Pen, Ink and Watercolor Sketching Essentials - Beach Landscapes | Watercolour Mentor | Skillshare

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Pen, Ink and Watercolor Sketching Essentials - Beach Landscapes

teacher avatar Watercolour Mentor, Art Classes, Mentoring & Inspiration!

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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

33 Lessons (6h 14m)
    • 1. Introduction

    • 2. Materials: Paint

    • 3. Materials: Paper

    • 4. Materials: Pens/Pencils, Brushes

    • 5. Materials: Other

    • 6. Sketching: Techniques Demo

    • 7. Watercolor: Techniques Demo

    • 8. Watercolor Skies: Wet-in-Wet

    • 9. Watercolor Skies: Washes

    • 10. Watercolor Waves: Techniques

    • 11. Watercolor: Waves and Shores

    • 12. Watercolor: Land (Wet-on-Dry)

    • 13. Watercolor: Figures & Shadows

    • 14. Values: Values vs. Colour

    • 15. Values: Monochrome Demo

    • 16. Values: Colour Demonstration

    • 17. Values: Palm Beach Demo

    • 18. Values: Simple Beach Scene

    • 19. Values: Beach Night Scene

    • 20. Paint Along: Simple Beach

    • 21. Paint Along: Figure on Beach

    • 22. Paint Along: Figures on Beach

    • 23. Paint Along: Loose Sky Beach

    • 24. Paint Along: Moody Lighthouse

    • 25. Paint Along: Lighthouse Scene

    • 26. Paint Along: Beach & Buildings

    • 27. Paint Along: Two Figures & Beach

    • 28. Paint Along: Tropical Beach & Figures

    • 29. Paint Along: Ipanema Beach

    • 30. Paint Along: Umbrella Beach Scene

    • 31. Paint Along: Beach with Surfers

    • 32. Paint Along: Beach and Boats

    • 33. Paint Along: Beach Sunset

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About This Class

This Beach Landscape themed Watercolor Line and Wash Essentials course is designed for beginners with a desire to learn all the essentials of Line and Wash Watercolors. Although there is a beach theme to this class, the skills you will learn can be applied to all other watercolor landscapes.

By the end of this class, you will have the confidence and skills to understand how to paint any beach landscape scene in half an hour or less!

This course is designed for you to follow and paint alongside the demonstrations. It is encouraged for you to do so, as this will quickly strengthen your watercolor techniques by providing ample opportunities for practice. Each demonstration sketch is simple and tailored towards beginners. Draw these prior to painting. 

I take a different approach from other instructors and make a conscious effort to demonstrate every technique I discuss in the context of a small painting/sketch. So, in addition of 19 full-length demonstrations, there are also 10+ smaller demonstrations highlighting techniques such as wet-in-wet, in the context of painting clouds, water, land and other beach landscape components.

In this class, I will show you the FUN and EASY way to enter into the world of watercolors, and paint along to over 20 simple, yet beautiful Beach Landscape paintings. 

This comprehensive class contains over 20 landscape painting demonstrations! These are based on various beach landscape compositions from around the world. I will walk you through how to complete each painting step by step as you follow along!

In this Watercolor Painting Line and Wash Essentials: Beach Landscapes course, I will cover basics such as:

  • Materials - what paints, paper, brushes and pens you will need.
  • The difference between different kinds of watercolor paper, and practical demonstrations showing comparisons of paper performance.
  • A crucial series of 6 lessons on understanding 'values' and color - including practical exercises and demonstrations for you to follow along to.
  • Understanding light sources and how to paint realistic shadows.
  • How to sketch a subject easily by simplifying a landscape into basic shapes, and using a combination of loose and accurate drawing styles.
  • Hands-on lessons on essential watercolor techniques such as wet-in-wet and wet-on-dry, dry brush and¬†paint 'flicking'.
  • How to paint clouds, water and land.

Join me in the class and let's make learning watercolors fun and easy!

Below are example of some landscapes we will paint together:








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Watercolour Mentor

Art Classes, Mentoring & Inspiration!


