Sand Dollar - A Relaxing Watercolor Beach Painting for beginners and up! | Kellie Chasse | Skillshare

Sand Dollar - A Relaxing Watercolor Beach Painting for beginners and up!

Kellie Chasse, Artist/Instructor ✅ 16+ Years

Sand Dollar - A Relaxing Watercolor Beach Painting for beginners and up!

Kellie Chasse, Artist/Instructor ✅ 16+ Years

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14 Lessons (54m)
    • 1. Sand Dollar Intro

    • 2. Skillshare Sand Dollar Project

    • 3. Sand Dollar Materials

    • 4. Sand Dollar Sketch

    • 5. Let's mix some colors for the Sand Dollar

    • 6. Sky Practice Making Clouds

    • 7. Sand Dollar Practice without using white gouache

    • 8. Sand Dollar Project Step 1 Sky

    • 9. Project Step 2 First Layer of Sand

    • 10. Project Step 3 Sand Dollar First Layer

    • 11. Project Step 4 Layering Sand To Create More Texture & Depth

    • 12. Project Step 5 Shadow & Hightlights

    • 13. Project Step 6 Final Details

    • 14. Skillshare Outro

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About This Class


In this beginner-friendly watercolor course, Artist Kellie Chasse shows you how to paint this warm and inviting beach scene with a sand dollar.  Let's take a flat looking painting and make it pop off the page. 

The course starts off with some basic shapes and the final project will take your skills to the next level with a more realistic look. Whether you have just started working with watercolors, or have just been dabbling in them for a while, this guided scene is fun and easy, so let's jump in!

Have a Question About this Tutorial?

Feel free to drop it in the DISCUSSIONS area in this module. Click the button and a flyout menu will pop up and you can type in your question. I'll be sure to answer.

