S1C1 Marblehead Lighthouse | Arlene Murphy | Skillshare

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S1C1 Marblehead Lighthouse

teacher avatar Arlene Murphy, Artist and Instructor

Watch this class and thousands more

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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

10 Lessons (1h 17m)
    • 1. S1C1 Intro

      2:55
    • 2. S1C1 Supplies List

      4:54
    • 3. S1C1 Fluid Acrylic Pour Background Blue

      10:35
    • 4. S1C1: Setting up to paint

      2:23
    • 5. S1C1 Planning your painting

      7:10
    • 6. S1C1 Getting Started

      16:35
    • 7. S1C1 Creating Depth Part 1

      4:45
    • 8. S1C1 Creating Depth Part 2

      7:32
    • 9. S1C1 Final Touches and Painting the Rocks

      15:47
    • 10. S1C1 Project and Final Thoughts

      4:09
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About This Class

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Series 1: In this series of classes I will show you, step by step, how to make a painting with acrylics.  You will also learn how to create the colourful backgrounds using a fluid acrylic pour technique.  Even if you have never touched a paint brush before in your life YOU CAN DO THIS as long as you are shown how.  And that is what I am going to do by breaking it down into small, manageable steps with time in between for practice.  There is also a discussion page that we can all participate in to learn from each other, show each other works in progress and ask questions and get feedback.  This is so valuable.

Painting #1 is Marblehead Lighthouse and has been a very popular image to paint in my live classes.  The videos will take you through each step so that you can create your own mini masterpiece!  You can choose the size of canvas you want to paint on or try painting on another surface all together, such as wood, a large rock etc.  The goal with this and all of my classes is to learn valuable painting skills and have a ton of fun!  

I look forward to painting with you.

Meet Your Teacher

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Arlene Murphy

Artist and Instructor

Teacher

Arlene Murphy, BFA

I love moving from one creative project to the next,

teaching and learning from other creatives. 