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1. Introduction: Hi, my name's Darren from watercolor mental. I'm a part-time artist and teacher, and I'm here to help guide you through your first steps in watercolor. There was so many things that I wish someone had walked me through when I first started painting watercolors. And I want to share those essential tips and skills to help give you a headstart. While the end of this course, you have the confidence to paint a variety of beach scenes and show up some paintings to your family and friends. This class is aimed towards begin is with the 18 beach themed painting demonstrations, which I'll hope God you through step-by-step. Some of the topics I'll be covering the basics of pen and wash sketching. I'll talk about what materials you need. And it will also go through a comparison of different watercolour papers. So if you have an ink pen, some watercolor paints and paper, you're pretty much ready to go. I'll touch on loose and detailed sketching techniques and explain to you through various demonstrations. And most important began his topic, Understanding color versus value. I'll also explain and demonstrate essential watercolor techniques that you can use over and over again for any painting. And don't forget, there's an 18 the righted painting demonstrations of classic beach landscapes for you to paint along with me. I'm really excited for us to get started. So join me in this class and I'll show you just how easy it is to create some beautiful lawn and wash paintings that you'll be proud of. And okay. Okay. 2. Materials: Paint: So before we actually start painting, I want to begin this class by talking a bit about materials. And I'll first start off by saying, Use whatever materials that you have on you. You don't have to go out. And specifically by professional watercolor paints or paper, if, if you just want to get started and give it a go. I use all different types of materials, some student grades, some artists gray to just really depends, especially when I'm sketching. I'm not always going to use the nicest paper that I have. I'll try to use that for later on with some of my other paintings. So with that said, I'm gonna go talk a bit about paint now. And I've got a few examples here of what I use. And I'll start off by saying as well, a lot of people, when they begin watercolor painting, they often get these simple sort of kits from the shop. They kinda have round pans, pretty, pretty sort of affordable paints and those, ok, to start with, anything to keep in mind is that the paints can often be a little bit chalky and you know, the pigment concentration isn't as high. But you can start off using those to begin with. That's what I did when I was first trying out watercolors. So still gives you a decent experience. But if you really want to try out the capability, the full capability of watercolors, I'd suggest getting at least a student grade watercolor. The first student grades set that I got was the Winsor Newton Codman sets. And I don't have that here with me, but I've also got a white knights set here is Saint Petersburg White Nights. And this is somewhere in between a student and artists grade watercolors depending on who you speak to. And, you know, I think I only paid about $35 for these at the time. They are a lot more expensive now, but still pretty affordable for beginners and great Kit in terms of values. So, you know, that's kind of, that's what they look like. I think that is 3770 colors in this kit. Bodies were five years ago and there's still some left over. I can travel with that and there's so many colors in there probably wouldn't take that. Okay, with me. This set here is a custom palette that I put together. So I actually bought this pellet separately. And what I've done, I've actually squeezed out paints onto this one. So I'll show you what I mean when I say squeeze out paints. So I've got tubes of paints that I buy separately. So these Daniel Smith ones, artist grade ones that I've picked up, and what I do is I just squeeze them onto each of these little bays and today completely dried. So that's another way you can, I guess form urine custom palette. So if you don't want to stick with one brand, pick a few different ones, that kind of thing. You can go this route. And this one here on the left is my Shanker Set, which got also about four to five years ago and there's still a lot of paint lift left in there. I'll swap between all the different kids. And this one came with the hard pants or filled in already. And these are really fantastic and I use them quite a lot, is the concentration of the pigment is extremely high. I've read that the pigment concentration of these actually higher than you can find the two paints. But look any of these fine when you start out. And like I said, if you've just gotta begin as kid, that cost a few dollars, just use that, use what you have. But just keep in mind that with the target paints, you have as well, you know, you're going to have to gauge your expectations with better quality paint. You just gonna get better results in general in terms of when you're applying certain techniques or when you're trying to blend colors, or even the vibrancy of the colors, it does make a difference. 3. Materials: Paper: So in this video, I'm gonna be talking to you about different kinds of paper and what you need for this course. Pretty much for all the demonstrations, I'm using a 100% cotton paper. That's always ideal. But if we don't have that, any of these are fine as well. And, you know, even if you just have normal printer paper, you can use that. But I'd recommend getting some heavier paper because that's just going to make your life a lot easier with some of these techniques. You're really only going to be able to execute them effectively on these heavier types of paper. And it's not so expensive as well, especially these non cotton bits that I have on the right. So what I'll do first, I'm just going to demonstrate to you what the difference is. So say if I pick up a bit of blue paint. So I'm just going to grab some Prussian blue from my palate, mix that up. And I'm gonna get the same consistency of this paint. And I'm going to apply it to the to all four papers at the same time. So then we can see how it reacts and the resulting dried product. So let's have a look. So I'm going to start first on a 100% cotton. So just going with the blue line like this. Now I'm going to grab grab that and go with the twenty-five percent cotton paper like that. Now I'm going to go on the 16T GSM non cotton paper. And the non cotton in 100 GSM paper. So without an even drawing, you can see a bit of a difference with all of them with the, a 100% cotton paper. The colors definitely if soaked in and pay a lot more vibrant than the non cotton ones, twenty-five percent cotton. You can see it's definitely appearing a bit more vibrant as well. Although it's just granulate ing a bit more around the corners so that there is some inconsistencies, I guess near the paint join us. And with these non cotton pads that I have here, you've got a much lighter sort of wash the papers is pretty smooth as well, so there's not much granulation that I can see. And you will notice as well that as it dries, areas of paint which just dry faster than others. So it just doesn't disperse as well as if you using any of these 25 to a 100% cotton. So something just to keep in mind, now I actually use these for sketching all the time these hundred and ten, hundred and sixty G's and non-common papers. And they're perfectly fine, especially when you're just starting out. Because a lot of these cod papers that can be quite expensive and if you can't spend on it, then definitely recommend them because you're going to get just the better experience is going to be easier for you. Whereas with the non caught and papers, you'll find actually as a beginner, it can make it a bit more difficult for you to start on. However, these two are in your Price bracket for now. Then just grab them. Anyway, there are a lot better than the normal printer cartridge paper. And you can still get some really nice effects on them. It's just that when you try to go back in and change things up, you'll find that the paper can only take one or two washes before, you know, bits of the Pope's dot coming up and it's a bit annoying. Have afforded demonstrations that I'll be going through for these class. You'll be fine just using these two. But as I said, recommend these two. I'm going to show you just a few more examples of the blending and how it differs. And I'm picking up a bit of that blue again. And I'm going to start off with the blew up top. And I'm going to blend it in another color, a warmer color like that. Yeah, the bottom. I'll do that with this one as well. Died out color at the top. Pick up some orange or yellow. Join them on the bottom. We'll go with 25% cotton. Clean the brush-off, grab some orange blend and woods. And a 100% the blue, and then the orange again and blend. So another thing you notice, the blending with the cotton papers is a lot more consistent. You'll see that the transition between the two colors is smoother. Whereas with these two, you get some different effects. So just something to definitely keep in mind. 4. Materials: Pens/Pencils, Brushes: Okay, I'm going to show you some brushes that I use. And over here, I've got a whole bunch of them really. But I'll tell you about the ones that I use most irregularly and the ones that you probably need. So these are a bunch of flat brushes that I have. A pretty small flat brushes as a twelv and a three-quarter inch flat brush. And I've got a smaller one somewhere in here as well. This is a number six flat brush. These are great value. You can get a bunch of these synthetic brushes for probably ten to 20 bucks and that's really all you need, even for myself and I'm painting almost every day. I find that ongoing, consistently back to these synthetic brushes. They're getting pretty good these days and some of the natural hair brushes like this one and this one, I do find that they wear out quite quickly. I do have Sable brush here, which holds a fantastic point. So that's another thing to keep in mind as well. If you are buying synthetic brushes, they do hold a point very nicely and tend to last a little bit longer, in my opinion, than the natural hair brushes, unless you get a very good quality natural hair brush. So Kaminsky Sable brush for example. So for this course, I recommend just having few different flat brushes, some smaller flat brushes, maybe just the number 12 and the three-quarter inch that would do completely fine in a small flat brush. The number six or smaller. Or if you don't have a smaller flat brush, just pick up a small round brush and number four to six of these brushes would do you completely fine. Now, you can also use one of these, which is a ward brightest cost me about $2. And for the purposes of this course, you can probably get by with just this brush. The only issues that you can't do some techniques with this brush. So things like dry brush, it's going to be very difficult, especially to control the amount of water going through the brush is pretty much at a constant level. So that's pretty good for just general sketches and coloring in bits and pieces. In terms of sketching, I use a set of these pigment line is easier stapler pigment liners. And I've got six in here. But really if you've got one that's 0.2 to 0.5 millimeters. That's going to be fine just with cause you're not gonna need all these different pigment minors. And you don't even need to do this whole course and ink if you want, you can just pencil in the drawing and paint them in normally just in watercolors. One of the things that I recommend you doing, especially if you're just starting out drawing as well as painting. Is the pencil in the drawing prior to actually getting your pen and outlining it. And the reason is it just gives you that bit of extra flexibility if you make an error, either some of the pencils that I use, no iron, they use mechanical pencils these days. The reason why. So the point remains the same thickness, which is fantastic. Don't need to sharpen it. And he did a lot of little details that will be very difficult otherwise. Razor is important and I've got a bunch of different races. And let me just move this out of the way first. These are little, smaller raises that kinda come in this pen style. And you can pick these up from the shop for raising very small things. And a couple other options, or kneaded eraser, which is basically doesn't create any dust or anything like that. It just absorbs the carbon. And you've got just a normal arrays such as this. Any of these will do fine. Of course, if you have something that has a smaller point like this sort of arrays a, and be able to erase fine details. Really if you've just got same mechanical pencil, then arrays or on the end and just one pigment liner. You're gonna be absolutely fine for this course. 5. Materials: Other: Okay, now we're going to talk a bit about miscellaneous materials flow, the time I forget to talk about these, but just where I used them. Firstly, phone or an iPad or your laptop screen, that's just good for using as a reference. So if you have your reference picture up in the corner of the tutorial playing, that has the actual picture of what you're wanting to pay. Really important to have a reference. And there are some people don't paint with references and at times I do as well. But for the purposes of this class, it's really important to know exactly what you're planning to paint in. Have the structure of that in front of you so that you can plan it all out. A couple of other things as well. These two water containers off just basically taken a couple of water bottles and cut the tops off. And basically I just use these to store water. So a good, good practice is to have two water containers and have one for dirty water where you just clean out your brush and have one with cleaner water in it. So if you just look into apply clean water into the page to pre wetland area first or if you're trying to mix a really clean color, so like a, a, a green or blue and you don't want any other colors to get mixed into it. That's when you go into you, you clean container. So that's one of the reasons why and, you know, this towel was looking really grubby because I've used it for so many years now are probably should change it over. But tau or paper towel, tissue paper, essential because often when you're painting, you're gonna need to alter the amount of water that's in the paintbrush. So sometimes you need a lot of water if you're doing a sky wash and you want it to be really runny and sometimes you want it to have less waters. You pick up a bit of paint, you add some water and mix it up and then you dry off the brush a little bit. Because if you've got too much water sometime that just gets out of control when you paint. So that's what's really important as well. Just a, something to absorb the water. And my trusty hairdryer. This is a bit of a shortcut method. It's not a 100% necessary, but during my paintings and you know, when I'm doing different layers of color, sometimes I just don't want to wait around and I just pick up the hairdryer and dry off that particular layer so that I can begin again. And there's no bad effects on the paper or anything like that that I know of. So just something you might want to use. 6. Sketching: Techniques Demo: Okay, so I wanna talk about sketching. This is going to be important for you to just get some basic ideas before you start. Because a sketch is really important in any kind of painting because it lays down a plan, a structure for you to know and plan where to go ahead. So without one, it's actually quite difficult to know. Okay, which bit should I paint first? So That's how I think of as sketch. Now, like I said before, this is a line and wash class. However, you don't have to go in with a pen and actually duly ink drawing beforehand. And you can just use a pencil, sketch in and paint that way as well. So it's really up to you where to get started and what you wanna do. Just with the ink, it's a lot more permanent. And once you've placed down the shapes and everything like that, you just have to go with that. So also adds a different kind of lines show through and you can see the drawing. It's, It's really nice both methods anyhow. One of the things I want to mention is way you hold the panel depends who makes difference to how your join turns out. So if I hold the pen at the end, you're going to get a much more looses style drawing than if you hold it to the front. So if I just do a quick drawing, say of a bit of a landscape will go to the mountains here. Got a tree coming up here. And the side, maybe the shedder and other tree here. And a bit of a rock here. And we've got a person maybe here like that and someone else. Yeah. That kind of a path. Notice the lines have come out quite loose. So it's really depends on what style you want. If I go closer in and I'll draw like this, you find, you can get a lot more detail and a lot more control. So It's definitely easier to put in details and be more precise and where you want things, but it also changes the style in which he draw. So for myself, I actually use a combination of both. So I don't want to have everything looked too tightly in neatly constructed our a guess like this. But at times, you know, you might want to get in some really specific detail. Or maybe like a little box here with a handle. Or you might, there might be a car, for example. Putting the lights on the side. And then some wheels like that, the shadow underneath. So it really depends on what you drawing. I try to use it, especially if I'm doing landscapes which have a lot of trees and things, I like to use a kind of looser style. And the reason for that is because the subject that I'm painting, which is trees and mountains, they often have quite random and don't appear in, I guess, patterns sort of ways, kind of like clouds. So you want them to be loose and when they are loose, they actually look a lot better. So really experiment with both and see what works for you. But, you know, for the little landscapes that we'll be doing in this course, really going to be quite specific in terms of beach landscapes. So you get a lot of practice to sketch quite similar scenes just from different angles. And you might have water coming in here. And then you have the horizon line there, and then you've got a bit of headland here. You've got some clouds are per year. And, you know, you've got a person figure walking on the beach like that, that dog. So all different ways that you can do it but try to be pretty loose when you drawing something which has a kind of natural look to us, like water, don't spend too much time trying to draw in all the little waves in. Because when you do that, it can at times come off looking at bit unnatural and true forced. So you got to strike a balance between them both and indicate rather than, I guess, just exactly replicate whatever it is. They're really important. This technique that I'm using here is just called hatching. When you want to indicate an object is darker than other objects, just create some lines running in the same direction like this. I will just indicate that's bit of rock in the background. You can go back and do this as well in the opposite direction is called crosshatching. And the direction of lines really just depends on your taste and also on the composition. So you might even want to go downwards like that. Yeah, for me and especially for this course, I'm not going to worry too much about hatching. I'm just going to draw in the shape for most, for the most part, might do a little bit here and there just indicates some dark areas and remind myself, when I paint, this area needs to be darker. So I hope this has helped. And before we get started, Give it a try. Just pull out a pad and try drawing in some, some general trees and shapes and things like that. You know, you can start off with a very loose sort of style as I've done here, and then go back into it and add some small details like this. And you find the combination of birth creates more interesting drawings. 7. Watercolor: Techniques Demo: So in this lesson, I'm going to be going through just a very basic introduction to the essential techniques you need for this class and for watercolor in general. And what I'll do later in the other lessons. And what I'll do, and what I will do later in some of the other lessons is I'm going to talk to you about utilizing these techniques in painting things like clouds, water, shadows. If you've got sharp edges and mountains and things like that, which you want to get in a nice clear outline. I'll show you the context in which to use these particular techniques. Picking up a bit of blue paint. First, think that's blue. And what I'll do, I'm just going to paint in just a bit of a sky like that. Okay. And you'll notice this whole layer is completely wet, still hasn't dried. What you can do now is pick up Docker bits of paint. And it has to be often thicker than the mixed that you've used there. Because if you use a mixed thinner, it's going to make it bloom. So just depends on what you're looking for, but I'll show you both effects. So this one here, I'm just adding in some of these thicker pigment indicate maybe some clouds in the distance like that. And this whole melting. Give you another example here. And a wet, this area, dark in it, more sad in some more blue. These are my White Nights set. Always surprised how vibrant they are. Great value. Okay? So this layer hasn't completely dried yet. And what you can do if you want to encourage it to bloom is dropping a bit of water, a bit of thinner paint in there. I'll let that partially dry first and just so that it still damp. While that's happening, I'm going to getting some sky. There's a thinner wash on this side. So I can demonstrate some weight on dry techniques, lighter. So what we can now do with VC1 is actually pick up some water and just drop it in. Say here. And you can see it's created a bit of a bloom effect. Sometimes you can play around with these effects to create clouds or a bit of mist in the distance, or even just tree shapes and things like that. So it just really depends. I don't often use this technique here with blooms, but it's just something you can do. And you can also pick up just a thinner wash of whatever color you want. So if I go for, say, some orange, that quiet Finn and drop that in here. Here. Colours now going to bloom across into the blue. So you get this interesting orangey bloom in the center there that spreads into the blue. I won't do it here, but nothing can do is use table salt and just drop it into the wet areas. That also causes tiny little areas of lighter bloom affects. So it's just not something I used to often. Anyway. We'll go on to do the wet on dry. Now assuming this is dry, I'm going to give it a quick draw away first. Okay, so for this one here, this bit of paint's already dried. And you might think to yourself, Hey, I want to add some mountains in the background or I want to add some clouds that are kind of sharper looking in the distance. So if I want to go with a bit of a mountain, picking up some darker paint and you can put that in. And notice that the shapes have a very defined edge. Completely different to what we've over this side way. The edges is softer and just kind of blend into the paper. Here. The edges of very hot. And it's also good for doing things like trees and branches and stuff like that. Shadows, rocks on the ground, that kind of thing. Blades of grass. Give you another example. That's going to get into some color here. First. Orange. He goes down to o, since this is red, sort it was green. It's not just going to pretend this is a sky. And a bit of maybe cool color on top. I'm going to give it a drawn out. So one of my think now is I want to adding a bit of color on the top. So I might just pick up some these gray that's on the palate, draw off the brush and