S1C2: Boat on Water | Arlene Murphy | Skillshare

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

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

Lessons in This Class

10 Lessons (1h 4m)
    • 1. Intro S1C2 Boat on Water Intro

    • 2. S1C2 Supplies List

    • 3. Create Your Own Fluid Acrylic Pour Background - Blue

    • 4. S1C2 Getting Started

    • 5. S1C2 Painting Clouds

    • 6. S1C2 Forming Clouds

    • 7. S1C2 Painting the Sailboat

    • 8. S1C2 Adding Depth

    • 9. S1C2 Making Waves

    • 10. S1C2 Reflection and Final Touches

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About This Class


In this class you will continue to expand on your knowledge of simple painting skills.  Like in the first painting, Marblehead Lighthouse S1C1, you would do the fluid acrylic pour background first and the "how to" video is included in this class.  You can also just paint your own version of a sky and water but I encourage you to try the fluid acrylic pour technique for a truly stunning background.    Each video will provide step by step instruction on how to make this painting. It's super easy and fun!

All of my classes are designed for any skill level, including those who have never picked up a paint brush! By learning how to paint, step by step, you will get to the finish line.  And I'm always available for help, guidance and a gentle nudge along the way.  I look forward to painting with you! 

Meet Your Teacher

Teacher Profile Image

Arlene Murphy

Artist and Instructor


Arlene Murphy, BFA

I love moving from one creative project to the next,

teaching and learning from other creatives. 

