Tropical Seascape in Acrylic Paint | Jennifer Keller | Skillshare
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10 Lessons (1h 11m) View My Notes
    • 1. Introduction

      1:47
    • 2. Materials

      2:15
    • 3. Sketch

      4:24
    • 4. Sky Underpainting

      4:24
    • 5. Sea and Sand Underpainting

      11:56
    • 6. Sky Texture

      4:49
    • 7. Sea Details

      8:53
    • 8. Tree Underpainting

      12:27
    • 9. Tree Details

      14:23
    • 10. Final Touches

      5:20

About This Class

Hello Love!  Welcome to my Tropical Seascape in Acrylic Painting class.  This week I wanted to give you the chance to travel in your mind to this tranquil, relaxing beach.  This is perfect if you want to visualize and imagine the sounds of the water lapping on the sand, feel the ocean breeze as it gently rustles through the palm fronds.  It’s an opportunity to slow down and immerse yourself in tropical vibes by painting.  

My name is Jennifer Laurel Keller.  I’m an artist and instructor.  In over 20 years of working in the arts, I’ve painted a lot of different subjects, and one that I’ll never get tired of is painting the ocean.  It’s such an intoxicating source of life and beauty.  

Many artists want to paint the beach, but it can be a little mystifying if you don’t know how to achieve effects like light, reflections, textures, and depth.  

In this class, I will break this painting down into step-by-step instructions.  You’ll learn how to paint a fun sky, a beautiful teal ocean, gentle waves on the shore, distant land, and magnificent palm trees.  We’ll cover sketching in the composition, color mixing, brushwork, perspective, and how to loosen up and give the piece movement and vibrancy!  Every move I make is explained in the class. 

Once you understand how to paint this tropical seascape, you can incorporate your new skills into your future work with more confidence.  Are you ready?  Let’s begin.  