do some clouds. Shop looking clouds and the distance like that. In the foreground. Might want to add just a hint of some actually mountains in the background first, just in the horizon line like that. These are all wet. On dry. You can only get these hard edges and you wait for the paper to completely dry. If you wait for it to dry half away while the paper is still damp, you still going to get some hard edges, but you also get some Ferrari and soft edges in there, which can be desirable depending on what you're trying to paint. A painting trees, that can actually be quite a nice technique. So, you know, you've got some mountains in there. You might want to get in some trees in the foreground going up like that. So this guy, another tree coming in from this side, bit of a shadow maybe coming forward here. So they're very basic demonstration went on dry. But like I said, I'll run through a few more demonstrations showing you how to specifically use these techniques for the landscapes that we're gonna be doing. Some bonus techniques I want to talk to you about dry brush. And dry brush is important for creating little details. So indications of windows or bits of grass and things where you just want to add a, an extra layer of detail and taught but not wanted to overwhelm everything else. So what you do, you pick up a bit of paint and just dry brush on the towel and you'll notice as it hits the paper, you get areas that it just misses. So this here looks a bit like grass. You know, you might want to do a tree like that. The far distance and you just don't want it to stick out too much. Just, just to imply. So that's a couple of examples. When you're doing water, sometimes if you do it really quick. You get a bit of a section in the middle like that that hasn't been painted. And that can be used to imply maybe a son reflection here on the paper. So that's just something, something to keep in mind. Of course, you'd probably want to do the yellow wash. first before all this stuff. And flicking paint, this little technique that you can use are basically width the area first maybe with a bit of yellow. And you can pick up either a toothbrush or just the normal brush. Smaller brush tends to work best so that it doesn't get out of control. But I'll show you what both look like. So that's still kind of wet. And what we can do is actually pick up this paint on the palate and just flick it on with the toothbrush. And you notice that it just creates this software on wet kind of effect in their implying bits of sand and things like that. Same thing goes with a brushy pick up a bit of paint there and just flip it onto the paper. Like that. Helps to create a bit of texture. And if you wait until the papers completely dry and try this technique, you're not going to get these blending affects the, just get these little droplets of paints that dry on top and create sharper droplets. So really just depends on what you're doing. But with sand, I think it's good to have a combination of both. You want some soft ones and maybe some normal just ones on top that stick out. So if we do it on this bit of paper, for example, notice it stays in that form and it will dry like that, just a bit lighter. Another thing I want to show you is using a spray bottle. And spray bottles good foot creating cloud effects or just pre reading the paper or adding a bit of texture and interests to an area that's already been painted so wet this top area and I'll show you what we can do first. So just spraying the top a little bit more completely. And I'm just gonna go grab some paint off the pallet and touch the paper. And you can see there's some areas of the paper where it's drier than other bits that he, droplets have touched. So you can use this to just add in clouds and get a bit of a random effect like that. Another thing you can do is go into an area that's already painted like this. Let me just get some more paint and they're running out of space and wait for it to dry slightly. You can go into it now. And I prefer to let it dry just a little bit. And now just spray bit of water in there from a distance. And you get this kind of speckled effect where you have tiny little blooms almost like what we did on this one on the left. Just on a smaller scale. So you can use this for all kinds of things. Snowflakes or just to add a bit of texture to an area in the ground, for example. So now it's going into the top one. So quite interesting really. But look, these are just some little fun techniques and also essentially techniques to try and really recommend that you give these Ago and a bit of paper before we get started. 8. Watercolor Skies: Wet-in-Wet: Alright, in this video, what I'm going to be going through is how to paint some skies. So it's important to watch this one. So just gives you a bit of preparation for what I'll be doing later in the demonstrations. So we'll start off with the first one. And what I'm gonna do is I'm just going to whip the area of the paper area of the sky with some clean water. You can barely see it. If you look at the paper from an angle, you can see the paper is wet, so you wanna get it quite comprehensively covered. And what I'm gonna do now is just to make it simple, pick up one color, just to begin with. So I'm gonna pick up a nice Cerulean Blue. And consistency is important as well, needs to be thicker than what we've got already on the page. So obviously if you've got some paint in there ready, it's gonna be thicker. So we'll start off just a little line of paint up the top like that. And you can already see it's dying to spread quite a bit. And the important thing when you're painting clouds in watercolor, you need to make the ones on top a lot bigger than the ones below. And that's just going to help with the perspective and create that illusion of depth in your painting. So notice it's so spread out quite nicely. Then also you've gotta be careful as well. You don't want to add too much painting there. So I'm going to leave this bit of sky open right there and beneath just adding some smaller clouds, just indications of smaller clouds that, and try to make them as random as possible. You don't wanna do the same cloud shape everywhere. And as you go down into the horizon line, which is here, you want to make the paint thinner and the clouds a lot smaller. So you can use this side of the brush just to do things like that. And papers not completely dry yet. So give you an opportunity to actually go through and change some of these shapes, add more paint up to the top if you need. So I wanna make these clouds up the top, fair bit darker. And I'm still using that civilian blue. And with the ones further down at in a little bit more color as well to them just thought I needed to be dark and more. The ones on the top, Nate to be the darkest. And you can even add in a bit of CPU for darker color up the top. Right. These dark clouds, but remember the dark and that you make them. That's going to change the mood of the painting as well. It's gonna make it look like it's a stormy sort of cloud peering over the horizon line. So. Be careful with that. So just depending on what type of scene you wanting to look at. So these are some really basic wet on clouds. And we'll let that, oh, sinking nicely. We'll get on to the second one now. And what I'm gonna do first is I'm actually going to pick up some orange paint. And I'm gonna go through the sky with this paint and also mix in a little bit of red. Oops, I wanna to get someone's page and just move that all across. And this is going to create a base in which you can put some clouds on so you don't have to start with clean water. So this could be say, sunset or just a different color of the sky on that particular day. So that's all nice and saturated. Now, also with the top, you'll want to make that a bit darker. Blend that Dan a little. And same as before. Pick up some paint. You can use some blue paint. You can use some gray paint. You can use some purple paint even. And just dropping some of those clouds. So it goes, going on top. Just try that. There's some basic cloud shapes. You know, you don't even have to use this brush. You can pick up another brush like you can get a round brush and see if we get in some different cloud shapes. I mean, use this brush for a while. So it's just needs a bit of warming up. And I'll pick up more of these grayish paint and drop that in. And you can see with the round brush, you get some smaller shapes. I want to make the top clouds a lot darker. So going in and changing that care. Yet in bits of blue and things like that to remember as you move down, just lots in that and move down and just continue adding some of these little clouds. And remember on the horizon line, closer to the horizon line make these clouds a lot smaller. Once this dries, you can even go over it again with a second layer rewetting. Do the same thing again. And I'm just showing you this one layered approach, which is what I'm going to be using all the tutorials and demonstrations in this class. So I'm just adding in some dark a pain up the top. Okay. So that's another one. And what I'll do now is I'm going to go through a third method, which is painting directly on the paper using sum color like blue usually. And we could use a gray depending on the day. I'm gonna get this brush slightly dry and just going straight away. And if you keep the brush slightly dry, you're gonna get these bits of white on the papers showing up. So it's just like that. And you can use that as little openings in the sky. Kind of rough sort of cloud effect coming down to the horizon line like that. And I wouldn't leave it like that completely as well. You can go and pick up some darker paint, dark and some of these areas just a little bit where you feel you want to indicate pit of darkness here and there. So I've done that, illustrated that quite quickly. You can also do things like lift out paints. So getting my round brush, you can use a flat, broad as well. You can pick up some water and just dry it off a bit and just lift out. Like that. You want to emphasize some areas which are lotto. You want to soften some edges. I think it's a good idea to have a combination of soft and hard edges in these sort of clouds, especially loose sort of effect. Coming down to the horizon line. This is an effect called a bloom, say picking up a bit of water and just dropping it in there. While the paper's still slightly damp but not yet dried. And you get this area where the water will spread out and create these kind of effects in the sky. So they almost look a bit like clouds in the far distance. So these are three different skies that I've gone through. So I would suggest you practice some of these techniques first, and that's really going to help you later on. 9. Watercolor Skies: Washes: Okay, what I'm gonna do now is I'm going to show you some Skies which gets graded wash. Ok. So what I mean is we're gonna start off really dug up the top and move it down to a larger color. Or we're just going to use a flat wash. So you start with the flat wash. And for that we're going to need to pick up a good amount of the same paint. And you can see how much I'm mixing up here. I want to get as just enough paint to cover the area of the painting, the area of the sky. And I'm looking to feel. So don't have to go back and get more paint because if you do that, you're going to change the consistency of it. So this is going to be a flat wash. And I'm just going over and painting this top area of the sky like that. Going back quickly and joining that on again. So the aim of this as basically to get that same, Turn, that same value across the entire wash like that. That's a flat wash. For this second 11 I'm gonna do now is I'm going to show you a graded wash. So I'm going to go in first with the throughly in blue and then I'm going to fade it down into a red, kind of pinkish sky. So we start off at the top. Like that. Darker, darker. Okay. And add some water into this mix and join that on like this. It's just a little bit lighter. And now what I'm gonna do, I'm gonna mix up a bit of this red on the side very quickly and needs to be around the same consistency as this blue. And just well, I can drop it in and touch the edge of that blue light it melting like that. And carry these downwards. Add more water. Do that last bit at the bottom like that. Okay. And you can see this area start to blending and sort of turn into this nice faded line in between where the colors joined together. And I'll show you here where you can do essentially three different colors. So graded wash. And I'll start off again with the blue on top, darker. Then what I'm gonna do, I'm gonna grab some of these red drop that in this that to mix a bit k. And with this area a bit here. And drop in some yellow and got some yellow ochre and feather that in like that. So that it kind of fades between both these areas. Kind of not doing what I want it to do. But the idea is to have it fade a little bit more seamlessly, just adding in some more blue in there to see if it does anything that see what it does. It looks a little bit. And now, but you can see the transition in between the three colors. So really, I'd recommend for you to give this practice in doing these skies before you start. 10. Watercolor Waves: Techniques: Okay, so what I'm gonna do here is I'm going to show you different ways to paint water and just show you the different sort of stars that you can use in terms of wedding wet waves. Or we can leave some of the white on the paper. And just the way the water comes in on an angle as well as it hits the sand on the beach. So we'll go through and we'll do the water. And then what I'll do is I'll show you how to add on some land and just some solid shapes in there afterwards. So we'll firstly Go ahead and to the water for this top one. So in this one here, the water's coming in and got a bit of land here. So what I'm gonna do, I'm actually going to wet this whole area first in this blue. I'm going to make it darker than the sky. And just went that whole area using a flat wash like that where it hits the shore, turn your brush him in angle to get some of these sharper waves coming in like that. Just helps to make it look a bit more convincing. Okay. So that already looks a bit like the ocean. But to make it better and more convincing, what you're gonna do is pick up some darker paint. Make sure it's thicker. And four that are actually uses smaller brush, smaller flat brush to get in some of the detail. And just going to drop in some paint. So follow the, following the direction of these, the lines of these waves. Just going to indicate the sort of waves coming in like that. Oh, we don't wet. Just indicating you have dark area here on the shore. So that's the first one done. This one here I'm going to go through with a flat brush, pick up that blue again. And kind of go through. And I'm gonna do something a little bit different this time. I'm going to leave some areas of white on the paper. It's a lot easier when you use a flat brush for this as well. Painting almost horizontally, just moving your arm left and right. And skipping areas. Because he countdown the page as well. To make these waves a bit darker. Notice I'm using this sort of shape going up and down like that just to create some inconsistencies in the lines and just make it look like the waves are breaking, falling, that kind of thing is a bigger wave here. I'm going to get in. One thing to remember is the waves get bigger as you go to the front and Docker as well. So make sure you taking that into account like that. And that's very simple. So representation of some waves, you can just leaving the white of the paper. Leave that to dry. And I'm gonna show you a third way that you can do the similar effect to this one, but all wet into wet. So firstly, going to wet the paper. Very light wash of surly and blue. Miss, by the way, is a little dry brush technique which you can use to leave, sort of indicate that there is a bit of sunlight coming through the middle, but I'm not gonna go into that for this one. So I'm gonna get in all this area of the water, keep it light. And what I'm going to do and it's going to dry off a little bit. And in the meanwhile, I'm going to go back and pick up some darker blue paint. You don't make it pretty dark. And starting off at the back, we use a small brush. Just adding some of these darker paint lines to be thicker. Waves of smaller at the back. Remember? And again, skip a bit of that white. As you go down the page. This. And you're gonna have to do at all in these upward and downward lines. You can just put little marks on the paper like that. As you get near the front, they need to be pretty dark. It might look too dark at the moment, but when it dries and you see what I mean? I think that so you've got a similar style effect there, except this is going to just look a lot softer. And there's things that you can do as well. Like you can go in with the brush that's just been cleaned off, a little bit of water. Just dry it off and just lift areas of the paper where you want to indicate some lighter spots like that. Regain a little bit of the white of the paper, kinda separation in some of these waves like that. So it has to be done waiting wet though. Once it dries that it this other one has pretty much dried off now. And what you can do is you can go in and refine some of these waves. Like that. We sum, dry us sort of brushstrokes. Just another technique that you can use to go to the back. Just less detail. So ways they add another dimension of detail there. 11. Watercolor: Waves and Shores: So we'll go through these ones here. And the difference is that these ones have a bit of sand and things like that down the bottom. So I'm going to show you how to blend the waves into the sand as well. So picking up some of this blue, I'm going to go in and get this area, the waves in water to the shoreline. And I'm gonna leave little areas of white showing on the paper. Not all of it colored in, especially down the front here and near where the waves hit the area of the sand and just make it darker at the front. And what I wanna do now is I want to just wet this area of the sand and touch on to some areas where it joins onto the water like that. Okay, cool that in. And this water is quite bluish now, but you should really do it with clean water, picking up some of the yellow and I'm allowing it to blend. So some parts of the sand on letting it blend with the waves like that. And remember this area is still wet. And I'm going to take the opportunity to add in some darker waves. Just indications went onto wet like that. Darker up front. It's probably too dark. But you get the idea and go and do this other one now, V, a lot easier. And I'm going to just add in a strip of blue paint here. Going across the horizon line. Stanza, the pink area. Maybe good. And into this makes leave, leave that actually too dry for a bit and makes the and at the bottom the sand. And we're just going to use. Buffer what we the sand is leaving a little bit of the white separating. I'm also going to add in the yellow ochre that carrying this all the way down to the front. Just to show you how it joins on to the land. The front needs to be darker as well. Sad in some burnt sienna. At the front can see bits of shrubs and things. K. Now into this mix of blue. I'm going to add in a few blue streaks of darker paint starting from the back. Here's the indications, nothing too serious. And near the front here as well. Some detail. And that's just a very brief indication, really beautiful, frothy that's come up on the beach. Now this third one here, I'm going to go through and use the same technique as the second one. Painting the water. So leaving some bits of white on the paper, it's coming in from a kind of angle. Being really quick here. And Jay Didn't XYZ horizon line two, k. And blend that quickly with some yellow ochre and buff titanium. The foreground. Leave some white as well. You can blend bits of it, say here and here, connecting it on a bit. But leave some of that white on there. And dark and things up at the foreground like this. So just some simple ways here to pipe water. Forgotten to put in some of the land in this one. But really same thing goes. Leave a bit of that white showing just painted in. So make sure you do practice painting water in these different ways. Just in a sketchbook or something like that. And that's going to help prepare you. A lot of times people tend to save up all their efforts until they actually start painting. But one of the things to remember is you need a practice these techniques before you even start painting in, in each eye and practice them while you're painting. I think that's a fantastic idea of that's the AMI, chance that you get. But if you do practice in sketch books, just some of these waves and sky techniques. When you actually do your paintings, you end up producing better ones and you know how to create certain effects because you've done so many of these little paintings. 12. Watercolor: Land (Wet-on-Dry): What I'm gonna do here is I'm going to add in some shapes, some background shapes like bits of land, rocks and things like that, just to bring everything together. So I'm going to be mixing up a darker green and brown. It doesn't quite matter. And we'll just practice on this 1 first. And really using a larger brush. Don't need to. But it just helps. Keep things loose. Pen on a bit of land like that. The rock in the background. And sometimes they extend out to the scene a little bit. So you can at some in the sea and it's still wet. So that means you can actually go back in and add some more paint to make that shape data at the bottom. Like that. For this one here, I'm going to pick up some blue tones. And I'll demonstrate by adding some shapes, some rocks and things like that. The right-hand side and left hand side to join that. So it almost looks like it's a bay of some sort. You can even go and add in trees just coming out from these rocks with a flat round brush, something that notice how it all joins onto the land as well. And again, still wet. So adding some variations in paint. Well you can, you know, this one here. You might even think, oh, I want to add a boat or a ship here. So you can put one in on the distance like that. Another one here. And you have these little shipping containers or something. I think that when the distance is one here, mix up some darker paint and getting some of this land here. And you might think you might want to put it in Edge jetty or something going out into the sea. Can indicate that this. Should be the shadow underneath can indicate rocks and debris. We imagine light source coming in from the right side of the painting using these highlights as indications of rocks, things like that. It's a seaweed washed up. This one here will make a little bit of headland ride in the back corner there. This is just an indication. And I'm going to wet this area here to indicate that the sand a little bit wetter. The where the waves hit the front. And you can do things like add some trees and shrubs at the front and the darker sort of color. Brown, green doesn't really matter. And for this last one here, let's see what we can do. Maybe a bit of headland up in the distance like that. Ten small rocks just sort of extending out to the ocean and one of them bigger. We're gonna make this one bigger. Extending out into the, so the C axis. And add in some, it's a seaweed and things on the shore. Lines leading into the painting. So that's kind of how you bring it all together by adding those darker shapes. Wet on dry. 13. Watercolor: Figures & Shadows: So now I'm going to show you how to paint shadows in very basic figures and rocks, which is what you generally see on the beach. So you use one of my smaller brushes for this. And what I'm gonna do is pick up some darker paint. Just to illustrate this, I'm going to make it quite quick. So if we say Editor's a figure here on the beach, do his head and a body that had some legs onto him like this. And say we wanted to create some shadows. We're going to think, well, this is the sun and the light source coming from above. Is it coming from the left or was it coming from the right? So if you can imagine there's a light source coming from the right. And we want to make those shadows go towards a left like this. Connect that onto the body. So really just a line like that will do it. And even in these mountains and things, rocks in the background, you can look at adding in some darker rocks and things. On the left side like that, j indicate okay. Give him some some arms. Like them just I'm just adding some bits of detail. So that's where light source on the right. And I'm gonna do the same thing here and imagine a light source is coming from the left. So at the figure here and the distance be darker. Oops. Okay. Marta, due to figures now say they were walking along the beach. Open legs. Greece. Because person carrying something too bulky and will imagine the light coming in from the left-hand side. So we'll want to make those shadows go to the right-hand side like these joint it all up. Give him a hand. And the rocks, if you can notice as well, shadows are also on the right-hand side. These rocks, you didn't have to you don't have to make it too obvious. Just an indication like that. I'm gonna show you a couple of where we're going to make the light source come from straight above. Figure here. Too watery. I'm gonna get the legs in that. And if we can imagine a light source coming straight from above, shadow's gonna be cost like that. And depending if it's up in behind figure, you know, you might have the shadow come forward a bit more. Or if it's up in, in front of the figure, the shadow might go back a little bit. And everything in the painting needs to follow this sort of rule. So if you have a, another figure, you need to also do the shadow in the same way. And I've got one further back, for example, like that. And you've got that same shatter there. Because if you do one that's different, so save, we get this figure in like this. Stop making a shadow. Go to the right. It doesn't make sense. It looks like it's two different light sources. And turn this one to another figure there and another figure here. So always keep that in mind where the light sources and everything in the painting needs to be consistent with that. No truck with a little rock here for example. Shadow would be underneath. Like that. If we do a rock here. Shadow will be on the right-hand side. Depending how low the sun is on the horizon line as well. My catch it on an angle so that the shadow is cast further out. Whereas if it's higher in the sky to the left, you might just get the this area of the rock illuminated in the darkness. I mean. So it really just some simple techniques here and bit of theory to help you to create some convincing looking figures and shadows. 