Paint Glowing Light: Sunset and Sailboat in Watercolor | Bianca Rayala | Skillshare

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Paint Glowing Light: Sunset and Sailboat in Watercolor

teacher avatar Bianca Rayala, Watercolor Artist

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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

6 Lessons (48m)
    • 1. About the Class

    • 2. Materials: Colors and Strokes

    • 3. Pencil Sketch

    • 4. Painting Light and Sky

    • 5. Painting The Water and The Boat

    • 6. Key Learnings and Class Project

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About This Class

Do you love sunsets but always end up frustrated when painting it? Do you find it hard to portray glowing light and sun rays? Are you lost in creating the perfect color palette? Or maybe, are you on a creative block and you want to ignite the passion to paint again? If you answered yes to any of these questions, Join me on this class and let’s paint this sailboat in sunset lighting.


We will understand aerial perspective and tone, draw light and contrast and learn to simplify painting water, waves, glare and reflections. I will share the simple color mix using just 6 basic colors to create your sunset color palette and we will start with important brush stroke exercises to prepare you on painting this picture in just 30 minutes!

See you in class! <3

Meet Your Teacher

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Bianca Rayala

Watercolor Artist


Hi friends! I'm Bianca and I'm a watercolor artist. My purpose is to inspire people to discover and pursue their creative passion. See full profile

