How to Paint Easy Watercolor Seascapes - Daytime and Sunset | Chiara Mazzetti | Skillshare

How to Paint Easy Watercolor Seascapes - Daytime and Sunset

Chiara Mazzetti, Artist

How to Paint Easy Watercolor Seascapes - Daytime and Sunset

Chiara Mazzetti, Artist

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10 Lessons (1h)
    • 1. Welcome to the class!

      1:40
    • 2. Materials

      4:26
    • 3. Basic Techniques

      9:23
    • 4. Daytime Seascape: the Sky

      10:51
    • 5. Daytime Seascape: the Sea

      9:47
    • 6. Daytime Seascape: Final Details

      3:30
    • 7. Sunset Seascape: the Sky

      7:47
    • 8. Sunset Seascape: the Sea

      6:32
    • 9. Sunset Seascape: Final Details

      5:23
    • 10. Class Project

      1:10
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About This Class

In this class you will learn to paint two watercolor seascapes. I will teach you how to paint the sky and the sea at different times of the day: daytime and sunset.

During the first few lessons I will go over the supplies needed and then I will show you the basic techniques you’re going to use later with helpful examples you can try out yourself to train.
After that you will apply the techniques you just learned to paint the seascapes along with me, step by step as I show you how to use the basics to create a wonderful painting.
Every seascape I paint is divided in 3 main lessons: the sky, the sea and the final details. This way I hope you will find easy and comfortable to follow the guidelines and finish the paintings.

To complete the class project (paint your own seascape) you can choose the seascape you prefer or even try them both. You won’t need any starting skill or previous experience with watercolors: the class is suited for everyone!

- Music "How About It" by https://www.youtube.com/audiolibrary -

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Meet Your Teacher

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Chiara Mazzetti

Artist

Teacher

   
  Here's the Artist behind the Art :)
  Hello! I'm Chiara Mazzetti and I live in Italy.

After completing classical studies, I graduated in 2016 at the University of Pisa in Digital Humanities and later I specialized in Graphic Design in an academy in Milan. After finishing the studies I worked as a Graphic Designer in a historic and famous art gallery and at the same time I designed websites together with my partner.

At the end of 2018 I became interested in calligraphy and lettering, whose arts taught me the patience and the importance of practicing every day. From this point on, the passion for watercolors began almost spontaneously, findin... See full profile