See full profile

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1. Intro S1C2 Boat on Water Intro: Hello and welcome to my studio. My name is Arlene Murphy and I'm an artist and an instructor. I am 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 will always be included in these classes. The next series of classes, which we'll be series two, 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. Talk to each other, of course, on the discussion page. And I am so excited to take you through the series of classes that we're going to do. I look forward to painting with you. 2. S1C2 Supplies List: so painting number two in Siris one boat on water is a lot of fun. We when I do my life classes, this is probably the one that people have the most fun with. It's probably one of the easiest ones in the Siri's. So, as in painting number one Marblehead Lighthouse, you will require fluid and cruel and poor background to be done ahead of time. And the video for that is included in this class. So if you don't want to do that background, though, you can just paint something in behind, you know, blue sky blue water. This class will not include painting the background. We are going to focus on painting the boat, the reflection on the clouds in behind the boat so you decide what you want to do. I do encourage you to try the fluid acrylic poor, though it's super easy on the result that you get is just stunning. So I really hope that you do that. So the paint that we're going to require to do this are white again liquid checks. Basics is a basic beginner level paint, and I recommend you. You find that some of the ones I have on the table are from different providers, but that's just because I have a ton of different paints. But you can just use liquid text basics and would be fine. So white, a yellow, an orange on a red red right. There's so many different reds. Just find a red that you like. If you don't have orange and yellow with a little bit of red in, it makes orange. I have to lose again. So doesn't matter, but a darker blue and a lighter blue. I have so really our pale blue and cerulean blue, but you used to lose that work for you. I have a purple, but if you don't have a purple, you can simply mix red, blue and white together and get purple. We're gonna be making several tones of purple, so we have a lot of fun with color mixing there, and you're gonna need a little bit of black. So, as in our first painting, Marblehead Lighthouse, you're going to use the same brush is so two flats and around. So a flat brush simply means the bristle school straight across the top and round is very much round. So you just need to different sizes of flat brush that you feel comfortable with on a round brush. For some of the detail work, we use a plastic dinner sized plate that you get a dollar store for palate and you want a bucket or cup of watcher, and you need some paper towel to dab me brush on. I use a palette knife to mix my colors, but it you don't have that. You can use your brush. So so get yourself organized with your supplies and I look forward to painting boat on water with you. 3. Create Your Own 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 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, it's 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 a not so that they won't fall off. When we when we set up our campus 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 pain 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, um, at the 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 then 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 add 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. It's 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 campus so that, as you can see, it's dripping on. Should they 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 campus 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 on your 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 paint drip 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 course, and really make some spectacular art, my friend and our Karner, Andrea Mercy A has a YouTube channel called an loan 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 lined everybody up 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 Marblehead Lighthouse. Thank you so much. See you next time. 4. S1C2 Getting Started: Hello and welcome to my studio today we are going to do class to in our initial Siri's, which is boat on water. You see my sample painting in behind. So if you're new to my classroom, I do encourage you to watch videos 12 and three. There's just a lot of information just to get you started, and I do encourage my students to do these classes in order just because we keep building on skill sets. However, if your brand new and this is what interests you today, welcome, the background behind the boat is achieved by what's called a fluid acrylic poor technique . So in video number three, I show you how to do that yourself. So if you want to do that, obviously you'll take a moment and go and watch that video. Make your own background. You can absolutely just take a paintbrush and put some blue down on the campus. We will do future paintings where it's not a fluid acrylic background. So, um, stay tuned for that, but today we're going to assume that you've got your background already done. So this this video is just to get you started. So the first thing you want to do is get your palate and get the paints out on it. So I have a very large pile of white because white is there's quite a bit of white in this painting, and then I have small piles of different colors. So there's a yellow there is that I do have an orange if you don't have an orange than you , mix yellow with a little bit of red. But I have a couple of ready oranges, and then