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Kellie Chasse

Artist/Instructor ✅ 16+ Years





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1. Sand Dollar Intro: Hi there, I'm really jazzy. I am from the beautiful state of pain i and m prime artist and online and structure of the new tuber. And today I'm gonna show you how I created a very relaxing scene with a BCCI feel $10 than just a very relaxing way to paint this that using r i dot. So in today's class, I'm going to show you how to use watercolors to create a more of a scene that's going to pop off the page. We're gonna be working with a sand dollar. And this one is perfect for beginners. It is a very relaxing way to Pete and we go through the steps very simply by doing the first initial layer or wash and then adding to that. I try not to get too many details. And at the very beginning, this is a really more relaxing weight, eight. And by the end of it, you will have a beautiful painting with lots of details and hopefully your CME Valerie, pop off your page and just take you to that beach vibe in hanging up at your house. Stare at it. And if you are like me living here in northern Maine with all this snow and ice, I just go and look at it and go to my happy place. So we're ready to relax and create a wonderful beach scene. Then let's get started. 2. Skillshare Sand Dollar Project : Well, hello and welcome to the class. Let's talk about our class project before we begin. So Mother Teresa always says, do small things with great love. And that's what this one is all about. About relaxation. Having fun, light your candle in the mood, and just relax. So if you want to post your project, which I hope you do, I'll have to do is go to the project and resource section. Click on create project. And it will take you to this page so you can upload your picture from here, give it a title. And we want you to let us know how your project went. Maybe what different materials that you might have used, or maybe some changes that you did to the initial project. And don't worry if you're painting isn't perfect. Just remember that we all start somewhere. We all start at the beginning. And it can really help others that are just starting. And you'll get a lot of different people and a lot of different places in their creative space. So if you're new to watercolor, if you've been doing watercolor for a long time, we want to see them. And also at the very bottom there's a little check mark you can make if you want to make your project private. But we would love to see it. So put it out there and don't be shy. Alright, so we're gonna go over what supplies you'll need next and we'll get ready to dive in. 3. Sand Dollar Materials: For this class, we're going to be using some basic watercolor materials. Let's go over and real quick. I have some legion paper. This is Stonehenge. It's a 100% cotton and it is a wonderful paper. Paper if you haven't tried it yet, it's Mary that it absorbing the water. I will be using the Winsor Newton caught main kits. I will often use this as my go-to kit for all of my students, it has 12 different colors in here. It's the perfect travel kit and starter kit. It's very small. And these are panned paints. So you have two yellows to red to blue to green to Brown's law, actually three browns and a white which I barely ever use. I also have with this kit a little detail brush. This is rate. It is a collapsible won again so you can travel with it and it will also be using a larger brush. Again, you don't have to have these exact things for the class. And I'm going to try to use just two brushes for this entire painting just to make it really easy for you. I have a my paper sectioned off so I can use the top portion, cuz we're gonna do with five by seven size. And I have a little sand dollar here, just so I can see what all the little details are. If you have a sand dollar handy, really easy just to go ahead and trace that. If not, I'm going to have a PDF here ready for you to go. And I tell you a little secret, there's actually isn't a real sand dollar. It's made from clay. Isn't there? Cool. So I, I feel good about that. I didn't have to hurt a sand dollar or purchases and dollar and the person that led spiders out of my house. So you probably understand where I'm coming from if you're like me. So you also need a pencil. I'm using a mechanical pencil. And for the sand dollar, a really easy way to do it is to grab something that's small round and you can just trace around it and a mole shape that up because it's not a complete round circle. Grab yourself a high polymer or eraser. I love these because they don't mar the watercolor paper and that basically means that it won't scratch it or they got it or, you know, remove some of the top layer of your paper. So when you go to pain it especially if you've done a lot are racing that can really cause you lots of problems. I will also have a printable PDF sketch that you can go ahead and print out if you'd like. And you can also print these out on water color paper. If you're one of those printers that will hold that thick of a piece of paper. We'll also need some a whitewash for details. And we're going to really layer this with a whitewash. So it will be fun and we'll kind of, we're going to take this from early flat painting to something with lots of details and really make it pop off the page. And for my members that have taken my water color classes before, you know, I always use two glasses of water so I can have it nice and fresh and try to keep one for mixing and then one for rinsing. And that's really important to keep your paint so they don't get muddied. So in the next section, we're going to sketch this one out. 4. Sand Dollar Sketch: So it'll be four. We begin and grab yourself a couple of sheets of practice paper and we're going to talk about your pencil first. So I have a mechanical pencil and you can see at the very light when I sketch this ant or it can make it very dark. If you do not have a mechanical pencil, you can use a regular number two pencil. And I just want to show you the difference here. This eraser on these are horrible to use when you are working with your watercolor watercolor paper. And I'm going to show you why here in just a second. So again, you can make a very nice light sketch with one of these pencils. Again, you can go very dark. So the pencil is not the problem, it's the eraser, that's the problem. So you can see if I tried to erase this really dark line like that, it just smears. It does not come off. And again, if you're working a really dark, you're going to have a hard time removing your pencil lines. So that's why I say when you're sketching, sketch very light and you can see this, remove that line for the most part. But let's just check out this little polymer eraser that we talked about earlier. You can see it just does a beautiful job. Let's try that darker line. If you are really digging in with your paper and putting a lot of pressure down, you're going to leave those pencil line. So sketch very lightly as you're doing this and you can see where it's marked the paper a little bit and show you a little bit more here. I'm gonna go a little harder with this because this is what we do and we really want to get something out. You know, we're trying to erase it. And what's happening is it's actually ruining the paper underneath and it's lifting up some of those fibers. And it will actually leave a Pink shade in your paper. But when you add the water pillar to this, it really, you can tell the difference that you've really ruined your paper and the texture of your paper. Submission as close as you could still see it, a little bit of that pink and that line is still there. You don't necessarily have to make dark lines to make a mess of your paper either if you go over and over and you're finding, you're erasing the spots over and over again, that