Oceans and Beaches with Watercolors | Geethu Chandramohan | Skillshare

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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

14 Lessons (2h 35m)
    • 1. Welcome to the Class

      3:26
    • 2. Art Supplies You Will Need

      5:42
    • 3. Watercolor Techniques Part I

      10:47
    • 4. Watercolor Techniques Part II

      11:55
    • 5. Class Exercise 1 - Sunset Beach

      13:41
    • 6. Class Exercise 2 - Summer Beach

      14:20
    • 7. Class Exercise 3 - Beach Top View

      13:50
    • 8. Class Exercise 4 - Ocean with Masking Fluid

      12:21
    • 9. Class Exercise 5 - Ocean Without Masking Fluid

      13:06
    • 10. Class Project 1 - The Sunset Beach

      18:06
    • 11. Class Project 2 - The Magic Beach Part I

      13:13
    • 12. Class Project 2 - The Magic Beach Part II

      8:58
    • 13. Class Project 3 - The Green Ocean

      15:05
    • 14. Thank You For Watching

      0:46
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About This Class

Oceans and beaches are two of the magical places on the planet. One could spend the whole day watching the waves at the beach or the foamy water moving in the ocean. But there is one thing more satisfying than that - painting them, and seeing how your hands can create these magical places into a painting.

Painting with watercolor medium can be overwhelming, and this is where this class would help you! This class is designed for all of you out there, who love the cool ocean breeze, love the sound of the beach waves, and want to paint oceans and beaches but don't know where to start.

The class has 5 different exercises focussing on different ways to paint both beaches and the ocean, different times of the day such as sunset and noon, as well as using different materials. 

The class projects include putting into practice all the techniques and methods learned from the exercises and the techniques lesson to paint 3 magnificent paintings that you would cherish forever. 

Join me in this class, and paint your oceanscape!

Meet Your Teacher

Teacher Profile Image

Geethu Chandramohan

Colourfulmystique - Watercolor Artist

Teacher

I am an aerospace engineer by profession and an artist from mind and soul. Art and painting relaxes me and keeps me going everyday. It is like therapy to my mind, soul and heart.

My passion for teaching comes from my mother who is a teacher and is an artist herself. I have invested a lot into learning more and more about painting because I believe that art is something which can create endless possibilities for you and give you a different attitude towards everything you see forever. 

Join me here on my art journey and get yourself immersed in the magical dream that you can create with all the colours in this world!

Happy Painting! :-)

You can find me on Instagram on @colourfulmystique.