I have a nice, bright red this dualism crimson. It's a nice deep hue of red, so any any red that you like will do small piles of these paints. You don't need a lot. I do have a purple, so but otherwise you can make purple again. That is, with blue and red, and I'll show you a little bit about that. When we get into the painting, I'm mix everything around anyway, so I'll be able to show you some color mixing. I have my blue to blues because, as you learned in when we did Marblehead Lighthouse, we're going to kind of make the illusion of watcher, with some movement going horizontally across the campus, so you need some blues. So I have a cerulean blue and a fatal blue. But to blues, a darker tone in a lighter tone is all that you need And then a very tiny bit of black. So that's what you need on your palate. Um, you need some water. I have my little container of water here. Couple of paper towels. You're going to need your flat brushes again. These are what I like to use. So I have a larger flat brush and then a smaller flat brush flat, meaning it just goes across the top straight across. And then you've got a round brush, those of the brushes I use and I find that they are the most popular ones in my classes. Of course, you're always welcome to use whatever brush works for you. So that's it for this video. We're going to jump right into step one, Uh, the next video. So I look forward to seeing you in a moment 5. S1C2 Painting Clouds: Okay, so Step one. If you recall from our previous painting, Marblehead Lighthouse, I suggested that you take a look at your background. That's assuming you've done the fluid, acrylic, poor background. Look at it from all sides and just decide which one makes sense to you for the background of your painting. So I have quite quite a bit of white in the corners of mine. And so I think I want to take advantage of that. Like this could look like water crashing against something, and this could look a bit like clouds. So this is how I'm going to do mine. I'm putting it. What's called Landscape orientation so horizontally. And I would recommend that you do that for yours as well. However, if you want to flip yours portrait and have it vertical Absolutely, you could do that. So first thing we're gonna do is take a look at the horizon Law. If you look at my reference photo here, one of the things we do as to make art to make anything with perspective is to drop the horizon away from center. So in this case, I've dropped it slightly under center, and I would recommend that you do that as well. So I'm gonna suggest we use just your light, your light blue. Um perhaps bring a little bit of light blue into the middle. I've already got a little bit of white here. I was playing around a bit, so I've got a really nice light blue. Now, again, for those of you that have watched Marblehead Lighthouse, you know that we're using acrylic paint, and you always want your brush damp, so you're putting it into your water. First you're dipping and dabbing it onto your paper towel, and then you're going into your paint, your flattening the paint on both sides of the brush so that you have a nice chiseled look and you don't have dripping water and you don't have a GABA paint. So that is what we're going to do. And now we're just going to create our horizon lines. I'm just gonna drop. But I met this really nice white mark here that I really like. So I'm going to just come in below that and see, because it's a nice light blue, it's going to blend in, and it's not gonna be too too noticeable. Um straight or straight dishes is just a sketch. We are going to paint over this afterwards when we make our water. So just give your I an indication of a horizon line. So then you're gonna want to clean the paint off your brush, dab it into the bottom of your have your retainer, whether you're using a bowl or a cup. So if you dab it into the bottom, flipping it around both sides when you bring it out, there shouldn't be any paint on your brush and then just dab it on both sides on your paper tell. So now we're good to go again with the nice, damp brush. So the first thing that the second thing, I guess, after the horizon line when we're doing it painting. We always work from the back and move forward. So whenever you have something in behind, that's where you start. So this particular painting has the clouds, so we're going to paint the clouds first. Now, if you have a purple, then you can use your purple that you have out of your tube. But if you notice there's a several different tones of purple, has become closer to the horizon line. The purple is a little bit darker as we go up. Um, the cloud mass. It becomes a little bit lighter. So I'm going to suggest that we start with just white and this is fun. This helps you to loosen up a bit and not be too worried about what the clouds look like. So make sure you have a nice damp brush. Go into your white, flatten it on both sides, and then simply place. I have my large flat block brush. I'm going to start at the horizon line and just make circles. This is very what I call loosey goosey trying. Try and stay somewhat. You know, on your on your horizon line, don't don't go into the water if you can avoid it. I mean, we're gonna paint over that area anyway after, but just try and stay on your line. I've already gone in for more pain, so I dipped my brush in my water first, and then I'm going to make more circles. You can go in both directions and obviously we're going. What we're trying to go for here is not a uniform shape. We want to have a variety of shapes within our clouds. Some will be lower down, so reach up higher. I have to go and dip into my water again. I haven't had to clean my brush because I'm still using white. So we're gonna just keep moving along our horizon line. And all we're