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Transcripts

1. Introduction: Hello love and welcome to my tropical seascape acrylic painting class. This week, I wanted to give you the chance to travel in your mind to this tranquil, relaxing beach. This is perfect if you want to visualize and imagine the sounds of the water lapping on the sand fill the ocean breeze as it gently caresses you and Russell's through the palm fronds. And it's an opportunity to slow down and immerse yourself in tropical lives. Painting. My name is Jennifer Laurel Keller. I'm an artist and an instructor, and in over 20 years of working in the arts, I've painted a lot of different subjects. And one that I'll never get tired of is painting the ocean. It's such an intoxicating source of life and beauty. Many artists want to paint the beach, but it can be a little mystifying if you don't know how to get the effects like light, reflections, textures, and depth. So in this class, I will break this painting down into step-by-step instructions. You'll learn how to paint a fund's guy, a beautiful teal ocean, gentle waves along the shore. Distant land and magnificent palm trees will cover sketching in the composition, color mixing, brushwork, perspective, and how to loosen up and give the peace movement and vibrancy. Every move I make is explained in the class. You can follow along at your own pace, whether you're a beginner or an intermediate artist, once you understand how to paint this tropical seascape, you can incorporate your new skills into your future work with more confidence. Are you ready? Let's begin. 2. Materials: Hello and welcome to the Materials lesson for this tropical seascape class. First off, I'd like to remind you to download your materials list and the reference image for this piece. It's there for you to look at and referred to as your painting so that you can have that right next to you. So don't forget to download those. And first I have an 11 by 14 canvas panel. It's a thinner panel, but you can also use a stretched canvas. Also, I have synthetic bristle brushes, and I like to stock a variety of sizes in the bright shape of brushes. But you can also use flat brushes. And you can see here that I have a wide won, a couple of medium sizes. And then I also just loved to use a very tiny bright brush. And I use this all the time and it's one of my favorites. So small bright brush is Great. Next i have a medium small Hilbert brush and an extra small round brush. Now, I love to have a pencil for sketching in the composition. And I also love chalk for drawing over acrylic paint once it's dry. Next, I have a flat palette and I have one to two pints of water for washing my brush and the paint rag for catching the drips. And this I will keep right next to my water. And of course we need acrylic paints. I used the golden fluid acrylic paint line, and I use chromium oxide, green, yellow, ochre, burnt sienna, teal. They look blue, red shade, and titanium white. So I keep all of my painting supplies on the right hand side of my Canvas because I'm right handed. So if you're left-handed, you will want to keep your palate and paints and water on the left side of your canvas. Ok, that's everything. So in the next lesson, we will be sketching in our composition, and I'll see you there. 3. Sketch: Hello and welcome back to the sketching part of this class. So I've got my canvas ready and I have my pencil. And I'm going to mark 1 third of the way down on the edges of this canvas. And those are going to be my guide points for drawing the horizon line of the ocean. So I'm just going to connect those two together. I freehand this. But if you want to use a ruler or any kind of straight edge to help you do this. Please feel free. So once that is down, you can make any corrections if it's not totally level and you're good to go with your horizon line. So now about halfway down from the horizon line to the bottom, I'm going to start the shore line. And I'm gonna take that up at a diagonal. And then I'm aiming for just a little bit lower than the horizon. And then connect those with a little bit of a swoop, just a slight swoop to it so that it's not just a perfect straight line. You want just a gentle movement to that line in between the horizon line and where their shore meets the edge of the canvas. I'm starting a little point where the land is jutting out and we'll see that in the distance. So that has a flat bottom and then kind of a wavy top. And then we're going to just pop in a few little palm trees above that. And then there's going to be one more little point out there that's barely going to be noticeable at just a little tiny jetting out. And the bottom of that line is just going to be slightly below the horizon and the top is going to be slightly above the horizon. Now I am doing the tree. I made a straight line on the beach. And then I'm going to make a point up here in the sky just slightly to the left and come down from that at a diagonal. So it's coming straight down. Here's the other side of the tree, straight down and as we meet the horizon, it's going to curve over and then end right about there. And then the beach is going to slow down a little bit. Okay. Next I'm just going to pop in some lines of where these palm fronds are gonna go and they have a little bit of curve to them. The wind is coming in from the left. So they're gonna be blowing a little bit towards the right. And I'm just really doing that for scale. I'm not worried about details right now. And now I'm going to bring in my palm tree that's a little bit further in the distance. And that comes in, it meets the edge of the canvas just above that little point that we drew in of the Lamb that's in the distance. So you wanna make sure that you start that up above. Now, this might be disappointing, but we aren't going to paint over all of this. And so you're gonna lose your tree detail. But I like to draw it in any way because it is a guide for your hand-eye coordination. So you're, you're taking the opportunity to draw this in once. And then eventually, once we drought and chalk, again, you're going to remember what you did. And it's gonna make more sense to once you, once you are ready to take that step. And you can also take an opportunity to check the scale and where things are located in relationship to each other. So you can kind of use your fingers to say, OK, that's that far from that and that's that far from that. And that's at the same level or height as that. So just take a moment to check your dimensions. And that is the sketch. So I will see you in the next lesson where we begin the sky. Looking forward to it, see you there. 4. Sky Underpainting: Hello and welcome to the underpinning of the sky at lesson. And in this lesson we're going to do a gradient, which is when we go from dark to light for the sky. So I am going to pour out some Thaler blue and my titanium white in the center of the palate. And the grabbed my largest bright brush and just dampen the bristles, going to dip it in the water and then squeezed out any excess drips. And we just want the brush to damn, not dripping wet. Okay. So I'm gonna grab some of the thick yellow, blue and bring it over and add white to it. And I want this to be a medium dark blue, so I'm adding a little bit more white. And that looks really great. So I'm just incorporating that well on the brush. And then taking the pain all the way up to the edge of the canvas, up at the top. And you just want even coverage. I use the brush to the side so that I don't get too much paint on my table because my canvas is thin. And then going back for more paint, you wanna make sure that your brushes really well loaded because we're going to be blending quite a bit on the canvas. So you want a lot of wet paint. And now I'm going to bring in more white. So the closer to the horizon I get, the more white is in the mix. And so I'm just applying it right under that blue. They're touching, they're overlapping. And then I pull the brush through to get a nice smooth transition. And now because there's so much blue