can also cause problems with your paper. So sketch lightly and just take your pencil and go over those areas and race it once you're finished and you're happy with your full piece. Now you can see the photograph or the painting that I completed that stay sand dollar is off just a little bit from the right hand side. So keep that in mind when you get ready to do your sketch. And we've got a little space from the top. And we've got that little hump or in the sand is down here on the bottom. So I'm just going to grab a separate piece of paper to really quickly show you how to sketch out a really easy Sand Dollar. And again, I have my little example here to the right of main. So we're going to start off just freehand with this one and just do a circle now, but it's easier for you grab that cup or something to get your circle shape in there. And I'm making this full-size here. When we go to the painting, we are going to be moving this over to the right a little bit more and making it a little bit smaller. And now I'm just gonna go around the edge. I'm just going to mess it up a little because we had the permits that perfect circle in there. And that's definitely not what the sand dollar is. And I can see here, we need to come out just a little bit more, wasn't quite round enough. So this is where that eraser will come in handy for you. And just very lightly sketching it. And remember with watercolor, if you have your pencil marks to dark 1-2 page, you can't erase those. So I always suggest that you go in very light handed with your pencil and mechanical pencils really help you do that. He has a lot of times my new students when I first started out in a really heavy with the pencil under Drawing, Erasing and in their marring the paper up. And so you just want to make sure that you're super careful with how much pressure you put down. So you can see I have my circle account, my center, and I've got my little head is how I like to think of this as almost like a little starfish shape. We've got the two arms that are kind of just above their waistline there and then the two legs on the bottom. And if you look, we always have this little opening in the sand dollar rate between that bottom area. And then these two little openings come off from like column the legs and the legs would be. And then where we have our arms, we have two more of those openings up here. So that is how simple it is to sketch in your sand dollar would pick a few minutes and practice that a few times if you want. And then you're going to go to your paper that we're going to be painting on whenever you're ready. So for this one, you can go ahead and sketch it on here as well. But I'm just gonna go and follow the shape of the one that I have some like this one. And I'm just going to pick my pencil and just mark out those little holes again in there. And then we're going to sketch out the center of that one as well, just like we did on our first practice demo. So go ahead and get your Sandel are all marked out on there. Make sure that you are happy with where it sat. And remember, you want to make sure that you bring it over far enough to from the right-hand side of the paper so that you've got a little space when you go to math this. Now if you're not using a standard math, you can do it any size that you want at any distance you want, because you could always have that mattered specifically to your artwork. But I will say that from years of doing this, if you try to use standard sizes, it's going to be much cheaper for you in the long run because most pre-cut mats are going to be in that five by seven opening, eight by ten, opening 11 by 1416 by 20, and so on. At least here in the United States. If you're living outside the US, that might be a little bit different and those are done in inches. I have this fit very standard size for a five by seven inch space. So that's going to fit my eight by ten upside Matt. So keep in mind when you're talking Matt. The outside dimension is an eight by ten, and the inside dimension of a pre-cut Matt would be about a five by seven. So I know that that's going to fit on there really well. So now I'm going to put that line on the bottom just where I'm going to have this sand is going to curve up and I can erase that line. And then this is going to be our little shadow line that we can sketch in here. And that's really all you need for the sketch. And you are about ready to start painting. 5. Let's mix some colors for the Sand Dollar: So in this lecture we're gonna talk about colors. We want a beautiful light blue background. We want some nice tans and some yellow tones maybe in the sand area. And then we're going to use the whitewash for our Sand Dollar. And we're going to add a little gray to that. So let's take a look what we have for colors in the cotton kit. We have the ultramarine blue. And I'm just going to wet my brush again, getting a little water in there and start mixing some of that paint. And you can see it's a very nice light shade. It's got quite a bit of water in here, adding a little touch of the filo blue, which is going a little bit of a green to it. I'm going to just push my brush off to the side and scoop some of that out of there because I don't want to waste all that paint. I've just made a dragging that brush on the end. You can actually remove the colors from your brush. If you have one of those brushes are really soak it in. And I'm actually using a Galinsky mimic brush. I think it has a size six or eight. So we're just gonna do a little test strip with our colors. I want you to see what you have in your palate. Get comfortable with your blues. And you can see I have three lovely different shades. I could probably continue to make more shades. If you add more water or take water away, you'll get some other, other colors as well. So let's take a look at the next color we're gonna be using, which is going to be the yellow ochre. And you can see again, I have a nice light shade, more water I add to it the lighter that's going to get. And this takes great practice. So this is always a great thing to do. Pick a piece of paper and just try out your colors on it and see what you get. Start mixing, especially if you're new to watercolour. Add the water, try it with less, less water tight with more pigment. And you can see I can get three different shades of that same color very easy by just changing out the amount of water that I'm using. That last one has the most pigment in there. And we're going to use that for our BG area. So we've got the blue for this guy. We've got the beach colors here. We're going to use a few more colors for the beach. This is a dark brown and yellow ochre sluts. Try the two of them together. It's burnt umber. And that one gives a nice shade of brown. You've got two different color brown there was, the other one is the Sienna and that one is a little bit more of a red tint. So if I add a touch of blue to this, I get a beautiful shade of grey. It almost looks black. So that's how I loved to meet my black. It's a pretty shade. It like it's not too too dark. Now if I want to make this darker, I can add less water and more concentrated pigment of the blue and the brown are the ultimate marine. And the burn number, if I want to make it light and a little bit more water and I get a really nice light gray shade. So we can do that movie on the edge or do the really dark color for the shadow area that we'll be using on the sand dollar. So if you're new to watercolors, take your paints out and make yourself a little chart. 