doing is making circles go back into my pile of white because it's still got quite a bit of water. And you just you're just working out way at it. So you get to the point where you like what you see. There's no rules. No, no, no. Um, guidebook to doing this, Really? You just do what looks good for you and kind of like here. Now, you can go around the edge of your painting as well. In this case, I'm going to do that. I'm just gonna run my clouds right around the edge if you have. Ah, a new image that does go from one side to the other kind of need to go around the edge. Now, I think we're gonna let that dry for a moment, and we're gonna put a second coat on. And if you recall that from our previous video, white is Ah is a transparent color at times when you just guarded on its own. Especially this is a titanium white, so I can see some of my background coming through. So because I want tohave the tops of my clouds seeming quite bright, I think I'm going to do a second coat. Certainly, once it's dreidel, little make it more opaque, so we're gonna let that would let that dry. So while that's happening, we can just makes a couple of purples. So I have a purple Now I've got my previous blue from when I did my horizon line. I can just go right on to that pile because purple has blue in it. So let's see how it hasn't made any difference to my color. So that's a darker purple, which I like. I'm gonna add a little bit of my dark blue into there to make it an even darker purple. I really like that, and I'm gonna go back into my pile of purple and I want a lighter purple. Just grab some weight and there's my lighter purple. So I've got some really nice color here. I'm gonna scrape this on the edge because I don't wanna waste this. There's a lot of painting my brush. I can come back and use that in a minute. So I've got a couple of nights shades of purple here. So I'm gonna clean my brush and we'll we'll continue on with this painting once the first coat of white is dry. 6. S1C2 Forming Clouds: Okay, so now my first quota white is dry, and I'm going to apply a second coat. So what I did in the interim was I also changed the water in my in my bowl, just it became really purple. So we're going to finish with the white. Um, so I thought I might as well clean my water so you can do that as well, if you'd like. So again, just gonna get my brush damp, dab it on my paper towel, go into my my white, flatten it down, and then just start with my circles again, and you can already see how much brighter white is. I'm working from the top down this time because as the paint run, my brush runs out of paint. I'm getting into the area down below where I want it to be darker. Anyway, So that's just another little trick for this part. Just start with the brightest section, dipping into my water just to get my brush a little bit damp and just I'm not completely covering every little area. Because to help create a little bit of depth in my clouds. Some of my first coat with the background coming through actually is something I want to show. So you'll see it on your own painting as well as it starts to evolve. Leave some of those areas. He's roll little tricks to create depth. You want Death is created by color and form. And so within this painting, I can do that just by not covering every single previous mark up kind of going in and around. And I'm not even gonna fuss too much by the horizon line because this is all going to be darker, darker paint. So that's it? That's that. I'm happy with that now, while it's still wet, I'm not even gonna clean my brush. We're gonna go in to start with the purple. In this case, we're gonna work from the bottom up, so I want my darker purple near the horizon line. I'm doing my my circles again. I want to create even more hopes. That's black. I don't want block, so I'm gonna get rid of that. I wanted even darker I can I can keep going into my blue here. I can also grab a little bit of my red. My red started Teoh. Try it, flip it over what painters underneath. So I just I'm just trying to create an even darker, darker purple, and you can play with your own palette and see what's going to be the best for your colors . See, it's already starting to look a little bit difference. So you just go across your canvas and see, I'm just I'm just kind of focused right now on the bottom bit. I haven't actually moved up into the clouds yet. I'm not worried about the thought that I have paint down here. I'm gonna cover that up shortly. So now I'm gonna go into my lighter color and I'm gonna Sometimes I come right down into my dark again. Sometimes I I stay above it. I think that the more in and out you can do more interesting. It's going to look, You don't want it to look like a line across separating the colors. So you're just kind of going in and out, back and forth. If you start to run out of paint, who can just You can mix what I call mix on the fly, so just grab your purple, grab your white. You always want to keep diving into your water because you want your brush to move freely across the campus, keeping away from the very top. For now, once it starts to stick, you know, you need a little more water on there. Also dipping back into my dark every now and then and running that up into my light. All these little tricks just toe Give it some interesting perspective. Now, again, without cleaning my brush, I'm gonna go straight into my white and come up into the top, leaving some of this really bright white that we started with. So just just try and stay away from the very top. But because I have purple on my brush and everything is still wet, it's merging quite nicely here. And you just work your way across a little bit of water. You don't want too much, and you just and you start to see how the clouds start to form shapes. You know, white right into their Because sometimes these clouds are overlapping each other. And so see where I just did There are going to show you work around. I've actually gotten rid of my club to my cloud, so I can actually at it again. so you can't make a mistake with this stuff. You just he playing around. So I like the way that looks. So I'm going to stop. You will decide when is the time to stop in your individual painting as well. So we will return. The next step is going to be to start to sketch in our sailboat. 