Lighthouse in Watercolor | Wilhelmina Bodine | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 53m)
    • 1. Welcome and Introduction

      1:31
    • 2. Colors and Supplies

      4:15
    • 3. Sketch and Applying Miskit

      5:03
    • 4. Wet on Wet Sky and Wet on Dry Rocks

      11:14
    • 5. Adding Values to Roof and Lighthouse

      14:45
    • 6. A Few Adjustments and Adding Shading to Lighthouse

      13:34
    • 7. Ocean and Fun Foreground Painting

      10:36
    • 8. Bringing Lighthouse to Life with Shading

      12:52
    • 9. Adding Washes to Greenery Across the Water

      19:56
    • 10. Distant Rooftops Get Color!

      7:46
    • 11. Distant Houses Get a Shadow side also

      6:16
    • 12. Shoreline added across the Water

      5:28
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About This Class

Please join me in painting an idyllic lighthouse sitting at the edge of land overlooking a shoreline nearby dotted with some houses.  You can see how a little Miskit masking fluid can add sparkle to your painting.  I will also create rocks using a cut up credit card to scrape the paint into desired shapes.  To get started right away, copy just the lighthouse and paint along with me.  It will be a lovely little painting just by itself or adding a little landscape around it.

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  The colors are announced as I use them during video and also attached here.  

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Meet Your Teacher

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Wilhelmina Bodine

Give yourself the gift of watercolor!