6. Sky Practice Making Clouds: Alright, we've checked out all of those colors that we'll be using in our painting. The blues will be for the sky and the water, the Browns will be for the sand. And let's go ahead and take a look at cloud practice before we dive into creating clouds. So I'm just going to put some water down again on this test strip of paper. Works great. If you want to do a bigger, she'd feel free to do that. I'm gonna go with a very light shade of that ultramarine blue star and you can see how light that is. I have a lot of water in here and you have to practice your water amount. This is something that just watching me do it. It's really hard to judge because different brushes will hold different amounts of water. And not only the type of brush, the size of the brush, but also what type of fibers the hairs are in your brush. So I'm using a natural brush here which holds water very well. And I could go a long way with what I have just in this one little bit because it just absorbs that water wonderfully, much more than what your synthetic fiber brushes will do, which usually are less expensive brushes. I have three patches of blue here. The first one I added a lot of water to, I just dropped in the color, so some of it stayed whites, some of the blues in there. The second one, it did more heavy wash of blues with all the same shade. And that third one, I went a little bit darker with a pigment and then I'm dropping in a few darker shades in there. And you can see where my brush actually around water. I turn it to the side and I have a nice dry brush mark on there. Now I'm just going to grab a tissue, ball it up and I'm just going to push down in the lift some of that paint out and which will give you some beautiful clouds. Now if you do this with the very lighter shade, it's harder to see because when you're looking that out and you can see the top one has already has some white there. If I take and lift that out, you know, see it quite as much as you do with that darker pigment and it gives it a little bit more contrast. And the second one, again, I have just one solid pillar wash on this one. So we're going to add a little bit of white guage to this one instead. It's easy, we'll let that one dry so if you don't have wash. You can definitely do this. Like showing you her on the bottom. Hogwash is more of a new opaque type paint. It's still like a watercolor where it will reactivate with water, but it gives you that chalky appearance as it dries. So it's more opaque. If you are trying to work in layers, you want to use your washes, your last effort because you can blend it. But again, it does change that translucent look of watercolor and I absolutely love wash. I usually will use the white and the black, mostly in my paintings, and that's just how I use it. Some people will paint completely in guage and not use watercolor at all. So again, it's all preference based. And if you have them, try them out and see what you think about the difference. So if I add the white in here to this one, I've got a lot of water with Mike wash. and you're gonna see that this barely shows up. So again, the more water you have, the more translucent that white wash is going to be. So keep that in mind as it drives me may dry a little bit lighter on you. And by adding the water, it just lightens it up just a little bit more. Usually I don't go in directly with the white washed unless I'm making bright white marks. But I like to give it a little blending and you can see a hair. I'm blending it with the water and a blue and it gives us that beautiful soft look to it. So those are three different types of clouds that you can make without wash, with wash on light and then a dark with a real bright white. I think I need to add just a little bit more white to this one. Again, going in directly to the guage So I can brighten that up at the top a little bit more. You can see where it's blended in with the blue underneath. 7. Sand Dollar Practice without using white gouache: So I thought I would show you here we actually use the Guassian in my project. But if you're brand new to my classes, because if you pick them up classes, you know, I love bike wash and I use it all the time. So it's probably one of your staples. But if this is a newer course for you, you may not have that yet. So you don't absolutely need it. It's just a personal preference that I have. So if you wanna do the sand dollar by adding in some of these shading in here. You can just use the white of the paper. So you had to be a little bit more careful with this. I'm mixing up a little bit of a light, light gray using the ultramarine blue and the burnt umber. And I'm going very reliable because a lot of water and this is very watery and I'm going to wet that area first and then just tap in a little bit of that gray. And you can see how the sand dollar here, it's actually in the evening as I'm filming this. So it's a little bit darker and, and you can see it's cast a nice shadow on the side. To give you an idea of how the show's work, we'll go ahead and put that in here. But the project that we're gonna be doing has got a much stronger shadow and the light is going to be different because coming from up in the sky, the sun and it's coming down and casting a shadow, or this is my light box, which is casting a shadow over here onto the left-hand side. So you can see where most of my highlight is, is up here on the top right-hand side. You don't wanna put too, too much in here, but again, you want a little bit because you can see that it's not a flat surface. And by adding a little bit of this dotting action and leaving some of the white kind of peeking through from the paper. And it makes it look more or less flat, I should say then. And then if you were just to have solid color on here, then I can maybe see just a tinge of yellow in there as well, just a little bit of another color, maybe even a purple or blue would be pretty in there too. And I'm thinking if I'm doing sand on the bottom, you might have some of that sand actually reflecting up and casting some color onto your sand dollar. So there's lots of you can do with that. But I just wanted to show you, give you an idea on how you can paint the sand dollar and if you don't have the white wash. And then we'll talk about the goulash later on when we go to do our main project, darken that up a little bit more. I'm gonna be using a little bit less water, tapping the excess because it's a lot darker now. And put in a little bit of a shadow on this side. Now, I've got my pencil marks still pretty dark on here. I can still see some of the areas are pretty dark around this whole Fan dollar because of the way that the shadow is being cast. But up on the right-hand side, up at the top here, I might erase that line a little bit more if I was doing this for myself. Make sure that you can see what we've drawn out here for the class. So really simple, I'm not gonna do the all of the details because you're gonna be doing that in the next section. And then you can always add in the other details later on, but it could be a little bit darker. It's still pretty light at this point. So if you wanted to add another layer on here, you can almost see a little bit more of that yellow, light brown, or Tanishq color that it has to it. You could always have very light wash using your yellow ochre on top. So it really fun to play with. You can see how fast something like this could go. So do you want to dry that will put a shadow in here just on the edge. Just define a little bit more. You can also take your finger and you see I just tapped into him my paints and tapping it on here I can get a few more dark little areas. So using the texture my fingertip on here. I don't want to do too much. You find that you get it's too dark or it's too streaky. You can just take your brush with a little bit of clean water and you can just scrub it. Disk. I say scrub it is just a very light motion, adding a little bit of water to it and blending it a little bit more on your paper. You don't want a lot of water and if any of the areas wet underneath, remember that's going to move so you wanna make sure that you dry it before you do that next layer. That's really the key with watercolors, is