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Transcripts

1. Welcome to the class!: Hi. Welcome to my first sketch class. I'm Carol City, a watercolor artist visit in Italy, and today I will teach you how to paint this cease tapes at a different time off today sounds it, and a time during the first few lessons I will go over the materials needed, and then I will show you the basic techniques you're going to use later. With helpful examples, you can try out yourself to train Do. After that, you will apply the techniques you just learned toe pain to see escapes along with me, step by step as a show you how to use the basics to create a wonderful painting. Every sea escape I paint is divided in treat main lessons, the sky they see and final details this way. I hope you find easy and comfortable to follow the guidelines and finish the paintings. To complete the class project, you will have to paint your own see escape. You can choose the one you prefer or even tried them both. Now, when you're ready, let's get started 2. Materials: in this class, I will use a 300 gs, some cold press watercolor paper made with 100% cotton. I'm asking the and the mobile surface on which I will put the paper on. I will also use professional watercolors This time I've got the white knights from the brunt Netscape Polyta has for the brushes. I will use one inch flat brush. So this is the one I got toe wet the paper, then a very soft I'm pointing number 12 round brush, a number eight and the number four for the details. Then I will use another number for brush with snappy Bristol's to spotter water or white. Then I need a dish or any polit toe. Makes the colors on plus a cloth or just a paper towel. Two cups toe. Fill with water. One is going to be the one in which a clean the brushes and the other should always have clear water. Okay. Ah, white man. But this is optional. A pencil for the sketch and finally a whitewash or an opaque white. I will use this product. It doesn't matter if you don't have these exact same materials. What again? Say for sure is that in order to achieve a good wrestle, it's important to use quality materials like the ones I show with you. I will paint the true Seascapes on a 15.5 by 23 centimeters paper, which is about six by nine inches living out a border off five millimeters, please the piece off paper in the center off them by surface on. Then with the masking tape, Fix it on it on all sides, being careful to push it very well. This step is very important to have well defined edge on your paintings or else the color will infiltrate under the tape and ruin the straight line. E e e e e e e something, okay? 3. Basic Techniques: in this chapter, I will explain the techniques I will need went Seascapes wet on wet, dry on dry or just dry brush lifting and splatter. Let's start with Western World. This technique consists in wetting this or freeze on which intento brain and then releasing the color on it with the brush loaded with water plus pigment. What don't work precisely? You have to be very careful and not leave dry parts. The result I want is a bail off water on the paper but not bottles. Thank you. Now pick the color and release it on paper. In this way, I will paint the sky. In that time when the paper is still worth, I can release innate some drops off clean water in order to move the color. I let the water flows on the surface by tilting the paper. The part so touched will have more shadowed contours, perfect for the clouds. I will also use wet on wet for the sunset sky, but in another way that is using two colors on different brush strokes. The strokes I will, though, will be from left to right and by Sivertsen, some more loaded with pigment and the others less sweats to have a dynamic and variegated sky. Thanks. Okay, E I add the second caller when the paper is still wet in the same way I did with the 1st 1 In this way, the two colors will makes its mortally directly on paper. Let's Notre to dry on dry or just simply dry brush technique. This technique consists off processing brush strokes on completely dry picker with just likely dump brush to control. The water on the brush is necessary to dry it on a paper tower and with a light touch, rub the side off the dump brush on dry paper so the tax or off the paper will be revealed. I will use these for reflections on the sounds, etc. Escape. The surface off the paper is very important to the dry on dry technique. I'm using the cold pressed paper because it's not all Modano's on the surface on, Therefore, it works perfectly for our purposes. E with the drowned dry. You can also details to the painting. Such a flying birds tohave very fine lines for the wings. I will only use the tip off the brush. That's why it's important to be pointed. Flick the brush this way to paint the flying birds. Thank you. Now let's move to lifting on weather what this technique consists in removing some previously applied color with a clean and dry brush. So I went the paper and they apply a color wash, then make the brush flat. I can do it because it has very soft Bristol's and they lived part off the color of the wash. It's time I clean the brush on a paper tower before repeating the action. Okay, this matter technique. First, let's try with the weapon wet E. After applying the color on the wet paper, I take a small brush with snappy Bristol's and I laud it with water. Then, using the index finger, I tap on the brush handle in order to splatter the drops off water. All of this is why the paper is still wet. The drops will come in contact with the pigment previously applied, and we'll move it around, forming lighter dots. Probably separation will have to be repeated more than once. Finally, I will show you the white spotter for my rectangle off color and whiting it is drying. Prepare the white. I used this product, the doctor Ph Martin's bulletproof wide because the white color here is very bright, and I like the razzle great, some splashing water. I mix it with very little water to make it just a minute more fluid. I let the paper to dry completely. Now spot there has sided above with water as a saved before. I will need to splatter some water again in the first square because one time is not enough . The paper is not dry yet, and therefore I can still act on it. Let me give you some tips. The paper must be wet, but not