14. Values: Values vs. Colour: Okay, so I wanted to take the opportunity to talk about very important topic, color versus value. And I think this is one of the most essential topics when learning watercolor painting. It's a topic that a lot of people get confused about as well. And when we're trying to paint a reference picture or determined whether, I guess heir of the painting is larger or Dhaka. We often get confused between colors and values and trying to replicate those particular values and column at the same time. So on the top here I've just got an example. These are different colors and I'm sure this makes perfect sense to everyone. We've grown up understanding color. It's quite intuitive. And we've just got six different colors here in terms of value. So regardless of what the color is, you can have different values and different levels of darkness and lightness in that particular color. So I'm gonna go through and give an example of this. And we'll start off firstly with bit of blue. So I'm picking up a very strong blue and just putting that in like that. And the thing that watercolor as well is you need to mix water into the paint, especially more water into the paint if you want that particular color to be lotta. So we'll get started now and just mix a little bit more water into this mix. And you get a slightly lots of value here of the same color. And if I mix even more water into that color, we get something larger than that. Pale blue like that. I'll demonstrate this again with another color. So go with the sepia. Pretty doc. Yeah. Okay. And we're gonna mix some water into the sepia. And we're gonna get value, which is considerably lighter. And we'll mix more water to this CPO. We're just gonna lighten that value even more to this. And one of the great opportunities with watercolor is you can get almost infinite transitions between all these different values. You can add a little bit more water and a little bit darker. So it's really, there's quite a lot of possibilities in there, but I just wanted to highlight this. And, you know, it's one of the differences with watercolor then saying acrylics, where you're mixing whites or blacks into a particular paint and make it louder or Dhaka with watercolor, you'd varying the amount of water that's mixing with the color to obtain different values. And another thing I'd like to mention as well is that some colors have naturally Lada or Dhaka values. So for instance, if we take a yellow and I want to get the strongest, yellow, this is Hans, a yellow. And this is pretty much the strongest that I can get it. That's what we end up getting on the papers. So highly saturated, clean off my brush now. And if I pick up a very light version of this Brown, put it right next to it. Maybe a bit more, slightly more saturated version of the brown. The value of this brown is still a lot darker than the value of this yellow. It, even though I'm using a high concentration, much high concentration of yellow pigment, and then I'm using brown pigment. So that's something really to keep in mind as well. I'll go through few little demonstrations to hollow out this photo. 15. Values: Monochrome Demo: Now a really good exercise to get your head around. Some of the basics of understanding value is to do a monochrome sketch, a monochrome painting. So I'll put a little reference picture up in the corner of the video. And I want you to follow along with me. And I want, I want you to do is really pay attention to the value of all the different shapes and areas such as the sky, the water, the mountains, and forget about color entirely. So what I'm gonna do is I'm going to pick up just ultramarine blue. There'll be the only color that I'll use. And I'm going to look at the sky, for instance. And the sky is pretty light up, the top comes down, there's a layer of cloud that comes across which is a little bit darker in value. And then it goes down to a sort of Lotta era here. Then you've got these mountains which darker the ones in the back a little bit lighter. And then the front here, which is kind of darker than the mountains, but can spit still pretty dark. So give this a try. And I am going through the top very quickly with the blue like this. And in fact, what I'll do, I'm just gonna go through the whole area, a bit of a shortcut method. And I'll put in the clouds, went onto wet all the way down, go through those mountains as well. And what I'm gonna do is just pick up and move this blue paint. And just adding these clouds went onto wet like this. It's a little bit lighter. Comparing that to the reference picture. And it's quite simplified if you actually look at those clouds there, some lotta areas and there's some dark areas. So even here there's a bit of a lotta area on the cloud and here's well, some little son the bits that you can lift off. Okay. And now I'm moving down to these mountains. The ones at the back are actually softer. Lodgement value mean. So I'm going to get those in like fat. And with the mountains to the front. I'm going to make them pretty dark. And if you look at the reference picture, and if you look at the reference picture, you see that the mountains are actually a doc is area of the painting. So we need to make them considerably. Dhaka. Going across like that. Pick up this ultramarine blue is from either of a pellet. Dark and up these mountains more. Not carry that into the foreground. And well, we've got actually is near the bottom. You've got a time that's almost the same, just slightly lighter than these mountains in the background. So I'm gonna give that a try that looks about right. Teeny bit darker. Yep. And guys release area like that. Ok. And into this mix, there are some little dark or waves and things like that. So we need to do is just again pick up more of these blue bunny in a thicker consistency to make a Docker. And I'm just going to indicate little areas of waves in here like that. And I'm doing this quite simply mean you spend more time on it if you were turning this into a proper painting. But you kinda get the idea of what I'm trying to do like that. And a lot of time people do get the water wrong, and especially in this image, it's easy to think, OK, well I'll make it light. But if you look at the reference picture, this area of the water is actually darker than the sky area. 16. Values: Colour Demonstration: Okay, so we're gonna do that last one now again, but this time around we're gonna be using color. So I'm going to pick up the bid of this blue in the corner here and just kinda get more water in there. And we'll go through the scars is a spirulina in blue. So we know that it's pretty light. And this actually fades down into a orangey pink colors. So I'm just gonna go grab some of these, have a look at. And it's like maybe beautiful red in there as well. And this is very, very, very thin, like a, a bit more orange, tiny bit more orange. Making sure it all blends in each other. Like that. Ok. And what I'm gonna do now, just quickly add in media beautiful yellow, tiny BTV, yellow down the bottom, seems that it's just gets Walmart down the horizon line. But what I'll do is I'm gonna add some of these clouds in. And they're kind of Walmart. Klaus. Say Just very quick impression like that. I'm going to cross k. That's done. And we'll move into the mountains and I'm going to get them all in with a blue. And this is an ultramarine blue. So I'm going to worry too much about the bleeding in to other layers and things, but Let's just go through like that. You get the whole like this. And I'm going to work my way down into the foreground, which is still water. And actually I'm going to keep it around this consistency like that. Bit more heavier. Okay. And oh, anions, bits of waves and that kind of thing in there. We'd want to wet that just very quickly. Okay. So that's the water done. The last thing we need to do is to get in the valleys of these mountains correctly. Now we know the mountain at the back is a little bit darker than the water. So I'm going to pick up more of this blue, maybe adding a bit of the gray as well that I've got on the palate and just get it in like that. And what I'll do now, pick up more of the blue, mix it in with some of these gray, purple, purple now. And we're going to go through and do a mountain in a much darker color like this. One surrounding one in the middle and touching the water. We have the darkest and values in the painting. This. And I'm pretty much done. So as, as you can see, we've got the sky, which is the lightest part. You've got the mountains and the Warner almost the second lightest part with the water being lighter. And then you've got these two mountains nearest, which are quite a lot darker. And in fact, you can probably dark in the water a bit more glaze over the top to get it too. I'm a value which is more accurate like that. And in some of these little ripples and stuff as well like that. And we're done. 17. Values: Palm Beach Demo: Okay, so over here we're gonna do a value sketch of some palm trees on the beach. And you notice that the sky and the sand are almost the same value, if not the same value at this, some little speckles of footprints which are darker and areas. In here, we need to indicate that a problem that these two values are pretty much the same. So I'm going to start by doing these first. So let's grab some Cerulean Blue. And going like that. Oops. Side the line going pretty light. And it's uniform this color. So it really doesn't isn't get light or dark all the way through. So make sure that's as uniform as possible. Like that. Trying to even that out a bit more. Just to illustrate the point. Okay, looks good enough. Now, I'm going to go into the foreground with a bit of this yellow mixed in with the, what. It's going to get a sandy colour. So that seems about the right value. And we're just going to carry this all the way through like that. And the Roz and line here as well. More water. And we will do while this area is still relatively wet, is we're going to add some indications of some these dark areas, some picking up a bit of gray mixed in with the kind of burnt sienna, dry off the brush and just indicate some where here. Just tiny bits and pieces. Yeah. Okay. So give this a quick dry off and we're now going to be doing these trees as well as the little bit of land use leader of land up here, there's some trees going on, sir. Do's pretty loosely. Firstly, just going to grab some darker paint. It's almost black. And do the trunks of trees. Very dark, almost black. Really. Notice the contrast between these trunks and the sand in the sky. That's really defining feature. And for the leaves I'm going to grab beautiful green, darker green, mix that up. It's almost as dark as the trunk itself and just get in some little indications like this. They really tiny bits, speckles of light on the lease, but trying to just make these quick and just get the main feel of things on the horizon line is just a tiny slither of land. They green up and here as well. So get that in. And does a lighter green going through here. But taken too much time there, but that's basically just the gist of it. So really just make sure, especially when you're looking at a very light sky and light foreground, try to get the values pretty much alike. If you've got a reference picture or a photograph like this, sometimes you see people make the sky way too light or too dark against the others. So yeah, it's just balancing it out and practicing as well to get it right. 18. Values: Simple Beach Scene: Okay, so let's try this little value sketch. And what we'll do is get the sky and for citizens is interesting because this guy here is lighter than here if you look carefully the blues doc and entities over in this side. So I think what I'm going to be doing is just pre wedding this area first. And going in now with some of these blue skin, a bit more, tiny bit more. And try to drag that across to this side and darken it up here like that. And kinda just remains almost the same value. And then just over the period of headline here gets a little bit lighter. But it just down the horizon line becomes very, very lot extremely Pell wash of blue. So probably this should be a lot smoother, but this will do for now. If you're using cotton paper, it's a lot easier to get these nice graded wash. Okay. So, oops. So what we'll do now is go into the water and I'm going to pick up little bit of the blue and makes it a teeny bit of green with it. It's a little bit of a turquoise color. And water is little bit darker than the air, the sky up here. So we're gonna go in like that. You just carry that across like this. And as we get further down the front, it actually becomes lotto. So just add more water into the mix, carry that all the way there. So the front, there's actually some dark areas and bits of white in there as well, which I'll try to get in terms of the dark areas. And I'll just also getting some of these headland lot lines, especially here in the corner, just to get some color in the back going. And then at the front, what I'm gonna do is grab the yellow car. Would just any cone of yellow. So very sandy colored yellows. You can make a sandy colored yellow by mixing the yellow and white together, almost like a Naples yellow. So that gets the kind of value that we're looking for. That to the front like this. More Watson there. And just carry these wash all the way down to the front quickly like that. And you'll notice there's also some bits of sand and the kind of report was there. So I'm going to grab bit of Dhaka rounds. A little bit of Bradley's is burnt sienna and just put pose little lines in, just kind of almost directional lines like that. Just so subtle there. Okay. And I can go in and do bits of the water now that you know, the waves that are teaming bit darker like this. One in the background there as well. And really not too fast, more value sketch. And even that out. Really in the last thing to do is to add in the faunal values. So we've got some rocks here which had Dhaka. The Sea area of the headland should be darker as well. So it's just a matter of picking up a green. So I'm actually going to mix up, pick up a bit of these turquoise, see color and mix that in here. Read more greenish. Just shoot that occurs. Really, it's a little bit lotsa. In this area here, try to lift off a bit of paint like that, shift some of that across the year. And then a huge do docker. Yeah. Like that. Syndication and little bits of rockin things can indicate their ears at the beach here. Seaweed and things like that. So very simple value sketch. 19. Values: Beach Night Scene: Okay, so this is a more complex value scheduled. Got some rocks here at the front, we've got some rocks at them. Back would have headlands and border and kind of night sky. So let's give this a go. I'm probably not going to put the stars in, but I'll show you how I approach it. And first thing to do is this guy, and I'm gonna go and pick up a bit of blue, doesn't really matter what kind of blue. Let's give it a try. And you can add in some kind of darker blues down the bottom. We'll just mix a bit of CPR or something in it. But this is an interesting variation in the sky. You just want to get it to mixed together nicely. And remember that this area of the sky still needs to be lighter than the rocks in the front. Okay. So cut around those rocks, it's written it's not a 100% necessary. You can't go over the rocks because we're gonna make it darker anyway. Oops. And I think that looks about right to me. And I think getting what locked as well. Like these color. So if you look in the reference Pizza, Water is significantly larger than the sky. Affect these might be too much. We're going to reduce that down a bit. Okay? And going into some of these areas now I'm gonna make them pretty actually going to get some of the yellow and warmer tides in this. So backing up a bit of this yellow and mixing it in with the White, give that a try. That's almost the largest area of the painting. Kia killed in that area of the painting. And then as we move around to the other areas, I'm going to mix in some Dhaka pigment, sepia like that. Still want to preserve the slots up the front, moving down as well. So really you could just color it quite light all the way through. And then adding the Dhaka areas as you go. And it gets darker around here to the focal point is this area. And let's go over the rocks to that. Stock in these rocks a bit. And we'll come back to them, light up. Dark around the front as well. Okay, so we're gonna move on to this bit of headland here. And I'm going to try to put in a tiny bit of this yellow actually mixed with the Wide and to some of the areas like there just indicate little highlights. And then I'm going to pick up some darker paint all the time. I don't even know what color on I'm using. And it's just to highlight the point that it doesn't really matter. As long as you got the values in. And you know, It's a imagine short, either cool or warm color. You're absolutely going to be fine. Some painting just around these little highlights and letting them bleed in to the color of put onto the paper. Because I think this would just make it a lot more interesting. Looking and unchanging the variation that column you had some browns and here near the front like that. Let's let it do it, do its thing like that. And down the front here to getting some darker pigment here. And in the background there's a mountain in the background. Job completely. Do that. Indicate okay. And now we can go straight back into these rocks. And I'm just gonna make up a doc, a color. This needs to be pretty dark, especially in this area of the rock here where you've got a shutter, run it through the backs. And said We got one, we've got, oops, Let's get rid of that. This one's darker, this rock, this rock here, and leaving a whole lot on top. And there's a couple of years well, sure gonna leave highlights showing like that. And here like that. And there's this one here which is almost completely dark separately, little sliver of Live on top. Or the simplified version. And just adding in some bits of smaller debris in kind of thing on the beach, dry off the brush and then just touch that onto the paper like this. Really that's just a very simple rendition. But you can see all the different values that we've got in. 20. Paint Along: Simple Beach: So I'm going to be starting off with some simple beach landscapes first. And that's just going to consist of the sky, beauty of land here and the foreground that if the ocean coming in. So this is almost as simple as it gets. And what I'm gonna do first, I'm going to just wet the sky area. Just the sectional all through the top part of the painting, coming down to the middle section of the painting and just get it fairly wet. So I'm just using a flat brush here. Pretty wet. And now what I'll do, just let it dry a little bit. I'm going to pick up some cobalt blue. Actually this is Cyrillic in blue. So you can use either. And I'm going to start putting in a thicker layer of it on top first like that. Okay. So getting pretty strong on top. And as we go down, we're just going to make it a little bit thinner. And I want to leave some spaces is low in the sky like this just to indicate some clouds. Okay. That as you go down, just dilute that paint down even more to get right to the edge here. And it's up to you. But, you know, some people like putting in, I mean, if you're doing a, a kind of sunset scene as well, you can put it in a bit of orange. So I'll show you what that looks like. Just get it pretty thin first. Beauty that orange, a warmer color. And I'll just add that in like that and mix it in with the blue. So while this is all blending in like this, what I wanna do is just add in a bit more color on top. I'm just going to add some lines of this orange running across here just, just so that it blends a little bit and it doesn't look like it transitions straight away to the orange. Okay? But this is an went on wet technique you can do to add in some dark areas in the sky and some clouds. So I've just picked up some cobalt blue. And the paint concentrations fairly high. It's more than what we've got on the page to make sure you do get it thicker. Just added in like that. Straight on top. Maybe one coming up here like that. And we're going to continue going down the page just a little and make really small clouds in the distance like this. Maybe larger one up on the top right-hand corner as well. Because be darker. And we want to let that old melting nicely. Don't try to go into it again and, and fix it up or anything like that. If we're doing this kind of wet in wet technique, you just want to let it blending nicely. And notice how the clouds I'm doing in the horizon line. Near the horizon line there were a lot smaller. It's really important. And that's because it's just going to make it look like they're further back in the distance. Don't want really be clouds in the horizon line. And just add in a bit more paint up here, that darker clouds. So I'll just leave that now. And I'll move down into the foreground, the mid ground and foreground. So we've got a bit of the sea coming in here. And again, what I'm gonna do is I'm actually going to re-weight this area. So all the way