if you're not working wet into wet with your colors, you want to dry in between each step because if you have a color that's already wet and it started to dry, and then you add new color on top of it. You're going to get that bloom effect, which in some cases you want that. So that's why I say it's not always bad. It just depends on what you're trying to accomplish. So I'm going to use the very tip of my brush. Just gonna get that a little bit of a shadow in here. And that's all you need. 8. Sand Dollar Project Step 1 Sky: Alright, now that we've gone through materials and we've practiced if you things or you already did paints. So I have my sketch that I've done and we're going to start with the sky first. And I'm going to wet that area completely similar to what we did with our first cloud, a demo that we did. So nice and wet. Again, I don't want this to be too too wet because I don't want it to start to buckle on the paper. I just want a nice light wash of water. And if you find that your paper is boggling, number one, you'd have B using too much water. And number two, you may have some very thin paper. So I do recommend the cotton a 100% 140 pound paper only because the better the paper quality, the less frustrations you're going to have when you're working with watercolor. Now if you are just practicing and just starting, go ahead and use less expensive paper, it's always a great thing to test on and try out, but until you get ready to do a painting, painting, I recommend that you try to get a good quality paper because it really makes a difference. You could almost use any kind of watercolor on here. But the paper is really what's going to make the difference for you. So I have left some areas White. And again, I love to do this because I can get some very random-looking natural clouds this way. I'm gonna take that tissue and I'm going to dab and lift again. The more pressure you put down on your paper, the better that paint is going to lift. Now also keep in mind if you are in a very hot, humid or hot dry area, yours may dry at a different rate. If you are trying to put clouds in here, you need to work fairly quickly because of that paint starts to dry on your paper and you try to lift that paint out, it's not going to lift with that tissue. And I think that's what I'm going to leave as far is and there we may add some more with some whitewashed later. So I just straightened out that line a little bit. It's very important that you horizon line is straight. I don't know how many people I've seen that make waves or they make it crooked. And I've done this myself, especially oil paintings, that's the hardest one, but I tend to paint an angle, as you can see, even my tape is actually a little crooked here. So I really had to struggle and making sure that that line is completely straight for the bottom area of the horizon. Now, if you have like one of those foggy days and times or you're not really sure whether water in the sky meets. You can always do that as I'm blending this in a little bit and not really sure where the water is and where the sky is. And that's okay too. But if you can get a straight line in there, that works really well. And if you need to use some tape, you could put tape across there to get united straight line or you can use a ruler to get you a nice straight line. So I'm just solving that up a little bit. And if you look at a horizon line, you usually see where not always putting on the day, but sometimes you can see where that marker, that divide is really easy. Other times you have so many clouds and missed, it's really hard to determine where the sky ends and the water begins. So I want to make sure that that is nice and dry before you go to our next step. 9. Project Step 2 First Layer of Sand: All right, so let's do the next step, which is painting are Beach. And this is completely dry up at the top. So that's important because we don't want our beach colored to blend into our blue skies. So that's why we derive that before we do the next step. Now mixing up a little bit of yellow ochre and I'm adding a lot of water to it. Now if you're not quite sure, take a little test to see what color you are close to on your little colored chart that you made. So we went that very light shade and I think we have it here. You may get super light by either adding more water to it. So whenever you're unsure about something, it's always best to start with those lighter colors because you can always add some other layers on top of them to make them darker. So I'm gonna go right up to that line again, this is completely dry with a blue, so I know this is not going to mix. I would describe that back and forth up there a lot. It may start to pick up some of that blue because I'm going to re-weight that pigment. So it's really important to try not to go over it. Just give yourself a nice little light wash and want to go down into the bottom as well because I'm going to have some darker values in here and some lighter areas on the top so I can put that wash completely over both of those areas, making sure to go around my sand dollar because they don't want that sand pillar in my Sand Dollar. And you'll notice with most of my paintings, the way that I like to do. And as I, as I always start with that sky. And then I do the middle section on the bottom and then they leave all of those details for the last. And again, that is totally preference based. I know some artists would start with that sand dollar and then add everything else around it. But I really find that it's much easier to get those backgrounds and there are some times and then leave those details for last. And you can really make things pop, but it's whatever your preferences. And we say that, you know, art is about you. It's not about me, it's not about anybody else about you, how you feel about it. Are you enjoying the process? Do you like to have those details right away? Maybe. So maybe for you that sand dollar would be the thing to do because you want to feel accomplished right off the bat. When you're doing these layers like this, it really does give you a, a nice background and kind of ease into it a little bit less stressful. So I think that is the reason why I like to do it this way. So once again, I've tried that background and I'm gonna go in with a little bit darker shades. I'm adding a little bit of the burnt umber to this, which was our yellow ochre that we already had in here. I'm going to go a little bit darker at just skipping across there and not covering up the whole thing. But maybe up around the top, it's going to be even darker and just leaving some of that later sheet underneath a little bit. Again, it just gives you some little bit of variation in there. And it prints out odd. I think I'm gonna grab a little bit of the dark ultra marine or with the bird number this time. So you'll see I'm wetting my brush and just picking up a little bit more of that color. Again, little bit darker, tapping it in with Brown. And again, this is all wet, so this is going to blend. You'll see those colors. You just start to soften and they're very naturally not getting any hard edges with this, it's very soft. So I've got yet another color. Now I'm gonna go into the blue. Mix that with because I don't want that darker blue mixed in with the brown on the paper or on a premix it and then add it. So I've got some really dark values in here. Now you'll notice I did this one all wet. Again, I want that real soft color, that transition. So by having all of this wet, it's just going to blend nicely in there. Alright, so that's a good first layer. Let's let this dry and we're going to start on the sand dollar next, and we'll be going back into the sand. 10. Project Step 3 Sand Dollar First Layer: So all of that background dry, and then we're going to add our sand dollar. So we have this all dry once again, and I'm gonna be using some