too much so that the caller has taken over its space. Also, before sputtering directly on the paper, I prefer to try on my hand to check the sides off the drops and the just the amount off water on the broad to make the drops as big or as small as I want them to be. Obviously, more water means big. Bigger drops and less water means smaller drops 4. Daytime Seascape: the Sky: Let's start with the Scotch. Imagine dividing the paper into trip parts and growing their rise online at about the 1st 3rd off the sheet. Thank you. Remember not to mark the line too much, but keep a light hand while tracing this line. Now let's move on to the colors of the sky. Let's take the bright blue and the ultra Marine and mix them together. Then, at this rule in blue to the same mix and intensify the color with the addition off another bit of bright blue and ultra marine. I'm painting now. First I went the part of this guy with clear water. This is a very important step that should not be underestimated. I need to make sure the area is completely wet, leaving not dry parts. I also need to put the right amount of water not too much, not too little. The paper should look like this without paddles off water or dry parts to check whether you have done it well or not, just move around them or by surface, and watch the light reflection on the water to spot any problematic RS. Let's take the number wrong rush and make sure toe. Have enough scholar in the polit. In my case, I add another color this really in blue and diluted in the previous mix. At this point, we are ready to start. I push the brush full of Cora onto the white paper so that the world body off the brush touches the paper and then let it go back. Create this guy with this kind of movements. But be careful not to do overdo it. Always leave blank spaces that will form the clouds. Try not to have precise shapes in mind on the brush with your finger as far as possible from the Bristol's this way, you will not have full control on the strokes on the result will be more random. Thank you. Thick violet and pain square from the palate and mix down on the dish. Okay. With this mix, I'm going to great variations inside the clouds, giving them a treat. Dimensionality. Okay. Thank you. Now let's go. To block some parts off the clouds, clean the brush under, take some clear water, relays some drops inside the painting. In this way, the water will move the pigment in the direction. I will tell the surface. It's very important that that the surface off the paper is still wet, or else the pigment will just not move. Now take ultra Marie and create arias with this intense blue collar in order to create more that clean the brush and make it almost dry with the lifting technique. Take some color on bland the outlines of some clouds. I always clean the brush off their lifting in order to not dirt the paper. Now I'm just refined some of the clogs with some more color e Okay, e repeated insertion off jobs off clean water in wherever you consider it off. Appropriate E e. Okay, Now with the number for brush, the one with the snappy book stalls take a fair amount of clean water in order to use this brother technique that provides small drops. This way I would create small white spots that make the clouds more ammunition. Okay, define the integer off the clouds. With more coral, you can use Payne's gray and violence. - Repeat this platter until you are satisfied. E. Now let's create close with more of the finest edge to do this. I take a run it proper thought well the painting is still what so I can receive. The pressure I'm going to apply will be stronger. Where I want the club Toby well defined and like where I wanted to fade after passing the people tower on the painting back above times change site and continue. I do as a final touch. I drive the brush number 12. It slightly bend the Bristol's to live some of wanted color. 5. Daytime Seascape: the Sea: here, you can see the colors that they will use toe brain, the sea in the trim blue to, of course, indigo and Payne's gray. So let's prepare them on the plate. Now just wet paper. It's always okay. It's perfect. So take the turquoise with the 12 brush and apply it with fluid movements from left to right. - You can create variations in the sea by adding the last diluted to khweis on the mix off. This with the India Trim blue to create ripples. Try to keep the foreground darker than the rest of the sea by Yard Inc Indigo and Brains Quay. Their movements must be raped, and you should be doing them after noting all the Bristol's with the tip off the brush. Thanks. Okay, E Now, with the pointy brush number eight, I can create smaller and darker lines as I go towards the right online E okay, intensified the for ground by outing the pain Skway e. I'm going to use the lifting technique to create lighter spaces in the sea. So with the brush that is just a bit wet, I repeat the same movement I did before. Remember to clean the brush once the caller is taken out. Thank you. Let's dark and even more with the most intense pain spray here. I'm repeating the lifting technique. Now with this rush number four, I take a fair amount off clean water in order to use this platter technique that provides small drops. This will suli sparkling water with the same smaller rush. You can adjust the sea with us, many reports as you want, but I would suggest you not to exaggerate E e. Thank you. Let's take their white. Now I use this product, But why to quash or white water color is okay, too. I'm going to use this platter technique again. But with White to create this price off the waves in the foreground, I had to protect the area off this guy by placing a piece of paper over the part that I don't want to splatter onto. It's the same rush I used before with the water and the same technique. I tried to keep the spry small e 6. Daytime Seascape: Final Details: depends gray, with the number for brush and play seat on a dish in order to control the amount off water on figment. In this case, I want to call Toby very intense, so I'm not going to add much water. I'll show you the jester in a separate piece of paper. First, this is the movement I make. It's like a big, and it's important that the shape off the brush is pointed like this one. Start with a light touch than press and finally release. Thank you. I'm going to stand in