7. S1C2 Painting the Sailboat: Okay. So as soon as you're quiet to dry, we can go ahead and start painting in the sailboat. So one of the first things you wanna think what is where you're gonna put yourself now? My sailboat is on the right side of my campus. The same reason we didn't put the horizon line right in the middle. We don't want the boat right in the middle, so you can decide whether you want your boat on this side or on this side. Also, think about where the lights going to hit your sale and hate your boat. So in my case, the light is coming from up here and on the right side of my painting. So the sale on this side is going to be lighter. The reflections and the coloring on the front of the boat is lighter here, and it gets darker as you go back. So that is exactly what I'm going to do on this painting. What? My sailboats gonna go right in here? So the first step is to get the sale, um, sketched in. So I'm just putting some white on my brush. Too much water there. And it's a big it's a triangle, but it's got a little bit of ah, a curl to it up front. So this is a little intimidating for a lot of people. But just remember that we can make we can do little tricks too, to change what you put on the canvas. Or we can do what we call use the magic eraser. All those things we can do if you make a mistake. So my suggestion is to start with a sale that is smaller than what you want, because we can then increase the size of it, just like we did with the lighthouse in the first class. I suggested that the the shape of the lights, that light house could start a skinnier same thing with your sale. So decide where you want the top of your sale and decide where you want basically the bottom of your boat. So you're gonna put a little mark here and you're gonna put a little mark here. So I think I would like my sail to come up to a vote here and we know that we've got we want the bottom of the sale to come. Below are clouds because we want to be able to see a little bit of water in here, so I'm actually gonna mark the bottom of the sale. So I'm gonna have the bottom of my sale right about here, and then meet a little gap, and then this could be basically be my boat. So that's that's one way to market out just so that visually I can see where I'm going. So then what I can do, which I'm going to do, actually is I want to just make a line across here thinking about the sale. So it does curl up a little at the back as well, so I can start to do that girls up a little more front. So then I'm going to join this dot to this line down here, and I'm gonna join it down here. I'm going to just take a look at it and decide whether or not I need to make any changes. So the first thing I'm gonna do is I'm gonna have this come out a little more and just flip up a little more. Just make it a little more interesting. So, like that I don't have a nice point on it. So while, six. And once you get the shape to where you like it, which I have, I'm going to put in my first coat of white paint. And we know that we're going to need a couple of coats, so we'll just go ahead and paint about in making sure that your brush stays Damn. Bring up your nice clouds. Now, that tux, the clouds in behind that is the first coat, and I like the look of that. So I'm I'm happy with that. Now I'm going to clean the white off of my brush and then we can We can take a look at, uh, roughing in the basic boat now And what to suggest. We do that with just a little bit of yellow. I want to try and avoid cleaning the water right now until we do our second coat on the on the sale. So a little bit of yellow paint in our water won't be a big deal, so we can actually just sketch out the boat and we know it's square back and it kind of curls up, has a bit of a triangular shape at the front, and we can play with that after, But we've got a little bit of the water showing through which is what we want. And that just gives you a sketch. Excuse me of your boat. I want to make the back and just a little bit longer. Here, There. Okay, so I'm gonna clean my water, and I'm going to get the blow dryer out and dry the first coat of my sale, and then we will be back for the second coat. 8. S1C2 Adding Depth: Okay, so we're going to just go ahead and put our second coat of white on the sale. Now, one of the things to think about. We want to have a slightly darker side. Now, when we talked about perspective in class number one, we know that if we create a dark side or a shadow side to a two dimensional object, it does make it start to look a little more three dimensional. So what I have done with this particular painting is start with the white, pure white on this side of my sale and then just touch into a little bit of my light purple . And as I got to the back side of the sale, it became a little bit more of a darker, darker tone. So I'll show you that. So we get our brush damp, we go into the plain white and we just start on the right side or the brake side. Our sale. This is where you can do little adjustments. If you need to sharpen up and add your you need Teoh, grab your smaller brush it all to make just some of your smaller detail. With respect to your point on your sale. You could do that. Um, you have the right to switch to whatever brush works for you. Okay, So now I'm