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Transcripts

1. Welcome and Introduction: No, no one. Welcome to my art studio. I'm a watercolor artist who lives in New Hampshire today. I'd love to invite you to join me on painting a lighthouse painting. Um, we're going to explore how to bring in something alive, creating lovely shadows. Have to do a distant, uh, village far, far away from the lighthouse or across a little inland on the march. We'll also learn how to do, uh, rocks with a credit card. And, um, I have an option for beginner students. Just a much smaller format as well as this whole view are much larger view. If you would choose to do that, so please join me. Light houses, air. Always a fun, a fun lesson. Everyone has memories of seeing a lighthouse or vacationing near lighthouse. And I urge you to do one that speaks to your memory and maybe give us a lovely gift or cherish yourself so as always, thank you for joining me and thank you for your support and feedback. Thanks. 2. Colors and Supplies: I wanted to share with you the supplies and the colors that I used in this painting. But please know that you're welcome to use your own colors that you see fit for any kind of painting that you dio I used water color strathmore £140. Um, it's a nine by 12. You come by this in different sizes. I happen to get a big one for this. I Any water color that you're come full with is totally acceptable. Um, I used ah lot of my, um, yorker colors, but I also use my other pallet with my awesome other favorite color. So I tended to skip around a little bit with my colors and again use which you're comfortable with. I, of course, used the paper towel to always be able to lift off some shadows and some put some highlights. Back Before I started this painting, I usedto misc it that sometimes it's called liquid first ticket or masking fluid. Um, it has a pink underneath. Sometimes it has a different value. You do want to shake it up well enough, so that dissolves. The reason they put some coloring is that you can come to see those orange blobs were working on it. And you know that's where your whites are. By all means, go right over them pretending that there if, for instance, she wanted to put a little bit of that white on your land form there to come of Nestle those houses in that could have been a good spot where I could have done it. I didn't. But I'm thinking now, looking at it. That might have been a smart thing to do. I also did some random shapes in the foreground, just with my shish kebab stick. You can use anything that you want apply it with, but I urge you not to use your good brushes because there's very tacky as you can tell and stick on. And you can Robert offer just simply take another stick, so I prefer to use the ship's kebab stick. Please use a sharp pencil with a light touch because watercolor will score, so you want to be careful not to more of the paper. Um, I also had a small cut up credit card corner. You can use an entire piece, but I like to use the rounded edges, and this help me scrape in the check shirt of the rocks. I did use a ruler to make sure you know, some of my stuff was straight. Um, so it's always good to have a little ruler handy and erased her. Mostly, I used a large around brush just to get the area. What? Whatever brush you have that fits that need, the bigger the better Just to get it wet. I'm She's skipping around the lighthouse. I know. I used my brown brush is quite a bit. I have I had this one. This is before I had it in the three. Also again, whatever round brush you're comfortable with and much smaller one in number one to get until those little crevices where you need to do some detail work. I used my liner brush to create, obviously when its at a nice point and always roll your brush when you want to get a nice point on it, Okay, so that will create a point when you want to make sure these come in nice and straight. I used that and for a few places where I went, went with my paint where I didn't want to go I think I lifted off something in here and I lifted off something in there to make my lighthouse. Um, I actually see something right here. So I'm just gonna do this a little bit to show you a flat brushes and wonderful tool just to claim back your claim back here. Whites and needs a light touch sometimes Just a straight for back and forth, and you can lift out your colors. So that's all I used for this painting. And I can't wait to have you started with me and then please share You work with me? 3. Sketch and Applying Miskit: I'm so glad you could join me on a painting of a lighthouse. This is when I made up. But if you have a light house near your home somewhere or in a special vacation spot, by all means sketch them on if you like. But I'd like to do on this one. Before I do any colors, I would like to use what we call MISC it or liquid. Frisk it, Um, for a few different names, you will see that it has. Sometimes it has a color on the bottom. It's usually this bright orange so that she can tell there's a slight into it on your work . It's kind of like a rubber cement that wears off and I'm going to especially I light, um, the side, the side of where the sun is coming and it's gonna be mostly on these rods on these offense posts here. I love to have a little highlight on the side. That's really all I'll dio as well as maybe some a splash of water will use somewhere the water splash comes over, the rocks will be a few rocks. Here is well, assume greenery. That's always nice to allow for some of that. You can see that my house is in the background or a rather dark. I think I will take a moment now, um, to erase those a little bit, all we really need to see this. See them? I had them a little darker for your sketch. And this building, of course, will be a white building. Well, this one is against the blue sky. So as long as I could see where I'm going, that's really the important part. So I try to soften all my lines a little bit. Okay. Excellent. So let's take, um, the reason I'm taking ah cious kebab stick or, um, a toothpick is because it ruins your brushes. So if you have some really old brushes you don't care about, you know, you can certainly use those. But since I want just to find little line and the nice thing with this, if you decide you don't want to keep that white space there, um, you know, you can easily roll it off with the side of your thumb. It's very easy to get rid of. That's put a little bit in the lead here. I don't know what this film is probably from the shaking I did. It's not the end of the world of a dozen. Hold for me and I'll see enough of the whole year there could there comes. It's mostly these against the white against the black building that I wanna have Highlight . Carry this. We don't want that blonde. Here is one war. It's very hard to see this isn't that. There we go. And also, your top railing would have a little bit of light. Remember, the back of this lighthouse here is black and this is black. So everything is black. It's hard to tell. Tell them apart. So little play with that light against dark is very effective. Okay, I think that's all I need. And we'll go back to our foam, The splash of water. I don't even carry some that into the next scene up above there, cause it kind of pulls the two scenes together, which is always a really nice touch. If I simply stopped my spray right at that boundary line. This is the water. This is obviously the land form. Um, if I stopped it right there, it would make a static looking picture But by bringing it into the next one, you're creating a really nice a nice, cohesive painting. Everything belongs together. Okay, I think that's all I'm gonna do right now. Um, this has a smell to it. It's normal. So don't think it's spoiled because it won't be. And then tuck it. And I have it in a safe place in one of my shelves so that it stays free. You know, a long time. Try not to get it if you have this dipped in water If it was a brush, try not to put that into the color that you're gonna be using. So now what? We have to simply let this dry for a while. It will always feel tacky to the touch, but you can see how bright that is on kind of raised up. That means it's certainly too wet to put any color on. So I'll be back in a few minutes while I let this rest 4. Wet on Wet Sky and Wet on Dry Rocks: our Miska has dried, and I'm going to start with putting a wet on wet wash on your sky. So the first thing you want to do is what your paper down. When I got close to the lighthouse, I use a smaller brush so that I could be a little bit more precise. But get the wetness going so it has a chance to start pulling into your paper and the light the sky. The sky will shine through your a glass of the lighthouse of whores. It will also shine through up there, which I'll do on either side of the railing around the the lighthouse. This is exciting. The cleaner your water is and your color of your sky around your lighthouse. Of course, the nicer that will pop out. Sometimes if we're lucky, everything will be so beautiful that you don't have to do any any touch shops, which is great. So this up to the actual dark part of the tower. I'm sorry I'm moving this, but it's the only way I can. It's okay of a little blue