Join my latest class on painting water, ocean, waves and... See full profile

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Transcripts

1. Welcome to the Class: ocean on beaches are two off the magical places on the planet. I could spend the whole day watching the waves at the beach, but there is one thing that it's more satisfying than that for me, that IHS painting them and seeing how my hands can create these magical places into a painting. Watercolor is one of the delicate mediums off bending and requires a lot of practice and patience. But with this beautifully uncontrollable medium, you can create wonders. Hello, friends. I'm g toe on aerospace engineer by profession Andan artist on instructor from the Heart, one of my favorite places to visit and attempt my driver sketching hobby is by the beach watching the waves crashing onto the sand. Welcome to this class on oceans on beaches. First, I will take you through all the watercolor techniques that are needed for fainting oceans and beaches on assure you the importance off different watercolor papers. Then there are five class exercises focusing on different ways to paint both the ocean on the beach during different times of the day, like sunset on moon, as well as using different materials. I know that many off you may not have masking fluid, which is why I have included a whole lesson on the alternative to using masking fluid. We learned to paint a vibrant painting off the beach on the sky by the sun is setting on a gorgeous beach and sky in the summer. The class projects include putting into practice all the techniques and methods from the exercises and techniques. Lesson to paint three magnificent paintings that you would cherish forever. First of all, a gorgeous, vibrant Sunset Beach landscape where you will get to implement all the techniques learned in the exercises. This is followed by the Magic Beach, which captures the beauty off to different beaches into one and combines them into a single magical beach. Lastly, the Green Ocean covers a majestic ocean view covering the Caribbean Sea. With its bold on vivid greens, these three class projects would level up your water coloring skills for painting different beaches on oceans. It would leave you confident enough to try out more paintings off oceans on beaches from reference images, can't you? Taub. I know that I'm a beach person. This class is designed for all of you are there who love the cool ocean breeze love the sound of the beach waves on the enormity off the ocean Join me in this class and pained your hearts out. 2. Art Supplies You Will Need: Let us discuss all the art supplies that we will need for this class. These are the papers that I'm going to be using. The first one is this Arches 300 GSM. 15 / 30 cm paper, and it is 100% cotton paper. So as you can see, it's really long along the lengthwise and then another paper is this Saunders Waterford Cold press paper. This is also 100% cotton paper. It's almost exactly same as Arches. It's just that this is the size I had for the A4 one which is why I'm using this paper. And Thirdly, Chitrapat paper. So this is 440 GSM paper. It's really thick. It is also 100% cotton paper and its rough surfaced, So these are the papers that I will be using. But don't worry. If you don't have the exact same people's that I'm using, you can join me with whatever people that you have, but I will always recommend 100% cotton people for this class because there are lots of techniques where you need the paper to stay wet for a longer duration and then the brushes, These are the brushes, so the 1st one will be this Princeton Hake brush that I will be using for large washes for the wet on wet technique. Then this size 12, brush from Silver Black Velvet, or you can use a flat brush for the large washes. This one is from Jackson's. Then apart from the size 12 brush from the silver black velvet series for the bigger strokes. We can have a medium sized brush like this size 8 and a smaller size brushes such as this size 4 brush. And, I will also be using a rigger brush. So this rigger brush is this brush with these longer hairs, as you can see, and it's got a really nice pointed tip. But don't worry. If you don't have a rigger brush, you can join me with the smallest brush you have such as this Brustro brush. Then we will need some palettes, so I will be using various kinds of palettes such as this ceramic one, this one with ceramic wells. And, also a plastic palette. I'm using these different ones because I already have some paints on it, and I do not want to wash it off and waste my paints. Then we will need two jars of water, one Clear water, for applying for the wet on wet technique and the other to wash off your brushes, so you can see how one has turned dark. So we cannot be using this water when we're using wet on wet technique. Watercolour paints, I will be using watercolour paints from various brands such as Sennelier, White Nights, etc. I will be discussing the individual colors that we will be using for the various class projects in the respective lessons. So don't worry about whatever shades that we're going to be using. I prefer Sennelier and White Nights mostly. Then I also have this palette, the currents palette from Art Philosophyco. I will also be using this palette. But as I said, don't worry if you don't have this palette, because I will discuss the alternate shades that we can use. Additionally, I have put this shade This is Sandridge Shade from The Woodlands palette of Art Philosophyco. I've added it to this palette, Most off the shades from the White Nights I have filled them into pans. And I carry them as pans as it is easier for me to take the paints from them. So these are full pans where I have filled in the paints So I will also be using these full pans. Next, you will need a ruler. eraser, a pencil, masking tape to tape the edges of your paper. And then this white gouache. I will be using this colour Titanium White from Winsor & Newton. You can also use white gouache from other brands if you have, or you can use your White watercolours. As you can see, I have both of these from Arteza, so it doesn't matter which one you're using. Then we will also need masking fluid. This one is a masking fluid applicator. I will explain in the next lessons. Then you will need some old brushes for using with the masking fluid and then an old toothbrush You can even use a new one if you want. It doesn't really matter. So apart from these we need tissues as well. But as I said, don't worry if you don't have the exact colours. So without any further ado, let's jump in and move onto the next lesson. 3. Watercolor Techniques Part I: The techniques that may be long today are but only that madan Dry dry brush technique. Matin wet, splattering wet on dry splattering. Andi painting water ripples using the wet on wet committed. This lesson on techniques is really important if you are a beginner, because this will help you to understand all the different watercolor techniques can bring along with me in the class exercise and projects. But if you are an intermediate artist on already noted statements, then you can skip these on. Go to the last exercise is directly if you want, but I would still suggest that you attempt thes two heats ones before you move on so that you are family here. Andi know what to expect from the glass exercises on the glass projects. I will be sure knew most of thes techniques on two types of people. One on Archie's 300 years and gold press people. You can see its texture here and the other on Chitra, but 440 deism see the thickness of this one. Andi. It's also draft paper, so this rough texture will come in handy for certain techniques, such as the dry brush technique you can see how bored of thes paper are entirely different . But don't worry. If you don't have either of these peoples, join me in this lesson with whatever materials you have on family. Rise yourself with these particular techniques. Start early before we move on to the class exercises. The first technique that we will learn is the atone bet technique. So this one, as its name suggests, bet on vet The first word bet prefers to the brush, and the second word refers to the paper. So it means applying wet, pained on the brush to the vet people, we need to get the surface of the people first. So I'm going to load up my brush with water and applying on the people in this square. We have to make sure that we apply the water evenly on do not make in boots off water. Apply the water on the whole of the paper on the square or whichever surface you're practicing owned. You can see from this angle here the water consistency that I'm applying onto the paper because I'm bending this on the square. I'm just trying to cover the whole of the square with water No. I'm going to load my brush with some banged Andi going to dab the people. You can see how the pain spreads because there is water on the paper. So now I'm going to cover this whole box with the paint. You can see that covering this large surface area becomes easy with this myth it so just load up your brush. Andi, cover the surface that you have applied with water with the beginning. In my case, it is this box over here. The paint will look more even on and flat for this myth it now my paper is still vet, so I can go ahead and apply a second shade. Using the wet on wet method, I'm going to apply a darker shade on top off this one. In some random strokes, you can see how the pain spreads on the top because the paper is still wet on creates thes nice sheets in the form of clouds. One thing to make sure is that the water on your brush should be lesser than the water on the people. No, again, I will show you how we can achieve a perfect blend using the red on red method. I am applying water in the square, which will help to make thes office well for achieving the veteran rhetoric that 10 taking some yellow paint apply in these split left and right movement onto the beeper. Next, taking some being, I'll do the same left and right motion with the brush Andi as you reached a year. No, just keep doing it so that the mix well on blend together. But stop around midweek and then load your brush with yellow again on. Repeat the scene from the dog. This will make sport the colors evenly. Andi create the perfect blend that we want. It is thes swift left and right movement that creates the perfect blend. Now let us have a look at the same techniques on the rough. Krabat People flying water to make the paper wet. Apply the water evenly again on the whole, off the surface. Have a closer look at this angle over here, then taking paint on my brush armed, dabbing it on the people. See how it has spread on this paper. The pain spreads more than on arches. This is because it is perfect for this method. Andi, this paper's handmade, while the other is machine made paper. Now I'm taking a second color and applying on the top, see how it is spreading. We can actually paint clouds using this method. This technique is perfect when we want to mix two colors on the paper itself. But remember, all these have to be achieved wildly. Paper stupid. Moving on to the next grand, applying water again to show you the blending. So in this one, I'm going to show you are perfect. Blend off yellow and green. Blending two colors evenly is one of the most important techniques in watercolors. Andi needs a lot of practice to get it right, so keep practicing until you get the perfect blend. I'm using the same swift left and right movement to achieve the perfect plant. First, I'm starting with yellow, this time at the bottom on stopping around midway to take the next color, which is green starting at the top, using the same swift left and right movements to join the yellow in the middle. So practice the splendid method as much as you can, because this is one of the very important techniques in water covers. The third technique is the dry brush technique on it is a very important for this whole class. As its name suggests, it means the brush is dry when we apply on the people. So we load the brush with paint. But we will stab it on a tissue on dry off all the water so that it is dry, then holding it at an angle like this make thes brushstrokes so that we get these texture on the people. This is mainly because the paint doesn't get the chance to go into the pores off the people . Andi only gets covered on the top part. See how we have attained a very nice texture using the dry brush method. Oh, I'll show you with a different color yellow on the top here. I have already made on the Archie speak Professor. It is because I actually forgot to click the record button while doing this one. But I will show you once more so dabbing on the tissue to dry the brush and see how this paper also gives theme. Nice dry brush stroke on the people. Remember that this technique is very important for our class. Andi, I usually prefer to trap a paper for this myth. It 4. Watercolor Techniques Part II: moving on to the next technique, which is wet on wet splattering as the name suggest again, we need to have a read people, so I'm applying water all over myself office, which is the paper here with