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Transcripts

1. S1C1 Intro: Hello and welcome to my studio. My name is Arlene Murphy and I'm an artist and an instructor. I'm so excited to be able to bring my paint Louisa classes to you online on this amazing platform. I have been moving from one creative project to the next for my entire life. I love a new challenge and I have done a lot of different things along the way. As an instructor, I teach primarily in my studio, but I also do paint Pluto classes live. So you can gather, friends, family, coworkers together, decide on an image, and I bring everything that's necessary for you to make your own painting. So now we Skill Share, I am bringing those classes to you online. So whether you ever picked up a paintbrush before or not, you can do this. My videos will take you through step-by-step how to make your own mini masterpiece. And often in my live classes, the people who've never picked up a paintbrush before have the most fun, even though at the beginning they're very nervous and very tentative with what they do. Most of my classes involve me coming back to do more. So as we go through the videos in each class, you'll be able to build upon skill sets and learn new things and new ways of making the mark on the canvas. And that's really what making a painting is. It's a series of marks that you make on a canvas or a surface you can paint on rocks, on a piece of wood, whatever you want. So my initial series of offerings for classes will include what's called a fluid acrylic pour backgrounds. So each class, before you start to paint the image on top, you will want to do your background now. You don't have to do a fluid acrylic pour background, but I absolutely encourage you to try. It makes a stunning result. So the videos for that, we'll always be included in these classes. The next series of classes, which we'll be serious too, will be images that you paint on top of a background that you have also painted yourself. So you'll learn about under paintings, you'll learn about how to create your own background. Down the road. We'll start using oil paints because that's something that I do a lot of in my fine art practice. I use oil paints primarily actually. I also use a palette knife, so I'll do some classes on that. So we're going to have a lot of fun together. We're going to make a lot of great art and how a lot of learnings along the way. So I encourage you to reach out and ask questions, share work in progress, and talk to each other, of course, on the discussion page. And I am so excited to, to take you through this series of classes that we're going to do. I look forward to painting with you. 2. S1C1 Supplies List: Hello and welcome to video number two on supplies. So the first thing I want you to think about is the space that you want to do this Honestly , all you need is a little corner of your home with a table in a chair, and then you're ready to go. I cover my table with a plastic tablecloth that I buy at the dollar store on a song, as until you get a hole in it, you can just keep her using it. You're also going to need a palate, and I used these plastic disposable plates. So that's this is a dinner plate sized, so you have lots of space to put your pain. To mix your colors. You also need a plastic cup with water in it. It's acrylic paint will be using, so it's water based, so you'll need something that you can put some water in. I reuse these all the time as well. Also, you will want to have a couple of paper towels handy. You can wipe off your brushes. Azzawi go along and rushes, so the brushes that I use are called flat and round, so I use a larger size flat and then a smaller, flat flat just means the bristles go across the top and straight across. And then I use a round brush. This is a fairly small around brushing these we use for more detail in some of the paintings that we are doing. So that's that's essentially what what you need for brushes. Ah, in terms off paint. I used Liquid Tex basics because it's a very inexpensive yet good quality paint. But any acrylic paint will do. And I would get you yourself a variety of colors, all the basic colors white, black, brown, red, blue, green colors that you like because again, when I'm suggesting color in a painting, if you want to use a different color than I encourage you to do that, so get let's get some colors, you can get them in this, too. But you can also get them in a 500 milliliters. Er, um um, bucket for lack of a better word with a screw top cap on it, and you can also get painting larger jugs. It just depends on how much you're going to do. Um, one of the things we're going to be showing I'm gonna be showing you in the third video is how to do your own fluid acrylic poor background. This takes a little bit more paint than when we paint the name of John Top, so you may want to look at getting yourself fairly good sized jugs of pain. You can order them online through Amazon Michael's Dick Blick. There's a variety of sources that you can get your paints from very inexpensively, so the canvas size this canvas size is 11 inches by 14 inches were also we work in 12 by 16 16 by 20 you can. I would go any smaller than 11 by 14. It just helps when we're doing the imagery that I that I have. If you haven't least 11 by 14 if you want around campus, you could do that, too. So you decide what's gonna work for you. Canvas. I do use easels in my classes. They're just disposable, pulled up easels. But if you don't have one, that's fine, too. And a lot of people prefer to put the canvas on the table or prop it up slightly. So whatever works for you as well. I want you to think about the third video in advance, so supplies for the third video. So because you're going to be working with paint, and it's kind of messy when you're doing your fluid acrylic poor, I use disposable gloves now. Want acrylic paint his water basin? It will wash off the soap and water, but I like to use the gloves when I'm doing in the background. So I suggest that some sort of rubber spatula again. I got this at the dollar store just to move some pain around. I also encourage you to use one of these oven liners, and we fold up the edges and it will catch a lot of the paint that's gonna come off the canvas when we moved pain around, very inexpensive, also at the dollar store or any grocery store and then squirt bottles. So, uh, these I buy online by the case. You can get them individually, a dollar store. You can get them smaller. It doesn't matter what you use, but it has to have the ability to put paint in and watch her and then mix it up. It's a 50 50 formula. 50% paint 50% water when the paint goes in the water. Go in. You've got to really be able to mix it. And then this is great because it has a little cop. And then you can squirt it out onto the campus when we get to that point. So I just want you, Teoh. Think about that in preparation for video number three and we will be running that video next. And I am so excited to start working with you and you're gonna have a blast making your own fluid. Acrylic. Poor background. Thank you until next time. 3. S1C1 Fluid Acrylic Pour Background Blue: Okay, so here we are. We have turned the edges up on our oven tray so that it will catch any paint that drips off our campuses. Now we're going, Teoh, put some thumbtacks on the corners of our campuses. We want to keep them off the ground because otherwise they they take a good day or two to dry. And so if we don't do this little step, they'll actually stick to the table. So we put some thumbtacks on our on the backs of our campuses. And if you actually try and get into the seam is a little easier to push these guys in because they could be a a bit of a challenge. We don't have to go in all the way. You just want toe, put them in, and not so that they won't fall off. When we when we set up our canvas and we set up Sorry, I put the paint on top so we'll do both both campuses. So the reason that I do two canvases you'll see in a moment, but it helps to conserve paint because we're going to actually have a lot of paint running off the canvas as we go along. So this way it goes onto the campus below so that we don't We don't mess, miss, Um, the opportunity to save all that paint when I dio my background poor is preparing for classes. I set up my studio so that I could do a whole bunch at one time. So now I have my two canvases sitting on my oven tray with my from talks in the corners so they will stay there as we go along. Now, as I talk to you about in our last video, I do wear gloves. So these air just disposable gloves. I get, um, in bulk at, uh, Canadian Tired. There's the Frank brand that are really, really good. You can get from a to grocery store as well, so just to let your hands are a little bit protective, I have a score T bottle that is designated for what I call the base color. So the base color is just white with water. All the paint and water is a 50 50 ratio. 