whitewash, the sandal ourself as white. So it's not really a necessity if you don't have goulash. But I tend to like the way that it blends and it really pops off the page because this is going to be more opaque than the rest of the painting. So it really, just, for me, it makes that 3D look. It really makes it pop off the page. But if you don't have wash. And you can just use the Greys, just mix them light greys up and try to match the colors that we're doing in here as best as you can. So I'm gonna go around this with the white because I'm going to cover up my pencil lines because those are still fairly dark. And I always, usually will erase most of those. But since I'm doing the demo here for you, I want you to be able to see it on camera, so it's still pretty dark. So very easy way to go over this with some caution that just softens everything up a little bit. And more highly pigmented along the edge there if you want to cover up those lines. Now for me, I'm going to actually be adding some more details to this later. And we are going to put a shadow along the side there. So if you do have a pencil line, you don't need, really need to worry about it. We're actually going to darken that. Now. That is going to be only on the left side because we're going to pretend that our shadow or sun is coming up from the right-hand side, going to cast a shadow on the left side of our Sand Dollar along with the dark shadow that we're going to be doing later. So I just want to soften this with a little bit of light gray. And then I mix that with the burnt umber and the ultramarine and watered that down and add a little bit of wash to it. And then just tap it in right on top of the guage that already have down here that's already wet. So this is blending again very nicely. So I'm just taking that brush and creating a tapping motions so that I have a little bit of texture. And then where you want to soften a little bit more, just do that little scrubbing motion round circles and that will soften that. And again, this has to be wet. Not really, really wet, but just the damped to the touch so that those paints are going to slightly move again, creating those little circular motion. I do that circular motion with our clouds as well. And I find that it just gives it a really pretty soft, flowy look. So again, I'm going to sharpen those edges up again just a little bit more with a white, bright white on this size where the sun is hitting it. And again, if you're going to do this without the white boss, just make sure that you've erase those pencil lines before you start really well so that you can barely see it. Now you may be wondering why do we have white, chinese white in here without used for mostly the Chinese way is used for mixing. So if you want to make that light gray, you can obviously use the Chinese way along with that burnt umber and the ultimate reads and make more of a opaque, chalky type consistency. Again, more translucent then then the wash will be washes mark chalky and it is, it can be a lot thicker. You'll also notice I've turned my paper sideways. I just find it easier when I'm getting those edges to twist and turn my, my block of paper around. So it's, that's why I always like to either have a block of paper or have my paper tape down onto some type of foam board so I can move it around easy and change the directions. 11. Project Step 4 Layering Sand To Create More Texture & Depth : Alright, so once again, everything is dry. I'm going to add some texture now to the sand. This is what we talked about, building layers and making things look more realistic. And if you take other classes of mine, you've probably heard me say this before, but most mistakes that I find people make are trying to get too many details right off the bat. So instead of getting those nice layers down there, those first washes, they're trying to do everything at once. And what that does is just muddies things up. You don't get a nice, crisp, clean look on your paintings and it just really turns very muddy. So because my background is nice and dry and I've got Lowes light shades in there. I'm just going to take my burnt umber and I'm going to take my brush. And this is the spotter technique that we tried earlier. It's really fun, a really easy way to add a lot of texture to that sand. Throw in just a few little dark spots here. Again, no right or wrong with us. It's just about putting marks in there and getting all of those different shades of color. Let's try a little ochre here maybe. And I'm trying to look at some other different colors that we can maybe pop in here. Let's just do the yellow ochre cuz I don't have a whole lot of Edinburgh covered that up with some browns and things so we can go with a deeper shades. So you can see I don't have as much water with S1. I have the pigment a lot stronger. Let's go a little white wash, rinse my brush and betweens. I don't want to get that white dirty and want it nice and bright. And think about sand. Sand has every color in there. Maybe a little white touch again, person more highlights. That's going to dry a little bit lighter. It's very bright right now, but as that try it, it's going to wash it out just a little bit. This is a great way to make waves two and water by the way. And renting that. Ok, now this is not too wet yet. I'm starting to get a lot of layers on here, but I'm going to try the blue and see what we get. So it's still blending a little bit, still getting those define lines and other areas you can see where the blue hits where that guage was. It's nice and grey now. It's still doing a little mixing in some places. So something to keep in mind. You don't want to get it to wet because if you get a 2-AG, guess what happens? It's just going to all blend again. If you make a mistake, just take your tissue, you can tap out a little access if you want. Just like we did when we removed as the pigments for the Clouds. And we'll also blend it a little bit. I find that some of those marks or too much. And again, we're going to do this again. So this is the second layer in the sand. And so getting more colors in here and we might add a few more, dry it. And then I go back in with a little bit more here. I also have a sheet of paper, just regular card stock paper up above, so I don't get that splatter all way up into my waterline. I wanna keep that nice and brushing plane. So you can use a paper towel, just something that's going to cover that area so you don't get your spotters up on top. And going through those same colors and layering again, you can see there's other colours underneath. I've got some of those dots, but they're not real defined. Especially where it did little tapping. Again, the thicker the paint is less water, the darker those pigments are going to be. So you can start adding some darker layers to this now and even go really heavy with it's another thing to do is instead of using a brush, you could use a toothbrush and just spritz it on if you want some very fine lines. Now the sand, obviously he's not going to be in quite this course. And you're looking up close to it, you can sort of see little granules in there. I also got a little bit up in here, so I'm just going to make that sand line a little bit taller. But from a distance here you can see that it looks more like sand. And so I'm looking what like if you were looking at this through a camera lens, I'm like down the rate on the sand. I'm kind of aiming cross the sand and looking at that sand dollar. Sand also can be a little darker because it's wet. What sander usually is a little darker than light sand. Or if the sun's not shining. And it could be, somebody could be standing to the right of me, casting that shadow over the sand. And then the sand dollar itself is going to create, create any even darker shadow. And I'm just taking my Russian, just making a few extra little random dots here and