ghost there. See where that went because that's gonna be a black part anyway, So I'm not too worried about that. I am worried about getting this really nice and tight. And I already had a lot of coffee, so that's not so smart. Okay, I just use a fine little brush. This is not the best brush, but I'll it's OK for what I need to do right now, OK? It's staying nice and wet. I see the top here drying. It's okay if you have a couple white highlights. I think it's actually nice. And you notice above my land form here. It's not us. Pretty as I wanted. Not that I'm stuck with his land form completely, you know, So that's not a problem. Okay, We have to decide. Where is our light coming from? And I think that's going to come from the ocean side across the water. Okay, so let's get some nice. Um, I'm going to start with some cobalt blue, and I will probably get a lot of ultimate re and ready to what I'd like to dio. This is a little heavy down there, so I'm gonna let just let this pool the other way for a second. If you think you have way too much water, there's no reason. You can't just dab a little bit of that off. Okay? With any luck, I'll have a sky I like right away. Okay, So I'm gonna just start with Kyle in my sky, flow this way with the lighter colors here and hopefully let it angle a little bit. There's a lot of painting there. I wanted to start flowing. I'm gonna go to my a round brush. You. That's dirty. This is my ultimate green blue. Make sure you mix it well so you don't get any streaks in their pain. And maybe we need to help this a little bit because it's not flowing. As much as I like that, we have to watch right around the lighthouse. I can also see how well I drew the line. So that's important. Those across the lighthouse. It's fine. We can fix it. Just gonna do this just for one minute. Just take some of the excess out of there, all right? It's not bad. Feed it a little bit more color because we know that our sky always drives lighter. I'm just putting some ultimate of some global back on my brush. This paper has a little texture to it. So it's not flowing as much as I thought it would. But that's all right. It's always fun to work with. Different. This is the paper normally use. Yeah, kind of like this idea of just the streaks I love A I love a notion sky that Do you want to be very careful to come up right to that house? The lighthouse line. Okay, that's really important. We're gonna make it look less. Let's drawn in just a second. There we go. Ok. Okay. Good. Now didn't make that not look so drawn. And I'm just going to simply pull some some colors away from it, okay? I'm almost thinking unless this more here, throw some water in here and let it go the other way. The sky is good to dio as one one step, you know, don't answer the phone. Don't text. Don't do anything. Just paint the sky because guaranteed if you do, something will dry up the way. You didn't want it to dry up. I think I've gotten everything I needed to get. Don't worry if some of the pain goes on your little rooftop, that's not a problem. Okay, let's look at the straight for a minute, so we like it. I think it's nice. I'm trying to think if I want to pull clouds out of it, I think what? I'm a do. Since I see the white patches here, I'm gonna just soften my paper towel. And I want to do more of this streaking with what I already have. And again, I'm gonna turn this sideways just for a minute, and I'm gonna work with this section. You're just gonna help him live? I like the white lines. I don't want to overdo the clouds. I want more of a streaking Look, I do want to convey lovely summer day. Make sure you don't lift up too much around the lighthouse because you want to make sure that that sets apart. Okay, I think that's all I'm gonna dio. This one looks a little weird, does it? So let's look at it from a different angle. Sorry. If I'm moving it by, always move my artwork as you see so many things from different sides that you don't see if you're just keep it in one position. I know what makes you dizzy, but it's for a good cause. All right, While we're letting this drying this, we could do next. But I think I would like to do my rocks really quickly because there are only a few of them in here. Remember, we use the cut up credit card. You can use a whole credit card if you like, but I have more. I have more strength of. It's just more control. If it's just a small one, all your strength goes from your thumb becomes like a rubber spatula, scraping the dough off. So don't be timid. You don't want to just get a little line. Certainly don't use the edges because it's going to scrape your paint badly. You don't want your water first where you want your rocks to be. I want to start with a little gray. You don't also want it to be. This is a little wet. I don't want it to be too wet. Those are rocks. These are some rocks, so maybe lay your brush on your paper towel could be a little yellow on top because it's gonna grabbing the sunlight. It's great if they mix like this when I have a dirty palette. I love using all the dirty colors I have because it's it seems to work out really well. So I do want them to kind of mix a little bit without, you know, rubbing the whole thing here. So this would be a nice rock on the ledge there. Okay, So here's our little caterpillar. Now we're gonna love it. Pull into the paper a little bit, so you just have to give it a few moments. I'll probably trying to video off. All this is doing this so that you don't have to sit here listening to me. Um, you see that? The myth skin is just showing up nice and orange there. I'm getting a little little spot over this little house here. I'm really looking at it carefully right now. Um, we may put some foliage back there. Don't I don't like to mess with skies, but I usually don't improve them. Okay. It's good to have a clean town already just to clean off your credit card. It's beginning together. Dull. Look, do you see that? That's still very shiny too. This is already too dry. If I wanted to do that so I don't want that to happen. Let's see. How do my best to the rocks? Might have to angle them a little bit, cause I'm left handed, so I'm gonna start. I'm going to start up here. So again, put that all that oppression around top. Okay, that's good. That's a perfect consistency. Don't talk, Don't breathe. Just do it and try not to go back into a too much. I am, But that's fine. This will become my sandy path. So worried about that. Love it. You just want that little bit of If I'm lucky. I don't do anything else to my rocks. If they work of like this, they're they're the splash is going to come over them. 5. Adding Values to Roof and Lighthouse: our next session will focus on put into the blacks into the rooftop as well as the little bottom off that lighthouse and the first colors on the white Lighthouse. Unfortunately, when I filmed this, my focus wasn't correct. So rather than do the whole thing over, I re sketched this for you without the rocks. And what I would like to dio is go into this the rooftop and do exactly what I did here at the 1st 1st wash color. This is actually a second layer to someone to do all the things I did there. And I hope that everything is working this time of night. So apologies for that. I'm going to start by wedding. A little rooftop, um, and remember, like this coming from the right. So if you wanted to leave a slight white highlight right inside that roof line, it would be very effective, even if we covered up with some lighter gray later on. This is a quick sketch. Um, so just bear with me on that, okay? Are Miskin has tried, so we're gonna go right over the bottom of this little light house. I even checked to make sure my lens was correct, so it's upsetting. When that happens, I'm gonna take some gray as it's wearing off from this side. I might even leave on my paper town for second, so I bring a slightly lighter wash to this side again. This is just the first layer I love. There's a tiny highlight in there, which I'm happy about. Good. So why we have that saying this is a little bit more just great. The Paynes grey I have offense is going to be a dark black, so I prefer to not make this as dark. I had a little bit more misc it here from what I do in my original work. So that's why it's it's resisting this. That's OK. And I had a obviously everything that could go wrong went wrong in this particular session . I even have a scrape in my watercolor paper There again, we don't have to worry about this. This is my quick catch up here. I think what I did next in here I went into the window. You see, this is a lot darker, but I started this one exactly the same way. Let's get some color in our window I went the windowpanes first, and I'd like to start with just some ultra marine blue. You don't have to fill the whole area. Some artists feel very little of a windowpane and just put a little color in it. Um, it's totally up to you. I, for some reason, like I love that style. But I'm always more of a detail, and I want it all in there. See what you're comfortable with. So this would certainly be a good first wash to get that little bit in there as she comptel here. I did. Once it started pulling in, I did go just a tad darker and I did it almost