prompt off the side camera so you can see this better. Now let's reload the brush and do it on the real painting. Be sure that the deep off the brush is very pointing to give more depth and virus to the painting. Remember to change shapes and sizes off the beards. Makes some of them with the wings going down and the others with the wings going up. Be very careful if you go over one off the birth again, not to mess it up. Now I'm going to make a dot in the intersection off the wings to give the idea off a head or a tail. The painting is finished it But the last detail is missing the signature. I choose to use a white man, but you can use any color or pan. You want it. Solar is better to try the ban on a separate sheet first in order to avoid is marching. Thanks. Okay, E. Okay. Now I have just removed the masking tape E. 7. Sunset Seascape: the Sky: Let's discover the colors you need. I will stake cadmium yellow on yellow ocher, that magenta cadmium red light Mother lake Red light, violet on quinacrine. Don't lock Now Let's get the colors ready. In our place, make a light and water and makes off cadmium yellow and the yellow ocher. This will be our base. Then prepared the red light with the magenta. I don't make them completely because I want tohave different shades in the sky. Then I makes Mother Lake Whitley luck and also a deep of violet. I think this catch is very simple on similar to the one in the previous painting. But this time I will out the profile off the land in the background, now completely with the sky area. Make sure that they must in tape is well fixed so that the water does not in frustrate below. Also, be very careful to avoid the part of the land that must not be wet. Thanks. Okay, e. Let's start with the yellow ways I will add to the previous makes. Ah, bit off Roshan toe. Give the wealth teen off golden touch. Thank you. I tried the collar on a piece off paper to make sure the shade is the one I want. E. Now I applied light wash off these yellow knicks at the center off this guy with slow movements from left to right. This will be a globe in the background. Thank you. Then I start with more intense colors. I take the orange meeks. I had some more red light and I apply it to the sides, starting from also and going towards the center. Pay attention to press the brush well and then release it so that the strokes and with the fine deep off the brush. To create this effect, I continue with the same movements and gradually add the mix off. Lee lock on. Boil it. I take the most intense red light and they apply stripes off this to the painting to give more body and body to the sunset. Clean the eggs so that the remaining drops off color do not interfere with final touch off rosiana intensify. The color in the center has spawned the other colors from the center toe the outside with the violet done, I create darker areas that we give more contrast, and I formed not only stripes but also clothes e e e e. Finally, I cleaned edge to prevent the colors to interfere E E E. 8. Sunset Seascape: the Sea: I immediately go toe wet the sea area because the colors are the same. I used to paint the sky three e and I reload the colors in the palette and then with the brush number 12 I repeat the same pattern off this guy in the sea. Don't be too precise as long as the colors are the same. E tried to keep the foreground darker with the use off the violet e. - Intensify the repulse with Lee, lock on violist without dry and clean brush. I apply the lifting technique to create lighter reflections. I tend the brush from the collar on. Then I make it us flat as possible. And only now I keep going. Waseem, before spot their Clearwater toe, create sparkles in the sea. After that, let the paper to dry completely. I love the brush in elaborate with a very pigmented mixed off lilac and violet. But since I want just a touch off quarter on it for the dry brush technique, I dried this way on a proper Thor will be sure about the amount off water. I'm going to try the brush stroke on a separate piece of paper first. Okay, it's perfect. So let's move on to the real painting. Thank you. I'm starting from the outside and going in to create this particular texter that I hope we convey the effect off a flat. See, with the reflection off the sunset, I barely touched the paper and they get help from the texture toe. Get the effect I want. It's important to have a good quality paper toe. Get this effect here. I'm using red light with a touch. Awfully luck, - E . I know make for wrong. Darker with Violet. You can just keep working on it until you're satisfied. Okay. E. 9. Sunset Seascape: Final Details: Now let's move on the final details for the sunset. I use the brush number four to prepare the pain Square e. And now let's apply it. Thank you Way e. I put it on the world area off the land which being backlit Onley shows the silhouette proceed. Call me and carefully even tilting the surface if it's more comfortable with some Payne's gray. But this time more diluted. I form a smaller line under the land to simulate its reflection on the water. - Thanks . Okay, now it's time to paint the birds. The technique is the same I used in the previous painting. But the birds will be smaller because I want them to be very distant this time. - E let me re touch the reflection under the land a little bit e e with the signature, I'm going to give the last touch to this painting Now. I removed the masking tape and it's finished. Thank you. 10. Class Project: congratulations. You complete the class. Thank you so much for watching my videos. The next step is to try yourself toe paint Seascapes. In fact, as a class project you can choose to paint one or both off the shin areas. And if you have any questions, don't X take toe. Ask me in the comments. Remember to show your masterpiece in the product gallery. I can't wait to see it If you want to share it on Instagram, don't forget to tuck me at Carol City That art and the use they are stuck sketcher with Keira. I'd love to see what you create. Feel free to experiment on our more details. Toe the paintings if you like the class and you are interested in some more Check my website I ever blogged in which I post videos and step by step tutorials And they wouldn't be super excited to see you pass by there. I hope you enjoyed my class and see you next time. Bye