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1. About the Class: The love sunsets with always end up frustrated when painting in the, you find it hard to portray glowing light and sun race. Are you lost in creating the perfect color palette? Or maybe are you on a quick eighth of block and you want to ignite the fashion to paint again. If you answered yes to any of these questions, join me on this glass in that Spain, this sailboat in sunset lighting. We will understand aerial perspective and bone. We will draw light and contrast and learn the simplified painting, water, waves, glare and reflections. I will share this simple color mix using just six basic colors to create your sunset color palette. And we will start with important brushstroke exercises to prepare you on bean thing this picture in just 30 minutes. I'm Bianca areola. I'm a watercolor. Are this and a silver brush educator from the Philippines. I love watercolors and I'm so passionate about sharing my love for art. My goal has always been to inspire people to pursue their creative passion and purpose. So come and join me. Let's take this beautiful journey together. 2. Materials: Colors and Strokes: I'm going to share quickly the materials that we'll be using for our sonship and sailboat glass. Let's start with the brushes. I have three kinds of brushes here. A flat brush, which is made of goat hair for wetting the paper. Next is a small chisel brush made of synthetic hair for lifting color. In the mop brush with a nice sharp, they are for the waves and other washes. And what they thought or paper that I use is made of 100% cotton and 300 GSM. And then for the beans, I will use. Number one is yellow ocher. Second is quinacridone, magenta, neutral thing. I'm at this genuine horizon, blue, Payne's gray, and indigo. These are the only colors that we'll need. You can use a different color with a similar shade if you don't have the exact colors that they have. We will also need two cups of water until eraser ruler. And most importantly, a water resistant board like this one. It is irregular clipboard with the plastic covers, so it's water resistant, but we'll use it the whole of the paper as we paint wet on wet. Now before I proceed to sketching, I want to show you how I mix colors and they important brush strokes that will help you be a better beam thing. Faint light. We need to preserve the whiteness of the paper. The source of light should be left and fainted. And the contrasting colors around it will make it blue. So around the night, we'll use yellow ocher. And then I will mix it with Connector. Don't forget the yellow, orange shade that you see on this guy. We will just vary depending on the water we add on our mix. Less water will bring saturate the mix. More water will create a light there map's next, the purple bones in this guy. It makes em at this genuine and green. Payne's gray will make the mix richer and darker. The bill does very dark villains in the ocean. And also at the outer part of this guy, we will add indigo in the mix. As we paint this dark goals, we should put more pigment and less water. Now, the green bars show the lighted sale. I will be making a transition from the neutral tint. I connect the colors, while the first one, which is connected on China is still wet. So the two colors will blend in naturally. For this mountain in silhouette, I use a mix of connected on China. I'm at this genuine and neutral tint connected, uncheck that and amethysts for a middle one. And we add neutral thing to have the darkest. Now, we need the practice some brush strokes to prepare us in painting RC scape. For our first exercise, we will use this ball chisel brush made of synthetic hair. The great light rays wet the brush, remove excess water, and then gently use the edge to live. The haller. Do the same process of cleaning the brush and removing excess water before making your second stroke. Next is a dry brush stroke to show the impression of glare on what they're using my synthetic mop brush and get that creamy mix of paint. And then I will flatten the brush and remove the excess water from it. Before I do this stroke with my brush flat on the paper. We do with length is it's okay if you don't have the exact same brushes like mine, you can use any synthetic brush to lift colors, the gray light rays. And you can also create this dry brush stroke with your round or flat brush as long as you remove the excess water in it. I suggest checking the brushes that you have at home and take some time to practice these strokes using your selected brushes so you can be comfortable when using them. 3. Pencil Sketch: Now let's begin sketching. First, we need to identify the horizon line. I will place the horizon line at the lower third barred both my paper. I just draw freehand but feel free to use a ruler denture. Your line is straight. Then I draw the montane on this side. I estimated the size based on how I see it in the photograph. I tried to draw like nice so the lines won't be too visible after painting on it. Did throw the sailboat. Draw the outline focusing on the big shapes. Don't forget all set to draw the little reflection of the sail boat on the water. Remember to draw just the big shapes that you see on the picture. And you don't have to be too particular on the exact details that are in the reference photo. Next, I draw the mass and then the womb. And some lines to show small deep fields like the people and other parts of the sailboat. I will move this on a little lower and I draw it very lightly so it won't be too visible later when we put color. Don't forget the arrays unnecessary lines, and also find the lines you're drawing. I uploaded my pencil sketch in the resource section so you can use it as your guide. There's no need to draw the waves, as we will use brushstrokes to show that effect. 