splattering technique. It is always best to cover every other area where you don't want the water splatters because, ah, this platters where it falls is really uncontrollable. So I'm covering all around the box with tissue, and then I'm going to use this size for brush, and I reload beamed onto it. I will hold the brush like this, so holding it using these two fingers while your index finger will be free to do the topping top on the brush and you can see the pain splatter onto the paper. You can see how this platter has spread a little because the paper is Rhett. It is equal into touching the tip off the brush with beans. But this way, using the splatters, its more random as the paint falls in the way in which we have no control. Alternatively, you can also do this splattering method like this by using two brushes on tapping the brush loaded with paint on top off another so that the paint falls onto the people. This meant that that we just learned is red on red splattering because my paper surfaces. Rhett No, I will show the same on the rough T travel paper. First, we have to apply the water evenly. See this artist paper test, Fred, because I kept it at an angle. Andi, on this one, I want to show you how we can achieve this wet on Rhett painted part. So I will be in the whole box yellow to show how this method would come in handy. So it needn't be just a red paper. It can also have wet, pained. That's what I mean. I have just applied, pained on the better. For so it is now still a wet surface with red paint covering the other areas with the tissue so that only the box is exposed. Then I would load my brush with me and see red on the brush and then doing the slaughters again, watch how this platter spread on also the tapping on the second rush method here. No, the next technique is wet on dry splattering. This means that we will be doing the splatters on dry paper so any dry surface can be used for this myth it I'll cover the other areas with issue again and do the splatters. You can see that thes splatters do not spread. No, so you can do it with another color. If you want, see how the splatters are turning out. Now we will do the same on the top of people. See how the splatters we did earlier her spread in this direction? This is because I kept the paper at an angle, while depending on the artist on the being spread downwards. But you can actually see how this myth that can come in handy when you want to achieve these kind of textures. Now, after covering the other areas to expose only the box, we will do the dry splatters. The's platters are fairly the same. Onboard the papers, you can see how it has turned out. Now we've been we want to the next one, which is vet on Dry Mitt It you must have wondered when I applied paint on this box earlier , but I wanted to show you how to do the vet on dry emitted as a top layer on an already existing things. So this is not completely dried and the surface is dry. We can take dry paint and apply on the top. Any stroke that we make will not spreads because there is no water to make it spread. We can also learn some brush strokes here. Most brushes we see have appointed dip shaped like this. So let us use it to its full potential. See the point of tip onboard these brushes. We will start with the dip pointed down like this. And then while you make the stroke, you can see how the shapes air phoned, so pressed down the brush, starting from the point of death. Keep practicing these drugs with the brushes and you will fully love how different shapes can be achieved. With your pointed round precious on the each. Drop it paper. I'm going to show a simple drawing with the brush. This is just to show you how the wet on dry brush technique has different uses and has no effect on how the surface of the people rece. I'm just making a simple house and a tree here. Next we've alone wet on red ripples for painting water, as its name suggests, because it's wet on wet am, applying the whole box with water again. And then I'm going to paint the whole box with the low turquoise Now for painting the ripples. It's the same wet on wet method as we learned in the previous lesson, taking darker shade on the brush. So first I'm feeling the box with a light of dawn off that the loader Coy's and then taking a darker shade on the brush to make these lines. To get the ripples effect, we will use the same brush stroke that we learned in the wet on dry section at this, using the pointed tip on pressing the rush. See here the pain spreads in this case, but creating a very light ripple effect. See how I'm doing the brush strokes Now, on the drop of a beeper, I'm going to cover the same hole box with turquoise blue. It's almost the same shade as the low turquoise, so this is turquoise blue from white nights. I'm just adding with pain to the whole of the box so that I have a right on red box, as in a vet surface, then using my thinner brush on starting within lines at the dog and then making the brush stroke as I moved onwards. You conjoined these drugs together to get the effect off ripples in water. So observe how I'm doing using their point of tip and then pressing your brush downwards to create the ripples. Keep practicing. This s much as you can. Next. I want to show you how we can make thin lines with this brush called rigor or liner brush. It has a really pointed on longhairs. But don't worry if you don't have this brush because you can use your smallest sized brush typically size one or zero like this trust role size zero brush. See the smaller lines I'm going to make with this brush now. So again, I'm using the pointed tip on because it's a very thin line of rush. I get these smaller, thinner lines. This smaller size can also be achieved with the brushstroke smaller sized brush. So any smaller size brushwood do. All you have to do is used the point of death. For example, I will show you with my size four silver black velvet brush, even though its size. Four. I can make really 10 lines with it by using the point of death pointing downwards so it really doesn't matter. You just need a very smaller size brush. Lastly, we will learn a new splattering method. Using a toothbrush, we need an old or new toothbrush, which is where you have to get very small splatters first dipped of Russian water and then make sure to dab it off in a dish. You'd almost try it, then dip it into the paint from the pan or two. So I've loaded it with paint and then holding the brush using your thump, moved the bristles and splattered it. You can see that Dyne splatters can be formed with this method. 5. Class Exercise 1 - Sunset Beach: let us start with our first class exercise. I'm drawing the horizon line first. Then I'm going to apply water to the whole Off the paper. This means that this is going to be the wet on wet mattered. So we need the whole surface to be wet. So starting with the top, I'm going to apply water all over the surface of the people here. I'm going to be applying below the horizon line as well. That horizon line will be the line or Farsi towards the talk off it will be the sky and towards the bottom of the sea I'm going to start with Indian yellow on slowly applying them over the wet surface, forming these lines. So from the right to the left and from the left to works the right. Then we will repeat it with Queen Akra Don Rose. So don't worry about the name. You can use any rules that you want. Just it should be a pink or rose shade. Andi, remember that This is the sky as sunset sky. So it doesn't really matter how the color spreads. I'm just randomly mixing rose on here low to my sky to give it thes sums that effect. Then, using the Queen Rose, continue painting there between rose all the way downwards on the whole surface of the paper. Bet on what method is the easiest to apply paint to a large surface area, so make sure to apply the paint while the paper is too wet. So I have applied the whole of the bottom part. With the Queen ruse. You can apply darker to one on top of each other as long as the paper is red. So I'm going to dark and yellow is here so that they become more prominent. Andi, also the same with the pink in the sky region, then towards the top off the sky, we will have to add more colors off the sunset, so adding in more queen rose, then towards the top, I'm applying while it's being on the top part of the sky to give it more vibrant and dramatic sunset colors, you just need to apply it randomly on top of the thing to get the contrasting effect. Just remember that the holding is vet on vet and it doesn't matter how it spreads, so all we need to look at is just apply those drugs, and don't worry as to how it spreads. That is how we want this guy to be, so you can see how I'm just mixing all of these colors together into the sky. Then here at the center, lift off some pain with your brush so that we get the effect of sun in the sky to lift off paint. Simply dry your brushing a tissue first on DSO. Swipe it on the people. Then right again Andhra beat. Try to form a circular shape in the sky for the sun. Now let us take some violet and add towards the bottom area while the paper is still it. Remember, if your paper is not wet and has started to dry, do not work on it again. To add the violet, revert the paper after it has fully dried, using a very thin wash off water and then add in the paint. That's how you can work on multiple layers. In case you people has tried up so right below the sun area, he will add some yellow paint to the beach to depict the reflection off the sun so you can see I've added some yellow on top off the Queen Rose Andi. The mix has turned into ah, golden or in sheet. But that's all right. Once your paper has fully dried, that is when your first layer has fully dried. We will work on the wet on dry layers. We will start with the scene using why let so I'm painting along the horizon. Line the words the further end of the sea. It will be entirely while it on. While we approach the beach area, we will start to see the waves. So make DACA violet to the further end. And then we will start to make the strokes for the water. As we are coming towards the near end, so darker at the top and their smaller lines and strokes as you move downwards. Now we will start to make the strokes for the water. So the brush strokes just like I showed you in the techniques lesson. So these will be the water pools that I showed you observe how are making these random strokes for the sea on it is entirely wet on dry myth. It paint from the left side on the right side and leave most of the gaps towards the center . This is because the brightest parts of the painting are in the center. Do you do the light from the sun? Andi, All the darker Don's will be seen on the left on the right side so you can see. I'm starting to add the wave motion, so make thes lines just like I'm doing in this jungle. So this is how a wave will look like. So it is probably a wave that's going to crash onto the sand, then add more darker lines to the top to increase the contrast between the further on the near end of the sea so you can see how I'm working on those thinner lines off the ocean. It's just random small lines and strokes, and towards the beach area, you will be adding the smaller lines once it has all dried up again. Even start to add the highlights with this fight. Wash beans. This is titanium white wash being from Windsor and Newton, the words the further end off the ocean. We will add smaller lines to give their waves effect. That is, the waves that are further away, so they will be smaller lines. See how I'm doing very thin lines. I'm using my size for brush, which has got a really nice point of def. So nearer to the beach, I'm increasing the size of the strokes. Make the brushstrokes such that it looks as though the waves are crashing onto the water again. So observe here I am painting such that some part off the wave has crashed while the other is still going on to splash into the water. So 10 lines, some at some places on, then thicker lines at other places. This is what will make it looks like the rial waves in the sea. Now we will bane to the beach area. So we will mark the line off the beach, water on the sand with the white wash So you can see I'm just making some random lying at the bottom here to depict the beach water on the sandy area off the beach. Then, using my regard brush, I will start to apply smaller lines. Andi, the dry brush technique so used us more, less brush that. Do you have on used the tip off the smallest rush to get the dinner lines that you want, so we will apply some dinner lines on also used the Dr Rush technique to get the effect of water form the CIS by the techniques lesson was very important. We will make the entire beach water on the sand using this method. Once the waves have crashed onto the beach, they will make form in the water. So be a painting that right now, so add in dry brush strokes in an upward direction to get the effect of the form on the crashed weaves. So observe my upward motion with my brush as I'm doing the Dr Rush technique. So keep adding as much as form that you warned on the water. The more right you add, the more for me the water looks. That's a simplest how it is. Lastly, we need to add shadows through the water, the take violet again and apply to the bottom side off the border area off the beach water . So this will be the shadow off the water on the sand. So once you have finished this step thesis, Sunset Beach painting is complete. Hope you all enjoyed this exercise. I really loved this painting a lot. Obviously, sunset is one phenomenon preferred by everyone paid for paintings, beat for observing. So I'm sure that you all must love the painting that you have just created. 