right away. So I'm gonna do that right away, not to the darker values on the window would be on this on the right side, because the light is coming from from the right, and I'm not being as careful as I would normally be because it's just to catch catch up. All right, At this point, I'm going to wet the structure off my lighthouse, which is in my case, would be that that cement with kind of a texture in it, But remember when we trying to show around us. We want to keep that highlight in here just like we do when we do around tree. This is very similar to my birch lesson, as far as how we how we cover this all in. So you can tell I'm not wedding the entire area. But I do want to have a nice wet on wet going here. And two wonderful colors for shading rather than go to gray is to use a yellow Oakar whenever kind of golden rod color you have and follow it with this is Windsor Newton off and try not to let it mix. If it's mixing, clean your brush, take some fresh mahv and drop it ends may be worrying. You think? Oh, my gosh, is way to dark. Remember that this little walkway does cast a shadow right under here. Okay, Once I have done that, I'm gonna take my paper towel. Basically, lift most of this off. It's just a very first first layer begins to give some texture. You might want to leave to have a little less hard on the left side, because that's where it's gonna be darker. But just that irregular wash and then lifting it off. A little bit of me even starts giving you that color here. I went back with the second wash, doing the same thing, my rooftop, and I've please excuse this ripping the paper. This is beginning to dry, so let's turn this around a little bit just for the sake of me drawing better. If it's a little bit wet and it gives, that's fine, but it's actually quite right. This is also a good time to straighten out anything like you. I didn't think you had a good angle there, and I'm gonna just let that sit in for a little bit. It's amazing what a little bit more dark will do for making this lighthouse come alive. When this dries, I will pull off the, um misc it, then, of course, this will have to be filled in. Okay, While I have my brushes just cleaned, I'm dabbing it on my paper towel and then I'll start with this just with clean water so that it can meet up with ease director colors and just kind of pull themselves over. I'm gonna leave those little highlight marks in there for right now. We can always decide to keep them. Or we can decide to soften him later on anything that needs detail. I notice this, um, blood a little bit. I'm gonna worry about that when we get back to that one. Okay, so this is basically getting caught up with where we were. I would just like to go into this again. So I'm gonna use some of the same colors I had before the gamble ish. I'm not wedding it again this time, but remembered it has a wet on. Let's start. This is where we want to keep that highlights. So that's important that I not lose all of that. And you certainly don't have to use these colors. You use more of a grave that makes you comfortable. Um, I'm gonna put a little blue in there in a moment. Some artists just let all these colors has dripped down there page, and it's really daring. I'm not that daring yet. And let's get a little bit of his alter Marine and has a little gray mixed in with Just Bryant is perfect to me. Even with all these colors, it's still carries as a white highlight as a white lighthouse. And that's totally up to you to decide how much you want to put in C. It's amazing how much you rescue back. In case that your sky was lighter on either side of your lighthouse. This is also really important that you know that you can If that was the case, you can certainly put color in your lighthouse to make it stand out against very light sky . So this is when you would play that up a little bit. All right, let's compare it to this. This is a little bit more value there. This is I like my highlight, actually, better in here. Um, so let's put a little bit more blue under this lip. This is a little ridge under the window again. We can come back to that later. And this would also cast a little shadow. It's just beginning to tell the story up here. That would also be a little shadow. Okay, that's nice. All right. I think we have caught up pretty well. This is still a little bit darker. So what you would do you up to this point is just go. One more layer on this. That's the only difference. I think this is about this was two layers. This was two layers. This one just I probably used a little bit more black or I don't use black, but I used a darker gray Davies. Greg, it says. One of thes is Davies, and one of thes is Payne's gray. That's the only difference. My MISC. It is still in here. So at this point, I'm going to show you how easy it is to pull misc it off. You just take your fingertip or your thumb, whatever's easier and you just lift that Miskin right off. It's like a rubber cement texture. And I do notice here that this should curve more. So let me just make sure that that line does curve up by using some of my greys and I would be lesson this curve line this line, I would make smaller and bring it up just to hear all your lines are like a curve like this . Okay, um, and now that we have our why, it's remember, these are going to be my dark lines, but it's really nice if you give them and we'll go through those again in a little while. When it's when it's totally trying. But this one is behind here. Oops. And this was here. Let's draw that line behind, cause it's a lot easier to see if you see this curve from behind the lighthouse. This one. Okay, this one is here. Good. All right. Now we see the curves, which is what you need. This one is in the back. This one is in the back. This one goes all the way through the front, and this one goes to the front. And no worries, cause I'm gonna come over these just just the pillars with much more darkness later on. I just wanted to get this curve curve looking a little bit better. All right. So I feel were where I left off. There. We fix this. You see a little run over here before I shut this film off. Um, take a really damp rush. I mean, dam project, but make sure it's is dry. She could make it just gently, gently tried to go back and forth. I'm not even using a flat brush, which is what I'd normally use, but I'm trying it. It looks like it's such a small smudge I hope I can get away with it. Can I don't want to lose my sky color. All right, let's look at that. We still have on biscuit in our water spray, and that's fine. So I think we're caught up. Thank you for working through this with me. And I hope you have fun making your little Ah, your rooftop and your grit around it. Awesome. 6. A Few Adjustments and Adding Shading to Lighthouse: I made some measurements with my ruler, and I noticed that we were slightly off with wise over here, I'm gonna soften a little bit of that SMI color and the black of this side just to make sure my little building, this even. And also I noticed this was a little bit was turning for a moment. Better this way. This was a little bit lower, so I'm gonna pull this curve up a bit. Remember, we tried to curb this line over here the size of a black line under it, and we can have some a little bit darker values in here because again, with sunlight is sitting there. So we simply soften this with some my line of brush later on. Pulling a nice curve There, there, close behind the building a little. See that? That goes in front. That looks a little bit better to me. Okay, Nice. Now the inside of this little roof needs to have some color in light of your light bulb. Is is reflecting in this rooftop. So I would add for napster with a little bit of looks like a mixture of yellow okra, some other colors. It definitely would be a light reflected in that. But I think you also want to add a little bit of gray. Have a great blue in here. It looks like the lightness lighting up the center off that little rooftop there. Okay? And I'm not gonna have a show. I'm not gonna have a show through the yellow light itself. We're gonna come back and do that later. Run. I'm gonna roll my brush while I'm here. Civil. Look right here while I'm here, I'm gonna draw those little lines in front of it just to get this thing established. This looks like we've done it before. This is behind. This is behind. This one will be in front. Might smudge into the light of love it So much weight. They're very light. Should some of them not be how we want them to be that smudging a little bit. I'm just gonna let that happen because it will actually add, so that already makes it look nice and nestled in. I would have been some fun colors into the shadow side of this re little daring. I use a little bit of this. It says civilian blue looks like my turquoise blue on here. I'm using both my palettes. So I'm gonna again turning because you know that this is a dark side. Have some fun dropping in some color. I need to switch to another brush. Maybe a little bit smaller. Stand with Ultra Marine. This is some serious some kobold. Sure, it's nice and fresh and clean. It's a gorgeous color. Put that right there. Some kobold in here, my favorite Mahv the purple. Any pink, if you like. And