just gonna keep going with plain white here. That's an example of a little bit of a wood. So the magic eraser is It's a little tiny bit of water on my on my paper talent. Instant fix. All right. I'm starting to scratch along, so I know I need a little bit of water. So now I'm just touching very little of my purple, mostly white. Go further back. I might even go into some of the dark purple. Although it does appear to have block again. Lesson learned when I when I set up my palate and future classes keep the black well away from the blue. Okay, so I want a little tiny bit of a darker shade here, and I need to make more because my paint has dried up. Excuse me. So I keep cleaning my brush because I want mostly white on here, and I just wanna touch into this dark. Yeah. Better. And if you notice I'm moving my brush around as well. Just right now I'm on the edge of it. So sometimes I'm using it flat against the canvas. And sometimes I'm using the edge. I've ended up getting some streaks, and I like that. So I'm going to leave the streaks because we're dealing with something that's actual. It's supposed to be sale, you know, a sale material. And it did not have a flat color. So if you get a magical thing like that happening, leave it. It's one of the things I do in my life classes. When I go around the room when people do these these marks and they think they've made a mistake, I remind them that No, no, that's perfect. Leave it. So watch your work as it goes along, and it will. It will give you the information you need. So I like how that looks right now. So there's a nice, bright side as we come around. We've got a little bit of of shadow. Okay, so now I'm gonna clean my brush. And now we're going to get into, um, the next part which is going to be this mast. So we've got a black mass that goes all the way down. So a trick that I told you from the White House was often it. It actually is easier to turn your campus around and come this way instead of coming straight down. So you decide what works for you, but you want to get your So now we are going into our black. We've got a nice wet brush. We want very little paint. Honestly, you've You've got both sides flattened, but you then you can scrape it off. And if you notice I'm dripping, which means I have to dab my Russian on my paper towel because I have too much water in it . But you want almost no paint on your brush for this. And like what we learned in class one, you're letting the brush do the work and you're just dabbing it dub dub. So it it gives, um, the illusion of being a street line. But in fact, if you look closely, it's really not that it is a straight as we can make it. So we know that the mass comes just in behind the back of the sale and it comes right down to the top of the boat. So I'm going to start up here, and you also want to mark out where it's ending so that you've got something to to go towards. So I'm gonna put my first mark here, and I'm gonna put my second mark here so that I know where I'm going. And then we're just gonna start making a line now because I don't have much paint. I'm seeing that I will probably have to do a second coat. But I would rather this because if I have to make any changes, I can, because it's not a huge black line, so we'll double check. But I think that that's gonna be good. Yeah, And now that I have my line map do't African turn my campus Now, if you need to keep it, keep it so turned the other way. Absolutely. So I'm just gonna dip into my water just slightly this time. I'm comfortable putting just a little bit more paint on my brush because I've got my sketch line there. I'm literally just so because this part of my painting is dry. I can put my finger against the painting, and that helps to stabilize it. So now I am just going to go down over top of the line that I've already made a putting a little more pressure on this time and it becomes a more solid line and I could go a little bit back and forth with it, just a just where I need to. I need a little bit more pain. And now if you feel like you could just draw a line down your cameras absolutely go for. But I just find that this is a little bit easier for most people, and it's really interesting. Here is I have never experienced where I got these little what I look like. What I consider look, look, look a little, um, bulls or dots that have have occurred as I've gone down the mast, which I don't even know where or how let's happen. But it has. But I I might leave that. I'm calling it a happy acts. She liked the look of It makes the mass look interesting, so I'm happy with that. So I'm going to clean the lock off of my brush. I'm going to switch my paper towels well, because the one I have is very wet actually doubled them up. See crab more pieces of So let's put some color on to the bottom of our boat. So we have I actually need to get some more. Is my red has completely dried up next just to show you how to do that. So I've got my fellow blue, which I'm gonna grab a little bit off. I can't even put it into my purple, And then I'm gonna grab some of my orangey red and then some Just a lighter orange. Interesting. All right, so that didn't work. Well, now you're getting to see how I work these things out, so that didn't work at all. So we're gonna do it the other way around. We're going to We are gonna grab some more, because not that's not looking. I have put Mike, and this is a nice bright red and see how I'm using the edge of my plastic plate. There's so many things you can do here to create more space for yourself. Now, red is a bit of a fussy color to because it's more transparent. I've added a little bit of orange. I'm gonna add a little bit of yellow. You don't want to add white because we know what happens when we add white to pink or to read, We get pink. We don't