4. Painting Light and Sky: Let's begin. I will wet the paper on this, what they're fragment with lean water. Then I will paint the reflected light on the water with the milk and mix of yellow ocher. But I will avoid the vertical fragment right underneath the sun. So still using my flat brush, I create Milky mix of yellow ocher and paint over the wet surface. Remember it the leave this vertical fragment under the sun and painted in watercolor. To paint the light will leave the brightest part, which is the source of light on bended. Next, I added a bit of quinacridone magenta on my Mailchimp mix and paint on the outer areas. I will let this layer dry completely before proceeding to the next step. You can either use a hairdryer to speed up the process or just let it dry on its own. Now that the water fragment is completely dry, I will wet my entire paper both at the back and in front. You might be wondering why I do with the paper even at the back. We call this technique painting wet on wet. Working on a moist surface allows us to have more control on the movement of pigment and prevents us from creating hard edges as we lay down colors. Second, it will also give us enough time to work on our painting without worrying that our paper will run dry. I will explain it more as I paint along, but I'm sure that learning this technique, the wet on wet technique, will make painting a lot easier for you. When you wet the paper, make sure that all the areas were thoroughly wet and there is no air or lumps underneath. The paper should be flat on the board. Then do the same thing in front. We have to wet the paper really well. And this is the reason why we need to use a plastic board or any water resistant board, the whole of the paper flat while it's wet. But before we start painting, we need to wait for the paper to absorb the water really well. The paper should be moist and glossy when we start applying, beings. If the paper is too wet, veins will move uncontrollably. But the, it is just moist and glossy. We achieve the things. We have more control on the movement of colors and there is no hard disk formed on the surface. So while we wait, let me explain again that in watercolor, we faint light by keeping the SAR phase of the brightest light unpainted. So the sun in our drawing should be kept and painted when we've been with the yellow ocher, the area around it. From yellow ocher, we will smooth the transition to orangey color using a mix of yellow ocher and connected though in Shanna, I tilt my board at a slight angle so Baines would naturally flow down. And I will be using my mop brush made of synthetic sable hair for the washes. As I apply paint on my brush, I will remove excess water from my brush using a tissue paper. I make sure that my brush is loaded with lots of pigment with less water. And they gently paint around the sun, leaving the center unpainted. Notice that the pain didn't bleed towards the end there Barth of the circle. This is because the paper is not the width, but just mois. In case you apply the pigment too quick and the paint bleeds inside the circle. Just use a clean the issue to lift the color and to keep the sun. On Bain did I gently spread the yellow ocher color than softly blend the orangey color. Here at the bottom part of this guy near the horizon. Remember that it's important to remove the excess water from your brush as you apply the color. If your brush is loaded with lots of water, it will create blooms because the water will then move the pigments on your paper away. As they reach the top, I will create my purple mix by combining amethysts January 1 and beans gree. They rule in aerial perspective, is this guy closer to us, is darker in don't. Using a darker tone of purple. I will tilt my board at a higher angle and paint from the top going down. I will let the paint do naturally blend with orange to avoid muddy colors and overdone strokes. I do my strokes with a light hand. Doing this will help you create a sky that looks soft and has good blending of colors. I make the heart of this guy, which is the topmost really dark. By adding indigo on my mix, I continued making soft strokes to show illusion of soft clouds in the sky. Don't be afraid of saturated and dark colors. When watercolor dries, the color really fades out. It may look too bright now, but later on it will be less bright as it dries out. This is the beauty also of being wet on wet. We have an extended time working on a wet surface so we don't have to be in a hurry in painting the sky and clouds at once. We don't need to worry about having hard edges in a soft sky because the paper is moist enough inside. I darken this top part portion even more by adding more indigo on my purple mix. And just add some more few strokes. Hello. Now, let's build on the mountain. I start painting the edge near the sun would connect with on China. And then I will gradually transition it to a darker tone using a mix of Connector. Don't Jana, I'm at this neutral tint. Observe the reference photo so you can copy the transition from light to dark. Okay. Next, you seeing the CISO brush. I create light rays using the lifting technique. Don't forget the dean and wipe off the water from your brush. Every afters tool. If you don't clean your brush, you might stain your paper and ruin the glowing light in your beam thing. Here I'm trying to darken the outer part of them on being a bit more for more contrast. You see light shines bright this, if there's a green conference around it. I've been looking at this small thing. I feel that I am not so happy with how the light turned out. So I painted over it again and I tried to repeat the process of lifting the color neither on and that is another benefit of working wet on wet. It gives you an opportunity to move and edit your work while it this width. Of course, you can skip this process if your first dry of lifting the color has gone will to have a more natural transitioning of colors from light to dark. I will use a glean the issue and swiftly swipe off the color starting from the lightest part, going out. Always use this clean side of the tissue on every swipe. 