I'm gonna lose a little bit of this matter. Red, I'm here to all right. That's a lot of color. That's fine. We know we're on a wet by wet on wet background. It's a little scary, I know. But again, that wedding went background, remember, gives us a chance to lift off. Looks like this cheer, cause or that it's a brilliant stating a little bit. It's all right. This house would be in shadow two from the building. Of course, this would be in shadow too, So all right again, I lifted off most of it. I like my whites there to rescue back a few more. I'm just gonna throw some water on this. Just let that blend as much as I can. I am gonna come back and do these colors again. We'll stick. Does this one surveilling in blue? Ultimately in in here like the freshness of the that. And we'll do a little cobalt blue. I'm here as well. There like that. Take some of this and put it in a shadow side of your little house. Start giving some character already in here, huh? Nice. Okay, look at this again. Remember that outside could have some color, but to make this look really like a white light house with check share do you need to put something something strong, but definitely that white in there. But you can steal some color from over here and plop it in there. See a little run into my water. It's OK. It's carefully takes us lab. Be careful. You nailed it. You nailed Does not press into the paper, right, cause it would scarred. We're gonna let that dry. And I think that will work very nicely. One last thing I would like to do. I was going to my window panes, find my little brush. I want to take a nice Payne's gray here. My life we know is coming. This is all dry. I'm safe to go inside of this. Really? Almost dry your brush. Try not to fill the entire space. See, I smudged a little bit in there. When this is dry, I can come back with a flat brush and simply lift that off his door. A little character. I want to go right into it with some marsh brown and burned number. I'm not gonna wet it first. Some burned number some gray. I'm gonna take our angle brush. I'm going to score where this comes into The little building here. Years. A little ledge up there. If you wanted to portray some wood texture or an old beat up door, make sure this is in your vision. There is going to draw some raggedy lines when we can come back to this again and give it some darker, um, darker shadow color. I just want to creep it up in there where I just drew that line. Our fork around. I drew a, um I drew a sandy kind of looking past, but I think I'm gonna take that away. I don't want too much detail. Especially If you're an introductory student just beginning. I don't want us to overwhelm you too much. So let's have some foreground whites building. I'm just looking at this and seeing this hard line there. I don't really want that. So while things are still maybe a little bit wet, I want to soft see if I can soften that ever so slightly. Even though you're starting something else sometimes. Maybe find it. Okay. Are foreground is gonna have a little bit of white in there. Remember, we have our white sparkle there with that. We used our, um we used our misc it for that. I did find an old brush, but within user Xisco Bob stick like we did before. All right. Lay it straight for a moment. Make sure it's a good make sure. I don't think I shook this enough. There's that orangey psychedelic orange neon orange on the bottom. You want to make sure that gets loosen up a little bit, that gives it the color. So you know where you put it. Okay, So have a cakes on a little bit. I want to quickly to squirt some lines in here. It could suggest some water flowing over that. And that's all we're gonna do. We get out of our way away from our water. Anything I don't like Before it started painting this later on, I'm just gonna lift off because I may not want those big blobs there. They're there for now. They can stay, but I know I'm gonna move that one, and I'm gonna move that one and perhaps this one. But I'm just gonna let it pull into the paper for a little bit. I like the shadows darkened on that side Where this really making this look much wider than it did before. I'm like, Oh, that's cleaned up. When we come back, we're gonna put a little color into the light and we're gonna do the water. 7. Ocean and Fun Foreground Painting: we're ready to put our water in, so I would like to start by dissuading the area where the water will be when it's in that oven ocean, you don't have to be. That's careful that your lime is completely straight, because when it's kind of the marshy fields, sometimes where the what it comes to shore, you tend to have a lot of water lilies and other flowers you don't have. Sometimes there's a little bit of a curve in the in that, whereas if you do an ocean in the distance, which some of you more advanced students may want to dio, you have to have a completely straight ocean mine. Um, there's a little built up here, little going up up here. We can correct that. If I'm worried about that. I don't think I am, because I've seen the coastal coastal region and may in New Hampshire, and I see the mechanical in and meander. But if you're doing a riel, if you do an ocean and you didn't have any land former, it's way off. You have to measure from the top of your painting or the bomb of your painting and make sure that with a ruler and make sure that your ocean line is completely straight. That's the first thing I noticed on people's artwork. When they're doing a horizon line or a notion line that it's not, it's not straight. My light is coming from the right. So excuse me for turning us. I see some natural whites in there, which I like. We're going to keep them in and very similar to a sky. We're going to drop the color and and just let it run, Trying to paint anything I shouldn't on. Ocean tends to be a little bit darker, far away near the near the horizon. But it's such a small little area, it's not that far away from us. And there can be exceptions to that being darker in the background. It all depends on your cloud. Cover the weather. I've seen oceans that I gray. I've seen oceans that I green do what you like to dio do what you have seen. I want to make sure I keep this at it at a slant because I want to make sure that looks like the movement. Oven ocean again, coming in nice and tight around this lighthouse is important so that again it helps pop out the side of that. I'm using my ultra Marine and my cobalt blue. Basically. Could you put other colors into it? Absolutely. Um I know my foreground is gonna have a lot of color, so I I'm going to wait with not putting too much in. I like the lights being in here. Can't wait to see if my water splash splatters worked when we pull those off later on. Okay. Yeah, I think I am going to straighten that out later on. I'll see how it rise. When I put my green in, I think that it would be a good time before I did my green to pull. See, I don't think this looks better. And I may have to take a long ruler, make sure that my two sides are equal because, of course, they continue behind this said right. So, um, why do you notice this stuff when you're painting? Not before. That's my question. So this is a lot higher, which is possible, but I think to make it look more natural, I'm gonna bring this one up just to hear, do a little bit of that. And maybe I can bring this one down here when I'm doing my greens. Right? Jeez. Yeah, that's that's still high. Your but not much. Good. I think that's how we're gonna fudge it. Good. All these things you work out when you're painting you, you fix when you do, you know, trying to do it real big one and my by me screwing this up, you will have a chance to avoid that when you do your painting. Okay. My foreground. I talked about taking some of these big blobs out MISC. It simply needs the site of your finger. Oops. This is actually pulling off some texture, which it should not be doing. It lifted some of the, um it lifted some of the paper off, so we have to be a little bit careful. When we do that. I'm gonna wrangle right into doing the foreground and hope for the best. Now that we have that little lift off, I'm not going to wet the foreground. I'm going to start with really in yellow. Nice fund, yellow. And I am sorry I didn't need the slant. This. I know that's hard for some of you too. That's not what I want. Let's go to this. So this is quick. This is fun to slap it on. And that's the best way to do this. We have our all of green. Or, if you have sap green, whichever you prefer me using both palettes, this will just give a little texture. With defect. It's, I hope we'll get some fun for 1,000,000 of year. It's a little bright. I know a veritable tamed Allen a second. This is the shadow side. It's a lot of water. It's a lot of color. But I wanted to pull that. I wanted to be pulled into the picture. Remember, we have that miskicked. You kind of have some sparkling here to let me know. Makes that too much. See that? I'm gonna have a brown there because I'm mixing these colors. So I need to be careful with that. I'm just gonna lift a little off. It's the sun site. So there's a sparkle on the beach cleaning your brush in between. It's probably a really good idea. Okay, don't be afraid to use color. We know we're not wet on wet my ocean. It's wet, so I'm gonna come back to that in a little bit. In the meantime, I can have fun playing in the foreground. This is something really good to practice one year on a piece of scrap paper and just practice your foreground. It is a little daring, but it's fun. Okay, I'm gonna leave some of those whites in there. I kind of like that purple there, so I'm going to leave it. I certainly can come back in there when that dries later on. So it doesn't affect my water. I'm not sure that this little run here is a problem. Who will lift ever so slightly? I come back to that color, wait till we prompt that little house sound in the background. I think this is gonna be a lot of fun when we spatter a little bit. And when you want to spatter, you want to make sure doesn't go everywhere. So what I dio I cover I cover my, my what I don't want spattered. And I think I'm gonna do some. It's still a little Prussian blue. Let's be daring. We're gonna hate this or like this. So what I do is I put it on my brush and I tap it on my finger, and I think that's just enough. It's that little sparkle of stuff. I think this may work very nicely. I hope you had fun with this for ground. 