50% paint, 50% water. So you want to make sure it's shaked up really well shaken up the colors that I have here now. When I do, my background pours for classes. I have a lots and lots of different color blues, but you don't need that many. It's up to you if you wanna have six or seven different blues. Absolutely. But I'm just going to show you that we can do this with what we have here. So this is the actual paint color, Same ratio, really as but it all is the same ratio. But I just have it in a separate container. So this is my mike, my paint color, my paint color white. You want to make sure everything is really well shaken up? I have a silver. We use very little silver. You don't have to use silver. It'll it's quite expensive. It's up to you if you want to add that, um so that I have a light blue. I'm just going to set them up on on top here. This is kind of what I do, and I'm doing my my pores. I keep all of my paints organized in a role like this. This is what I would call more of a medium blue. Doesn't matter what order we have These in In fact, I like to move them around a little bit as I go along. This is a light purple. I really like this color. So I ask this as well. And this is a darker blue. So that's what I've chosen today I've just chosen light blue, medium toned blue, dark blue on a light purple, a little bit of silver and our white So we have all of these colors here at the ready for us to go. You can't make a mistake with this, so don't worry about it. Just meant to have fun. Here's our little spatula. So step one. In order for the paint to move around, we have to have Ah, slippery surface. So we just squirt a bunch of this base white onto the first canvass. We moving around a bit, get all wait, all the edges. It's not a super thick layer of paint. It's just enough so that everything is going to move around as we put the paint on. Okay, so that's it. Now all we do and I grab two bottles at a time. You just start squirting. Paint on is so much fun Now, this is the silver I recommend it. Very little. Just a couple of little drops. It does take over now if you're a still somebody who loves silver and you want lots of silvers and you complain with that and see how it comes out. Here's some white. Then all we do is we take the the canvas with both hands and we just start to move it around already. Before we start, I can see a lot some more blue because Marblehead lighthouse is on water with sky behind it . So we want to make sure we have enough blue. Okay, so I am keeping the canvas this canvas somewhat over top of the second canvas so that, as you can see, it's dripping on Should the to the canvas underneath. Most of it will get caught in this trade, which is good, but if it doesn't hit the tray, it's gonna hit your tablecloth. And that's okay, too. So we want to make sure we get to the edges over of the front of our campus. If you have some spots on the side that haven't quite covered, just just lightly touch it with your fingers because your fingers by now will have paint on and move your canvas around and you'll see that you can just or you can even grab some more from the canvas down below. Just tap it, and when you tap it, it fills in the color because you ideally don't wanna have any white showing under Kim's. So I think that looks really nice, so I'm gonna set that aside. That's the one thing you want to make sure is that you have a spot to put this to dry. So the second canvas has that based paint already on it, because this is where all of the pain group from our first, our first attempt. Now it's not quite enough, so I'm going to grab my based paint and just add some more onto the surface, spread it around with my spatula. Now, as we're doing this, if you want to know in depth how to do these flu tickle of cores and really make some spectacular art, my friend and our Karner Andrea Mercy A has a YouTube channel called an loam a n l o M e. I'll put a link in the description. She has a lot of great videos on how to do that. She is a master at this fluid acrylic poor technique. So I encourage you to jump onto her challenge and take a look. So it's the same thing again. It's so nice with this because it's all random. Every time you do, one turns out different than the last one. You could do any shapes you want circles, lines, thoughts. I'm, uh I'm somebody who doesn't like a lot of silver. You don't even have to use over. There's a purple gonna get a little bit more of this light color and we'll start moving the pain around, and you can usually start to tell as you're going along, whether the colors that are coming out are going to be what you want. So far, I'm like in this now, if it doesn't move as well as it could you just set it down and add a bit more paint. I think I'm gonna, uh, a little bit more of this, a little bit more. There's no rules to this, which is what I love about it. We actually do pain. Colusa gatherings with this where you do two of your own backgrounds like this At least two . You can do more if you want, but we line everybody happen and they do the room backgrounds, and it's a lot of fun you can get. You can get really firm with it. You can you can really give it a good giggle. I have really I have locked, not got enough paint cause I'm finding that my edges are just not. This is good. You can see kind of higher how you deal with that as long as I can get all the areas covered, I'm happy, you know, you can spend some time with your background and you can play around with moving the painting. But I I like the randomness of it when I do it. So I don't worry too much about the design that's come out and honestly, when you leave it to dry a couple of days later, when you come back to it, it always surprises me. How nice it actually is. You think it it might need some more, but it really doesn't so that is the 2nd 1 So now we have to backgrounds. What's nice about this is a lot of the paintings that I do in this Siri's are with a blue background. So now you have to done. And, um and that's that. That's the end of that video. I just take off my my gloves. And now my hands are clean. So thank you so much. And our next video will be starting to break down the steps necessary to to paint marble headlight host. Thank you so much. See you next time. 4. S1C1: Setting up to paint : Hello and welcome to my studio. Today is a very exciting day as we paint Marblehead Lighthouse together. This is painting number one, and there will be many more to follow. But this is a really fun painting to do, so it's gonna be great before we dig into the actual painting. Let's revisit some of what we talked about in videos two and three in video. Three. We all did our own fluid acrylic poor backgrounds. And if you recall, I mentioned that when they dry the look a little different. So these are mine and they do look a little different, but I'm very, very happy with them. So I hope that your house me with yours as well. These are 11 inches, 14 inches and that it's perfectly acceptable size for you to paint on today. If you have something bigger or you have around campus, that's fine, too. I am going to paint on a 16 by 20 because it will give him or area to cover, which means it will be easier for you to see what I'm doing. So additionally, in video number two, we talked about supplies, and so I wanted to show you how I've set up my palate. So again, the palate is a dinner size plastic disposable plate, so I have any a pile of weight. Two blues, darker blue and a lighter blues. This is cerulean blue and fail. Oh, blue. You don't have to have those exact colors, but try and get a couple of tones of blue. I have two tones of red. One is, ah, crimson. So it's more of a purple lee red, and the other one is more of an orangey red. If you don't have to read, I will show you how to get Make two reds with mixed colors. I have a black, a burnt number, which is just a ready brown's again, if you don't have that, will mix that regular, basic brown and a yellow. And, um, I've left the middle open so that we can mix, color and play with lots of different shades. I have a score to bottle of water just as we go along. If for taking some extra time on a particular area, we keep our acrylic paint wet. We don't want it to get dry before we put it on the campus, so that's that we've got some brushes, so we have the two sizes of flat, the bigger flat, the smaller flat and then around brush. So have that you have your water. So whether you have it in a cup where I have ah, big bowl here that I use and a couple of sheets of paper towels, and then you will be already to start to paint Marblehead Lighthouse. 