6. Class Exercise 2 - Summer Beach: welcome to the Summer Beach exercise. For this, we will again start with the horizon line at around 1/3 position from the top of the people , and then we will draw the shape off the beach towards the bottom. This is all there is for the pencil sketch office exercise, and then first we will start painting the sky, so apply water evenly on the top area about a horizon line for the wet on wet method. Then, using bright blue, we paint the sky to give the effect of small clouds. We believe some spaces. Why so as you can see, I've left tiny gaps off white in between Onda. To achieve this, you can also use the lifting off method Onda words the top area. I'm adding some ultra marine blue on top off the bright blue so you can see I'm trying to lift off some paint to create the effect off clouds. Then, while the sky dries, weaken bane to the beach at the bottom. I'm going to be mixing bond, amber and yellow ocher together for the sand media Onda. We can keep in the beach area using the wet on dry method. I'm using the bet on dry emitted. But what we have to remember is that we have to apply the next Rukh before the previous stroke Dreiser, so that they blend together effectively. That is how we can achieve vet on vet itself. But using the vet on dry admitted that this by applying the next rook tried before the previous drug dries up so that they blend in perfectly. Make upward strokes using your brush in and then we will add a darker tone towards the port . Amusing, burned number like this. So we will apply it using upward strokes like this, so apply darker tone towards the bottom. So I'm using burned, um Bahir Band number or any DACA bron now to paint the sea and the beach. Remember that both the sky and the sand region has to be dry. Otherwise the pain will see bin from both the sides. So once it is completely dry, we can apply water for the wet on wet method and also observe here how I'm applying the water slightly above the borderline off the beach and leaving a slight gap at the border. Always make sure that we apply the water without any blobs off water at a certain please or that we do not skip areas of the people without water. So remember to leave that tiny space at the bottom. Then we will start with indigo at the door, just like in the Sunset Beach. Towards the top, we will have a darker tone on towards the bottom. We will have a light, a tool. So starting with indigo, we will apply right below the horizon line with indigo and make it as dark as possible. Because this is the further end of the ocean and it will be really dark on right below the indigo we will pay into a turquoise blue. This means that the indigo and the Turkish blue is going to blend seamlessly together in the wet on wet method. Now I'm applying to Chris Blue all over the area where I have applied the water. You can see here that because I'm painting in the same she that I did the sunset, depending on I have covered the sense that painting with the tissue so that I do not accidentally spill paint or water on it. But if you're bending on a different one It's all right. Once you have apply it. Ergo, spend all over the wet surface. We will start to add water bills using a darker don't off indigo. Remember the bet on red water ripples we learned Onda. We will be using the same brush stroke to create thes Rebus. So using the pointed tip on, then pressing your brush downwards. So make thes small water bubbles using the darker tone indigo so they are totally random on . Do not matter how you apply the law. Terrible's just try to make them uneven. Andi, Irregular. Totally asked for you Wish you can see how I'm doing the water. Plus next off course, we will add the water form. Onda highlights with fight quash pains, but also note that whitewash pain can also be used to correct any white areas like I'm doing here to rub off the indigo that seeped into the sky. We will add the beach border with this white wash. Make sure to use concentrated white paint. So, as I said, if you do not have white wash, you can use concentrated white watercolors. Titanium white would be the best choice for this, but you can also use Chinese right if you want. So in case you're using watercolors, remember to load your brush fully with white Wash. Andi, you might need to give multiple layers to get the brightest white. We will apply dry brush strokes on the beach area to form the water form or the water bulls towards the end towards the beach area. So these will be bubbles on the form in the water as you see on the beach. So don't haven't you seen when the waves crash onto the sand on and they come to words sand area. You have these white spots in them, so that is what debating right now. So we will add dinner lines towards the top, using the pointed tip off your brush towards the further end of the ocean. These depict t smaller and the far off waves we will add in the dry brush technique. The dry brush technique is the most important part off painting a beach scene, so we have to master that before we can paint a beach. The brush has to be really try to get the dry brush effect. I'm not diluting the beans with water. Hence there is no water in the paint eating to a dry brush When I pick up the paint, keep adding the form off the beach water to get the perfect summer beach. So you can see I'm doing some upward strokes. Onda strokes from left to right. So that is how it should be. One stat is done. I'm going to add some burned number to the form because there needs to be some beach area within the form at some sandy area within the form, the whole off the white form will not be the crisp blue. So that s why we need some sand area as well. So I'm adding it on top off the gua sh so that it will mix with the white on greed. A nice blending effect. But we have to add more form on top off this later on to give the effect off the beach. So which is spy? First I added the white, but you could also do this earlier on when you mix Andi pain that the U S blue. But then you need that sheet where the wash on the bond number has been mixed together with this. Why I'm doing it in this way. Once you have added in the burned amber, now you can repeat the process off the driver a shtick. This process will make it look more like the sand area, so add as much as dry brush technique as you can. Lettuce as much Dr Brushstrokes as you can. And this is totally dependent on how much you want the beach waves to be white. I prefer to have as much form as I can. Add on to it. Enjoy the music on depending along with me. Here, add in the driver's troops. Once you have finished with the form, you can move on to painting that inner waves on the beach. I'm using my rigger brush, so use the thinnest pointed brush that you have. You can use the tip off the smallest brush that you have on make thes small lines in the water so you can see I'm adding it in the shape off. Small, tiny weaves the words the near side, and what's the further side? It would be dinner lines. Andi, very less form than there is on the near side off the beach. Once the system are painting is complete Now let us remove them. Asking date for both their paintings. Remember to always feel off the tape away from the people to avoid it daring off the painted area. So here you go, guys. The two paintings, the sun's at one on the summer beach together. I just love both of these. 7. Class Exercise 3 - Beach Top View: welcome to the beach painting exercise for this exercise I'm using to drop paper. I have tape the paper onto my board on all the four sites. Even start with a quick pencil sketch. Make two lines shaped like this at the top on also at the bottom area like this. This is a very quick pencil sketch. That's all there is. We will start to apply water on the top area. First, make sure to keep the area between the two pencil lines clear because we want that area to be white. So apply the water carefully along the lines of Depends and sketch. On the top line Onda. We will be leaving the gap in the middle. White as it is, because that will form as the form in the ocean are the ways so you can see I'm applying Clearwater evenly across myself office, and then we will start painting wet on wet with bright blue Andi. As you can see, I'm being very careful not to apply. Paint in the area between the two lines lie bright blue on the whole area, and then we will add some tiny strokes off the acquis blue to give it a mix off green on blue. This would be at random places, So if you don't have to Chris Blue, you can give it a mix off a tiny tent off green on blue. Always remember to paint in one direction so you can see I've applied the whole off the area with pride Blue. No, we want to give it a darker shade on the effect off depth into our ocean. So I'm taking into go on, adding the taco contrast on the sea to the top. A DEA as well s adding some smaller strokes at random places. Even truly, they will mix, but try to keep it as random as possible. Next, we will apply water again to the second area, leaving the do spaces between the pencil sketch as white. So here remember, there are two years that we need to be careful about. One is the top area. On the other is the second Benson sketch at the bottom media, where we have to keep it white. These two white areas will be the waves in the beach, so it is now easier if it is left white at first than painting with egg Wash later on. I'm doing this exercise because you will understand the different methods that we can achieve the waves in the ocean or the form so it can be either using the masking fluid or by using the leaving blank committed. That is the one that we using here right now. And there's one thing I want to tell you. Masking fluid does not work well with two top people. It would tear off. So that's also another reason why I'm not using masking fluid with this one, because this is to Tropic Paper, starting with bright blue again, we will apply the color all over the vet surface, so I'm using my larger brush thesis eyes 12. Brush from silver black bell bed to cover the larger easier. So the whole of the area with bright blue or any other blue that you have on do you can add in a tent off the coast blue here and there to give it a mix of green if you want. So again here, I'm being careful to leave that space white as it is. So once I have applied all the areas with bright blue, the next step would be to add the DACA tombs. So here I am adding the darker doing with indigo. We will apply indigo just next to the wave area for the shadows. So if it is a wave obviously underneath the wave, it will have shadows because it is splashing onto the water. So that area is very a painting with indigo on. We will also add the doctor in negotiate to other random places to depict the darker spots in the ocean that we see all of the's has to be done while the paper is still red. So this is why I speak about the importance of 100% cotton paper. 