8. Bringing Lighthouse to Life with Shading: every trying to remove some more of this. Misc it, maybe orange so carefully. You society your finger. Remove some of this Miskin. The paint has tried. I have a little defect there, but it really doesn't show force trying out to do that. If it starts to lift the paper, come at it from the other side. That's that's a redeye put in there. You can feel it if it pictures of bump. You know, you have some. You have some left like in there. I see a ranking, maybe can't actually trust me on this, that it's there. I'm noticing that my little house could have some green growing in front of it. But if I'm not quite sure I want to deal with that, just lift that off. I'm seeing that. And while we're lifting, remember what we went through? That little area is in between the windows. That's just even just lift a little bit of that out. I don't have to totally love to know. I would like. Yeah, it's good already. Nice. I think that's all I'm going to worry about. Okay, Good. No, I always find that we put a shadow mark into our lighthouse. It really makes this cup common life. So I'm ready to see some sparkle here. So I wanted to draw with pencil. So the light is coming from here. So this part of your life house makes a nice curfew, could decide to do it even over the window. And I think I will kind of do that. So if it helps you to put a soft line there by all means do that. We're going to get ultra Marine. Let's make it nice and fresh. We'll make a two to dark cause I'm not gonna wet this. But again, remember, this has been west before, Michael, right over my little supports to my porch. Let's first get this line in nice and smooth. You follow that curve something. Fill this in. Sure, no lines dry anywhere. That's very, very dark. I know that. So let's leave the paper towel over just for a moment. Dab it off a little bit, but still very strong. Put some water on here. I wanted to be strong, but not that strong. Especially one of worry about your hard edge. Here. See this little line that's coming? That's where the pain wants to creep. So I'm gonna go into that with my brush and just soften that so I don't get a hard out plan on the on the border there. I need to switch to a flat brush. It's a wonderful way to lift off. Left off that outline gently. Does Robert folded almost up and down straight. Just gently do it. I want to lift off the window or anything else that's better. See, the hard edge is gone. Good, good, good. I think that's gonna be just fine. I know it's a little dark, but it's amazing how much whiter this lighthouse looks because of that. So that's exciting. Let's go on. Put some color into our little light here. I would wet this a little bit, and I'm going to take my camp. This is Campos. You you could certainly use a Naples yellow little Naples yellow combined. I'm just kind of you don't have to fill the whole area. Leave so whites in it. Too clean. Your brush is lifted out. Put it on your and put it back in here. Work there. Okay. Okay. Just a hint. A little darker there. Just to show that light and dark. We'll decide how these lines are looking later on, but I think that's already caring really well, that's still for I forgot about this. I'm looking at the way this is drawing, and I wanted to come into a nice point. So let's just take a still little point of this. Whether it's late on your tissue and blend in. I shouldn't be. It should be on shape again. Some water. Amazing how much water will stuff. I think that's gonna be fine. Okay. Hey, on this rooftop, well, that's not even wait Some fun colors in there. Probably All the colors are used in the foreground. I know that this building is going to cast a shadow on it. Oh, old, a little bit of Mars brown and maybe some burn number next to it. I have some dirty grey on my talent. Perfect. Let me use the colors have and by bringing the colors that you have used, you're making the whole painting. I kind of pull together because you repeating some of those colors, and I think that's very important. That's mixed in with this with some water. It's nice. It doesn't have to be seen. My water's going in there now. Just ran off my brush. That's actually a really cool way to given old texture. Sometimes I just dropped my water, especially bigger rooftop. I just dropped my water in. And that kind of move itself around, if it's not going right where I wanted to go on when I helped with some water. Nice. And while I'm here, I'm gonna pull the front side of that little roof over here. Nice. If you want to lay it straight, you can certainly do that. Let's go into our little door. Might be similar to this door. Doesn't have to be making any color. You want go to a few more graze. You know, that's just more really. That's all I really need. I know it's in shadow, but let's just let it go For now. This little overhang on this door would definitely be in shadow because this wall off the White House is protecting that door off the area above it kind of built into the big cement of the White House. Okay, all that starts helping create this picture. You see how dark that is? Because I had force remember I had used my liner brush, my angle brush to carve in the line. I actually we need like that the way it's incent there watching this door. My tendency is always to paint the whole thing right away. And I'm trying very hard not to do that because I love it when colors just kind of don't tell the whole story. Just didn't they happen? This little area would also be in shadow the whole. This whole side isn't shadow. I know that, but we still want to have some fun of with some color in here. This would go a little rich later on. See, Holmes is not quite even again. It's okay. This is a little building. It's been here for a while. That's what One of those drops of water in there right away. When I do that, I'm just let it lay straight for a while. Have a nice maybe we use that same clean, ultra lean blue, and we're gonna just pull a little, very strong, of course, soften it. You bring water up to it, it's going to soften. I don't want to compete with that curve because I love the way what happens to a painting when that happens. So these air the little supports to the lighthouse. So I'm gonna pull one over here for one here. Something That's what the rooftops are. Just for making out in that. Okay, there's some definition. This one really should be head on. Um, let's see if I could get rid of that for a second again. We're lucky that we had that. What? I'm went under there again. This I don't want to look up. Having more cups keeps your creative. OK, so don't worry about it. It's it's good you it's not great force. But it's good to do this because you're forced to think of a solution. Let's let that drive for a minute. And I'm thinking if we're looking at this life house, this is my little anchor, right? These air curves, this is curved. This one would probably just look just like that from the front. We wouldn't see the background of it. So when I come back into that, we're gonna take care of that. I wanna stop the tape here for a moment. Who are dying that rye because I don't dare to roll this line. Yeah, because that's still wet. So that's that. All of this trying when we come back, we're gonna work on the houses and the foliage in the back were getting warm. We're getting close, it's exciting. 