5. S1C1 Planning your painting: all right. So before we start putting paint on our campus, let's consider the backgrounds. Everyone's background look different. If you want to look at it from all angles, see how the markings are have been made, how the color has moved around campus. This particular orientation is called landscape, and you can do your lighthouse escapes. Some people have done that. This is called Portrait, and that's how I'm going to do mine today. And that's how the sample painting was done. I like this this way for my painting. I like what's going on in these two corners. One of the things I'm looking at is this kind of a wavy water reaction going on down here, so I'll be incorporating that into my painting, So that's the first step. The second step is to look at the placement of your lighthouse. We know what's going on some rocks. We know that there is some railings and a roof at the top, so we have to leave some space for that. So we're going to deal with our large flat brush first. I hope I have some people watching that I've never painted before because I think that is just so much fun. So this is the large flat brush. Acrylic paint loves to have watcher, so your water bucket is gonna have water in it. Just put your brush in and then dab it a couple of times on your paper towel so that there's no water dripping. It's just damp. You'll notice my water is already little white because I was actually playing with it earlier, and I don't need to change it. So don't don't worry about that. You'll have. You'll have clean water. So on your paint, your palette, you have your paint. So go in with your brush and push down on the paint on both sides so that you're grabbing a little bit of paint and then pushing it into the plate. What that does is it flattens out the paint so that you don't have gobs of paint. So I am going to consider the fact that I have this big area here, and then I also have this little area here. So I'm one of the things I want you to think about, too. Is that all of these marks these lines, these railings, the roof line at the bottom all are going the same way. There are arches that all go like this. So we're going to be paying attention to that as we go along. But right now, I want to make this marks. So it's the top of that white section. So I know that I've got some railings and a roof at the top, so I'm gonna put that right about there. I know that this section hasn't a marked the same, and it's a little bit wider. So I'm gonna come down to about here, and I'm gonna do that. These air sketch lines right now, you don't have to worry about being perfect. Then I want to put two marks at the bottom, so I know kind of where my lighthouse is gonna land. I don't want to make it too fat. So I'm gonna start out a little thinner. Probably Then what the finished product will be to be able to see easier what you've done, just draw a line across. Then you can easier see how that's gonna line up with your top and again, these air sketch lines. We're gonna be covering all of this anyway, so don't worry. One of the tricks, too. And I'm not doing anything different with my paint. There's a lot of paint on her. Still, one of the tricks to making the sidelines is to turn your campus. Now, I find it much easier to go. This is straight up and down, but right now, let's start with this. With this area, I find it easier to go across this way. You can try, and you may find it easier to keep your campus straight up and down. So you're just gonna and they don't have to be dead straight. These lines right now again, we're going. We're gonna straighten them up and Chris thumb up after this is just a sketch. What you're painting back up and then let's just make our straight up and down lines for this section here or as straight as we can get. So that's a really good sketch of the light house. Take a look at it, step back a little bit from it, look at the overall shape and decide whether you're happy with that. Now we know that the top of this part of the light house flares out of it so we can actually do that now just again to give our eyes something to look at, stake your brush and make that part of the line just a little wider. And then it comes down and meats the White House. So based on that, I think I'm gonna bring the bottom of my lighthouse out just a little bit on both sides. I just wanted to be a little bit wider on the bottom, so I like the look of that. So now we need to keep our brushes clean. So good, go into your water and really, Jim, the brush into the bottom of the cup for the bulls. Just don't be shy. You gotta really losing the paint so that when the brush comes out of the water, there's really no pain and then you dab your palate again. So now let's put our first coat of paint again. Same idea. You you flatten your brush into the paint, push it on both sides so that you have a nice bunch of paint on there. We're putting our first coat on. Now we can We can make our lines a little crisper. Now, just remember that we have a lot of stuff happening on top of this part of the lighthouse, so we don't have to fuss too much. Just work your way down every now and then. If your brush starts to fight with you and the paint isn't coming off easily, you may have to just go back into your water a little bit and then go back into your paint . You can do that back and forth without actually cleaning your brush for that for the whole first coat here. Get our paint on here and some people have actually like the fact that you can see the background coming through. There's nothing wrong with that. If you decide to do that on your painting, that looks quite nice as well. So everybody's painting is a little different right now. We're just going to get good first coat on. At no point do you want the paint dripping, and if it's dripping, that just means you have too much water in your brush. Now, if I keep playing with this and moving my brush up and down on their own thing, this part of my White House, I'll start to pull the paint off. So now we have to let it dry before we put on the next coat. So once again, we're going to clean our brushes. Really? Work it into the bottom of your of your cup, wipe it off, and then one of the tricks to drawing your canvas is to get I've got this old used, um, blow dryer from the dollar store and just give it a good dry. So work away at that. Get your first coat dry, and then we will come back for the next part of the painting. 6. S1C1 Getting Started: Okay, So I went ahead and did my second coat. I also added this area on the bottom. I started here and just took my paintbrush and went across this way, did my second coat here and then did another swipe this way and it was perfect. So now I have two full coats of paint on my lighthouse. I have a little bit of a hue coming through, which is from the background, a little bit of blue hue. I like that personally. So if you are also one that likes not, we're gonna continue on from there. If not, if you want it fully opaque, which is you can't see through it. It's perfectly white. Then just try it and put 1/3 coat on. So now we're gonna carry on one of the things that you need to consider when you want to make a two dimensional object. Seymour three dimensional is is shadows and where the light source is coming. So in our in our painting, the light is coming from the side from the right side here, and it's hitting the lighthouse and casting a shadow in the back so that there's a light hitting the roof hitting the railings, hitting the side, getting a little bit of the window. Even the rocks are little let up a little bit more on this side. So to do that, we're gonna start with the gray shadow coming down side of the White House. Now, gray is a really easy color to mix, so long as you have your brush damp and clean. Scoop a little bit of white from your pile and just put it in the middle and then take just a corner of your brush. All we need is a touch of black black will take over if we're not careful, and we're gonna mix this together on our palate. But we're going to get a nice little gray tone here. It's It doesn't have