through. Just free web that a bit, but I want to leave a bit of white here as well. So grab a bit of the orange that you've used before. And you just wanna do the reflection, a bit of the sky, kind of coming through like that. Just a bit fine. Then you want to grab some of the blue you've had and start putting it in like this. And leave bits of white like this. That's just going to indicate some waves like that. Great k. Now, for this area in the foreground, I'm gonna re-weight everything here. Little bit bluish because the water's now I've got some of this blue tinge to it. And I'm going to do once that's all wet. Well, I'm gonna go adding some yellow. Yellow ochre, that's perfect. And you have a mixture of some Naples Yellow. I'm just trying to add a bit of burnt sienna to that. Okay, there we go. And just to help encourage that to blend a little bit, but I'm gonna leave some white as well here. Carry that across like this as you get further to the front of the painting as well. Just adding a little bit darker paint. And what I'm doing is I'm just using a bit of burnt sienna at the front of the painting. You might even want to add little strokes like this as well. To add some variation into the sand like that. Darker here. And I want this area of the sand to be little bit Docker as well because it's going to be wet from the water. So while I can't, I'm just going to pick up some of these Naples, Yellow and burnt sienna mixed in to it. And let's see if we can just doc and just beautifully sand like that. Okay. That's looking fine this bit here. Because I've added the orange a little bit later and I think some of the, the bottom colors have kind of bleeding as well. It has some interesting cauliflower effects. So I'm just going to leave in the, is nothing much you can really do about it. And last thing we need to do is get in the background. And that needs to be the darkest part of the painting. So just grabbing some sepia. And I'm mixing that with a bit of ultramarine. Let's give that a try. Okay, that looks about the right value because it's smaller. I'm going to actually switch to a smaller brush. But I do want to get it in pretty quickly. So pick up that pain, can go through a bit of that bleeds into the bottom and there's not a big deal. Go through and do this. I'm hoping actually, but if it does bleeding so that it creates a bit of a reflection. Ok. And Fano step. You can edit in bits of variation and dry brush strokes. For the area of the frontier just indicates some sand. Interesting thing I do as well as I can flick a bit of paint onto the paper. You just grab your brush and just do this sort of thing. That will just indicate a bit of texture. Cover the areas you don't want to be affected. And we can add some birds in the sky. Just picking up some of these paints, leftover paint. Let's do a few. One here. Here. Like that. Oops, too big, that's fine. Even bits of highlights in the sky like that. You can turn into a bird. Keys to just keep them quite varied spatula in the distance like that. And it's a very simple first one that's done. 21. Paint Along: Figure on Beach: I'm gonna make a start on this bottom one here. And I'm thinking what we're gonna do. And we're going to start off again just with the blue sky. What I'm going to try to do is add in some really large fluffy clouds up the top. And just try to do a few little ones here. See if we can keep more of the actual sky showing through rather than clouds. So it's get this paint onto the, sorry, let's get some water onto the paper. And just with this entire area, pretty quickly like that, up and to the land is kx. Now what I'm going to do. So pretty widths. Let's go ahead and add in some throughly and blew up the top. And just let that bleed downwards. More. Pick up a bit more. Carry that, please. All the way to the horizon line. Okay. And it looks pretty flat except for the top area. So remember that dry a little bit for what I'm doing now, I'm just mixing up some really in blue but better the cobalt blue or ultra marine actually. Now good old three blues really doesn't matter. If you've got an ultramarine blue and a brown or CPU or something, that's fine. It's just gonna keep it pretty dark. And I'm just gonna add in a couple of, couple of clouds up the top. So larger ones here. Everyone here. Okay. And some real little ones down here. Me rise and use the edge of my flat brush. So you've got a lot of the sky that's actually showing through like that. So that's kind of a, you know, if you want to have that sort of clear sky look, you don't even need to add in the clouds. It's just one way you can do it. Little ones here. Okay. Okay. Leafed out some of these paints a bit dark. It's teeny bit. Is 12. Just want them to be bit dark. I don't want them to look like storm clouds or anything like that. Okay. So now coming down into the foreground, going to be picking up some surly and blue. And let's go ahead and do this water blending at it bitten into the sky actually. So if it does blend into the skies and no big deal, let's just continue going on leaving again some of this white showing through like that. We really need to clean my palate a little bit. And it's a lot easier with the flat brush, especially to do this to where it comes to the shoreline. Nice and simple. And over here I'm going to width the ground area. And shortly after I add in. Now I am going to add in a little bit of this. Not sure what color this is a sandy sort of color. That looks about right. And let's blend that in that soft edge. In some areas. This sand here and where it heats the water, you want to make it a bit darker as well like that. Just to show that the sand is wet. Weight onto wet, that works best. So I'm just going to leave that that looks completely fine to me. I'm not going to change that up. As we move down into the foreground, I'm going to add some burnt sienna. This that all merged together nicely. It looks nice and smooth. And maybe some other colour and stuff up the front. Darker. Up here. Donkey hears well, OK. Now, last, last bit we're gonna do is this headland. And I'm going to be picking up some darker paint. Might just go with the moreover green color. Actually. I'm not sure what green this is, but it looks like a hook is green of some sort. The darker green anyway. Okay, just give that a try. This I'm actually going to swap two as small a flat brush. Oops. Okay. And let's get that in. Some of it's gone a bit too far down bow, fix that up glider. Cut around that little figure. Like that. Pull downwards. Leave it nice sharp edge. Like this. Can even adding, you know, you can add in a little bit more painting there if you think that's too light. Firstly, just lift this. It will be that they like that. Don't want that to dry and too dark. For the figure. It's up to you. Kelly, You want to make a figure, but I'm gonna go, let's go with a bit of a red, a red hidden as well. There's a little dog here. And we're gonna pretend the shadow is coming due from directly above. So just a little bit of color underneath that figure to indicate that like this and it's a little dark here. Same thing. Just indicate now dark and the legs or feet as well. Maybe these hand. But that's something very nice and simple. You can add in a few little birds and things in the background to just to finish off, that helps made some of them are too big. Ok. So nice. Really simple. Beach seem kind of similar to one that we did earlier. But now we've added a figure, dog here. So there's a bit of a story going on. Maybe they're out going for a walk on the beach. 22. Paint Along: Figures on Beach: Okay, so this little landscape here is similar to one of the previous ones, are only difference is that the headland and rockies lot larger in the background. And what I've done is just adding a little bit of shading with the penned indicates some dark areas. So I'm going to show you how to paint these darker in law to areas loosely with some women with techniques. So let's get started. And what I'm gonna do first is we're going to wet the sky just with some clean water. This is little bit grade down because of mixed some other bits and pieces in it before. So just cover that sky area pretty well. Get it wet. And what I wanna do is just create a lot of nice sort of blue areas and bit of purple in the sky as well. So we'll mix up a little bit of purple and teeny bit of blue. And let's drop some cloud shapes. And remember to keep the cloud shapes. Very don't do the same ones. So this literal technique I'm doing here, I'm just toiling the brush on the paper. That helps to just change it up a bit. Grabbing a bit of blue now and adding that known. Good. I just changed the mix that up therapy and little clouds, boredom. That blew up the top. Just picking up some extra bits and pieces from the palette, just a bit of gray to drop in. Just trying to get in some variations in the clouds. That's why I'm adding in these dark colors. Just put in a little bit of CPI in the mix now. And I think I'm quite happy with that. It's going to get a bit too busy looking If I stop playing around with it too much. So I'm happy with how the sky is. Now what I'm gonna do, I'm gonna move down into the water first and lock before pre width this area with a bit of the water. Just like that. And add in some of this blue indicate the waves coming in like that, leaving some of the water on the paper. So these are waiting wit waves, maybe slightly dark areas. Ok. And what I'm gonna do, just gonna quickly re width this area here. And I'm going to just put in the sand. So I've got some buff titanium here, which is the off-white color. Just add that in and see what it does. And mod adding a little bit of these Naples yellow, which is actually quite a similar, creamy and looking color like that, blended in all the way down. And just at the bottom of the paper. You want to add in some slightly doc. So I'm just picking up sienna, just dropping it in like that. Just to indicate this area is a bit closer. And you can see this area also with the water's hit the sand. We're gonna go through it a little bit lighter. I'll re wetted again and see if we can get some weight on whit. We can make this a bit Dhaka. We just add in a little bit more darkness to the front. Like that. This is just going to help you with some depth, maybe some little areas as well. So. I can do is pick up a toothbrush and I know it sounds a little bit crazy. But toothbrush works pretty well. You can pick up some frown and just mock leftover like that and just flip it onto the paper. To create sand. A fix little bit textured effect gets darker colors. Okay. Now I'm just going to label that for the time bank and I'm going to go into the mountains now. So I was telling you before about how you can paint this all in waiting wet. So I'll show you just how I do that now. I'm gonna go and grab a little bit of this creamy color. It's kind of a naples Yellow and mixed with a good CNR. Not exactly, exactly sure what it is, but any large range color should be fine. And you can even use the yellow and just dial it down a bit and basically just go over some of these large areas that you've marked with the pen. Like that. You gotta do this pretty quickly because you don't want it to draw it and you go through it doesn't have to be exact. Okay? And now what you wanna do is just pick up some Dhaka paint and I'm gonna grab some burnt sienna. Mix it in, mix a bit of green into it, and just drop that in like that. And the dark areas. And this will all melt together like that. Just touch it once and then move on and spend too much time. In that same area. It's not dark enough to pick up a bit more. This part here is already started to draw a little bit. So you're not gonna get too much of that Whitman with effect, but you can see it happening over here quite nicely. And what you can do as well as just use a clean paintbrush. Get rid of a bit of water. And where you see any sharp edges if you want a soft in them, you can just touch him to the edge like that. And soft and that edge. But I'm just going to leave this as it is. It looks quite nice actually, so leave it. And now really the last thing to do is just to finish off this water area. And the figures might add in some birds and finishing touches. But I'll give it a dry first. So just pre wetting this area again. We're the water touches the sand. And I'm gonna grab a bit of this blue color and just do that. It's just a leftover blues that's on the page. And your palate like that. And if you get some sharp effects, don't worry about it. And all I wanna do is just show that this area is a little bit wetter. Then say here, some of it's run back into the sea like that. So I'm just going to pick up a bit of that paint. But it's really no big deal if it does. Try to fill these little, little bit forward just to make it look like some waves have come a little bit further down. And just add in a bit more calm wit onto width, especially down the front area. Like that. K. Pretty happy with how that looks. Now, we can go back into this headland again and adding a little bit of detail. And you can either do this with little regard brush, we can use a fan brush. I'll show you what both of them look like. When you're using them. With rigor. Pick up a bit of paint and you can going in some areas and just indicate get Sri going upwards like this. Dry it off a bit more. Just every interests that don't want to overdo it as well. And with the fan brush, you can create these little dry brush and shrubs sort of effects like here, for example. Just get it a bit and with her maybe put a bit of blue on there as well. Too much, way, too much. Doll that down more. And you can do this sort of thing. And it looks a bit like grass. So these little finishing touches, they just make the painting that compete more interesting in the end. Not necessary. It looked fine before. But it's just something that you can do. What I demonstrate that. So the last thing I'm gonna do is just add in a few birds. And actually I made a bit of a mess with the flicking of the toothbrush before. And I'm going to turn some of these little dots and things on the horizon line into birds. And the good thing is that they all look quite randomly placed. So it's kinda what you want when you doing birds, you don't want it to, to organize foreign next to each other. Maybe some bigger ones up here. You pick out areas of highlights and little mistakes in the sky and just turn them into birds. You've still got these figures in the background here that you can just darken up, like that. Wraps and darker paint. Just coloring them all in the same column is one going to see here that I'm going to just detail a bunch of them that our big closer and add a little shadow going to the right-hand side like this. Connect them all up to the legs. Do some of this off. And that one's finished. 23. Paint Along: Loose Sky Beach: So for this painting, what we're gonna do here is we're going to make a really messy looking sky. And I want to leave some white area in the cloud. So it's going to show you a different way to do these clouds. And whatever I'm wasn't looking like she added in a few boats here, few cell boats here just to make it interesting. So I've got some sailboats on the horizon is sort of getting smaller as you move into the distance. And you've got some of the waves and washed from the beach in the sand here. So let's give it a go. Now, what I'm gonna do first is actually just wet this top area. Partially. Don't wanna do this completely on and leave just some sharp edges and things like that. So I'm using this really old brush and just looking at the paper from an angle to make sure that I'm leaving some bits of white here in there. So just dabbing it in certain places. Really like that. And just a bit more water and some areas. Kay? So what I'm gonna do now is pick up a bit of this, a surly and blue mix that up. On the pellet here. Maybe a bit more. Top has to be darker. But I want it to fade down. Okay, let's give that a try. So all right, I think it should be a bit darker than K. I'm going to just really match this brush. Shouldn't do this normally to a brush, but it's one that I don't always use. And we're going to create some really random cloud shapes. So just touching the paper in some spots like that. Working my way around. Let's see what happens. K. And we'll move downwards now. It will water like that. And I'm just going to cut around some of these areas of white as well. I will just destroy this bit. The beacuse Well, okay. And we'll go down to the horizon line, dry brush, get the brush a little bit drier, and follow that down the page. That's kind of what we're looking for. These two little areas here, even this cloud that is shaped a bit funny. So moving down to the horizon line in, I'm intentionally leaving some whites, cut around these sailboats. Leave them white. And just do this. Like that really quickly. You know, I've actually join in some clouds with depend a bit earlier but haven't followed that. So you've got some little clouds now showing up on the horizon line. Could some bigger ones up the top. And just going to add in some more paint here as well. And this is probably going to help it to bloom a little bit too, especially in some of these areas. Should, wouldn't mind. Just to get a bit more variation. Drop a bit extra color in here. Let's look in a little bit to wake. That. Maybe beat more here. But for the most part, we're just going to leave it. See if we can grab it a little bit of cobalt blue as well. Before darkness up the top like that. So Dhaka clouds in the mix like that. Being very random with the shapes. Edited a little bit of gray to the top. Well, it's all wet like this. I keep saying this. Take the opportunity to try to change things around and add in bits of color, introduce a bit of extra water, even never know exactly what it's gonna do. And sometimes if you introduce a bit of water, especially into this kind of Deb area, you get some interesting looking clouds and shapes that just can't paint. Really been fooling around the sky for, for a bit too long. But you get the general idea. So we'll leave that for now. Don't think I want to touch their anymore. And I'm gonna go straight in to the horizon line here where you've got the water. And I'm going to pick up some cobalt blue again. And I hope this bit of the horizon line is still a little bit damp because if it notes in that's going to be fine. So I'm using the edge of my brush. Just a little corner. And I'm just touching that horizon line like this. Using a pretty big brush. And continue that down. And I'm leaving a bid of these white here as usual. That's just going to help to let it read a little bit more as a wave forming coming down. Same thing here. Just try to get in some of these little wave shapes, leaving watts in-between. And later we can define a bit more. And you've got this area here in the beach, hits the shore. And what I'm gonna do is split this area, leave a bit of that white. Can, can. What is a little bit bluish, but I'm not concerned with that. We add in that yellow you're not gonna be able to tell. Just overpower it. Okay. More water, an illiterate, trying to mix a bit. Some areas as well here. Okay. And grabbing myself. A bit of civil Look here, it's a bit of a white actually it see how that looks. Put that through. This is actually a buff titanium and the color's name, the column name is buff titanium in its kinda of off-white color. Creating an interesting sort of turn. It's almost creamy color. Some trying just a bit of this through here. And what I'm gonna do is we're going to pick up some lemon yellow, drop that in. Just let that mix together now and see what that turns out looking like. Or to create a slightly different colored sand. On this one. You can get a bit more yellow and on this side to tiny bit more warmth. And near the shore line I'm going to add in a little bit of blue. Just grayed out. Eat as well and add that into the shoreline just to indicate that this area is wet, that let it do its thing. And near the front actually I'm going to add in a little bit of third sienna. Just decay. These areas come down a bit too much. Mock that up a little. I mean, really you could just make the soul into the horizon and the horizon line here and the water going all the way across. I'm going to put in some little dry brush strokes through here just indicate maybe some plots and things growing. And I'm picking ups. Sepia can mix with a bit of Sap Green. And let's see what we can do just a little indications using a fan brush here like that. So wet into wet. Maybe had couple Dan Dan this side as well. A bit more green, I think. Really not a big deal as long as it's just darker than the color of the sand. Make this one go up a little bit higher here. So very simple foreground like that. Stan to overdo it. So let's leave that for now. And really the last step if you really want to do, is basically we are going to go in and just add a bit of a shadow underneath some of these waves. So just underneath where the white is, gonna go grab some blue again, cobalt blue. And just define some these waves a bit. Woo, being careful not to go over the white like that. And that's looking good for just a little saying here. And really the last thing you wanna do, this is basically just add a bit of color to these boats. So you might think, hey, you know, at a bit of interests maybe let's pick up some yellow and we can turn the bottom of this one, yellow. Just very quick stroke like that. And we can turn the other one red next to it like that. And you've got a couple of others out there. It's very hard to see them anyway, but just a bit of color like that. And you leave the sales. Putting a few little bits in the distance. Turn some of these bits of Y on the paper into birds. Just these little specs of what can be a highlight. I've got a very simple but scene. You can turn into a postcard or anything. Just don't loose sketch. 