9. Adding Washes to Greenery Across the Water: before I go on, I would like to bring up my horizon line in the back Just a bit. I know is my roof had blood a little bit. So I want to make sure maybe I put some darker greens back here and do the softer greens around the house. I would always also I know this is the dark side of the lighthouse, but I would love to see a little light, like a little light hitting this too. So it's already a little bit lighter. I just think it's going to be interesting whether in reality that would actually be lighter . I don't know. In reality, chances are this lighthouse would be shading the whole little structure. But I'm thinking some live this filtering in around here and bouncing off because I really want to see a highlight on this little roof. So I'm bringing in some Naples yellow or some cad me and medium yellow. Um, let's go to some of my maybe some four million over here. I know most of it is going to get absorbed absorbed, but I want to see a nice sparkle in there. Okay, good. So that's set in as this pulls in a little bit. Mostly, it's straight. Just for a moment, the rest of this roof will become much darker. While we're waiting for that, let's take some pains, gray and maybe mix it in with a little bit of gray's. I already have here, and I'm gonna dark in the little windows just a tad, especially on the right side and across. Clean your brush, lay it on a paper towel and here in there, I think we've already done this a few times, but I still think it needed a little bit more character get it helps make the rest of the lighthouse look whiter. This little support in the front that's gonna be head on from where we're standing. I'm gonna mix it in with a little bit of my other color. Roll a nice tip onto your brush. Let's just put this thing right, and I really would just be head on from where we're sitting on standing. Hey, so now that I have that correct, that's let's give that line a little bit more definition. I went out of that just to hair and see that Luckily, we are what on wet so I think will be okay. And then the second uncle back into and lifted. That's reload. This is not my liner brush. It's a little bit wider. I hope it's gonna cooperate. There we go. Okay. I am going to switch to my liner brush for the little the little up and down lines. I want to make sure I could do that in a nice stroke. Starting on the dark side. Uh, sure. You don't have a little hair on there that's going to interfere. That son is in front. We're gonna do this all in. We're going to all the front ones first. I don't get confused. What's what? Okay, now we'll go to the once and back. I have drawn these two. 12 Just a little water to this. I noticed. I don't have any over here, so I'm gonna put one here, and I want to put one here. I wanna have a lively background, but not as lively as this. So I think I would like to start this wet on wet. Okay, let's start some water. I'm even gonna put that second line further way foliage in there. And now we're gonna be careful to go around our little houses. We can always fudge something later on and give it a little bit more detail around the houses, foliage wise. If we accidentally go into it, it's not. It's not the end of the world, and I'm going to start with some ultra Marine. Not there. Alter Marine mixed with some sap green. This is all of green, either one. It's fine. And just place it into your background. If it's someone here totally fine. This is Naples yellow mixed with a little bit of I'm gambles yellow. I may have some cadmium medium cadmium in here. If it's staying put like that, I'm just gonna help it along with some water, making sure that your land form looks good. Let's get some plain plain, all of green in here. This is a little bit more diffused up here in the front. It's, you know, in your face you're standing there. I think we suddenly wanted straightness up just a little bit more. Hey, carefully turn us around. Let it bother you. I do have some blue. Here's just a little blue in here. I like seeing my work from all sides. I have a little bit of gray to my Oh, my green. And this is on the other side of the houses, so that might be a little bit more shadow to be nice and clean on your lighthouse side. So again it helps to define it against your background. You like a little bit of that light coming in there. It looks almost like a little valley, so we'll play without a bit. All right, this has tried a little different than I wanted to, so we're gonna put a little bit more sparkle into that roof. But now I'm going to do the green and then come back to my roof because I want to see this as a continuous background for you to decide how you want to do this. If you're a introductory student, I think it's brave of you and wonderful to join us. Nothing you can't do here. Just do it a step at a time. But you may want to consider doing a much smaller version. I'm recommending that you just basically coming on the lighthouse as his first trial to your painting, Okay? And I do want some of that yellow in there but I'm not gonna talk. Touched the top of my roof. I hope so that when the green comes in there, it won't smudge. If it does, we know how to handle it. So it's fine. So much fun to see this painting start to come alive, isn't it? People who are a little bit more experience may want to put some roses around or a little white picket fence in front of done. Those absolutely charming you could do a dune past leading up to a lighthouse with those old great picket fences, if you know what I mean. Those ones that our bench by the wind and the sun and the rain I'm gonna let us pull in a little bit like the I like the warmer values here. That's definitely a darker patch back there, which is good. So that's just put in a little bit more yellow in the foreground. Make it look like secondary woods kind of overlapping each other. We'll clean that up later because we have that highlight coming onto our roof. I am gonna throw some yellow into the background because I do want to suggest that the light is coming around this corner that's put some more ultra Marine in the greenery. I have just a little bit more of my olive green to that. If you have a big area mixed like this and it's just too much, you don't need that much rather than make a whole big puddle of a color you're looking for . I like to take a small area way of that and just work on the color in that so you don't have to make this huge puddle on your plate. You want to give the illusion of woods off some kind of, you know, variety in your your background. We don't know the whole story from where we're standing on the shoreline. That's half the fun. But I still want a little bit more undefined stuff going on. So I kind of like what I'm getting on the left here. My roof was not drying out a little. Full the tab there and gently just push it down. It gives you a nice little outline. Now I struck me, would not lift up my board because it would want to pull back in. Gravity would pull it down, so we just have to let that happen for a second? You'll see it wants to creep back in. But remember, it's all wet on wet, so we can easily go back into it later on. When I'm just working on the rooftop. I'm not gonna blend all the colors, but I do want to give more of a solid feel of woods. We're gonna pull some little evergreen trees out of this, okay? Because we're always those nice, sparse evergreen trees on the beach. I have my ultra Marine and my, um all of green here, bringing a little bit of orange, a little bit of that red to make a nice deep green on. And I see I see that too. I'm gonna have to clean that up and again. We're gonna wait. Okay, so here there's a little outlet. A little bit too much red. Switch to another brush going back to my liner brush my trusty liner brush. Sometimes you see a lot of brown front and just a little tuft of them green at the end. If you live near lighthouse, you'll know that better denied. Oh, I've only visited them a few times and I'm gonna stippled this down. So It suggests that the tree is somewhere under this foliage coming up from behind. So be careful, the height of thes. I kind of have these at the same height. So maybe I'll just do a little one here, and I like to put my trees to the side. I like to work my side branches off by turning it to the side. My hand does it better if I pull it towards me. 12345 So we have a knob number there. Let's leave it out there for a moment. This is kind of a mess. What I was going on here, someone, a plot, poetry into it. Okay, this one would be. I my hand a smudging there. This one would be behind the lighthouse, of course, because it's way the greenery is way behind the lighthouse. So I know this is not perfectly clean. This needs to have a little bit more height there. I think that's better. Odds are always more interesting to me anyway. Where am I? That's got some color into this door that's that's a little bit darker. Colors has used to Mars Brown Army, maybe with a little bit of the ultra Marine in here. Remember, it's nice not to paint a whole door, so I think I'm just gonna leave that I like it. Um, I think we cleaned us up before because we have I have got into the little house, but there's really no reason you can't have a little green growing around there also where we have our white marks. If for some reason you didn't care for some of those, my all means go into them and lift them out A nice little bush in the foreground of the lighthouse. But there's no reason we can't put some second. Secondly, all right, my Mars. I'm definitely gonna dark, and I love the little white spot in their orange. And then that's blend these a little bit a little darker here because I do wanna have that wonderful definition off the highlight hitting Edwards lighter, but you want to give a hint that these air the colors that were actually under it 10. Distant