100% cotton paper will make the paper remain wet for a longer duration of time, giving us Ambien time to paint with the red on red technique. But don't worry. If you don't have 100% gotten people, you can still join me with the existing paper that you have just remembered to work a bit faster. Now we will pain to the beach area. This is also the veteran right method, so apply the water hole area again, leaving white space for the weave. Once you have applied the water. We will be using yellow ocher for the beach area. So I'm painting the whole area with yellow ocher. If you have a really basic set and you do not have your Loker, you can also get yellow ocher by mixing a little bit of brown with yellow. Now we need to add depth into the sand area. So I'm taking burned number or any brown on. We will apply it towards the bottom. Bart, off the sand. That s t yellow Orga radia onda. We will also added the words the waves to give it descends of depth. That is the shadows. So you can see how I'm giving it a docker tool. Once we finish with this Andi, all these layers has completely dried. We can give the highlights on complete upending. Using our white wash, I'm going to use divide gosh faint to remove the pencil marks here at the wave 80 year Then using the rigger brush or dinner brush make smaller and thinner lines like these to give the effect of form in water. So the beach, when looked from the top, will have these lines. These are form in the water that is when the waves are crashing, the form, the shape of form or bubbles. So that's what we need to do. We will be using the dry brush technique to depict this. Make smaller, anti no strokes like this at turning blind brushstroke like this where the brush is moving upwards away from the we've so that it seems like the form is coming away from the crashing we've You can observe the Dr Rush technique at a closer angle here, see how my brush is sliding across the people applying the driver stroke. So this is what we want to achieve. We're applying the driver strokes away from the waves area Onda. We want to apply it all over the area where we left for it because otherwise it would have a hard edge and it would look really hard. And you can also add some random driver strokes to other places as well. Just like I am doing right now. Always remember that there shouldn't be any water in the brush for this technique. You can go back to the techniques lesson if you need to understand this method better. But the key thing is to try the brush on your tissue after picking up paint Andi swiping it onto the people. Or you can use a dry paint completely. Andi, pick up the dry paint on your brush rather than stabbing your brush onto the tissue. That's what I am doing. So I'm not using any water, but rather am dipping my brush into the dry paint and picking it up so that I get board dry beans on dry brush. We will do the same with the wave on the top. I'm going to remove the pencil marks and add dry brush strokes, so make sure the strokes are in such a way that they're always facing away from the weave. We will repeat the dry brush stroke for the whole of the wave area until you're satisfied with the form in the water. This part requires a lot of patients, as it is the most time consuming part, but harmlessly high enjoyed a lot as thestreet looks are what makes the beach into a beach . On what makes the painting come alive. You can see it already can do when we're applying those strokes on the dry brush. It is starting to look like a beach on the form in the beach, isn't it? We will add some drivers strokes. Two words the beach area as well. That is the words thesis sand area because there would have bean some form left over on the sand, even when the beach water has gone back into the sea. Have you seen this effect? When you go into the beaches on, the seawater has recited back, and yet you can see some form on the sand. That is what we're trying to do with the dry brush technique. Once you have finished with the dry brush technique and all of the form, you dear, take a very light own off turquoise, blue or any blue Andi apply on top of the gosh slightly mixing with it so that it really appears as if the wave is intertwined with the seawater. You see what I mean? If you leave, it is entirely white. It may not look realistic, So to get the realistic effect, we're adding a very lighter tone off blue on mixing it with the wash. That was the last step. Now the painting is done on day after removing the tapes, see how it has stand out 8. Class Exercise 4 - Ocean with Masking Fluid: we've been paying two oceans Gabes in this. On the next exercise, I have tape down the paper and split it into two. As you can see here, one will be using mosque included on the other without mask. Include. So if you don't have mask included, you can follow the next exercise. I will be using this mosque included from Windsor and Newton. Andi. I also have this mask include applicator the Dybbuk from Jackson's. This is just an applicator, so you can see it has a point dip dip on the dispensing is easy, which enables you to apply the masking fluid easily onto the paper. But today for this exercise, I will not be using this mask include applicator, but rather I will be using this masking fluid on applying it using these brushes. So these are some off my old brushes, which I don't use any mover. We condemn the brush into the masking fluid and apply it onto the paper, just like we apply paint using a brush. Remember, masking fluid is a brush killer that does. It will destroy your brushes, so never use your main brushes. Only unused old ones, as you can see, I've taken the mosque included in the cap off the bottle, Andi. Then I'm using my small old brushed apply on the people. We will be making small, random lines with the brush in the shape of the form in the ocean. It is totally random. So don't be bordered. How you should do it. It's just in some baby random, irregular manner. So some random shapes and lines using the brush dip your brush into the masking fluid. Andi make very random irregular lines. Andi, small strokes. This is a very time consuming process, but don't worry about it. Take it slow. Andi, you can see closely here at this angle. Once finished, applying the masking fluid, you have to wait for the masking fluid to completely dry before we can start painting. So it has completely dried. And I will be using this de lo to negotiate from San Ilir for this ocean. First we need to apply water all over the surface. That is the entire area off the people. This is why we applied the mosque included so that areas that we need by it will remain white. That is will be mast off from the paint. Once you have applied the water, we will start applying a lighter tone off the the low turquoise all over the bet surface, using the wet on which method slowly. After that, we will start to add darker sheet. One thing we have to remember is that we start from the light of dawn on. Move towards the darker shade in case we do any mistake. So I'm adding a darker tone off Dale. Adore Coy's docker, as in it is still a medium doing, but we will work on it more and more. Andi add to the whole off our paper. But don't let technique is one of the most satisfying techniques you can see how are pains , seamlessly blends in the paper. It is really satisfying to work with the return with technique and see the magic off water callous. So I feel the whole area with a loader. Coy's Andi. Once they have applied the shed all over the paper, you can start by applying the darkest tune off the Tele Torquay's at random places. These will be the darker shadows in the ocean. Andi will act as the darker spots that we see when We are looking at ocean paintings and ocean photographs, so applying these at random places will be the best way to do it. It is again totally random. I'm just making it at any place that I warned the darker strokes to be. You can add this totally Asper your wish on Do. You can add darker and darker. Don't until you're satisfied, so keep adding darker and darker tones on top of each other until you get the darkest stone off the loader. Coy's. So, as you can see for this painting, I have used only a single color. It is that a large or coy's. But don't worry if you don't have a loader toys, you can also use a mix off green and blue to get this cover. So if you are a beginner, it is a very good exercise for you because this completely teaches you the vet on vet mattered and how you can work on multiple layers on top of each other. While I'm doing these darker stones and adding on top off the vet people, the most important factor is that my paper is stupid. It Bunty have finished it on after waiting for the layer to completely dry. We can remove the masking fluid that we applied, so I'm removing it by rubbing it slowly. I love the process of removing the masking fluid. Now, after you have removed all of the mosque included from the people we can add highlights using the white wash paint. As I said before, white pain is a key thing when bending the ocean because there is a lot of form in the water that we need to depict. So I'm using my regard Brush. Here. You can use your small s brush to make thes dinner lines in an irregular or around the manor. Make these lines such that they seem to be branching out off the bigger areas. This part off the painting is what takes the longest time and needs our full attention so you can have thes dinner lines by using a mix off the dry brush technique on the vet own dry method. Dip your brush into the wet paint. Onda applied dinner lines. Andi. When the brush is devoid off water, you can add the dry brush dukes. So this is how you can achieve the vet on dry and the dry brush technique together. So keep mending along with me and at the driver strokes to the white. For me areas, you can also add splatters lines and any kind of stroke you want. There is absolutely no room. Just experiment with you to yourself on. Add randomly at variable places you wish. Trust me, This is a really small sheet, so looks odd with these white areas. But when you start painting this on a larger sheet, you will totally understand the difference. I will be showing you exactly what I mean in the class project section where you have a very beautiful green ocean waiting for you. But for now, just to learn the techniques, we are painting on a smaller paper. So don't worry about how it turns out. Just keep on painting and enjoy the process rather than being worried about how the outcome would be so. I've added dinner lines everywhere smaller, thinner lines on also the driver strokes, and lastly you can add some splatters. Like I said, if you know me, you know how much I love splatters. Add in the final driver strokes on dure ocean escape with the masking fluid would be complete. - So they re girlfriends are painting is almost complete. This class exercise. I will not be removing the masking tapes in this exercise, but rather in the next one because I'm using one single people to show you the exercise. So after the next one, we will remove the deep, and you can see how it has done about 9. Class Exercise 5 - Ocean Without Masking Fluid: This glass exercise is the same as the ocean scape with the masking fluid. But this one is for all of you out there who don't have a mosque included and yet want to paint in ocean. So we start by applying water all over the surface of the paper because we will be starting with the wet on wet. Make sure that we cover all the edges and applied the water evenly on the surface of the for. Then we even start by using the Prussian blue. Here, start with the lighter tone off Prussian blue Andi move onto applying a slightly dark it all because this is the wet on wet technique. The paint will blend smoothly in the people and form the base clear. Once you have covered the whole off the paper with the lighter tool, we will move on to the medium door. It is always better to start with lighter tones on. Move on to the medium doings or the darkest stones. So as you can see, I've picked up the medium Doan off Russian blue Onda applying all over the people. This one is fairly easy because we're covering the whole of the paper over the same exact color, so there is no blending or no big drama here with between the colors, it's just one single color all over the painting way. You have applied the water, so applying the water evenly is what is most important here. Once you have applied what even leave, we will start applying the single Prussian blue collar all over the water area so you can see how I'm trying to achieve and even don't throughout my paper using the Prussian blue. Then, once you have covered the whole of the people with the Prussian blue, then slowly you can add the darker stone off the Prussian blue on top ofit so you can use indigo also so you can use a mix off indigo on depression blue on top Off it, these will form the darkest spots on the ocean has seen from above on the shadow areas, adding the contrast will give it a feeling off debt on make it become more really, you can see how I'm applying the darker stone at random places to get this effect off depth in my painting. If your Prussian blue or indigo is not giving the darker shade you want to get. You can mix a very little black with it to get the darker sheet that this makes a little bit of black, with the darkest shades off the Russian blue or indigo to get the darker shade that you want. Remember, I'm applying it totally random. Andi. It's your choice as to how you want to apply it. So don't be worried in the step that you have to apply the paint it exactly at those places where I am doing it. Once you have finished with this, we have to wait for this whole thing to dry to add the highlights on the form in the water . Remember that. So while the papers wet, add in as much darker tones as you can at random places. Now it has all dried up, and I'm going to use whitewash pain to add the highlights on the fall. Using a small brush, I'm using my size for brush from civil black velvet. I'm going to add dinner lines like thes Andi small sheets like in an irregular, random manner, so these will be the water form in the ocean, the form or the bubbles in the water. So you know you have you seen the ocean pictures from the top. When you see you can see it has ah spray kind of look or ah for me. Look. So that's what we're trying to paint into our ocean now they are simply irregular strokes that will make the ocean come alive on Looked like a for me mass off water. For those of you who watched the masking fluid lesson, this spot is exactly the same where we applied the masking fluid and must the whole areas to get the for me effect here it's the entire opposite metal where we are adding in the form on the highlights at the end. This exercise is off utmost importance. If you do not have masking fluid Biggers for the class project that we will be doing literal