to be very dark. In fact, you don't want it too dark. Now that's a little light. So I'm going to go in again. It's easier to go in again and get more than it is. You can't reverse it, so if it gets too dark, then you really you really have to start again Onley because I have a little bit of my background showing through, So I know, if I don't make my gray a little bit darker, I won't see it. So that looks like a good color. So I got my paint on my brush in the same way I've loaded both sides. I'm just pushing into the paint and I've got a nice chiseled look on my brush. So I know that the shadows starts up here, kind of comes in on an angle down to this first section, then carries on down here. And then as it comes down here, it's gonna start coming this way. So I'm putting my brush flat against the canvas. I'm just touching it very lightly. I'm going down and again. This is a little bit of a sketch. We can go back and find to this line after all. Right now, I'm gonna change the angle slightly, move my brush so that it comes down here. Also hit. Hit the bottom. So then we're just gonna fill this in a little bit with our brush? I haven't gone back in to get more paint. In my case, my white is still a little bit wet. If you work putting 1/3 coat on or even if you were. That's a little bit of a painter's trick. By keeping the the white a little bit wet, it's actually mixing quite nicely on the campus as I add my gray and you see how I'm turning my brush. Sometimes I turn it on its edge so that I could get into those tight places on other times . I'm I'm just flattening it out. It doesn't have to be super, super solid. So there you go. We just have the the I will fill in the blanks for us. And so we know now that there's something happening here that's creating a different color . So just take a moment to make sure you got it in the right spot when we start to add the windows and stuff. If we have to make a little adjustments to this, you can absolutely do that. Okay, there you go. That's step one of that. So give you a brochure clean. Now we're gonna go on to filling in some of the other details. We've got a bunch of railings. We've got some some red areas, including the roof. We're going to start to mark to kind of sketch those in a swell so one of the advantages of having your flat brushes it will do a lot of this work for you. If you notice I'm holding the brush, it's going toe. It's gonna help me just set the brush against the canvas and the brush is going to do a lot of the work for you. So there's a couple of colors we have to deal with. So we've got a little bit of our gray. We know we have black and we have this red. So depending on the red that you have, you may need to do something to make it a little bit darker. We know if we add white to red, we get pink. And in this case, we don't want pink. So what I'm going to suggest you do as you take some of your darker red? This particular one is very it's very thick, so it's giving me some grief. But that's OK. Just gonna add a little more water, and then I'm gonna add a touch of black. Be careful not to grab the white that you were dealing with earlier, and see how this might not be my best choice for breath. Have some of this road. My intention here is to get a read that looks like it's in shadow. So it's quite a bit darker. That's actually what's happened here. So I'm gonna clean my brush, and then I'm going to grab some of this red and I'm gonna move it over, and I'm gonna I want to do I think I'm just gonna leave it because it's it's a different enough color to this one. So let's load up our brush with this darker red. Whatever your darker red is can even use Brown. I find in red, which is quite nice to make it dark enough a bit. This is what I do. I play with color. I don't I don't I don't calculate. I don't work by a formula. I just kind of go in and out of color and see what I end up with. So I've got something that's a little bit darker, so I am going to make this area here. Now we know that that is what's happening at the top of this first mark we made here. So we know that we're going to go across just like this and across to here I know that it's got some thickness to it. So I just pulled my brush down, and then I'm going to make another mark here, and then I'll just feel about it. So that's the first coat we know there's gonna be black on the bottom. So I actually made a little bit what I call a whips. I'm not gonna worry about it because the black is gonna fill that in. So that's step one of that. Now we know we've also got mad up here, so I'm gonna grab some more that darker red. Now this. We have to remember we have some nice tall spindles here. So without having to to change the water on our story, clean our brush. I like to just go ahead and make the bottom march where my roof is going to be and leave this space blank will fill it in in a minute. So we know that the roof, the bottom of the roof is pretty much the same width as this area. So I'm just gonna do this. Member will keep in the curve the same. We know the roof is a triangle, so we can just fill in the roof with our first coat. There's gonna be quite a bit happen after that. And we also have a dot But we're gonna use a different brush for the doctor. So that gives a sketch and outline of what we're going to do there. So clean your okay, So now I'm going to We're going to deal with the black lines will come back and put the lighter red highlights on later. But I'd like to deal with the black lines. Now again, I like the large flat brush. If you're finding the large flat brushes cumbersome and you're not getting along switched to your small flat brush. But it's the same idea now with the block, um, again, put a little water on your brush and same thing. You really want to make sure that you have flattened the paint on the brush so that you do not have big gobs of block pain and then we're going to go. I'm going to start with the black line under here and it just follows the same Kerr. All right, we know that there's another one under it, a little ways under. What's important is it's the same curve close to it. At this point, I'm not too worried about it because we're going to put some highlights on the curb after, and it really does give forgiveness to any of the marks that were not Fosse on. We have another one down here a little further, so I'm gonna show you a trick to deal with that later. So I pushed a little hard on my brush. You can fix that now. There's a couple of ways to fix it, and I'll show you actually, right now, one of the ways which I called the Magic Eraser team my brush before I do that because I never want to leave paint sitting in your brush. So I grabbed a piece of paper towel. This may or may not work. I dip it into my water and then I just run it along the edge. Now, if you catch it quick enough, you controlled, which looks like now it's fudging a bit. But after it dries, I'll come around with my white and I will just fix that. So that's an example of how to fix Little Little warps is we'll just come back and I've lost too much of my black hair. So that's that Mark. So now we know that we have We have another little one on top of here on. Well, im I'm pushing a little bit lighter on this top one because it's very much in highlight. So I made a thinner line there. We know we have a railing. Comes over here someone to do that. Remember that you've got an angle here, so everything is coming out. So this little railing is gonna come a little bit further over on the red area, and then we'll just simply you could just rest your brush on the cameras, and it will make that railing rest your brush on the canvas, and it will make that railing. So then we just keep going up the light house. So we know we have another rail black area here. Same, uh, curves. Angle of the curve. We have another top of railing here that extends a little beyond each side because we've got the angle again. The same thing. Now that's smaller. Funding a push to my small brush, dance with paint or sorry water, and then just touch. Same angle. Is this railing touch down on the campus to touch a little same over here. All right, so that's starting to come along nicely now. I'm going to keep my small, flat brush as we work our way up here just because the area gets a little bit smaller. Now, be careful. You don't smudge your work here as we move up. If you need to spend a moment and just use your blow dryer to dry it, you can do that. So we know we have another black area under here on. And that worked out really well. Okay, So the first