24. Paint Along: Moody Lighthouse: This is of a lighthouse. And what I'm gonna do for planning to do is to make some really stormy looking, menacing clouds just coming over the horizon line like that. And just have it lighter at the bottom and just let it bleed in. And at the bottom here we'll just put in some water in the distance, but mainly mainly sand. So let's give this a go. Now the first thing I want to do is to get in the clouds. And I'm thinking how I'm gonna do this actually. And I think what we'll do is we'll go in with pre width the area first. And I want to have some really many seeing gray looking clouds. They just merge into each other and maybe some light ones running through them as well. But we'll see what it does. Go all the way to the land. Here, the water is a little bit dirty. I should have cleaned it out beforehand, but look, it's not a big deal since the era that we're painting, it's going to be this color anyway. It's going to be grey. But very important just to evenly width. This area here. Leaving the lighthouse is well, just cut around it like that. And leave just this bit here. Set it more water into. There's a bit more especially new horizon one. Henry with this area. Okay. So I got myself some cobalt blue that's mixed that with some red. Red and a bit of yellow. That pretty dark blue and then be more red. Okay. So goes straight in like that. Okay. Keep it, keep it and the messy more paint coming across here that leave going to leave this top area just a little bit. Lots are up there. Get that one to bleed in, that's fine. And carry this all the way down, leaving some little holes in things in the clouds. Just a little bit the sky showing through. And now we're going to cut around the lot house like this. You're important. And just carry this same effect all the way through, coming down here and kind of dark in it. The horizon line, this. And also here, kinda around that lighthouse. There we go. And this area I'm gonna keep lot, might even tempted to just adding a little bit of blue to that area. But it'll be this throughly in blue. Fat to the horizon line. Okay, fantastic. And it's all still wet and that's good opportunity now, just refined some of these clouds, get them looking, some of them coming out a bit more to the front, and some of them further to the back. Needs to be darker. Darker, beautiful cloud here. Oops, touched onto that lie as a bit, but big deal. Only because I want to make this lighthouse a less bright red laser on. So keep feathering this coloring top here. In this contrast. Underneath, I really wanna maintain that's too dark, little bit of cloud coming in there. But really this is just to help with making it look like these clouds are further back. I just wanted to aid with the perspective. I want this area to be pretty light. K small clouds in maybe repurpose or you can put it in as well. Should experiment around a little bit. Getting these class look pretty menacing. Blue, red or yellow or blue? K. Yes. Well, the paint's still wet. There's so much you can do. Just get somebody's logic clouds in here like that, lift out, paint. I want to be really good contrast here though, where the lighthouse is just adding in some more paint in there to encourage it to mixing and settle more. K. I'm happy with how that is. You know, you can do things like I said before, we lift out some clouds and law to areas here and there like that. Now what we're gonna do is we're going to add in a bit of slither of water at the back. Tiny bit of blue mixed in with this grey. Don't want it to be completely blue color on the horizon line. So let's mix that in like that. Coming in a little bit like this. Okay? And what we're doing now is we're going to blend that in with this area. First. Blend this with some yellow pre wetted with doubt some of the excess water. And I'm gonna grab some lemon yellow mixed in with a bit of Naples Yellow, maybe some burnt sienna as well like that. And let's feather that in. Especially to the water area here. All burnt Sienna, darker as you come down the front as well. Is near the horizon line. You want it to be pretty light, kind of like that. Just mixing some darker colors, all sorts of the front of this purple in sky color, this just up the front here. And what I'm gonna do just to add in texture, same technique that I used before. Just flicking a bit of color from the brush. And what I'm doing here, I'm just adding some, adding some lines wet into wet. The paper isn't dried it. Some variations just to keep the foreground looking interesting. Okay, so we'll grab that brush again. There's this little brush and pick up some darker paint. And we'll give that, just flip that into the groups and there's not enough into the sand area like this. Just to try to add a bit of texture. Don't overdo it. Well, some bigger ones down the front. Here we can get some darker down the front. Okay. Oops, I shouldn't have done that. Just editing some water accidentally. Just lifted out. Try to correct that. When the pipe is still wet, you can still change things up and fix up errors and look, this might end up looking interesting, lighter or k. Then what I'm gonna do, I'm gonna get in the red of this lighthouse. So I'm gonna pick up some pyro read Pree, Bright Red water that down a little bit. You want it to be a pure red. And that's painting the lighthouse here. That it blends a bit with this guy. Not a huge deal as well regarded. And on the left side, I'm just going to darken it up here. Like that. Now for the headland, what we wanna do is just adding the dark color below. Just firstly, see if I can make that a bit darker on top. If it looks better. Just sticking out too much. So grabbing a flat brush like this, we're going to do is we're just gonna go in with dark color. You can pick up a green. You can pick up a brown. It doesn't really matter. Combination you pick up a gray. I'm just gonna go in that's not dark enough. Okay. Yep. And just go in like that. Bits of it might merge into the sky and land, even though it was want to soften this edge here. So often. That, that's a really simple lighthouse. Saying, Give it a try and see what it looks like. And actually this lighthouse has now look in pink. So I can go back in and grab that red again and repaint an area like here. Here we go. Dark in it again on the left-hand side. Whoops. Bit overboard there. And we are done. 25. Paint Along: Lighthouse Scene: Okay, so this is another lighthouse scene that I'm gonna show you how to paint. And the difference with this one is I'm gonna make it nice, sunny day, try to preserve as much light as possible. So firstly, I want to make this sky and an even shade of blue. So unlike the other ones where we went through and adding a lot of clouds, I just wanna get it the same shade of blue. So picking up some civilian blew my palate, mixing that up like that and testing it on the paper. But I just want to try to make sure I've got enough here to go over so I don't have to mix it up again. So let's go now, has to be done pretty quickly, especially on this paper I'm using. So start off at the top and just work your way down, cut around the lighthouse. Really want to be quick so that it doesn't dry, but you also want to be careful enough or even further down the page like this to hit the horizon line. And we'll do the same with this side. If it's not exactly the same color the hallway through. That's not a big deal. But I just want to get mainly the same color like that. These bits here of dried a bit funny, you can still go through and fix it. I think these areas probably dry. A bit strange as well, so you can go in and try and lift it out. But mostly your best just leaving it, seeing what it does when it dries. Okay. Now, what I wanna do is I'm thinking I want to get the C in first and it's going to be darker than the sky. So i want to mix up. We do have cobalt blue like that, making sure that it's darker than the sky. And I want to get the waves in at the same time. So I'm just going to cut around the white areas of the waves. Just take off a bit of this paint is too much on the brush. And I'm gonna go in the horizon line like this. And I've just indicated a beautiful wave there, which I'm going to leave. And also here. Hits the, these rocks, leaving somewhat on the paper. Crucial. So let's bring this wash downwards and can just leaving in some what. But I want to indicate a large wave around the side. But let's leave some of that big more blue document a bit k. And we say I'm going to darken like that. But I'm gonna leave this area. What trough the brush, legal. And same thing over here. It really just takes practice to create this illusion, knowing which bits to coloring and which bits to leave. So now getting closer to the shore. And one I can, I'm just going to try doc and some areas of these waves. People carry these wave towards the front and still leave. It's of whites in there. But generally it gets lotta. Now here, K. And I'm now just going to roughly call this area you're in and wet here. What I'm gonna do now is get in some of these Naples Yellow. And I'm going to actually mix in some hands a yellow like that. I'm gonna be careful. Don't want it to turn green lit, touch that area and immediately get out of there. Let it blend together like that. Okay. That's great. And I just getting some of these rock and stuff here as well. So lots of areas of the rocks. K. And right over here I want to dock and this area of the water, the blue again and heat up slightly. And I'm just going to drop some of these coloring. Whoops. Let it male teen. So this sand area, just to show that it is wet and lift out some bits and pieces is a interesting bloom effect here. And you know, I think I might leave it because it almost looks like a wave anyhow. But what you can do is dark and little bit underneath like that. And with them out, trustee toothbrush, I'm going to pick up some rounds. So this is sepia. And I'm going to stop flicking a bit onto this area in the bottom corner. And bidding the Beck as well. Still little bit. Mainly in the front, just want to get a few spots there. Ok. And one thing I've missed out is some of the water actually in the area just behind these rocks. I'm gonna go in quickly do that with some leftover blue. Hoping this is around the same consistency. See in behind in the background. And while I'm at it, I'm going to tidy up this horizon line. Teeny bit straighter. Okay. That's looking fine. And lot house, I'm going to cover an area of it red. And actually, I missed out. But if the lot has the shoot b line here, show quickly, just drawn in. And with my red paint going to color in this whole top area of the lighthouse. Olin, RED. Like that. And on the other side, what I'm gonna do is heading some cooler color that I've mixed up on the rod inside like that. And using a clean brush and some clean border. Just soft and this edge. So just touch that edge that you've just painted in. And that's going to create a little gradient across the paper like this. Okay? And I'm actually going to add in some more paint on the right-hand side here. It's not dark enough. Cooling it down a bit. And she gonna do the same thing up top here. Was shadow underneath. Shadow here. Like that. Darkness up the top. Too much, lift out. So let that dry and see how it looks. Lighter. And picking up a bit of Sap, Green noun, just wanna getting bit of land here. And the back ground. And with the stairs actually forgotten to color the mean. Again, some of the yellow to it. And I'm going to try to getting some of these little shrubs, just things growing on the side here. Just dry brush them in some set grain and I'm mixing it with some sepia and drawing off my brush just see if I can get in some little shrubs and things growing like that. Ok. And we'll do some of these rocks as well. So we'll make the shadows and the right-hand side, which I've already actually indicated with the pen earlier. That helps. Some of the distance as well. Really trying to preserve that lives on the left-hand side of those rocks. Then I have to do it to all of them. But just as some of them, some darkness variation here. The spit of land. Grab the fan brush, if I can find it. Pick up some of these frown. And I'm going to add in some trees. Like that saves so much time. And it looks a lot better than if you were to put them in yourself using just a normal round brush. Okay. That looks just about finished to me. When I'm adding some birds in the background. As usual. Tuning some of these areas. It's a paint that I've split it over in that area and it's near the top of the slide house as well. I was falling into a bit of a pattern there with the, with the bird. So on, trying to now break out of it, they all start looking the same. And that one's finished. 26. Paint Along: Beach & Buildings: So I'm gonna do two new scenes here. And they're going to be a little bit more difficult than the previous forth, where at least this one anyway, and sketched in the buildings. There's a few little buildings here in the distance. Still got a bit of that headland, got a figure here. You've got a bit more detail in the water so that I've sketched in and some trees here. So we're gonna see how we go with handling all these different elements at the same time. Just how I would approach it. So really simple as usual, I'm going to go in and do guy. And first thing I'm gonna think What kind of scene I wanna portray. And I do want to keep things pretty light and just did nice daytime scene, but also want to create a bit of light coming in from the left-hand side. So we've got a bit of maybe a sunset situation. And the shadow of the figure moving towards the right. Maybe on the trees as well, we'd be able to see some highlights on the left-hand side. So first things first, I'm just gonna go in and wet this area. As usual. It should be clean water, but it's kind of mixed in with all of the previous colleagues I've used. It doesn't really make a difference sexually unless you're really trying to get that clean, white looking color. So let's carry that all the way down to the horizon line. Cut around this beautiful land. Some of those buildings as well. And reweight these topic areas as well. Me crucial that it's all evenly wet. Okay, so pick an up bit of cobalt blue. Let's add in some sky. Darker on top of that across. Leave some of that sky showing through. And I'm going to move downwards. And I get an easily horizon line. Things are lighter. So we're not using some really light mixes of this gray. This do what it's, what it wants to do up the top, shifted around a little bit. And this bit here just even out, just looks a bit too sharp in some areas. You can still influence that. Now I'm going to grab. Orange and yellow. Orange maybe. Let's try that. Okay. And it's going to the horizon line. Mix that in. Just like that. Teeny bit more yellow. Yep. It'll be Mall. Just warming it up. And what I'll do now is I'm just gonna fit into this layer up the top. It's so that it looks like it's transitioning. Better. Hears Well, I think we need to put in some darker clouds. It's just a bit to bear that bit of sky. And I need to dark and maybe this corner at some interest as well. Just to help balance out a bit more. Now we can go in and add in some little clouds and things like that. You know, the horizon line. Just a little indications. Even that's probably too much. You want to also make sure you're not making a regular patentees clouds, which I have kind of done on this, on this end, is trying to lift out a bit of paint and just make it look a bit more irregular on the horizon line here. I'm just going to leave that maybe a little bit at paint their relatively happy with how this sky has turned out. And like I said, it's just amazing the kind of effects that you can get really by doing very little, just timing where you put the painting world, the paper still wet. Okay. So what I'm gonna do now, I'm going to do a bit of this water first. And I think I'm going to do some of this land here in the sand. So we'll do the water, I'll just make it orange up the top. And as we move down, turn it into a nice Cerulean Blue, trying to get some of these little wave seen here. So some certainly in blue water down, not too dark. Whoops, I mean, we need to get some of the orange first. So if we grab some of the orange and the yellow mix together and just touch that until the horizon line like this. Okay? And so what we need really just to indicate, might want even add some of that onto the trees. Like that. Just as some kind of a highlight warmer highlight later. And you Pick up some certainly in blue, and we will continue on widths. Remember, leaves some of this watts on the paper that's really going to help look like some waves coming in. Here. We are just underneath the what of the waves. Like there, which is dark in it a little, makes it look more realistic. So really all the detail want to put into it. Here the foreground is I'm gonna leave some white and go through this area with this whole area. Really immersed up to where the trees are. Like that. Alright, now adding o, no. So this is what happens when you don't put your water off to the side of got a couple of droplets. They're not sure what we can do about that so much. I'm going to be able to just blended like this. That's all we can really so we can really do. So. Yeah, just another tip. Be careful with where you put your water. Can turn that into just a variation in the cloud. Try to cover that up a bit. Maybe some fluffy looking clouds. As maybe this will work out looking better. Break up this area will be more. And this is an effect. I mean, if you the papers almost dried kind of gambling, adding some water, you can get these cauliflower effects where the pigment would just spread out and leave the area of water you've added in. To be lighter. You want to be careful with how you do that. Okay. It was I let's get back to doing this area of the foreground. So wet that area. Picking up some of these Naples Yellow. And I'm using you can use any yellow just dulled down with a bit of gray or, or Sienna. So let's go through this gift, the scene, all the way to the foreground like that. And as we go to the front, Just going to dock and that is usual. Let me see if I can add some directional lines, almost like perspective lines going up. You don't wanna make it too obvious. You sand hears wit too. So let's go and indicate that. Come just to be Dhaka. If some of that Watson as well. You get that to blend a bit. Kia Kay, talked over in the corner. And let's add in some of these tree. So I'm gonna grab some green to dock. Like that. Leaves some watts on. They're pretty rough looking trees. We're not trying to get in too much detail there using a big brushes. Well, tree's getting lada is you go into the back as well. Just remember that that does need to be documenting and make the ones up front. Lots are actually, and notice how I've left some of that green, the original grain. So orange, but some of that initial color, it's just creating some variation in turn. So dark and up some of these ones at the front. Color at the base of that one. Ok. Great. Little rig up brush or small brush. We're going to be picking up some Dhaka paint now. Maybe a dark green brown color and adding some tree branches and things. Okay. I want to go to a board, I think of when we do the mess there, but anyway, we'll go and get some darker pigment down. We're gonna just adding faunal part four. We add in the figure in detail. And in the spirit of land here, I'm just checking out draw that is I'm just going to go in and actually own pickup the hair dryer. And what we'll do is I'm going to grab some CPM mixed in with ultramarine, blue to purple. Actually, let's try, let's try it with one of the purple mix like that. Coming around to this water area. That easier to do with the flat brush, cut around things, rock. There's well, get theta1 corner of the brush. Maybe make another one over here. Okay. Around function buildings in there actually claiming that. And good at building here, a couple of them here. What I'm gonna do, I'm just gonna color in the Ross sod of it. Whew, we're just putting because I put in a area, the front just for highlight, light catching off. Do the same for that one. Very, very, very basic. Same thing goes for these other two. This one leaf white. Let's see how that goes and some of this mixing as well to the foreground, but not a big deal. Okay? So that's looking quite ok to me. Maybe be darker here, more pigment. Okay, fantastic. Getting this figure now. And I'm going to use a small brush, just a little size and gets a four going pretty quickly with some of this purple and red here for behead him the legs. I'm gonna dry brush it on, dry brush them on with some sepia. This And we'll make a shadow again coming across and hitting to the right. Like that. That's all we really, that's all you need to imply. And there's little things you can do here with the waves and stuff that's hitting the shore. So we're, it's what you can just add a bit of a line. Outlines some of these waves were hits the shore. Just wear the white finishes like this. Even some of the ones app there's Well, some darker paint just underneath the wave, white bid of the wave. Here at the back of your needs some more, a few more lines and things like that. Even here. To be taka, K, soft and some edges. And I'm going to add in just some bits of sand and things like that onto the paper. Pipe is still slightly wet actually in the hopes that just a bit of texture, this is some the purple that's being left over. Because we've got all these yellow on here. We're using some interesting complimentary colors, as well as the background. You can put in some rocks, Even if you want that shadow cast to the right. No big deal to seaweed and things. That's a bit of interest. And of course, let's go ahead and add in some birds flying in the background. One there. Yeah. Sometimes if you get bits of paint splatter and things, you can just turn that into a bird. Like I'm doing. Some of the paint that I've actually flipped onto the paper. Sum up the top here. Firms cannot put one. Okay, now that's looking pretty good. And it's up to you, but you can also add in some darker areas of the trees. Now, since that first drive, really just keep on going, but I do want this pen to show through. So let's just, just adding some darker elements to East trees. Like that. Little bit. Document up a bit more at the base. Let me go and we're finished with that one. 27. Paint Along: Two Figures & Beach: So this same here I've chosen because this various mountains in the background. So this is more of an exercise in varying the values of these background, mountains and bits of rock on the beach. So that it looks like as different layers and that they get stronger and closer as you move forward. So let's give this one a. And what I'm gonna do first is getting some of this guy. And again, I'm just gonna go and pre wetted with some of the water like this. And make sure that solely in and my plan is to put in a little bit of a little bit of orange at the bottom here. Maybe just dial it down a bit. So I've added some Naples, yellow but of a creamy color into the orange near the horizon line like that. And into this mix, kinda go grab some throughly in blue to dock, shift that around, kit it all through the like that so that there's a bit of mixing going on in the middle. And I'm going to try to get slightly darker values on top. I don't want that color. I want the Blue, Cerulean Blue. Just want to dock and some of the top areas just a tad like that. And in this corner maybe as well. But otherwise, I'm going to leave the rest of it. Like how that's working. So what I'm gonna do, I'm gonna move straight down into the water now. So pick it up. That same orange just mixed with the Naples Yellow. Just going in like that. Blue mixed into it. But don't get too worried about that. And just carry this to the other. And with this area completely going a couple of figures here, which I'm going to try to cut around. Leave some whites onto them. With this whole area is all going to be water except for the very front. And I'm going to add in this early and blue curious and leave some areas of light in the sea as well. It's trying to indicate some waves coming in. O went onto wet small waves down the back. This really just using that flat brush to create a line and then leaving a gap in-between. You can go in and change bits and pieces, do while it's wet. Just wanna doc and some of these waves of beat mole. But generally fine how it looks at the moment. And going to pre wet this area of the shore, get some clean water. And just pre Reddit. Fortunately or unfortunately, I've got some glue in that water and it's just non-ideal. If you have a larger tub of water at helps. But I'm just, I don't often change it while I'm painting. So we'll go in and just add in a bit of the Naples Yellow. A yellow that's dough down into this area and get that mixing a bit with the sea. And to do the same over this side like that. And just doc in it a little bit down the front. But if the Sienna so there's actually a, an area here, just the amount of sand or something that I've put here to indicate that this is higher foreground or Just another bit of rock. So that's why I'm making it darker and getting it went onto wet as well. If it mixes a little bit with the top layer, that's fine. It looks quite nice that way, anyhow. And add some little variations in things he especially where the the water touches the sand, dark in that area a little bit. And that will just indicate with sand like that. Just well, I can try to add in a wet in wet for these waves. I do like the affect that come out by itself, but felt some of the waves just need to be defined a little bit more. Little orphan. Just doc and some of them. Remember to keep these bits of white in-between, just crucial. Otherwise they won't look like waves anymore. You can also go in later on and dry brush them in. So let's get to these mountains. Before I do pick up some dried up paint, the toothbrush again and I'm just going to flick some pain to the front area to give it some texture like that. So what I'm gonna do, I'm gonna make those mountains, Ron in the back. That