want pink, so I'm going to start at the back of my boat now, depending on how big your boat bottom of your boat is. If you don't have a big area on the bottom, I would switch to your small flat. But I have a lot of space, so I actually could just use have a one stroke effect here. So I'm gonna set the brush down on the campus and I'm going to just go across and then I'm gonna let the brush or sorry, lift the brush off the campus because we know that the back end of this, that's that. Start with, I have my brush now perpendicular to the canvas just to create a little bit more detail on the bottom. My brush is still wet. I'm going to go into my orange. I have a light orange here. This middle bit is kind of orange. And I'm just going to go into straight yellow knowing that the front of the boat curls up a bit because these colors air wet. Still, you can emerge, which we want. I wanted to do I don't. I've just wiped my brush onto my paper towel without going in my water. And I'm just going to go back my dark red and pull it through my let go. So that is a really easy way to create some depth in the base of your boat. Start with your dark, bring it through about halfway. Go into some orange. Started about halfway. Come in to the front, grab just playing yellow. Started the front. Come back in and then wipe everything off your brush. Come back in with some dark red. I just pulled through. Lift up your brush and leave it. That would be stuff. One of that. We're gonna let that dry, and then we'll come back and we'll put on a second coat. 9. S1C2 Making Waves: Okay, So before we do our second coat on our boat and our reflection, we have to map in some of the water. So, um, look at your own individual background. See, in mine, I have some really interesting marks. I know that I don't want to cover this area at all. I don't also want to cover this area. Look at your particular background. I also like what's going on in this area. So I'm going to do very little with respect to creating the illusion off water. Because most of our backgrounds, if we've done the fluid acrylic poor, it won't. The marks don't tend to go horizontally across the canvas when it's in a landscape orientation. So a lot of my marks are kind of coming up and down, So I just have to make the odd little sideways motion for it to look like water. So we also want to deal with our horizon. We wanna crisp Chris this line up a bit. Whenever you look at a body of water, the horizon off in the distance, it looks like a dead straight line. Now we are We're going to do our best to make it a straight as possible. We also know that to create perspective, you have to have a different tone at the horizon line than what you have at the front to create depth. Sometimes when I look at the water, the color at the horizon is darker than at the foreground. Sometimes it's the opposite, so the foreground water is darker and the horizon water is lighter. So we think about all those things. So what we want is a light very, very light blue. So I'm going to go into my my light blue, and then I'm gonna take a lot of white and I'm just going to make a pile. You want a fairly big pile because we want to be able to go in and out of this without running on the paint. I also may even incorporate some of my purple from my clouds, just just pulling it through because we know that clouds reflect into the water. So I've still got some nice purple here from before. I'm also going to create a slightly darker tone. I think I want more of this light color just a little more. Wipe it on the edge here just so I don't wanna waste it. I don't have to wash my brush because I just want a darker blue. So I'm gonna go into my dark blue and I'm going to mix that around so that I have a darker tone and I like that. Actually, I'm not going to need a lot of this darker tone, So I think that is going to work out really, really well. So based on my background, I'm actually gonna clean my brush. I want the horizon line. At least I think I do. We'll see what happens when I put the paint down, but I think I want this area to be a little bit lighter. So I'm just going to go into my light blue, flatten it out on both sides, hold the rush so that it's going to rest flat on the campus. This is the easiest way we're gonna let the canvas. Dude, that's are the brush. Do the work. So I want to start by creating a more of a straight across look to my water, cause my clouds just came in a little bit again. If you need to turn your cameras, you can do that. both sides around around the edges. Well, okay, so I like the look of that. I'm going to actually grab some of this this light color blue because I want to I want to cut the color of this a little bit. This this this line of color is a little bit too much. I've also gone into my darker blue and I'm just wiggling back and forth. I don't want ah super, super solid line here. And so what? Another way of wording is I'm kind of messing it up, messing up my line. The top part of my line is staying relatively straight, but I'm just cutting into it back and forth a little bit with color, so it just breaks it up a little bit. I like it to be a little darker in behind the sale. Might want a little bit more dark here. Just create maybe perhaps a little bit of, ah, shadow effect coming in. I've got some really nice color in here, so I don't want to mess around with that. Might just crisp up the engine. Will you look at your own and just see what it looks like, But you're just you know, just a hint. Something happening in the water. It's going across. We know that water often will have a lighter, I guess. Whitecaps for lack of a better word. So you want some dark? You want some light? I'm not gonna cover up the very edges here because I really like what's going on here. And it's kind of like