thing we'll do because we have the short brush without adding any more pain we have spindles or railings coming around here. You know what? I'm just looking at that. I used my large brush and I'll show you a little trick for that. So let's do that. We'll clean the paint off off the small brush. We'll make sure large, flat brushes. Damn. We go back into our black now. You want very little paint for this section at any time. If you need toe white paint off your brush, you can just wipe it on your paper towel. These railings actually comes straight down into this railing area here. So that's why I switch brushes. It's just going to be easier to go all the way down. And then I'll show you how you how you highlight the railings, because then you gotta push those in behind. So for now, what again? What I do is I touched the camp. So I start with one in the middle, straight up and down and just perpendicular to the cameras. Let the brush do the work, touch it. And then, you know, you've got another one on the side, another one on this side, and then this one will go right to the edge at the roof line edge. We know that our railings kind of extend beyond now. You'll notice I went back and put a couple of little dabs here and there. It doesn't matter how straight these are, to be honest, because you're we're gonna put some highlights on them and the eyes going to fill in a lot of these details. I'm not gonna add any more paint. I'm just gonna now do these. So these are only on the the sides. That's that. Go beyond the light house. So we've already got this one, and I'm just gonna add one more vote here. Got this one. Add one more about here, so that gives us our railings. And I just to me as everything we do, it just makes it more interesting, and that makes it look more like it's coming together and taking shape. So we'll pause here, let everything drawing, and then I'll come back and do the next step. 7. S1C1 Creating Depth Part 1: Okay, So before we get started finishing up our highlighted areas, we're gonna map out the windows. So load your brush with your black same way we have, or we flattening it out. This window angle's a little bit that way. This angle, this window angles a little bit that way, and you're literally good. And let the brush do the work. So you put put the brush on the canvas, turn it a little bit and just pull it down and then lift it off. There's window number one and you do the same thing down here. Number two while your brushes wet. Who into a little bit of your white even though it has black on it, We're gonna go into a little bit of our whites a little bit of a trick here. We're just gonna add a little bit of a highlight area so we know that it will be, um, coming on to this side of this window. We'll have a highlight. And this side of this little you're just pulling the paint through. We're gonna put a window frame around it, so don't worry if you get you know over it. This isn't perfect. I see my brush strokes, but I like that. A shadow to me is more interesting if it's not perfect. So that has worked out really well. I'm gonna. So now let's go back and deal with some of the making. Some of this look more three dimensional, more interesting, because everything is looking a little bit flat right now. So take your round brush. We get to use this guy for a bit. Just get him damp like we did before. Go into your darker red. And in my case, my darker red has completely dried out. So I'm just going to make a little bit more a little bit of black this color. So I want a fair amount of paint because I'm gonna just do a little bit of a trick here to make that dot We don't actually have to paint it on. There's so many tricks and painting. And as we go along, I'll be showing you more and more my tricks. Tricks of the trade. No, no, I got that too dark. If you got it too dark, you start again and then actually wipe off my brush and then I'm going to start again? Because that just got too dark. I'm gonna go up here. I got a little bit of space here. I'll grab a little bit of this toe to bring into this pile, but Okay, that's better. I don't have a nice big pile, so let me just carry on a minute here, toe. Okay, Better. Okay. So I'm gonna clean off the bristles part of my brush so you can load your brush and and draw a circle. The other trick is you just load the other end of your brush. Now, I don't have enough paint, so I'm gonna just go into here. You want a lot of pain for this, And then you simply put your the end of your brush onto your campus. You could even spin it around a few times, and then you have a dodge just kind of need. So we're gonna come back and do more to that after playing with that yourself, Cap for your for your roof. Okay. So coming back to our our large brush Now, we're gonna go back into some white, So if you have to change your water, then you can go ahead and do that Otherwise, I'm just gonna carry on because I just don't I don't think it matters that much. Um, so I have some white on my brush. That's the first thing I'm going to do. It's and white here, flatten it out. So I want to deal with the spindles coming down this way. First, our lights coming here. So the right side of each one of these lines, you're going to do the same thing you're gonna hit. Hit the side of your black line the right side of your black line with some way the right side of your black line, some white. If you end up covering your black line, you can go back up on the wrong side. So I'll show you how to go back in and put another black line. It's not a perfect line, and that's that's what you want. You don't want a perfect solid line. The light hits it and reflects in different ways. So that's step one on there. Same thing on these. These spindles on to the right side of your black just perpendicular. This one will be this I this 8. S1C1 Creating Depth Part 2: Okay, so that's step one on that. While I've still got this pain on my brush, I'm gonna go in. And I'm gonna put a nice highlight on this side of this line cause we know the light's hitting this side. We'll put another one here. I'm just making it very loose. Very random. Um, Okay. And I'm going to say, let's cleaner brushes because there's another stop before we go back and do more about. So we're gonna get black on our brush now. Very little paint flattening it out both sides of the brush. So we've got a push. These railings spindles back behind this railing. So now you just go back over this one again. We make this overtop make this over time. So now those air in behind, we have to do any other touch ups like I lost my my railing here. So when you go on the right side of my white, any other areas that need just a little bit of a touch up, You could do that now as well. I want to create more of a line here. I ended up going over it. My white, we're going to be filling this site in some more somewhat gonna worry too much about that. It's kind of looking at what? You what you've gone. And whether you gotta do anything else, I'm just gonna make a little bit more black bear. Okay, so you are. So now we're gonna go back into the white because we got some areas on our rails that need some white. Get your white on your brush on both sides again. Very little paint need much. So I believe that for a second, cause it's still a little bit wet, so we'll start down here. We know it's No, it's not wet. So we're gonna put a white highlight. E just noticed something that bothered me. So I This is what happens clean my brush. I just noticed another area on my painting that needs some attention. So I'm just quickly gonna load off a lot. This area this railing now needs to push back the bannister, I guess. Has to push back the rail okay again. And you look at your pain when I say push back. That's what it means. So when we paint of these in, it came over top of this line, which pushed it into front in front to push it back. You just go back over this again, and that's what I did here. Okay, so let's load up the white. No. So I'm gonna little want of this side a little bit thicker because this is where light's hitting want or I actually, sometimes I do this. I have both brushes loaded at the same time. I live in my small flat to give myself a highlight. On the right side of these, all this might be a little easier to do with my small brush. I'm leaving this side a little darker just because it it will create that round effect. But I'm done with a small, flat brush. I am gonna clean it out, carry on my large flat brush, and I'm going to be adding my highlights to this railing. It's still a little damp, so