Rooftops Get Color!: I noticed this last night when I was looking at how this was drying, and I would prefer to bring the the greenery down here. So I'm just gonna take my flat brushes a little bit of a hard edge on this green wells, my pencil line from before. But we're just going to soften this a little bit, and then maybe just Dad most of that dry, and we'll find some of our all of green. This is kind of where the light is hitting anyway. It's not as if it is a little softer area. Let's go to a slightly smaller brush. This is just a little details. Now that you see, when you're putting it somewhere, your house to just take a look at it a little bit more of its. Not that this has to be completely straight. Ocean line here because we are, Um, we are in a little end, let on the ocean. So here and there, see around his roof line. It's lifted off a little bit. Clean up with a flat brush. Where you paint went into the little house is a little bit, and then, just rather than make it look like he lifted it off. Make sure you're coming around it. Oh, this is dry around here. I just want wet on dry. But if you soften that with some pencil, I mean some water. Excuse me? It will be just fine. Good. See, that's going to this little house. That's where we wanted the sparkle. We lifted off a little bit of that, um, green that had smudged in. I lifted at all for the flat brush and that a dry our paper towel. That a good job, but not totally enough. And let's get some of that nice for 1,000,000. When a little far in the front Here. I want to bring this eve the roof line up dead. Take my towel, take my thirsty brush, lay it on the towel and make this look a little bit more. Three d. I was gonna be in shade, but right now I want to just sure carries as a little front to the house there. All right, that's better. This is going to get some shading underneath it. At the very end, I'll pull another dark line to the foreground. There. I'm seeing a few things. You see everything when you think you're done with your painting, Let's go work on these cute little houses in the bag. Morris Brown with a little bit of gray. And I'm gonna go right into it. What? On dry outside of that little roof, you leave some sparkles, even those far away. The light is hitting. Hitting that area. Clean out those woods a little bit later on. This will have a little shadow overhang. That's the front of the house. While I have this color that's just pulling a couple little windows again. I don't want a lot of detail there. We could just a just a little dab of yellow in there, so the roof has a little line to it. Well, I have this yellow. I'm gonna just put a little bit back in there. All right, let's go. This roof, it's getting a lot of some light here, so I'm gonna start that with a little yellow. This one would get some this little side of the roof. This little building would be in shadow. So even though it's far away, we're still gonna make it make sense. I like the way that dot of water is doing that. Just turn it. So I do a better line. This would be in shadow. ASUs tries. I will give this a second coat on the shadow side. All right, Good. That's in a lot of sons who want to take a little bit with Mars Brown. A little highlight. Let's look at this. If I think the highlights might be a little bit too two white, I'm going to put just a little yellow in there because I don't want my white my I to go across across here and get sidetracked with the whites. So maybe we're better off making that a solid. It doesn't look bad like it. All right. What? This drive for? Just a moment. Any more little windows? Doors we need to add? You've got some dirty color on your brush. Just gonna leave that alone. The flat brush. Remember how my little lighthouse wasn't as clean there as I wanted? So let's just scrape that back. I'm not gonna touch the roof. A clean towel. Just look that back. I think just about the nice a little shadow in there actually isn't bad, because that is, after all, the shadow side. This one is bleeding into the back. Just a hair. There we go. 11. Distant Houses Get a Shadow side also: We're going to add a little shadow through our houses in the distance. So I'll take some fresh ultra marine blue laying on my towel and go right. You're right. Enter the shadow side, take some water. Just ever so slightly. Dabbed him while I have this some I know. That's water. Never mind. When I have this on my brush, I'm going to do the dark side of this roof that creates an isil. Over. Hey, does this get any light? So I need to just rescue that back. That little roof line does create a shadow. I'll come back in a second. This, of course, would be in shadow. So all these little things start making it look what nature would be like. It would look in nature this oneness ease Ive the roof is going Get a nice little shadow line. There we go. Well, we've been softened. Just a hair. I don't want to go quite that far up. And we're just going to give a little look off. This being in shape without actually doing the whole right. I want to put the whole thing in dark darkness. I'm gonna take some of my darker Brown here goes to give this a little front side, and I do want to still preserve that outside little shingle line. I think we can just put to have more. A little bit of mauve. Is there some off that side there of the of the lighthouse? Let's rescue a little bit of that back in this little house. This little overhang. If it's a dry, have a little shadow. This is detail, a little bit more detail. Maybe then we need. Yet I want to to be alive looking. Maybe soften this in just a tad like that. Good. Let's do that to all of them I'm using so cobalt blue, you have way too much coffee. That's obvious. Exciting. When we get to this part, I think that could be the shadows out of this little house. Could just be a little deeper. We are going to have this lighten right as it goes. I like that. I'm going to give one little dab so it doesn't look too outlined. I think I did this before. Did it again. Uh, this might get a little overhang look, but not much, because the whole thing isn't shadow. It's still wet from before, so that's actually perfect. Well, in a wet my brush and I'm gonna meet up with that so that it's slowly It just gradually fades in with that You could dark in the left side off your of rooftop a little bit. I think I'm going to leave it alone. There is also such a point. Where here, Messi, With too much. Um, I'm gonna leave it up to you whether you want to stippled this with a toothpick and some white doubts, I think I'm gonna leave it alone. I really don't want toe my eye. My eye was already busy going everywhere. I want to kind of keep it quiet. 12. Shoreline added across the Water: one little thing I'd like to show you is the shoreline. It feels like the houses air into the water, burned under mixed with some yellow Oakar in the foreground here just to make it feel like these little houses have some kind of a shoreline them, I think. What will do you push this down a little bit when you're drawing this? Perhaps you can give yourself a little bit more off a drawing off a shoreline. I'm softening this into the painting just a tad, and I would like to give a shiny little a little bit off. I just want to get a little house. I'm gonna let that pool in the 1st 2nd I am going to look at my rocks because they should be. This side should be in shadow. However, the problem with rocks, once we have lifted them off with a credit card, it's this paper has been, has been ruined in a way. So the trouble with doing this is that sometimes it wrecks your it wrecks the foreground, so I'm going to try it. Very exceed. This has already lifted off. So I'm gonna try. And in this little section here and just see if I can skip around a little bit, maybe give a little feel very like us. We don't want to be. We don't want to be too dark in this cause I'm so afraid of the the texture, maybe just a little combination of water in your brush and skipping around a little bit. I would just do it. Okay, That certainly gives a little bit more definition to it. There's a little cobalt blue in my brush. Now they're okay. Believe it'll back to our little water line there. Let's get some ultra Marine just under here. I don't like home lined up with that, so I'm going to soften below that because it's a jarring space there. So let's wet is right back up and let it kind of glide in here. If you want to do a little dry brushing to get a little texture to your water, that might be a good thing to do right about now. Good, Good. We don't want to really get a hard edge there, right because of that. Okay, let's repeat the same thing over here that helps that helps plant them into them into the foreground. It's a little lighter than my other ones. So I want to be careful not to lose my bubbles. So many things to think about. But this makes my little house is a little bit better anchored. I think I saw it before, and then I totally forgot about it until I So what? I was done filming. Of course. I wasn't very nice. Take a little bit more of this blue. And since we pulled in a few lines there it was a little dry brushing. You hear the brush scraping? Well, I think, my friends, we're gonna call it done.