there where I feel it's too sparse. So again, you can do a few different layers on this. Add as much as you want. 12. Project Step 5 Shadow & Hightlights: Alright, so let's go back to creating some shadows and highlights. And we've gotta go and pretty good here we've really starting to pop off the page. We have a lot more work to do. So let's go ahead and do that and go, This is all dry and they go back in with some of the yellow ochre and just give it another fresh layer over the top just again to deepen and a little bit more and create another layer of color. It doesn't do a whole lot, but it's just enough, so it just changes the dynamics a little bit more. Now we're gonna go back into our later area here with the San and we're going to just go ahead and darken that. Just felt like it's just a little bit too bright for my liking. So again, i layer that seeing polar rate over on top and I actually scribbling here, you can see where that was. Hey, there's couple of marks that came in on underneath my piece of paper when I was doing my splatter technique there for the second. So if I just wet that it's curb it back and forth, I can get rid of that, right. Once again, I'm going to dry this comeback. It's all dry. And now I'm going to add and it really dark shade using the ultramarine and the burnt umber. And I'm going really dark with us when and how I do that is I use less water. So you can see how dark and rich I can get that very similar to the deep shade that we made. You can see a couple little marks that are inside here, so you could always go even a little darker. Now, I will often use black goulash for these kind of things as well, but this might be a little bit to black or too dark for having a shadow you, because you can see this is still transparent. I still actually picking up a little bit of that okra underneath. So it gives it a really pretty lovely shade of shadow. Shade of shadow. So that makes sense. And then you can add in a little bit more if you want. And one strives again, it's going to be a little bit lighter. So again, if you want to add a few more that same color in here, you could just take your brush and just do a few extra little dotting. And you want it fairly random. You don't want all the dots in one place and want to really uniform looking one it very natural looking. So I'm gonna wipe off a little bit at whitewash. And I decided I wanted to get a little bit more of the white in here. Just a few little places because I lost a lot of it when I did that wash of ochre on top. To get to you don't wanna go overboard with it. You just want a few little, just like it's a little sparkle on top of the sand. And you'll see I'm just dot-dot-dot. And the brush that I'm using is really good for us because it has a very fine tip on the end of it. So it's a really versatile brush. These are a little bit more expensive than some of the others. But they hold the water, they can, though very flat. They can do dry brushing. They have a nice tip or point on it if you have details. So I don't have to keep switching out my brushes. But we do have again, that's small brush in there. Don't forget if you find that, that's easier for you. But again, that's not going to hold as much paint or water as this larger ones going to do for you. You'll find yourself of using the small brush with a love for fine details, but you'll be going back into your color and picking up more pigment a lot. So I'm gonna just arc into a little bit more. I wanted a little bit more contrast between the wet sand and that shadow. Alright, so now I think we have some final details to do on the sand dollar. 13. Project Step 6 Final Details: So I'm at the point here as an artist, I'm looking at the final details. And if you're a beginner, you might be extremely happy with this. And it's beautiful as is. I'm going to tweak it a little bit more. We're gonna go in a little bit more with those final details to really make it pop. Now you can see with that dark shadow underneath the darkness of the sand in the front and the light area in the back. And I go wash, that's really kind of popping out. So now I'm just going to add a few more highlights here in there. So I wanted just to make it look like it has a little bit more texture by adding a little bit more of that white wash. And I'm going directly into the galoshes Really not much water. My brush might be a little damp, so it's keeping more of that bright white. And then you can see where I tapped my finger on it just to give it a little bit of texture and actually using my fingers and living your tips, I can get a little texture right in there really easy. And you can't really tell it. They're actually fingerprints when you look at the whole thing altogether. But it really does a nice job getting some texture in there. Very easy way. So I've gone dry that once again. And I know it kind of seems like a pain because you're drawing in all the time, but it's really important to make sure that your mom, your layer below is completely dry so that way nothing gets blurry on you or bleeds or blend and you don't want it to. So I've got a really nice sharp line here and I have switched, if you notice, to my very fine detail brush now, very skinny, it's not holding a lot of paint, so I don't have to worry about having too much. And I'm just going over that one side again for that shadow area. And then I'm gonna go ahead and just fill these in as well because these are going to be black. So I'm just outlining, I'm really lightly. Now the center actually I'm just gonna dot, just give the illusion. And then these little areas here almost have like this little feathery look, if you look up real close to a sand dollar, you will actually see that they have holes in them. So I Evidently there known as Lula's and there are reflected in the skeletons and I guess I, water pass through them. Suppose to help reduce. Then going up to the surface with, with pressure of currents and such. So a holes I guess let the sand go through it and then it helps them disappear faster into the bottom of the ocean. So I thought that was kind of a neat thing. I looked that up and that's what I found out. So these, I'm going to just finish this feathery detail here on the sides. And then we're going to fill in those five oblong holes called Lula's with some black to suit because he actually can see through them. They'll be pretty dark if you're looking for that shadow is right behind it. So you would be seeing that shadow through there as well. And the great part about this is if you mess up, I need to do is grab a little bit of that whitewashing, go right over it. So that's the nice thing about guage. It's going to cover up just like if you were painting with oils or acrylics or something like that, it's, it's a wonderful way that I use to cheat. It's called cheating. I call it cheating. And I like it, so I use it. And again, traditional watercolor is, we'll just use strictly watercolor. So maybe you can call this a mixed media piece rather than a watercolor piece. But it's another thing that you can use in place of masking fluid. And again, if you've taken other classes, you'll see that I've used masking fluid in some places, but I really prefer the wash because I just find it easier. I don't have to wait for a masking fluid to drive for leaving some of those areas that are bright white. And as I said earlier, I just like the way that this makes it really pop and it gives it that more three-dimensional look for me. So I'm just softening that line a little bit more. And again, you can see it just kind of brings that rate forward. So I'm going to move with that mixture of prayer, dark black. Now remember we have guage already on here. So when I'm mixing those together, I'm reactivating that whitewash underneath. So I'm getting a really nice shade of grey here. And again, I want to lighten that up so it's looking like it's