5. Painting The Water and The Boat: Now let's paint the water using dry brush stroke that we practiced earlier. First step is get a substantial amount of beans. Remove excess water from your brush, then flatten your brush to create an equal stroke. I started from left to right and right to left. But be mindful not to entirely covered unpainted fragment we preserve on their beeper right underneath the sun. I repeat the strokes with a light hand. Next, I get my purple mix to paint the dark waves I see on the reference photo. Do the same process of getting a creamy mix of pigment. Removing excess water from your brush, then flattening your brush to create and drop. Look at your reference, squint your eye to see which areas should be dark. I started here at the bottom with long strokes, then gradually goes up with short strokes. The same rule in aerial perspective of blaze in water. The water closer to us is the darker in Thorn. Thus, we may add indigo in our mix to create the portion of the water closer to us with a really the enlarged don't notice that my strokes at the bottom are long, then gradually becomes shorter as I reached the top. Second, I preserve a good amount of light on the small fragment underneath the Sun. Doing this will help make our sunset glow really well. I am adding some more darks here at the bottom. The dark dawn should really be bold and dark to give contrast. Since I notice that they have a lot of unpainted spots here under the mundane, I will get an orangey color and paint over some areas. I want the reflected light and the glare to be narrower and just focus underneath the sun. I will add a little bit of dark leaves here, again to make the foreground even darker. I've been some strokes on their demanding to imitate its reflection. And when you're happy with your water, let your paper and dry before proceeding on Bain thing, the seal, if you've made the sale while the C fragment is still with, the paint will bleed and you won't be able to create a defined shape of the same. I mix a dark brown color and add a bit of Horizon Blue to make it a bit of bake. And I will start painting from the darkest part of the sale, which is the rightmost part of it. My brush is dry. That's why the paint is really thick and semi-opaque. Next, I get an orange color. The pain this left portion of the boat light by the sun. And then I will blend both colors. Lighting. When the boat is still damp, I get a thick mix of neutral tint and the reflection of the boat. I will also being some details of the boat using the same dark beans and just vary the tonal value from one part to another. Now, they begin to paint the boom, starting from the dark portion and then blending into light that portion. I add some more details on the board, but I always remind myself that I don't have to be so forth the color on what the paint just copy the shapes that you see on the reference and it will be fine. Using the tip of my brush, I paint the mast. If your hands are a bit shaky, you may use a ruler and a smaller brush as an alternative. For me, I prefer using with the free hand for more natural feel on my painting. Also, when you paint the mass, my brush should have a creamy mix of beam with almost no water. This will enable you to create that Chris and defined stroke. Don't forget to paint with an orangey color, the part of the mass that has been lifted by the sun like these two. Now I go back to painting the reflection of the mass on the water by painting some wavy lines going down. Since the mountain has light in too much after drying, I want to add another layer to enhance the contrast. I will paint again a thick connected the agenda here, and then add a portion of yellow ocher here at the edge. I will also paint with a dark brown color. The outer bark of the mounting Eye soften the edge of the base of the mundane so it would land on my watch. And then again, you seeing my brush, I will lift the color to create light threes. Make sure that your chisel brush is clean and down with no excess water in it. And try to do this through slowly but surely. I soften some hard edges and then smooth then the transition of colors. And now the light looks much brighter because of this contrasting color of the mounting. 6. Key Learnings and Class Project: Let's summarize the important learnings that we can get from my glass. Number one to faint light. We keep the brightest light on fainted. We don't use white paint. And to make life glow, we need to put a contrasting color around it. Second, when we paint wet on wet, we must wait for the proper timing, which is the favour, has already absorbed the water really well. Before starting. In this way, paint will not just flow uncontrollably as relay them. The paper. Wet on wet technique allows us to paint soft, colorful Skies without worrying of grading hard edges or unwanted. Bloom's. Third, aerial perspective is very important to give them mentioned or being thing. The sky closest to us should be the darkest tone. The same applies to water. The water and the waves closest to us have the darkest tone. And of course, the waves closest to us are also bigger in size. You can learn more about painting water through my other Skillshare class, which is painting water in watercolor, where I teach all important things you need to learn the paint water. And lastly, we fade the sailboat when the water fragment is completely dry. We also don't fainted with a solid black color, but instead we still take note of its stones based on the reference photo to make it look more realistic. That's it. I hope you learned a lot from my glass and I hope you appreciate painting using wet on wet technique for our class project. I want you to paint the same sunset painting that I did in my demo. Just follow the same process that I did and feel free to go back and rewatch the portions of the videos that you want to review. Don't forget to use your color mix and brush exercises to prepare you well in doing your project. I'm excited to see your bean thing, so don't forget to upload it on the project gallery of the glass and tag me when you post it on Instagram. I invite you also to check my other Skillshare classes. And don't forget to follow me to get updated above my new classes. Thank you so much and God bless.