it's now coming out is gray. That's okay. Because then I can come back after and just do another pop of white. I'll show you how to do, and that's pretty much. Not for now. We'll come back to it in a bit, but clean your brush. I'm gonna change my paper tell here just because it's gotten really wet. So let's mix up some of this other things. Other lighter, red. So I think I don't want orange, and I don't want pink. So I'm just gonna go into my second red and just see what? Actually, I'm gonna use my small brush. I just realized when I was loading God is going to be too big. So let's just go into the small brush. Is that what I want to do is just come into this section Is the brush los So what is a little a little lighter? I'm gonna come back after a bit with the dark and come back into that. But while I'm while I have that loaded, I want to deal with this side of my my roof. So I'm just gonna paint, um, when I come back with the dark will come probably 2/3 of the way back. The highlighter dot to and red is a very translucent color, so it it is a little bit of a challenge. So now I'm going to continue along with my darker color and you will have different colors than me. And that's okay. I'm a little bit of brown here. The challenge with red. So when I come in here No, it not seeing a difference. So we still have work to do Cross right into there. So that actually worked really well. If you saw how I pulled my brush stroke right through there, that was still wet. So that actually helps to merge the colors? Actually, not that has worked beautifully. You can see a light side and a dark side. This one is causing me grief up here. So we've gotta lighten. Not right side next. Orange luscious. See back. Is this what we want up here? Oh, yeah, that's working. So we just add a little bit of yellow to my read and guts Action might even do more yellow just on this far side dealing with wet paint. So it is pulling off, but it is starting to create the illusion on a side of my roof that has light hitting it. Okay, so I'm gonna change my water, and I will be back for the next and final part of this painting 9. S1C1 Final Touches and Painting the Rocks: Okay, so let's grab our small flat brush. Make sure it's damp. We're gonna put a little highlight on top of this area of the roof. Very little paint. You may even scrape it off on the edge Here on. I'm just gonna catch a little bit of a highlight right here again. I'm just setting my brush down. Maybe a little bit there. I'm gonna put a little bit, and I could do it with my round brush. Might be a little easier for you. Just grab a little bit of paint on your round brush. I'm just tip tip the very top of your your move. I've still got paint on this brush. So I'm gonna put another little highlight up here just to create the illusion off a a ridge on that on that roof. Someone put your eye fills in for you. You don't have to tell it every little detail. Okay, so now I have a little squiggly, um, line of a highlight on there, actually. What? I do it with my round brush again. You don't have to do this. It's just a little mark again to show the I that something interesting is going on there. Okay, So let's clean our brush. And I like to deal with the window frames. Now, a lot of my students have preferred to use the round brush for this, So let's do that. So in my sample painting, it's kind of like a goldy color around the windows. And so to get that, I will just mix a little bit of yellow with some of this. Ready brown. Now, if you don't have the ready Brown, just use a regular ground. So I've got this this kind of neat goldy color leave a space here so you don't have to paint that in because you've already got weight. So already I could see that this window is higher than I ideally would like it to be, but doesn't matter. I'm just gonna I'm going to carry on and go with it, so because I want to leave a little bit of white space, I'm gonna paint the bottom of my frame here. I'm gonna just go straight down here, Another ALS go down here kind about an angle, and then the top just comes around a little crown. I guess it just a little triangle up on the top there. Now. Young was also a fussy color because it's very translucent. So I'm gonna put a little bit of white in here, which helps him. Okay, Get make it opaque, opaque, being solid. So I'm going to grab a little more of my ready brown, and I'm gonna and I'm probably gonna have to wait. Yeah, it's it's it's working, OK, but you may have to wait and add a second coat after a bit, so I'm gonna do the same down here. So leave my space at the top of my white space come a little wider. Come in down along the side of my window down the side of this window, this side window, and then we're going to come up. Yeah, a little triangle her clean your brush. You can come back in a little more paint on it a bit when it dries, so get your small flat brush, go back into your black. Don't need a lot of paint. Just a tiny, tiny bit again. You can scrape it on the edge if you have too much. I want to deal with this line on the bottom. So I'm letting the brush to the work, and I'm just setting it down. I was gonna to do that. And basically, all there, one carols just It's very subtle. Now, it doesn't show on my sample here because I ran down to the edge. But I'm gonna actually add this on this one. Where we come across here, I have the space to do it. So because there's gonna be this gonna cast a shadow off of this sign I did a little bit of a black line on the right side of our gold frame. I'm gonna do the same up here because you're not gonna be much. I'm gonna paint over that after you have the sunsetting. This way, I'll come back in with my yellow to bring that down a bit. Moreover, here we're not going to see much of it because our lighthouses angling around over here, it's a brush. I'm gonna go back into my yellowy gold here. That's a little more paint here. Just I just want to push its called pushing line back of it. Shadow here, too. I can just use my round brush. We also want Baki and get very little black paint. You want to put a little shot under here just a little bit. Now, if you want grid lines on your window, could you brush nice and clean because we just had a lock on it. Go into your white, very little white one. Very little paint here. Like just a ghosting of paint on your brush. Scrape most of it off Andi again, you're perpendicular. You just hitting your campus. Hit the canvas with a brush lifted off. Move it. You don't want a solid line? You want just a suggestion that I'm gonna flip it come across the other way? Just want a suggestion. Do you believe spaces between where you're putting your lives? You'll more pronounced down here because this it was a little darker I don't want sewed. It's just a suggestion is just a hint off the grid lines, so that's pretty much it for the main lighthouse. Now we can play with some rocks. So what we're gonna do is we're gonna mix up some colors and I'm just going to use my small , flat brush. You have to have a bunch of piles of color on your palate to grab and what I call Lucy UC with your rocks, and it's literally just grab color. Put it on. We're gonna put more than one color on the brush at the same time, and we're just gonna play. But the first thing we're gonna do is we're gonna deal with our horizon line. Actually, I suggested your small brush. I'm gonna change my mind to your larger flat brush. I have added a small horizon line here. I'm gonna bring my rocks up up here, so I don't need to worry about that Here. What we do want some sort of area that the eye nose is going to be the water. So I'm just going to go into my lighter blue and some white water. I just I don't want a dark, dark color here. I just want the i toe to be able to register that there's something, something going on here, Same thing holding my brush like this. Put it flat against the canvas, and I'm just gonna go across. And so one of the tricks to making the water look a little bit more realistic. I want to utilize some of my background like I'm not gonna even put paint on this area because I really like what's going on. So I'm just gonna kind of put a few marks in here. I really like putting more than one collar on. So I've just thrown Cem Failla blew into my cerulean blue, but you would do the same. So put some of your dark color into your light color and just kind of go back and forth a bit. We're gonna have rocks all coming in here, so we don't need to worry. Come back and grab some white because water has highlights where it looks like the water