rest of it can fall apart. We can take the stuff that you got like this. So maybe one. And here, I'm just sort of working with the shapes you have and defining a few rocks. So maybe a little bit darker value perhaps. All right, So just kinda fudge and with it, but hard to, hard to do this stuff. Maybe a little rock in the waterfall there. But yeah, hard to go over the work and to get it right. But hopefully you kinda see what I'm after there is just working with values a little bit better. And then making sure some of your objects are more defined as well. But that's my advice to you. And then I'll wrap up their critique. 47. Recap & Final Thoughts: Okay, well, congratulations on making it this far. We covered a lot of ground. We started with the very basics. We looked at various water types. We apply those basic techniques to various water types to get a desired result. And as long and perhaps complex as this class was, it's just the beginning of the journey. So if you really enjoy painting water reflections and things of that nature, then you've gotta take the ball and really roll with it here. Okay, so I'll remember watercolor by itself is just a really challenging medium. You have to understand. Master the water to pigment ratio, timing when you're working into a wet wash, making sure the papers dry if you're trying to get hard edges, things like that, sharp reflections. So just be patient with yourself. I encourage you and recommend highly recommend that you just think about Dawn studies when you're in the mindset of sketch in sort of do Lean and working with small pieces of water reflections and things like that, then you're more likely to take risks and have more success. Painting finished art. When you're painting finished art, a lot of times we put unnecessary pressure on ourselves, and a lot of times the results don't meet up to those expectations. So depending on where you're at in your journey, you know better than me. I recommend that you just slow down, work small, be consistent with it a little bit. Each day will add up to huge improvements in the future. Again, just kinda steer away from finished our and just do sketches and studies. And then once you start seeing things stick and you start to do things better consistently, then worked on a little bit larger scale and try to do a little more refined work, okay? If you start to find yourself getting in a rut and things are just school and spiraling downhill. Stop, go back to the very beginning and just do simple things, get that momentum going, and then step back into dual, more refined work. Okay, Thank you guys for your time and interest and my classes and we're going to do, of course, plenty more of these down the road. So good luck with your water and watercolor painting, and I'll see you in the next one. Okay, Take care. Bye.