going right through it here, giving myself a little highlight on one side. Back in with wash. And I'm gonna keep at all on the right side. Maybe here it just looks like you can go look right through it. Now, if I wanted to be technical, I probably could have used the sand color underneath. And again, if you mess up, you can cover it up, go back and with the, with the black. And you're good to go. And same thing here, I'm just dotting it just a little bit of white on top of the grey and it gives it that more textured appearance once again. So I love this stuff. You probably know that already because I use it just about every one of my classes. It's one of my staple items. Again and again going back and with a little bit more. Just met that point where I'm just kinda playing. And it's adding little touches here and there to see what it's going to do. The great thing about this is again, it's all the final details and I'm using the guage. I can remove it, I can add it in, are really of very versatile medium when it comes to this point, and that's why I chose to use it. Now, think about this. If I left this white and I put color on top of it, you really can't get it back to that bright white, quite as easy. You can do a little lifting, things like that, which is another technique that we can talk about in another video. Again, just using my finger, tapping that in and getting just a little bit more texture in here. Don't even need a brush, just use your fingers. And this way, you know, I think I'm going to add just a little bit more to the water as well. I want to have more defined line as to where that waterline is and we'll just change up the color blue a little bit more. Rinsing off my brush again. Remember I have two glasses of water here. What I have for renting my brush to the right. And when you don't quite see as much as my clean water and that's what I used before I change my color, I dip into my color once I clean my brush. So having two cups really helps you from having to get up and change your water is often will admit I do go into my clean water every once in awhile and I have to change the water anyway. I've gone into my coffee and whatever you have up there, you know, move your drink to the side, but it's not guaranteed you will put your paint brush in it. So again, I'm just adding just a few extra little colors here. I like the texture behind. I wanted a little bit darker. Just kinda pop, say you have a little bit more interest in there. And again, just going in with just a few little highlights and adding a little bit more to the sand and the front, you can soften it or it's just too brown. It gives it this really nice different colour here. It goes a little bit more with a white wash on the top. I think it's just softens it a little bit more. And then I can draw this and add some more to it if I want to. But let's go into all that is drawing. Let's go back into the blue here. And I'm going to try to straighten that line a little bit more. It's a little bit more vibrant. So this is going to be my ocean line. And then as I was thinking about here, I think I'm going to add some waves to this as well since we talked about adding little bit at Bosch to create water. And I'll show you what it means. I'm gonna go down a little bit so it looks like it's wet. So that way might be splashing up on the sand. So you have about little bit of difference in the color ware. Water might be coming up on the sand and making it wet so it's a little darker. And I can get a really nice sharp straight line here now, trying to be really careful. And it's hard for you to use a piece of tape up there and then painted in. I kinda threw myself off because my line down below is a little Perkins. I think that's why I was having cricket issues. So now I'm going back and with the Guassian and this is still wet. The blue is wet. So it's going to soften and I'm just dotting it, skipping here in air, adding just a little bit gang creating another little bit of color difference in the water. So it's more like a soft blue. And again, just scrubbing here where those two meet a little bit more, softening that up. I've got the go wash right there on my brush so you can see what that doing its lending a little bit. Careful not to hit the sand dollar. Say don't wanna bring that blew into the sand dollar. And renting again. And I'm just going to lift that up a little bit here. I got a little bit too, went down a little bit too low. So I'll go back in with the blue, fill it in a little bit more. I just kind of bounce back and forth until I get it where I want it to go a little bit darker here again, where that sand might be wet. And you can see I'm starting to pick up some of those other colors, so I had to be careful. I don't want to turn into mud. So I'm going to let that dry and then we're gonna come back and do a little bit of wash and make some waves. Let's take a look at a picture that I have here. You can see beautiful colors and the water. But you'd also see that the horizon line is a little bit darker at the top and it is near the bottom. So I'm mixing it up a little bit darker blue and I act just a very touch of that viridian green and I forgot to add that to our list. And if you don't have it, it's okay. Add a little bit of green. Ten, maybe a little brown, anything it's gonna darken that blew up just a little bit more. You can even go in with a really dark blue or the two blues that are in this kit that work well together as well. The paler blue, just, again, just some other type of blue that's going to be a little bit darker. And we're going to add that just on the very top again to sharpen that line and to give it that more distant look. And I've just added just a few little marks, lines in here for some of the ripples in the water. And now I'm going to add a little bit of that white wash on the front of that. So it looks like a wave is just crashing onto the sand bar here. Yeah, I'm going up and down, a little up and down movement, a wave movement, but just little dots all the way across. And that's all you need. It's dry, it's an a mat, and that is your final piece. I think this is just the cutest little c, And I can see this hanging out at a beach house, put a little white frame around or a black frame around it. And it's just adorable. So hope you guys enjoyed it. Don't forget to sign your work a lot of times I'll sign it on the bottom right-hand corner are the little black Sharpie if I need to, or you can even sign it on your mat. 14. Skillshare Outro: So thanks so much for joining me today. Is now your time for porridge jags. So a grab all your supplies that we've covered in this course. And let's get ready to have some fun. If you like this course, I have a bunch others. Lots of alcohol ink ones or watercolor and even that some resin classes. So make sure you check those out. So don't forget to post your projects. You can tag me on Instagram, you can tag me on Facebook. Don't forget to join our special exclusive Facebook group that I have. And if you have other questions and things like that, it's a great place to post it. There's a lot of folks on there now and we love to share and share ideas and their super-helpful. So head over there, check that out. I'll give you the link for that as well. Don't forget to check out my YouTube channel where I do new videos every single Tuesday at nine AM Eastern Standard Time. So make sure you click that subscribe button. Make sure you click that bell and that will give you the notifications. Every time I and you could heal, you will see it. And if you have the chance, please don't forget to leave a review that let others know that this might be a course that they would be interested in as well. And finally, if you have some ideas for classes that you would like to see it, let me know. Thanks so much for joining me again today and hopefully we'll see you again real soon.