is moving. So I have all three colors happening at the same time here. And this is what I like to do with my paintings, and you can kind of play with it on the campus until you are comfortable that you have created the illusion and I'm still letting some of my background come through and I'm gonna have rocks coming in the rest of the way here, so I don't need to worry about Do you see how again? Just creates out illusion for my eye. So I'm gonna clear off my brush now one of the colors. I really like is purple So I'm going to try and make a purple I know I have a bunch of Bring it on my pal It's a red and blue together with a little bit of white Makes a lovely purple I do don't It's more You know, It's probably happened I got black in here Well, it's still a color and we will Who will use it So it's kind of a purple color Okay, so we got that You've got our blues I got to lose I'm just going to spurt Got that old color that I really like We got our yellow are brown Are Rome burnt Sienna We've got white and so we've got We've got a lot of color We got gray actually, I'm gonna make a little more Great I don't have to clean my brush to make Great because black takes over So I'll just add even some of my dirty white Add it to my black That gives me gray So right now I've got that purple Itoen and my great tone And I can just start with that I'm gonna hold my palate I've got my brush like this I want lots of paint on it And again I'm hitting the canvas side on and I'm just going to start creating set just back and forth with my brush I'm leaving space. So I'm putting this collar on. She's going to move my canvas forward. I can get to the bottom half of it. Come off the edge. I'm just blocking in color. Going back into gets more squiggly wiggly. I call it loosey goosey. Don't be Oh, tight. When you're doing this, I am going to clean my brush just for a second because I want to get a nice light color on the top, and then I will start working my way into the darker colors that come in from the bottom, and then I don't have to clean my brush. So I like this this golden yellow color and I'm just gonna grab burnt sienna of yellow. And I'm gonna do this around the bottom of my life because we know that the lights going to be hitting it. And so the top part of our lighthouse is gonna have a little bit more of the light colors. And I'm just kind of going in and around my gold color. I don't I don't need to cover it. I wanted to show so on Doesn't You don't have to carry on in the same shape of my sample here because it will depend on your background. But that's enough for me. Enough off that kind of a highlight. So now I'm going to go in. I'm just gonna grab some brown for now. I've still got my dirt. I call it a dirty brush, and I'm just going to grab a little bit of brown that I'm gonna bring the brown in and around. This is supposed to look kind of like the rocks are jetting into the water. So just look at your background. I'm coming in and around the grey. I don't want to cover it. Go back and get some more brown. I'm still leaving some gaps because I want to bring in other colors. I'm just gonna go into the ready brown. Just put that on and I'm putting it on really, really sickly. This is you know, this is the part of the painting. That should be fun. It shouldn't be stressful. I'm gonna get more purple cause I like the fact that I've got a messy brush. So go back in and get some of your other colors. I can put a few little highlights along the way here. Just play with it and see how you're painting. Evolves as you go along here. And I mean, it's it's gonna be different for everyone. So, yeah, I was gonna go in black. I've got a dirty brush, and I'm going to just put some black on the very bottom because the Black star the bottom will be the darkest area You can, you know, Don't go too crazy with your black because it will take over. I'm gonna clean my brush now. Everything is still wet, which is actually really, really good. So go back in with some other just highlight colors to finish it off. Um, you might wanna spread things around even a little more because it's kind of part metalized right now. You can just highlight here and there with your yellow Can't even get your blues going here because just because it's rock doesn't mean you can have blue and you won't don't want mud . So be careful. You don't go too far with it, right? That's essentially what we're gonna do here and it's just a lighthouse on the rock. I'm gonna go with a little bit of white just to finish off some areas, just again. Highlight Onda. That's That's pretty much it where we're letting the I fill in the gaps. So that's it. The next video we'll talk about, uh, our contest. So I hope you had fun painting Marblehead Lighthouse and I will be right back. 10. S1C1 Project and Final Thoughts: Congratulations. You have finished your first painting. Marblehead Lighthouse. If you've never picked up a paintbrush before, congratulate yourself because you have done it. You have created a painting. Whether you're happy with your painting or not, it doesn't matter. You've done it. You've gone through the process every time we get together and I teach you how to make a painting. I will build on skill sets. We'll talk about how to do things. I'll increase the intensity of the type of language that I use. I will introduce you to our terminology, but you'll start to understand what I'm talking about. Each class will build on the class before, so don't worry if everything you do today isn't to your exact liking. And just know that often when I make a painting and I've been painting for years, I often don't really care for it when I finished it. But when I walk away from it and come back a few days later, I honestly most of the time I go. Wow, so be kind to yourself. I had talked about a content, so I'm excited to announce what that's going to be. So this is going to be the project side of our class. Although the class itself was a huge project, I want to have discussion. I want to hear the process of what you went through to make this painting Whether you painted before or not. Maybe you are ah, seasoned painter and you've decided to join me and apply what you already know. And you still may have had some challenges. You may have had some success is certainly you beginners that have never done this before. We'll have lots of those. So the contest I want to run will include you telling me your your journey through this painting. I love a good story. And so I want to see your painting. Absolutely. Some of you will have been writing to me along the way and showing me your work in progress . You may have had questions. I will have already given you feedback. And that's fantastic. But I'd like to see the finished product. And I would like you to share with me a little bit about what you went through. What you experienced positive things you've taken from it, things you've learned about yourself challenges you may have. Hade doesn't have to be a long story where it can be whatever you want. So the story that compels me the most, I guess, um will be the one I award the prize to. So I know that especially if you're a beginner, you'll be acquiring paint supplies. So I thought I'd be kind of fun. This is one of my go to pieces. This is a pilot knife. This is my favorite palette knife. Andi, I will send this to you. The winner. And I just have to give me your email address, and we can talk about that privately. But wherever you are in the world, it doesn't matter. I will send you your very own pilot knife. You may already have a palette knife in that. That's the case. And that's fine. We can never have too many, or you can gift it to somebody else. But I just like the idea of helping you build your toolbox off paint supplies. So I hope you'll join me in this. I really, really encourage you all to reach out to each other, talk to each other, show each other your work. Um, it's so valuable to get that feedback. Our next painting is going to be even more exciting, this painting, and I'll be announcing that very shortly. But have some fun with this practice. Take a canvas, a blank canvas, a sheet of paper, a piece of wood. Just find some surface you can practice on holding your brush, putting your paint on your brush, making those lines that we talked about making those arches doing the shadows. Just just practice the things that we've done in this class, and then when we get back together again, you'll be ready to go with the 2nd 1 So thank you for joining me, and I look forward to our next painting until next time.