one there. Kind of a orangey, dulled down orange color. And just a warm color, really. Just mixing that orange with the greys and things on the pallet. So get that one in the back like this. And make sure that it's darker than the sky. Just a little bit darker. And I'll leave a bit of white here. So then I can do the second set of mountains, and then the third set. There's a couple ways you can do this. You can wait for that to dry. And I think that's probably the best way just wading into its little bit dryer before you go in. Just doesn't all melt together. So I'm just going to drive off quickly. Now. I'm gonna go in with a cooler color now, but of almost the same consistency as the orange before. So that's all you need to do. Go through and just make sure that it's a bit darker than the previous layer. Like that. It's also important to try to use combinations or variance of warm and cool and warm and cool. Because when they interact with each other, it looks a lot more interesting. Still wet so you can play around with it a bit more blue and they blew it up a bit more like that. And I can even go in with the rigor and start indicating trees and stuff. We'd go overboard. And I'll give that one to draw now. Okay, final step. We're gonna do all the rocks that are closest. So we're going to mix up some sepia and little bit of green. It doesn't matter what kind of grains and maybe a doc, a kind of green stick, greenish brown color. And a really big deal what color you use. And just going into the one in the front has to be pretty doc and darker than the ones in the back. Down into the hits the shore line almost there. And there's some in the water here as well. To just indicate in like that. A mop put another one here. So we're gonna look more balance that way. Don't have to stick with exactly what you've penciled or drawn in. And see if I can get some of these titanium white bit of little bit of white wash in here to make it kind of misty looking at the bass using a lead or a bit of whitewash. Not a 100% necessary, but it's one thing you can do like that. Okay? Multi speed up a bit. And I'm going to go into these figures quickly now. And I'm going to use a flat brush, pick up a bit of certainly in blue and let's get this guy in the blue shirt on and have the Lady and some green. Because green doll that down at the bottom. Saying with the shorts here and the God, I'm just going to make it dark and near the bottom. And also get the legs in like that. And her legs into a Manchus make this shatter. Simple. Coming to the right just a little bit. Holding something in his hand. And it's going to call that in orange color like that. And we'll get in their heads a little bit of pink. So I've got some show what color this is. I think it's Alizarin crimson. Could have pink there for the heads arms. The more you can get it to blend in leading, a nicer it will look. And thinking a bit of dry brush. Oops. Wasn't dry brush. The foreground. So I just pick up a bit of paint, dry it off on your tell. And go ahead and add in some of these shrubs and things in the foreground. Just a little bit. I can even add things like rocks and that sort of that sort of thing in the water. Like that. Smaller at the back. And you'd have here like this. And you're finished finishing touch, of course. Some birds if you want. 28. Paint Along: Tropical Beach & Figures: Okay, so this is a palm tree, same that I've drawn in. And just wanted to do this one to show some foreground shadow effects and also shadow effects from the trees here, from this tree here. So I want to get in some fluffy clouds, some large ones up the top here and then getting smaller. So really I'm just going to use blue, a bit of gray and the white of the paper. So pretty wet everything first. And just getting all this sky in like this. And I know that the top of this tree, you can add some green in. Actually wait until wit. If we can paint the tree and as well as the sky. Very efficient way of painting and makes everything look quite soft and blend together nicely. It's pretty wet. Okay. So I'm gonna go straight into it with some throughly in blue. Okay. It looks okay. All the way to the edge of the paper like this. And a bit more on this side like that. Just want to cut around, just leave some of these watt hea t indicate the clouds. That could have a lot of self-control. I feel like coloring everything in, but kinda remember, we need to leave some those clouds in and around the horizon line. We're going to add in this gray. Some of the clades that let that, oh, mixing somehow. Beta of grey, these Watts area. A little bit more. More here. Plenty it do its thing trying to anyway, curves is to mix a bit more. So we want wanna get some of this gray area of the clades in like that. K dot or up the top. And in some more of that gray, this. And the Manchus leave that and see what it does. And forgot about this tree. Some kinda now reweight these air tree. Some of it may blending with this guy. And I'm gonna grab myself a bit if Sap, Green, Trump that in like that. I really liked the screen. It's so bright and vibrant icon, mix a green like this. I found it very difficult to mix a green like this. Using my normal palate colors are definitely worthwhile. Me anyway. So we've got in those leaves of this palm tree now, and you can notice that ones that are hitting the sky just blending in very nicely. And you want that effect. I'm a doc and this H, right? And modest, we'll get the tree trunking as well. It's grabbing a bit of birth Sienna and some of the gray on the palate. And can I get some yellow ochre mixed with some Ponzi aloo. Just mix that into the base of the tree like that. Just to imply bit of light coming through. And with that yellow ochre and can now bring that all down now. And pretty much color this whole area around it up into the ocean. I'm going to leave these towels on the chairs here so I can get some other colors going through it. Cut around these figures. Mainly the tops of them. All the way across. Oops. We get these trees in a wet, this area, this area. And just drop in that set green again, very lightly. And when it needs to be darker. And continue on with the foreground. Sheila, why go mix that all in like that? And do we might be able to get some of these shadows in wet onto wet. And I'm gonna grab a cool colors. So I've got a bit of this blue now mixed, mixed up actually turn into a purple. Let's make some soft shadow effects. Here. Just indicate some trees behind the scene. Okay? So this is a soft shadow. I'll show you how to do a dark sharp shadow later with these, with this tree here. But we need a way for that to dry. In the meanwhile, what I'm gonna do is start working on this area. Kick that a quick draw L first. Need that to be draws so we can have a sharp edge on this mountain in the back. So grabbing myself a bit of green, dark green. And I'm going to mix this sexually with some Cp is some brown light hitting a bit of blue in there as well. And really get this scene pretty quickly. Too much fiddling around this tree, cutting around it. See how that looks like that. And it's still wet so we can add in some paint, went onto wet. Kind of grab some CPU as well, and add that into the base like this. This is true dark. Just see if I can shift that over to the right, more extensively gone over that, and take the opportunity to use the little rigor that I have now. Adding a bit of detail. Coming up is trees. You're very how they look as well. Loops. Get rid of that. That's too much fun. Let that dry off. And same thing goes. This fan brushes is great. It's just, you know, do little effects like that. And what I'm gonna do now is stop painting in the water. And I'm going to try to get a turquoise sort of color. So we'll mix a bit of cobalt blue with some sap green blue. And let's give this a try. Start off in the horizon line like that. Probably bit darker. Touch the edge of this massive land. What I'm hoping is for it to bleed upwards and downwards into it, creating a interesting blend effect. More water would encourage that. Adding more water in there. And what I'm gonna do is just bring this whole wash downwards, leaving bits of what is usual to indicate some waves in the distance like that. And it works CZ to do this with the flat brush, especially when you're working left to right or right to left. Okay. That's looking pretty good. I'm happy with how that's turned out. Can I add just a little bit more paint? Some of those areas. And this is what I mean when I said, let it sort of melt into each other. And we've got this lead effect that's happening now. And just adds and makes it look interesting. Almost like little trees at the base of this massive land. So what we're gonna do now is play around with these trees and get areas of IT darker. Sorry, I'm gonna swap to actually a smaller flat brush. Let's have a look. Slightly smaller flat brush. And using this turquoise color, miss a bit more green and to use this to create some darker areas on this tree. So preserve a bit of light. Just underneath some of these leaves. Just want to clip it like that. Use the edge little end of your brush to indicate some of the leaves that are fanning out. Right, that doc or actually go up to this side here. Do the same thing. Imagine light coming in, say from the right-hand side. Dr. underneath here, done it. Last leaf. Try to lift off some paints like that. Okay. Now falling down, thrillingly tree down to the base and add some darkness there. And we're gonna add some shop as shadows just cutting across the tree. So I can grab a smaller flat brush and dried off and just do this sort of dry brush effect. We just touched it onto the paper and leave that rod side of the tree illuminated. Now, to do this doc is shutter, just gonna grab whatever's left on the palate. I've got some gray bluish gray that's mixed up. And I add moles blue to it. And just try to get these shadowing. Now, realize this needs to be Dhaka. Some of these areas of the tree. We're gonna make this shatter that doc. Not all of it. Just cutting around here. The chair actually can just painted in this same grayish color as well because it's under shade. Drink holders here on the side. And I'll leave it a bit of light showing Theater in the back. I'll get some of these heir of the rocking. Okay. Beneath we get this shadow of just underneath these chairs. Will be daka. Daka. Go no, it's going to draw a lotta, which is the most difficult thing in watercolor. You have to always predict what is going to happen when it dries. What value it's going to turn out. That just comes with practice. Now, some of these figures I'm going to get through now, let's go with swirly and blue for this main figure. Lights early in blue. It's holding onto something. I don't know what I was doing when I was trying to draw them and go with the purple. So for this guy, I'm treating these colors because it's contrasting nice with the ground. There's a warm color. So you've got a warm color in the background and a cool color in front of it. Makes for a much more interesting. And this one here, I'll just add in a kind of grey color and see if we're going to add some warmer color base like that. Okay. And now we're going to do little legs. So I'm just grabbing sound CPM mixing again with this wash and carrying it down like that. Blend. Mostly. Just to be stronger, I might add in whatever he's holding onto very quickly like that, just leaving a bit of what the rod has sought of it. Now with the head's getting some Alizarin crimson, adding them in like this. And what we'll do is also add the shadowing, which is maybe going to the left-hand side. Indication like these. So I called him to get some of these little rocks in. So I'll do that now. Just quickly. Just doc and some of these rocks and a little bit more for these little chairs here. Getting some pure yellow warning for this side. Little towel that's on his chair. And one on the right. Or get some throughly in blues, really light washes, really in blue. Just like that. The heads of these guys we're going to add in some Hare, picking up some darker paint. It's kind of too much. It's too late now. And we can make this whenever longer hair like that. Just it just a couple of strikes really. That's all it takes. And then this guy like that. And for the background, I just want to add in a few middle beds. That looks pretty much finished. Quite happy with this one. I'll just quickly flown out adding a bit of darkness and this guy should just before I finish off on the left side, just thought it looked all to almost the same color. And on this guy as well, a bit of variation. What it needed that same But this guy here, okay. 29. Paint Along: Ipanema Beach: So this same Here is a really simplified sketch of I've had of a beach and is fit of these mountains going through the background of the buildings and things like that. But I've really simplified it down. The purpose of this one is just to see how you can incorporate these buildings and also imply a light source coming in from the left or right-hand side of the same. So let's give this a go. It's a little bit more complicated. But you see, as I go by, it's really the same process as what we're doing with all the previous ones. Now, I'm going to go ahead and width the area of the sky again. What I wanna do is get a graded wash. Starting out more or less with the nice blue on top, fading into orange. Orangey red. So just waiting this paper down. And if it does go over the mountains a bit, that's fine because we're going to make them talk or anyway. Okay. So I'm starting out with a bit of throughly and blue on top. So spreading that all the way through in the top there and letting it go down the page a bit. And now what I'm gonna do is get a little bit of this orange. Makes you clean my brush off first in the water and test it out. And just dropping that orange, like that has to be around the same value, same consistency as the blue that it's connecting on top there. Okay. Looking good. My adding a little bit of red, the bottom. Just a bit. And I'm going to just adding a bit of this orange here. See if you can encourage it to mix it up a little bit. Okay, so moving down now into these mountains, I'm actually going to leave those to drive because I don't want their silhouettes to cut into the sky. So what we can do is get into the sea and the sand first. So I'm gonna do this all wet into wet. So let's grab some blue and I'm going to just wet this area all the way down like that. And actually I might just grab some of the orange first, put on the top like that to imitate the Sky. And now I'm gonna go grab some blue stuff, thin wash of surly and blue. And that's mixed down into a purple. Let me just see if I can grab some pure blue and just add that in like that. You go over the figures. It's not a big too. It's more important that you get these washing. Taking some of these blue on the palate as well. Darker near the front. And while it's all still wet, you're going to want to drop in the waves. And I'm going to make them come across in this sort of manner like that. It's a very simple wave effect. Okay? Now what I'm gonna do is width this area. We're gonna get this blue out of the brushes. Too much glue on there. So wet this area too. And I'm going to drop in a little bit of this color here. Looks like a yellow mixed, seems like a yellow ochre. I've just forgotten the name of it, but it's definitely a yellow ochre. And just get that to mixing. If we don't too wet. And make sure you just add in some Dhaka bits and pieces as well. Especially near the front end. Here. With a water hits the sand. Just doc and like that. And if you quick it just paints itself. Really need to do much. See we can add in some bits and pieces like a bit of paint on to the paper. So unless a bit more control when you use the brush to flip the patents that are the toothbrush that all melt together. And this part here is almost draw. I'll give it a try. And I am going to make these mountains a blue color. So just mixing up bit of cobalt blue will go straight into it. Now this one at the back needs to be lied. Hi. And what do you wanna do as well as cut around these buildings. So it's gonna need a swap down to a smaller flat brush. You wanna leave that white of the buildings there. And through the mountain. Just kind of adding in a little bit of this extra paint here and there. Just to get it more interesting, keep it interesting. And there we go. We notice what I've done as well as that I've added in some warmer colors beneath. And again, that just keeps things interesting, so it's not the same temperature the hallway through. Now. Go ahead actually and adding a little bit of color to these buildings and just try and pick up some of these gray and dull it down quite a lot, water it down a lot. We're going to imagine the light sources coming in from the right, so from the left. So I'm just going to add in some darkness on the right-hand side of these buildings. But no apparent order or anything like that. Just quite quickly. But making sure you leaving some of that white. Very important. Ok. Now what you wanna do is go ahead and do this other one. White for that one to dry first. And I'm gonna use my biggest flat brush. And again, cooler color a Dhaka than this mountain because I want to show that it's in front. That a try. And it looks good. And I'll go straight in like that. Blue actually. Read Tom, I go back to the palette, just try to pick up a little bit of paying from another area of the pellet does need to be bit Dhaka. A lot of water on hand, just gonna get rid of some of it. Gets some sepia in there too, and cut around using a smaller flat brush. Some of these smaller buildings. Just do it quite quickly. Same goes from this side. And we've also got some buildings around the left hand side that you want to cut around to. These ones are pretty complicated, so we just want to simplify. So leave some white areas in here. So what you need to do just indicates, especially when you're painting these small, very difficult and not very fun as well, to try to paint them only will be little roofs and things. So all I'm doing, just leaving a little bit of white paper there. And that should do the trick. Just trying to dock and up these topic areas a bit more. The mountains and watering these mixed down. To get a kind of grey are going to start putting in some of these buildings just indications. I remember leaving the right side of the building indicating that this and live here like that. And that's about all I wanna do is I could put a bit of smoke here, something, just a little bit of areas lines up. So you can lift up paint to create this sort of smoky effect like that. Don't over do it. I want to also soften this edge like that. And here, little bit k. And last step is start putting in some of these figures in. You can have fun with these. We can make this person red. And you can go and pick up a bit of this color, whatever it isn't. And that person in and grab some blue, it's probably a bit too dark. Orange. That really doesn't matter. And I'm gonna do the legs in a darker color. Sepia, crevice, small brush. I've really used brushes that are this small, actually. Painting into sketchbooks, especially with some of these small figures, you kinda got no choice. At the legs in and the shadow going to the right hand side that that in as well. And another thing you can do is with these buildings, you can add a little bit of detail on them or wouldn't go crazy about it. But say you can pick up this flat brush, gets some of these darker paint, dry it off, and try to indicate some windows like that. The finishing touches. Everyone's finished. 30. Paint Along: Umbrella Beach Scene: So this little design here is based on a larger painting that I've done. And quite similar, I guess to some of the previous ones that we've gone through already, except the difference is we've got some figures, so there's more of an emphasis on these figures. So it's telling a bit of a story. You've got a guy running along the beach. Someone's sitting underneath an umbrella and these three fellows here talking to each other. We've got a Jedi. So it increases the complexity a little bit. But we're gonna follow the same steps anyway. And we're going to start first with the sky. And what I'm gonna do is I'm actually gonna pre wit the whole area of the sky again. And my plan is to getting a kind of a nice fade and some interesting cloud effects as it goes from blue to yellow and orange. So let's have a look, let's give it a try and see how we go. Might even use, might even use in purple. And it just making sure that you're looking at the paper from an angle so that you can tell which areas you've covered with water and which areas you haven't. Pretty important to make sure it's completely wet from when you do these clouds. Really important. Kay? Almost there. Now what I'm gonna do and a grab some cobalt blue. Going nice and strong up to top. That look ahead k. And going outside the lines, that's fine. And it just carry this downwards, leaving of bid of the white in the sky. Let's see if I can get in the bid of purple as well. So the top down. As we come further down, I'm going to add some little bit of blue. Not that much. Here. Just want to change it kinda little bit. What I'm liking the look of this purple, just something, something different. And now picking up some yellow. And let's give this a try and has trumped that yellow in like that. Okay, nice and nice and warm near the horizon line and locking the look of that, let that all mixed together, cut around this umbrella is going pretty strong like this. And now I don't want these line just completely like that. So I'm gonna try blend some of these upwards now. You can even tilt the page if you'd like. So you can do this sort of thing and encourage it to run upwards a little bit. And it's all still wet. And what I wanna do is add in some little clouds and things like that. So grab that purple again. And notice that the purple and the yellow are complimentary colors is well, that's dropping, dropping some darker bits here. And the top. Like that. We mix in some more blue. And coming down here, we can give them, you know, we're gonna get some clouds in further down, just softer clouds. Because if it's yellow, it's just gonna look, just gonna look a little bit funny if it's all yellow. Make it more interesting and dropping smaller clouds, just Goodwin indications like that. Have to be, it doesn't have to take too much work. More blue here. Doc and this area bit top, like that. Purple. Mix, some purple and blue together. Just to this. But you can already see there's some interesting mixes is happening and it's quite, really, quite nice. You just let it mix together and its own. Might've overdone this fit though. Clouds here and that arise in line. So moving down now into the foreground. Actually what I'll do, I'm just going to see from an ad in a little bit of orange in here as well. Change it up. A little bit of orange. Red 20 meter read. So coming down. Now I'm gonna go grab a mixture of a very warm colors, yellow and orange mixed together. Let's try that. Here. Cut around that figure a little bit like that. And we're gonna do this water all in the same color. So let's pick up that blue. This lighter, stupid lights off of a bluish purple and come around the body of this fella. Just bring this wash all the way down and we're hits the you can leave bits of whitening here. But actually for this one, we're just gonna go over the whole thing and I'll show you how you can create some darker looking waves. So just add some variation to this shore here. Cutting around. Okay. And what you can do, you can pick up a smaller brush, little round brush or can me flat brush, that's no no issue. And just mix up a thicker, thicker sort of mix of that blue or it could be a grave in. And just do this and going and we're down to where it just creating some darker areas in the background just make, make them a little bit smaller these waves. But that's another way that you can, you can do it. And as we come into the foreground