there is the need for masking through it. So remember that if you don't have masking fluid, you can still go through with that last project because the areas where we applied the masking fluid will be the areas that you will be adding in using your white wash. So go through this exercise and you will understand how we can add those white highlights and form using your white paint if you ask me. I prefer both ways on Do Not anyone. Method is actually not better than the other because both the process of applying the masking fluid Andi adding these highlights are fairly similar. The masking fluid just makes it easier because you would be applying the masking fluid and then peeling it off. And you already have a white area, whereas with white wash your applying the same thing on top of an existing paint on because off the pigment you might have to add in multiple layers. That's the only thing difference between these two methods. Like I said, sometimes you might need to add in multiple layers of white on top of each other to get the color at the consistency that you want. This is especially needed when you don't have bite wash means on our using white water colors. Goulash is more opaque and would stand out more than what the killer beans. But even with wash, I'm having toe add multiple layers to get the white that I want it to be. This is because the Prussian blue that we applied underneath is a very darker shade onda highly pigmented color. So applying white on top of this dark pigmented color is really a harder task, and we might need to apply multiple layers. I'm adding some splatters. No, so you can see I've added in some splatters. And then I'm switching to my regard. Crush here to get the dinner for me, lines in the ocean at in those dinner lines at random places in a totally random manner on . Then you can also add dry brush strokes if you want. With this regard brush or the smallest size brush that you have, observe how I'm just making dinner lines and try to join them with the larger for me area. All of the's drugs is what gives life to our ocean painting, so you can already see how some of the for me areas look here. If you want, you can add more or you can stop. At this stage. It totally depends on how much form you want on the people. I always have this tendency to over work on my paintings, especially with ocean paintings. I just keep adding more and more white areas. Sometimes I don't even realize the time and just school on painting and painting and painting. See, this is what exactly it was talking about. I'm just not getting enough off those more branches. I'm just going on adding them and even with the driver. Sh strokes. So I'm adding in more driver strokes, Onda adding in more. For the driver, a stroke is really helpful because it helps to achieve more for me effect than those wet on dry brush strokes. So those shapes that we did driver stroke is much better than that because it will look as if it is forming water sprays. So in all those areas where I applied, thieve atone, dry met it. I'm adding in some dry brush stroke so that the form comes and looks really keep adding as much highlight as you want. Once we are done, I'm going to remove the masking deep around it. Here's the final look at both our ocean scapes. Stop view being dings. Honestly, I like the one on the rights because it it's more realistic. The masking fluid one would have been better on a larger sheet of paper, and you can see exactly what I'm talking about in the project section. So here you go one using masking fluid on the other without masking view it. 10. Class Project 1 - The Sunset Beach: this is going to be our first class project. I will be working on this 15. Might our descent emitters paper from Arches? It does 300 years and 100% cotton paper. If you don't have this paper, you conjoined me with whatever people you have. The painting is going to be in the landscape mood. So with whatever paper you have, Beacon, join me for this class project I've taped on all four edges of the people we've been first . Start with the Benson Skitch using a ruler. Make the horizon line at roughly about 1/2 off the paper, Then with a pen to take your time and draw the shapes to form the beach area. We will first start with the sky, so apply water all over the top area about the horizon line. Andi, just like we did in the exercises. Make sure to apply the water evenly. I even start with bright blue on. Start applying from the top using the wet on wet method so slowly we will apply the wet paint onto the paper Onda. We will blend it nicely into the water. Using your brush. We need a perfect blend here, which is why we're blending with that brush sin. We will start with Indian your Lou and added to the whole off the rest of the sky. But remember to leave a slight gap between the blue and yellow. Otherwise, thes colors will end up mixing together on form green in the sky. So we don't want that right. Then on the top of this Indian yellow, we will add a darker yellow on top off it like Indian gold or common, accurate on gold to get the golden sky shade on top of the Indian year. Lou. So you can see I'm applying from the left side, on the right side, on towards the centre, I'm making smaller lines. Then next we will take Indian red and apply it on top of thes yellows to get the red shade in the sky. You need to work on this while the paper is still wet, so make sure you work faster when applying the colors. I'm heading in the red shed from the left on the right side on DWard sti horizon line. So just above the horizon line so you can see I'm adding just some random strokes using the Indian red on because my paper still read it is blending in nicely on top off the Indian yellow and Indian gold. After this, we will add some darker clouds for those amusing Bain scree. Andi, add them in the gap between the blue and yellow that we left behind. Apply them randomly, such that the form clouds in the sky so you can see I'm just grabbing onto my paper in smaller strokes. Then two words. The bottom off the pain scree. I'm adding burned number and also a makes off Indian Gould so that the pain scree and the yellow will have an even mixed if we do not. At this burnt umber, the pain stay will look odd along with the yellow, so I'm mixing them together so that my Indian yellow and pain scream blend together Onda. We will also add some tiny clouds with our Indian Gould. You can also add them using Indian red or the bond number. We just need to have some darker clouds in the sky. That's what we did after completing the sky. We can paint the sea, so I'm going to apply water again for the wet own Batic, so make sure you apply the water all over Thesis E area on the beach area. We have to apply the water evenly on then here to get a darker green shade off the sea. I'm going to mix Darker is blue on burned number. You can also directly use Veridian green for this. See the shade that I meet. But I am just mixing the same instead of using very den green. I will tell you why in a moment so even start applying the same two words the further end of the sea along the horizon line. Onda. We have to be very careful that we do not spill over to the sky region applied darker toe wants to work, See further and and we will make it lighter as re approach the beach area. So observe adding darker tones. Two words. The further end on becoming lighter as I come to. It's the beach. Make it as dog responsible in the further end so you can add multiple codes over the pained if you want, and then towards the middle we will add burned amber because this is where the transition between the sea and the beach is going to happen in this painting, so the burned number will need to blend in smoothly with the tacos blue and burned. Number mixed. This is the main reason why I made Viridian Green by mixing Turco's flu and burnt umber, because when I'm adding burnt umber, it will blend in perfectly as the mix already has burned number as an underlying color. So we need to add some yellow paint onto the area below the bond number because we will add a son leader on in the sky. So I need the reflection off the sun on the beach area, which is why I added some yellow onto that area. Then the rest of the beach area we will paint with burned number on blend in smoothly. Victor Green. Since I feel that I need to dark and a bit more near the horizon line, I'm adding a darker tone on top off the green again. Then, using the same green, we will add in some random water ripples. Andi, they will be more towards the near side on, and as you go further away, it will be smaller. So remember the water bulls that we learned in the techniques lesson. So makes make small dining strokes here at random basis. Onda words the further and it will be very lighter tone on also very thin. Use a smaller size brush for this purpose and remember, your paper has to be absolutely wet for this. Then I'm adding more off engineer Low Ford reflection of the sun, which we will paint later on in the center like I'm doing here. Onda. Blend them smoothly with the burn number because we do not want it standing out. Next, we will paint the beach sand area while waiting for the sea region to dry completely. I'm using Indian gold to paint the beach, paint the whole area completely with Indian gold or quinacrine own goals or even you can use yellow ocher if you do not have either of these colors, Onda observed the slight white gap that I am leaving between the beach water on the sand. Now we will need to add in darker tones and shadows to give the sand the feeling off death . So I'm adding in bond number on top of the Indian gold in the bottom area. Then we also need to give the beach water a sense of depth, which is achieved by adding shadows so developed, burned number or superior to the areas below the white space that we left behind. But but remember, these are shadows, so it can only be in one direction. I'm going to paint all areas which are horizontal as the sunlight is coming from the further horizontal plane. So every seawater part that lie in the horizontal plane, we will add in the darker brown or burned amber. Now, finally, it is the time for the white highlights on the beach. On the form, this is what will make a beach painting looked like a beach. So I'm going to use my white wash again to add in the highlights. This is a titanium white wash. Remember that. But if you don't have, I quash like I say it, you can use your watercolors. You just need to have a very concentrated amount of paint on your brush to achieve the consistency, like wash. So the area surrounding the beach that is the separation between the sand and the water. This is form in the water, so we are going to add that with White Wash. I'm just painting along the lines off the border off the water right now on adding white wash means, so you can see that I am having to add multiple codes over on top of each other so that I get the desired white that I want. You might also want to add in multiple layers to get it to be really white. Keep adding those white highlights. Andi making the border off the water come alive. As I said before, this is really time consuming. But this is what actually makes your painting come alive. That is thief. Final white highlights So white paint is really necessary when you're painting beach or the oceans because there is a form in the water or you can call it what a bubbles those has to be. Bain did on. Do we even need white that this what I'm doing? Then, using a smaller size brush, we will add in some lines into the water so these can be totally random. Just use the tip off the brush on different brush strokes that we learned. We will add in lines into the beach area, so these will be the form in the water. So this painting is what we see the beach at from a very low angle. It is by the horizon line is about the half off the paper. So since we're seeing it at a very low angle, it will be one point perspective where even the form in the water will be trying to converge into a point in the center. This is the reason why we have to paint the white form in this angle. So from the left, all of those strokes will be two words at an angle towards the right. On on the right side, all of them will be towards an angle in the left side, as if converging at a point in the centre. Off the people. This is what we call as one point perspective. So Adan, as much white form as you can into the world, are using random brushstrokes in the direction such that it converges at the point. And you can already see how the beach painting is coming alive, right? So adding as much as you can add in the dry brush technique strokes. So remember, for the dry brush technique you have to take paint on your brush on dry it completely. But if your brushes already dry, you just need to dip your brush into the paint on, pick it up on day. Swipe onto the people to get the dry brush technique, which is what I'm doing right now. My precious dry. I am not feeling into it water or I'm not tipping it into water. So keep adding the dry brush technique to adding as much form as you can into the sea water . I'm speeding up the radio slightly over here. This is because the