when we did the rocks for Marblehead Lighthouse. You just kind of play and eventually we're gonna be putting highlights in here are so reflections. So I'm gonna put a little bit of blue just so that I had white has something to bounce off of And I'm just going back and forth with my various colors I've got I've got the darker blue And I've got lighter blue I've got white and we're just creating an allusion illusion of of wave action. No. One of the things that I do here to bring I'll see off the going on here just so that I could get down here. I want to keep this corner area here because I really like what's going on there. Go into a just a little bit of purple cause we know that we've gone purple clouds, so let's reflect a bit here. I've got some purple in my background, which is good, just kind of work for now. As we get closer down here, let's make foreground a little darker. You also want your remarks to be bigger and thicker as you come. I'm down because that's another way to create depth. Whatever objects are in front of you are always going to appear darker. Sorry, Figure bigger marks. So all of these waves air just a little bit. Take her a little bit bigger and that's probably gonna be actually, you look at your own cameras and you see what's happening and you decide one. Enough is enough. You can overdo it, so just be careful. I mean, I know you can get into a zone with this, and you kind of just associate into it, which is great. But you want to just keep keep a little bit track when you might be going to see a little bit too far. Change that because I just realized I come in front of my sailboat so the cloud won't be reflecting their because the sailboat is covering it. So I'm just gonna more blue there. You should do it. I'm just touching the tops of some of my marks. Girls, I just feel like the water would be moving around a little bit more appear. Okay, so I'm happy with that. And I'm just gonna clean my brush, and we'll just quickly put our second coat on the boat. So we do the same thing again. We start with our dark red and we come in from the back, grab some of our our orange tone, which at this point, we might have to put a little bit yellow in. And then at the very front, we could even dip a little bit of white on our brush when we do our yellow, because that will make it more, more of a solid tone. Come back in. We have to come back around with some more dark you can. Then we got that Dirk end and we've got the front end on that boat. So we'll come back in a moment and we'll do our reflection 10. S1C2 Reflection and Final Touches: Okay. First thing I'm going to do is we're going to put our mast down into the water. This is basically what we did. First step to make this part of the mask, get mast, get very little paint on your brush, like just a shadow of paint. And then we're going to come down below the boat in the same line and don't worry about connecting the line. In fact, if you leave a little space, that's better. Mine's gonna pretty much go to the bottom of my campus based on where I've got my my boat, which is good. So now clean your brush. That's it. We only do one little, one little line of that. So now we're going to deal with our reflection. This is this is the last step on this painting, and then we're done. Um, we're gonna start with white, and I'm not worried that this black line is still a little wet. That's OK. It's actually what you want. So get your brush loaded with your white. You want quite a bit of paint on your brush, not gobs of it. But when you're flattening your paint, you want toe fairly thick. amount. Same thing is with our waves. We want to put the brush against the canvas like this, leave a little space, Um, under the boat. Just a little one. And you're just kind of going back and forth and lift your brush every now and then. It doesn't. You don't want a solid mark down here, so we basically want to reflect our sale. Are sale is going to be bigger at the top and get smaller as we go down? Because a mirror image of what's going on on the top and it's a just and you can keep coming in and out of it. I just slipped my brush around because I was running out of paint. I'm gonna go back in and get a little more pain. Wait to the tip here. There. Talks should kind of get it's not supposed to be. It's supposed to be random. Now, I'm gonna clean my brush because I don't want pink, but I'm gonna go right into my darker red and I'm going to start to just touch the tops of these white areas with some of this red. You know, you got to be careful because you're white is still wet. So in fact, you may want to keep cleaning the brush, which I just did. I wiped it on my paper towel, go back and get a little more red just so you don't end up with too much of a pink tone and I'm gonna leave it at that, I'm gonna clean my brush, and then I'm going to go into my orange and my yellow, and I'm gonna do the same here. Just gonna touch the top, clean my brush again, and then I'm gonna go into my yellow and the fact that I still got what? White? It's good for my yellow. Just the tip. A tip of the yellow. Now what got my yellow on my brush? I just feel like I want a little more here. Might even go into some of my white just to make it a little more noticeable. There I let my brush run out of paint as I carried on into their that section, going back into a little bit of my orange back in. Now I'm happy. That's a little bit more of a pronounced area, and that's basically how it's done. I think I'm gonna add a little bit yellow. Tom, just in here. You have to look at your own painting and see what me suggesting. So that is it. That is how you paint boat on water. And it will take a little bit of time to dry. And once it's dry, you'll have your second mini masterpiece. Thank you so much for joining me.