now I'm going to pick a bit of that buff titanium again. And let's just spread that all across some actually, I'm actually going to get that to mix in here and get some thee orange and yellow mixed padding as well. So it's very sandy looking color will cut around this figure like that. These ones here. The reason why I'm doing that is skin to make it easier later on when I want to put on the individual colors. So just doesn't get mixed up. Go over, talk like that. Just cut around. Do you get a bit of paint on them? It's not a huge deal. Spread some of this yellowish paint around as well. Area. Come into the foreground and grab a little bit of burnt sienna. And you can add in some little variations and things like that here as well. In the foreground. And I just want to add a bit of darker color here. Let it blend in a bit. We've put the paint on the horizon line, picking up some residual daga paint on the palate and just dropping that into the top areas of the sky. Corners especially you just felt like doing that. And what I'm gonna do, I'm gonna pick up my toothbrush with that a little bit. And I'm going to pick up some of this MC gray color from my palette. And I'm gonna just flip some of that paint like this, just to help create a little bit of that sand texture. Gone into the sky accidentally there, but it's no big deal. Just showing you the technique. One of the techniques I use. Maybe some darker pigment. Here we go. And I'm hoping that will dry just an interesting little texture to add on. And we're gonna give this a quick dry off now, a finishing touches. And I do the figures. And we're going to get one of them in some brilliant blue. So let's mix up with nice clean mixture of that and coloring in here like this. And I'm just going to add in a bit of red. This is a bit of common read. She hears of the heads of these figures. Here. Even this one probably can do him at the same time. The hands and the legs like that. And well, that's too wet. Blending some of these clothes. He tried mid of this darker color. Oops. And that's okay because the cynic sepia and this one here, I think I'll have him or her in yellow. Like that. This one. So the ride and said this think we can go say green doesn't really matter. It's up to you. I'm trying to make these quite a bright looking landscape. Now he looks like he's carrying something here. Okay. And and that little box in that person's carrying and it looks like and do the, I don't want that to mix into much k. And this figure sitting on the ground, ketamine, blue like that. And red here. Little legs. The iamb is, well, OK, great. And for this fella out the back, don't want to draw too much attention to him. So I'm just gonna go coloring in blue, like that. Kind of running along in the background. The dog, they're just going to leave that. And now I'm going to also try to add in the shadows. But firstly, One thing I've forgotten is this umbrella. And I think a purplish color would look nice. Very light. Purple. That is, get it in. And under the, under the bottom of the umbrella, you can put in a bit of darker paint. Some mixing up through sepia. Blue. Just adding that in like this. And I'm going to outline the stem of the umbrella and sitting underneath this kind of crate. And they'll get that in now along with the shatter. I'm gonna make it cool. Cool gray shutter. Let's get that in. And we're going to make, and we're going to make the light source coming directly from above and get that pretty dark segment, these legs that in my mind, just dark in the lakes as well. And the certain areas help it join onto that shadow better. This one, this is a little indication of a shadow. Very good. Indicate a few other things lying around there. And homogenous also putting some hair on these figures. So we can give this person, you hey, like that person. They're going off to the side. And this one here. And just a really simple landscape. You three figures. And what I'm gonna do as usual, which is add in some birds in the background to help write the SOP. A bit. Little ones. You have a little flock of birds. You'd lots of little ones together like that. Really are just the most cheerful looking simple pen and wash. Sane. 31. Paint Along: Beach with Surfers: And we're going to move on to the second one, which is quite similar to the one that I've done before. But the only difference is we've got a few more figures in the foreground here. There's some under the umbrella. Couple of figures here with this surfboards. And it looks like there's a couple here in the deciduous beckoning their friends to come over this, what I'm trying to convey anyway with this little scene. So let's give this a go. It's a bit more complex because of the figures. And you've gotta be enough land hears Well, there's some waves washing up, but let's give this a go. Firstly, you're going to start with some brilliant blue. And let's give that a shot. So come in stronger up the top like that and carry this wash down these nearly horizon line. This is where I'm going to start adding in a little bit of yellow and red. So pick up some of this color. Yellow ochre is try this, blend together. And I'm going to actually try and broaden. That would be some this yellow, some red. Okay, and when I add some clouds here and this guy, I'm just picking up bit of ultramarine blue, is trying to get in some of these clades that. Further up to wet and moving downwards as well. Definitely gone. Not large enough to only horizon line. So I'm trying to just see if I can lift this out. We have to bidder this paint out and warm it up a bit more as well. Just nice to be. A lot lots of then what I've put in there already and also warmer, grabbing a bit more of that pure yellow and dropping it in. This is a Ponzi yellow. Curves that to blend a little kid in some Dhaka clouds like that. Maybe some here. Little ones joined on. These ones. Kind of make these little, just little clouds coming off in the distance. And when you starting out with watercolors, it's so important to just do what I'm doing here with lots of Louis sketches and practicing how the paint reacts with the paper. And you get better at anticipating what it will do once it dries. Because what you put down on the papers and what you end up with. So now I'm going to go into the horizon line that's ad in the yellow. The warm color is fine. Tried to mimic this guy back. This cut around these guys, but it's not so important. I'm going to grab the blue, but it's really in blue. And now blend that in like this. We can do just some indications of waves. Leading bits of wide on the paper and moving into the foreground with this area. And we can even go over these entire figures or don't want to complicate it. They're going to be darker anyway in the end. And we're going to try to dropping some yellow and yellow ochre into this mix like this. I just want to make it lies on the other front, Dhaka At the back. It's always a good general rule. Some of these burnt sienna put data in at the front like that. And the rest of it just add in that yellow ochre and yellow to that mix. Which is planned around this guy. A little bit. Some water in there and a bit of white paint, buff titanium, and they're just wanted doll that area down a bit more that soul lift at near the horizon line. Like this. Now let's look ing or write to me. And what I'll do, I'm going to start getting in this sum gorilla. And it's gonna put some blew into it like that. And leave just a few little white spots on there. And I'll mix some darker bits as well like that. Specially underneath. This is probably this is blending into the sky. Let's see what happens. Ok. And what I'll do as well. With these two figures. I want to try to get in some cooler colors on them. So I'm actually just gonna go with blue coming over the back like that. And if we imagine the sun coming in from the front, I'm going to warm that up with some yellow like this and just mix that in. Is it part of the figure illuminated by the sunlight coming in from the top right hand corner. And just having that blend into cooler color. That leg in red. And these two figures in the background. And I need to worry too much about them, just gonna make them darker skinned blue. Don't want them to be a big focus. Ok. And what do I do now? Grabbed my flat brush, smaller flat brush. I'm gonna go put in some of this headland in the distance and give it a quick dry first k. So this head layer needs to be pretty dark. For that, I'm going to use some of my sepia mixed in with blue, some ultramarine blue, and CPR. She get it pretty dark color that I can use for the background. And we'll just go in quickly like these. And one thing I wanna do is cut around this figure. Let's go all the way down fist. That's fine. Use the edge of the corner of the brush to pay these area like that. And make it darker. You'll get cut around. I added a bit of texture and Dhaka areas. And this bit of land behind. And maybe just a slight reflection like that. Nothing too obvious. I think that hitch go higher as well. And if you put a little brush, this is when you might want to add in some small details, some trees coming out the top apps. I'm gonna do some brown mixed with green and indications, nothing. Maybe a tree like that. Doc and under this umbrella, wallets drive now. And I'm going to carry this join the stem. Yeah, like that. Got a lot of these guys now underneath. And I'm going to make them cool. Blue color because they are in the shade. So we're just going to call them mole, essentially in this color and leave a little bit of a highlight on the right sides of them. Just indicate that they are under the shade. Detail this umbrella a bit more actually like that. And shadows coming from this direction. So I will just add in some very rough shadows like that. He's too. And I'm going to just getting some clothing on them now. Wow, I can indicates some dark areas of shedder behind the figures is preserved. That light come into the right-hand side of the body's trying to join them as much onto these shadows on the ground. We go here. It's connect that ONE. Pete more darkness. Just about finished. While this is drawing on, going to add in a few birds and things in the distance. These ones I'm doing Dhaka just to see how that would turn out. Finishing touch that's had some hay and give them a draw first. Beautiful. So we need to do indicate longer hand. This one's got shorter hair. And we're done. 32. Paint Along: Beach and Boats: Okay, for this one here, I'm gonna do a very simple boat scene. Just something different. So we've got the beach here, we've got a few of the boats just getting smaller and smaller as you go into the distance. And we'll start off with the sky and move on to the rocks and C, So let's give this a try. Now I'm gonna grab myself a bit of read, just a little bit of red. Let me set up here ready to go. And I'm going to wit the top area of the sky with holier To be honest, first. And see if we can get a pink, pinkish looking sky. Purple and pink. Grab some purple first we went and a week purple and talk like that. And as we move downwards, just turn that into this red. Yeah. Oops. Too much. Sometimes I find the foster or do these class, the better they end up looking kind otherwise you end up fiddling for too long. And they start looking the same. Top area. Want to adding small pigment, EBIT stronger on top. Blend. Well, let it do its thing. If you're using cotton peg her as Tonga is ball and it tries to pigment disperses evenly and it starts looking a lot nicer. When you originally put it on. You think doesn't look so good, but you leave it for a bit. Start looking quite nice. Notice how I preserved some of the watts of the paper as well. And make sure you do that. Covering the whole thing in pain. Okay. I think we're going to leave that a little bit more. Some slightly dark areas of cloud here. But apart from that, I'm going to let that now do its thing. So moving down into the sea and just use a bit of this red and purple mixed together. They have a little bit of blue in there. So it will be bringing that to the front and then leave some little bits of white. And here's well, like that. And as it hits the shore, I'm just going to add in some darker areas of these waves. But as it hits the shore, what I'm gonna do is just what this whole area down minus the Bode's pretty quickly. And yellow ochre. And I want to mix a bit of that reading, a little bit of that Iridium is, well, I don't want it to be pretty warm. Say land, this area of the scene like that. While it's still wet, it's almost try now is paper draws very quickly. More yellow ochre. As you get down to the front. Here. I'm not actually going to dock in it, but I'm going to use my brush to flick a bit of paint on some darker paint. So let's get some third sienna. Just mixed in. Not dark enough. Accidentally got to bid on them, but some of them, it's not a big deal. Mainly want to preserve some of these Watts On the boat so we can make it just a bit larger than the actual sand itself. Now, what I'm gonna do is grab myself. The yellow ochre again. What are that down affair bits at? It's pretty light. It's mixed team that some other paints. So I'm gonna have to grab some more again. And just going to paint over the top of these birds like this. Just a little bit lighter. Just paint over the top of all of the boats. As you go back and they recede in the distance, make them just a little bit lighter. It's just one of those things that helps with the feeling of depth in your painting. Make the objects in the distance just that little bit lighter. Unless they naturally dark objects like a bunch of trees or something like that. Okay, that's all good and we're going to let that dry now. Well, that's due drawing. I'm gonna go in and do this area. I think I've got a bit of water in the sky. Accidentally dropped a bit of water in there. I really want to fix it up, but I'm so worried that I'll mess it up. I'm just going to map this area water up, soil. You have to be careful when you're putting your water need to paper. Let's give this a dry. Now atan of getting some of these rocks and things in the background. And what I'll do first is go in with some yellow ochre on just parts of the rock like that. Same as this one. Especially on the left-hand side of the rock, indicate that is light coming in from the left, just catching those rocks and into that mix on going to add some green and CPH mixed together. So we just add some of these little ones first that we don't to wit. And we'll go into these ones now. Kind of the technique that I did in one of the other videos where you just let it mix. Just let the edges join. Traits and noss, soft edges in there like that. Just doc in that. And then go ahead and grab like you little fan brush or other brushes, smaller brushes and adding little details like that. Up and bit of water on the left-hand side, it's this crypting. Wanted it to kinda look like that one. See how that goes. And now with the boat's going to just start adding in some of the darker areas beneath it here. And some of these, some of these water color actually. And that really sort of just wanting to portray the light coming in from the left-hand side behind and to the left. And I'm getting the sort of blended edge here by feathering the paint. So do a struck wipe off the brush and then I'll go back into it. This one here I've forgotten to do. Let's just get the whole thing in like that. Okay. Now, we're gonna get the shadow coming in to just behind the boat. We'll try this out. So I'm pressing down with the entire brush and then as I get to the end, I'm just rotating it so that it leaps off on the corner. And getting some of these shutters here for these birds. That this one too going a bit too high on that one, trying to lift that off. That's OK. All right. I feel that this water needs a bit more substance to it on going to re-watch it again like that and give it a second to dry off a little. What I'm gonna do is just with my flat brush, adding just a few more waves and things like this. Pick up some paint first. Went onto wet. Especially where it hits the shrew here. Feel that already makes a difference. You can add little details and the top sections of some of the boats, depending on how you've drawn them. Just dark and bid of that area there. If you've drawn them kinda like this one where you've got an open top. You can start shading in little areas inside just to indicate objects and that sort of thing. So yeah, that's a very basic boat seeing just to highlight the use of shadows. And I guess different subjects on a beach. Little girls in the distance. I can't help myself. 33. Paint Along: Beach Sunset: Okay, so we're gonna do another simple one. And for this same here, I'm going to try to make a sunset kind of scene. So I've got the water coming up the front bit of land here and mostly sky. But I'm going to make an area of contrast here where the sun's just come in across the horizon line and creating a bit of a reflection below. So first thing we need to do is create a lot of the darks of the top. And well, there's a couple of ways you can do it. You can put in the darks first or you could put in the lights first here and then work your way up. But I'm going to going to just try it from the top to bottom. So we'll go with a bit of cobalt blue. And I've got an interesting kind of purple here from my paint set. And I'm gonna try that. Try something different, bit of purple. And that's going to be good complimentary to use for the yellow later on. So lets start off. Quite strong on tablets have a look That's looking okay, or the purple. And into that mix actually, I'm going to add in some, this cobalt blue, change it up a bit like that. And they'll just whet this area beneath here. Once and went on where to fix. But as you reach the horizon line, just be careful that you leave some white of the paper showing through kinda like this. Because that's where we're going to blending some of the yellows later on. So now I'm just adding in red on wet. Some of these purples and blues up to the top. As we get further down, just becomes weaker. Like that. Okay. Try off that brush or really wanna make sure for this section here, reweight it. Really wanna make sure that the yellows that we get in a quite strong. So I'm going to pick up the lemon yellow. Just going like that. See how that looks. Maybe we'd have orange as well. Some more yellow. Just touch that. We're meets this little point on top. Okay. Quite happy with that. And then just encourage it to mix now slightly. And to do that, I'm just picking up a bit of this orange and warmer color. And just doing this. Feathering that across here. Like that. I'm hoping that will work. Going back to that purple now, picking up some of this color and I'm gonna make some cloud effects on top. What dark might mix some sepia with that to keep it to structured as well. So Missy cloud of x. Here we go. And as we get closer to the horizon line, we're gonna make these clouds smaller. Piece. Just a few down the bottom, fine, wet on wet with the melting. Darker areas here. Just want to create a bit more of a contrast like that. One of the magical things that can happen when you're painting went on wet. You can just have some really interesting and beautiful effects that you're just not even able to paint if you tried. So I can keep on going and adding more and more on here. And at some stage, you'll be happy with the result. Once it starts looking like you're happy with it, I would suggest to stop and fix up little bits and pieces, but, you know, don't don't go overboard. Otherwise, you run the risk of changing something that you wish you didn't. So I think that's looking the way I want it to look now. And I'm just now going to carry down, should have done this a bit earlier, but some of these yellow on the horizon line like this. Ok, so I'll just carry this all the way down and add inhibitor of the orange as well. Change that up a bit more yellow. Going in. Pretty, pretty strong. And you don't need to get these pot perfect. And the reason why is because we're going to be adding in some of the other colors on the sides too, and just helping that blending. Maybe some of it comes across here. K bit more yellow, rise on line. Okay? Now picking up some of the cobalt blue and purple mix that you have. And this is when you can start to mix together on the paper. And this is all wet in wet, you can actually wait for this to dry and start going in and make some sharper looking waves and shadows cutting across. But I've just chosen to do it wet on wet. Get some of the bigger that blew in as well. Larger in the distance. And as you come closer to the front, which is going to make that darker, just kind of mix up a bit more, this truly orange and yellow. And you can see down the bottom it's what it started to dry and you can get more sharper looking effects. This top section looks quite width still. Oops, some of it's blended a little bit over into the purple, but I'm not going to worry too much. Kind down to the front. Darker, more blue like that. And blend using your flat brush. Here. Same with this side. Here to the purple when Bu continually Just going back into the palette and pick it up. More pigment, trying to vary it. K. Now, while I can, I'm just going to add in, make it a little bit lighter, down, darker, mean down the front. So pure pigment, just gonna grab some CPM mixed in with cobalt blue. And we start from this side. Actually, it's adding a couple of streets like this just to indicate some, some darker waves like that. And I'm gonna repeat on this side. Don't over think it. It's up to you. You can add some lotto one slot, a little waves in the background, and you pick up a smaller brush to do that. And just same effect as before. Just remember to make those waves of smaller down the back than they are at the front. And that just aid with the perspective, making it look like it's further back is a lot that you can do. Went onto wet. And I'll try to paint as much as I can actually went onto wet saves a lot of time. And apart from that, you get just some amazing effects that yeah, like I said before, you can't really painting even if you tried. Some of these smaller waves just running across like that, not overdoing it, I want to preserve this yellow. Okay, so that's looking fine to me now. Can keep going further and dark in it. Little more to the front to increase that contrast and feeling of depth. But for the most part, that's looking quite fine to me. So with this part here, what I'm gonna do is we're gonna add in the land and that needs to actually be pretty dark as well. And I'm going to be picking up some CPM. So pick up this sepia and actually use a smaller brush. This is a total number 12 flat brush. And I'm just going to mix in some of these blue. Now this section should have already dried. This area in the back, probably not. So it will bleed in a little when I don't mind that actually, because it might just look, give a slight reflection. So we'll go in really just broad brushstrokes Just to add in this bit of land here. Like that. There we go. Other side now, this will definitely bleed in like this and bring that down. And what I'll do is thinking I'll just can soft and this edge a little bit. Here. Not necessary, but I think it just sticks out a little bit. And we'll lift off bit of paint here. I think there's just too much should that around a bit. And with your with your smaller brush, you gotta rigor or anything like that. This is the time, perfect time to add in some details. So but a dry brush, sardines and trees and things going up like that. Do it here as well. Make some little branches and things reaching up to the sky. Keep them varied is well, I don't want it all to the same. Just a bit of detail. Yeah. Okay. And if you want, you can add in a few birds and things on the horizon line. Might give that a go. Just a few. Speed hasn't dried properly so it's bleeding in and little. Just gotta be careful. Some bigger ones coming up here to listen to one. And that's pretty good for just a little sketch like this.