process of applying the form into the water is fairly repetitive and we have already landed in the various exercises. Onda also previously in this class project itself. So just keep applying these random ah form into the water. I have increased the speed of this video two times four, but in case you want to slow it down on dwarfs the whole process again, you can use the settings option in skill share at the bottom where you can click on it and said the speed 2.5 so you can reduce it down by times two. But this process is really repetitively which is why I have spent up the video. All you have to do is bring out the form in the water by using the white paint by using your dry brush technique and applying these rocks. Onda remember, all of these drugs has to be such that they converge to a point in the center. That is one point perspective. Now here we will add in these son just like I said. So using a white paint over whitewash, add in a tiny dot in the sky. Then now we need more reflection off the sun in the viridian green or the green mix. So I have mixed a bet off yellow divide course paint you can use. Ah makes off your white Andi yellow and just apply thes small strokes into the Viridian. Green says that they form a reflection on. We will just blend it on top off the veridian clean so that they do not look odd. Now on to the last age off our painting, we will add some darker highlights with the same Viridian green mix. So this is my took is blue and band amber mix again, and I'm adding some smaller lines to depict the darker lines on the beach area. Onda musing my dinner brush. Our painting is finally complete on. We can remove the tape and see how it turned out. 11. Class Project 2 - The Magic Beach Part I: welcome to the second class project. In this class project, we will be using this currents palette from part philosophy. Cool. This pallet is perfect for painting the ocean on the beach. Look at thes watches here. I made them into the shape of the leaves on these are the colors have been built within the palate. But don't worry if you don't have this palette because we can always use the other greens and blues that we have, I will be telling you the alternate colors that we can use. So don't worry if you don't have to spell it. The other colors that were going to be needing is this Indian yellow from similar year on this sand ridge color from the woodlands palette again from our philosophical Don't worry if you don't have it. This is the woodlands palette. Andi Sandridge belongs to this one. Then the additional colors that we will require our sap green Any dark green Andi olive green. So I have failed the sap green on green on and the olive green into these full plans here. So I will be using them instead off the pain from the tubes, because I've already filled it in, then bund. Amber. So that's all the colors that we're going to use next. Let us start with our pencil sketch. So first of all, we will sketch the beach area. This is going to be a really fun class project where I have combined do different oceans in one painting so that we can have some fun painting with it. So just draw the shape off the beach randomly, as you wish on Just adds, um, lines at the bottom off the right one. To add green foliage, we will add some green bushes in the beach and also mark another line towards the top area . This is where the form will be. We will be painting with the vet on vet method so you can use a larger size brush to vet the paper in case you have it. So I'm using this Princeton Harkey brush. It does mainly because when you use a larger brush, you can have it apply water over a larger area when use a smaller brush. Obviously, it will take a long time. This is the main reason by I switched larger brush for applying water in larger areas, so the area off. The water is very large here, which is why applying using the Princeton hockey brush, But don't worry if you don't have it to. You can use the largest size brush to apply water. Apply water evenly all over the area. Then I'm using the color called Seaside, so this one would be any lighter tone off blue so you can use bright blue or tacos blue from Italo Mission. He was a very light blue for the ocean Onda. We will be painting the one on the right side, and it can go over to the left side. As I said, this is going to be a really fun glass project where I'm lending into different kinds off ocean, which is why I have separated it out in the center. But it's going to be still forming a blend. The first color were seaside or right blue. Then the next color would be Caribbean Sea. On dawn top off that we will at the color called darkish see, that would be a kind of darker tone off, buried in green or a mix of religion green on Hooker's green Andi, You can also add some al gay or olive green here to the mix so that we get a wide variety off colors into our ocean. So this color is now who goes green and then adding more off the Caribbean Sea color. So that would be very Dean green on. Blend it along with the seaside or the bright blue color hell of the names in the art philosophical currents palate. It's just really so much interesting. They call seaside blue Whale, Caribbean Sea, Turkish see al gay. It's really amazing ballot on. It's a must have if you want to continue painting oceans, but don't worry if you don't have it. Like I said, you can have all these colors and use alternate ones instead off these exact same palette. So, for example, as I said, the talk you see color is the mix off. Viridian green and Hooker screen. Caribbean Sea is virgin green. Algae is olive green, so there are always alternate colors if you don't have the exact same color, so don't worry about it. So right now I'm blending in both the greens on blues together. Using the wet on wet technique Onda, I'm adding darker tones into the green part off the ocean. You can add more dog green on top off it, and here I'm going to be using the blue whale color or the deep sea color, whichever you want. That would be equal into indigo, as you can see how the shade has turned out. So it is a very darker blue, so you can use indigo for this. So apply the darker tones, the darker shades in the ocean on top, so I'm just applying them randomly owned the vet paper. Add some so small spots here and there as well, and now we want to blend it on top off the green, using the same indigo or the blue whale color you can add on top of the green to give the darker shadows to the green areas as well. On it will blend and mix together with the green to form an even darker green. That is the property off the indigo pigment. So keep adding the darker tones to give the darkest depths off the ocean. I prefer some areas to be very, very dark, so I keep adding more DACA pain onto the top so that I get the darker stone possible. Because the paper is wet, there is a tendency for it to blend out on. It becomes lighter, so you might want to add darker tones onto the top as much as you can. But remember, so long as the paper is wet when it is trying, we should not add more dark iTunes because that would create our courage is in the paper. Also most importantly, note that while I was painting the blue and green, I had left the tiny space flight space at the bottom part off the ocean. This is because I wanted to blend in the sand area. Andi. This is where I'm using the color, called a Sandridge from the woodlands palette to paint and blend in the sand and the beach that is the sand on the sea together. But as I said, don't worry. If you don't have this color, you can always go for a mix of yellow ocher and burn number to get this color, so blend in the Sandridge or the mix of yellow walker and band number to the see greens on blues on. Then you contains the rest of the beach area that is a sand area with yellow ocher. So in case you're using yellow ogre and burned number, the beach area would be first a mix off it and then towards the bottom area, you can use yellow ocher, so blend them together nicely. You can also use wet, unmet method For this. I'm just going with the vet on dry matter. But I'm making sure that I blended together with my previous stroke. All this is possible because this is 100 best in cotton paper. This is the trap of paper that I showed you in the texture. Sorry techniques lesson so de to trap a paper stays wet for a longer duration of time and you can work on it more and more. Which is why I prefer this paper and lord, while painting oceans on for blending techniques in. So, as you can see, I'm blending on top off my previous strokes with yellow ocher. Here, the part at the bottom is where we will add some green foliage. So until that green foliage area, we will apply the law ocher paint. Then, once we're done with it now, we will blend in the sap green along with the yellow ocher, so painting for painting the foliage. It is better if you have multiple versions of green mixed together, which makes it look look like having a depth on some foliage effect, which is why I am blending in together for the sap green. Olive green on the dark clean makes all of them together. See, for example, if we had painted the whole thing with just one color, we would not get that foliage effect. This is why I'm using different colors. So the three colors that I'm going to be using our olive green sap green on green. The green shade is our darker one, So first I used the's up green and the olive green mixed together so you can already see how we are getting a slight texture because there is a mix of two colors and then on the top, I'm applying the darker green to get an even more depth in the foliage or in the bush area . So there I'm applying random strokes into the bush area at the bottom to get the nice, bushy effect and to make it look like real. In case you wanted to make it more darker. You can use indigo on top off the greens, which will make the green turn into an even darker green. Or, if you don't have it, you can also use a black on top off the green that would make it more darker. Then I'm switching to my smaller brush and I'm going to do some wet on wet splatters. Remember, we learned thieve atone red splatters in the techniques lesson. So the sand area is still wet and I'm going to do some splatters with burned. Um uh, because it is right on red splatters, it will spread. Andi create thes nice texture on the beach area. So I'm covering the rest of the area with issues that they do not spread to my sea water. Andi, I've added in the splatters you can add as meze platters as you want, and they would just blend in together and form the nice Matin with splatters that we learned Now we will add the final form in the next lesson. 12. Class Project 2 - The Magic Beach Part II: We will have to wait for the whole painting to dry before we move on to adding the right form. So I will be using the stew brushes. This is size four brush on. This is the rika brush that I was talking about in the exercise lessons. So first using the rigger brush on the titanium white wash, I will be drawing the lines off village. Remember, if you don't have the titanium bite course, you can use a darker tone off the white water gallons that you have so Doon Valley. Now this will be the border line off our beach. Remember, do make it onto the sand area because the beach water would have formed. Andi flowed onto the beach area does. It's why we have to include the beach sandy area as well. So once we have done the outline off the beach area, we can move on do adding the further details and adding the form into the water. Even with my gosh gained, I'm having to add multiple layers to get the desired white. Then we will had more waves in the water, so this will be the second wave in our beach view so this will be further into words to see this is the line that we drew in the center. It might have gone off with the pained on the dark, so you don't have to worry about the pencil sketch that we have made. You can just randomly draw the second line using your white paint. Then we will start to add the highlights using the white paint so we will be using the dry brush technique. So remember, drivers technique is where your brushes really dry on dure, having deigned on it. So when you apply on to the people, you will get pained at random places, as in Azaz pain spots. Dining spots. This is because your brushes try on also your people is dry, so de pain, too, will not get into the pores off the paper and will form as tiny tiny dots. So this is what Dr Rush technique is now. I'm switching to my size four brush on. I'm going to repeat the drivers technique to paint the whole off the beach area, so keep applying the driver a stroke technique onto the whole area off the beach so that we get the effect off the beach. Water on the sand that is thief form, or the waves that are formed as they approach thesis sand. As I said before, this process is the most time consuming one, but it is also the most satisfactory. I really love the drivers technique. It is one of my favorite techniques. Onda. Remember that we have to apply the driver stroke the words the top area that is facing upwards. So make the brushstroke upwards so that they are the words the ocean. That is what we have to take care. So they always will be facing two words the sea area. So if it is at an angle, we will have it at an angle just like Bridget in the exercise. So in this last project, the ocean is towards the top on the Sanders at the bottom, which is why we did it facing upwards. Now we will paint thief form in the middle, that is the wave breaking in the middle. So for that again, I'm applying the white paint on the area where I'm art. So here you can apply concentrated main to using the vet on dry method. And then from that area, you will again Duthie dry brush technique to give it the effect off the waves breaking as the fall. I have increased the speed of the video slightly over here because, as you can see, the process is exactly similar to what we have learned in the techniques lesson on dog. Also in the excess Isis. The only thing to remember is that all of these driver strokes we have to be doing it in the upward direction to keep adding us Muchas dry brush strokes as you can on Dure beach, will turn out to be beautiful as again. So in both sides of the ocean that is on the green part on the blue part, we need to be adding the driver strokes the speed of the video. Here is times for so engaged you want to paint along with be on toe. Want to slow down the speed of the video? You can do so from the auctions in skill share. So at the bottom you can see the settings Aiken. And if you click on that, you will see that you can set the speed 2.51 or even you can increase the speed if you want to see this faster. So just keep adding the driver strokes as you can see a painting on the left side as well, where I have added in the weave and we will also apply the driver strokes at random places . Totally random raises Onley towards the wave. We need the driver stroke to have some more bright white. So which is why we will use Ah bed more multiple layers. As you can see, I'm adding multiple layers of driver strokes to the beach area. This is because we want that area to have more form than the rest of the areas, which is why I keep applying more and more white because white that I apply seems to get dull as it dries. So add and as much layers as you want. Now I have switched to my regard brush and I'm going to ads and tiny lines into my ocean so this will again be the form but in the form off lines. So for this, if you don't have the rigor brush, you can use the smaller size brush you have on using the tip. You can make the dinner lines and I'm also adding some driver strokes with my rigger brush as well. You can also add in splatters if you want, so anything that you want to add in you can add in using the white. So now you can see are bending is complete. Onda We go into the most satisfying part which is removing the masking day of on DSI How beautifully test about I just love this because even though it's a continuous painting, we have two different colors off ocean here. So as I said how I felt that it likes a bit off splatters. And if you know me, I love splatters, So I'm just adding them here. So see these guys, I just love it so much the texture on the sand green bushes on the multicolored ocean. 13. Class Project 3 - The Green Ocean: Welcome to the next class project for this class project. I will be using this paper from Saunders Water Fort. It is exactly same as arches paper on day 2 300 years, some cold pressed on the pains. I will be using the currents ballot from our philosophy Co again. I have already shown this in the exercise lesson. The brush is that people use are the silver black velvet size 12 4 on and eight, along with the masking included, which I have built into the mosque include applicator, just like I showed in the mask included Lesson Andi for the ocean. Here I will be applying the mask included in random shapes like this. But I want a larger form in the centre off the painting. So which is why first I'm creating the border and then I'm going to fill it up with masking fluid randomly system. There are slight gaps in between. The's speed of the video is times do because this was a really large painting and the masking fluid processes fairly. The representative one on bits exactly same as we learned in the techniques. The exercise lesson. Sorry. So we will apply the masking fluid in the center just like I'm doing so in this one. The form is going to be in the center, off the ocean, so we will just apply and fill the board other big created. We will also apply the masking fluid at other places randomly in for me shape that the ocean has. So these are just totally random on. It depends on how you want. You can see how I'm doing. There is no specific shape, no rules as to how this is to be done just randomly as you've Asian, add some strokes here and there. So, just like I explained, if you don't have the masking fluid applicator, you can always do this using the old brush that you have by taking masking fluid on dipping in on doing it. Once you have finished, we need to apply water all over the surface of the people. But remember that we have to make sure that the masking fluid is completely dry before we can proceed onto this step Onda. Also, don't worry if you don't have the exact colors, as in, if you don't have the art loss figure currents ballot because I will mention all the alternate colors that we can use here. We're using Veridian Green in the art philosophical palette. This color is known as the Caribbean Sea, so we will add in the color. You can also use Viridian green. And if you don't have religion green, you can get this color by mixing turquoise, blue and burned amber, just like in the last last project. Remember that so apply the whole off the bottom area. With this we read in green or Caribbean Sea color. This is a wet on wet technique, so we wanted to be blending it nicely and remember to add darker Don't at some places. Next I'm adding in the color called as al de here. So this is exactly going to be like some algae in the sea, so this color is olive green in case you don't have the palate so you can use or live green on. On top of that, I'm adding the color known, a stocky see again, so the starkest see color is a ta green color, so you can add this color. The process is really simple. We just want to cover the whole off the ocean with different types of greens. So that is what we're trying to do here we will be taking the Caribbean Sea or the religion green color again and applying the cool off the top region with it. The only difference was that we added the next regular Al gay or live green in between, so that we had an effect of lean into the ocean. So I'm working on this whole thing while the paper is still wet. So it is very important that we user 300 years and cool press paper Onda also that it is 100% cotton paper, 100% cotton paper is what actually makes the paper stay wet for a longer duration. Once you have finished with the first court off the Viridian green, we will start to add the darker tones. So I'm taking a darker tone, which is deep sea or blue wheel from the articulos. If ical currents palette, but you can use indigo or a darker shade off green. For this purpose, indigo would be ideal. So add in the darker tone off indigo onto the top off the green color that we added so that the ad highlights on and mostly it will be right below the form area that we want to give the darker Don't on dwork the bottom so all of these darker tones would be at random places , thes adjusted shadows and the darker spots in the ocean. So, as you can see, I'm adding it right next to the form on did random places towards the bottom. We need to get it as dark as possible. So if you want, you can give multiple golds on top of each other, just like I'm applying here. I'm adding more and more DACA Doan on top off the first tone that I applied. This is because the paper is still wet and there's a chance that the pain that you applied will spread out on bond lose its darker, the one so which is why we have to add more on the top. As you can see, I have also talking up the olive green or algae a bit on. Then we will move on to working with the rest of the parts of the ocean. I'm applying the Caribbean Sea color again. That s t Viridian green, Andi. You can also add mix off other greens in between so that you get a realistic effect. For example, I have added the color called sea green here in between the sea green from the currents palette. For that, you can use sap green or hooker screen instead. And then, obviously, just like we did at the bottom part, towards the top part, we will add the darker tones using the darker colors that is indigo. So I'm adding in the darker don't on the top the reason why I applied another goat off the Caribbean Sea. Color on the toe onto the top area was because it was drying out and I wanted you to stay red. So what you can do is you apply it another court off the original color so that the people will stay wet again. And then you work on the further darker tones like I'm working here with indigo. Andi, you can also add shapes in the form. Off lines are small, cloudy shapes into the sea. This is entirely the ocean. Andi, it doesn't matter what shapes you put in. So right here I'm adding in some shapes in the form of long lines and because my paper is wet. It just spreads out on gives it more texture to the ocean area. So you can see how I'm adding the darker Don't again and again, and you can already see how the blend or the mixture off all these colors has star now, turning our ocean into a perfect one. I'm adding more off al gay and indeed go to the top area, so add more off olive green at places where we want. You can also add it more in other areas. If you prefer, you don't have to be in it exactly the same way as I did. You can have your own innovations and try to explore how you can make your ocean more beautifully. No, my first ocean layer has completely dried, so I am removing the mask in fluid. This process is my favorite part, as I said before, to remove the masking fluid so you can either use an eraser. But I have found that using any racer would also remove off some off the paint from the top layer, which is why I prefer to use my hand. So in areas where there are take masking fluid, you can just pull it off with your fingers and the others. Just the rub off using your hand and you can just remove the masking fluid. You can see how I'm removing the masking fluid. Thesis enter has a thicker consistency off the fluid. So I'm just pulling it off. And believe me, the process is really, really satisfying. I just really love pulling off the tape so you can see how one study tape has been for loud . We're getting a more better ocean view now. We do not want it to be left so bright white, which is why we're going to start applying a bit off water into the form areas and try to blend in some lighter tones so that we get a realistic view off the ocean. So I'm just applying water onto that area, and I'm going to apply a very lighter tone to it. As you can see, I've added a very lightened off the viridian green on Do it, so this will remove the brightness off the white and make it look as if it Israel. And as I said, don't worry. If you don't have the masking clue it, you can do this entire process in the reverse manner, like we learned in the lesson, the exercise without the masking fluid. So in that you would be painting the whole thing and then you will add in the form using your white paint. Oh, gosh. So when you're doing that process, then you can skip this step where you're trying to make the brightness off the white two degrees by adding in another extra layer off a lighter tone so you can see I'm just blending in all the white areas so that they do not look odd and stand out in the painting because we wanted to look like form. Now we will add some splatters. Andi, I'm going to be using white wash on the brush meta to do the splatters. Remember I told you that they make very, very small splatters, so it is ideal for ocean painting like this one. So dip your brush into the gloss pains or the white water colors. Andi, gently do the splatters at places near the form your hands will get dirty. But that's the best thing about painting, isn't it? Getting your hands dirty, working with the magic so you can see I'm adding more and more splatters also. But this flattering method thes platters, air so tiny that there's a chance that they will get seeped into the paper and they will become lighter. So you might need to add more and most ladders to make it prominent and be visible on the paper. This is the reason I'm adding more and most lattice. So add these matters with the brush in every place that you think it needs most. Lattice. This was the last step and now we can remove the day to reveal our painting. See how it has turned out. I love this one so much and it is one of my favorite oceans. 14. Thank You For Watching: Thank you so much for joining my classes. If you attempt any of my paintings, you can upload them to the project section here in skill share. Or you can tag me in social media profiles when you upload them. You can find me in Instagram as colorful mystique once again. Thank you so much to everyone who has joined me here today.