on my brush, I can just start adding white straight onto the canvas and mixing it on the canvas. And this doesn't have to be perfect if you have where'd brushstrokes, it's fine. We're gonna be doing another layer over the top of this to give it a little bit more texture and movement. So any weird brushstrokes will be camouflaged a little bit by that layer. What you're looking for right now is really just the transition of darker blue to lighter blue. Right? The more you push down with the brush, the more of those Blues from up top, the darker blues will squeeze out of the base of your bristles. So when you're blending, it's really good to just do these brushstrokes from the end of the brush. You don't need to push very hard, just a light brushstroke. Push more when you're applying the paint down and getting that coverage and then smooth it out with a, a light pressure so that you don't end up pushing old mixtures of blue out onto the canvas. And as we move down, we're introducing more white. Once again. You can carry that through and up as well. You can bring more light up if you carry it on your brush and do these horizontal brush strokes and move up as well as down. Now I'm adding more weight below that. So we're getting very light at this point. And I'm using this diagonal brushstroke to get it mixed up. And then I dragged through to get it smoothes. And I think at this point I guy adds more white to my palette. Pick that up and gently applying that down. I don't want to push too much on my brush and squeeze out really dark blue. And I'm overlapping the line that I drew for the horizon. Doing some diag, diagonal brush strokes, they're pulling through horizontally. And now we have a beautiful gradient from dark blue to light blue. And you can wash your brush at this point. So in the next lesson we're gonna be doing the under painting of the sea and the sand. So I will see you there. 5. Sea and Sand Underpainting: Hello and welcome back to the sea and sand under painting. And in this lesson we're going to do another gradient. We're going to take it from the horizon and then pull it through Lucy into somewhat sand and then up onto the dry sands. So it's going to be a smooth transition. Once again, we're going to start with a horizontal line and then bring it down to a diagonal and then carry it over into the other corner of the painting. And then we do a little point out in the distance. We're going to put in the base color for that little point of land that we can see out there with the palm trees. All right, so let's begin. I'm going to grab my medium bright brush the next size down. And I am also going to load my palate. Now let's talk about palette technique. I'm going to put this in as much of a rainbow as I can. So I put the teal in next to the green, which is next to the yellow and then the burnt sienna saw and kinda going around in this earthy rain Bell. And so I've loaded my brush up and it really well. And I'm going to come through starting at the point. So I'm not going to go all the way to the edge because there's a land mass right there. I'm holding my brush horizontally and I hold the brush that study as I can. And that's really good. That's almost the best horizon line I've ever done. Usually have to take a couple passes. So if you need to go back over it and straighten it out a little bit, please feel free. But I just launch into my next color, which is the teal. And I'm bringing that in right under that line. So I am mixing on the canvas and I'm allowing that dark blue to show up. I want to see it because it's really dark out there in the very distant horizon. And then as I move down, I'm just mixing on the canvas. We are going to do a lot of texture over this, so you don't have to have these really smooth brushstrokes. You just want it blended. And as we move down, I'm adding more and more teal. I'm, I'm going in a back and forth brushstroke. And as I reach about midway, I introduce a little bit of green because there is a green and a lot of oceans. And just mixing that up from side to side. And at this point things get a little bit lighter because there is less depth in the water. So we're getting closer to land and we're going to have lighter colors in the ocean. So you can get really light. Just bring this in and I'm starting to paint on a diagonal at this point because we're getting close to this diagonal horizon, or we're getting close to this diagonal shoreline. So I just want to remove some of the paint on my brush because i had too much and it was getting hard to mix on the canvas of it's just kind of overpowering. So now I have less pain on my brush and I can do more blending. And just like with the sky, I'm not using very much pressure. Okay, just bringing in more white. Now we want to see that there's been a change. And actually I bring it up quite a bit because I decided I wanted the entire ocean to be a little bit lighter than what I was doing. So now I'm bringing teal and White in again, getting closer to the shore and getting things nicely mixed. Now you can see that gradient really starting to happen. K, I am putting in more green. And I'm using kind of a swooping brushstroke there. Just to give it a little variation. Okay, so here's where things get interesting. I'm gonna keep my brush the way it is with all of that colour in it. And I'm going to squeeze a bunch out onto the canvas. And I'm going to add some weight. I'm going to add some yellow and mix that up. So I am starting to incorporate a little bit of that sand color. I don't wanna go too harsh of a transition. You want it to be gradual and there's some burnt sienna as well. So at this point, I have every single color in this mix, but it's leaning towards the blue still. There's a lot of blue in it still. And I want to mix up a color that is going to look like there is water covering the sand. And so out here you can see it starts to be a little bit more earthy. Marvin the blue. And I wanted it even more earthy. So I went back, I did a little test and then I decided I wanted more brown in it. So I went back and did that and also a more white so that it wasn't too dark. So I'm going to bump this color up to what I already painted and then pull through kind of like how we did in the sky, a gentle transition. And next we're going to get more of the sand colors N. So I have burnt sienna, yellow, ochre, and white. And now things are turning into kind of a gray, putty color. And we're going to pop that in right below. So we're seeing more of the sand as we get in more shallow water. And the water is going to make the sand that's exposed look wet. So it's going to change that color as well. So I'm going to wash my brush because at this point I don't want any blue at all in my brush. I want to start fresh because we're going to get much more light and warmth into the sand at this point. So I've got burnt sienna and I've got the yellow ochre. Ochre. It takes more to mix than the burnt sienna. It's not as strong as the work CNET. So I've got yellow ochre and burnt sienna and white now in my brush. And I'm doing the same thing with the gradient. I'm just painting it in below that, getting it nicely covered. And then I blend it out by dragging the brush through. And now we're looking at the exposed sand that is still a little bit what? I washed my brush at this point because I wanted to just get a clean start. But I'm using actually the same colors you didn't and you don't have to wash your brush out. I'm just adding a lot more white at this point and you can see how much lighter it is than the Sam that's wet. So this is dry sand now and I'm gonna do the same thing, bring it in under that wet sand and smooth it through under the wet sand and pull through really gently, not too much pressure. And I'm rolling my brush around to get a lot of paint on the brush, and now it's just filling in the rest of the canvas. We're going to use this color the whole way through. And I'm painting on the diagonal just looking for even coverage. A lot of this paint will be showing through the texture that we're going to put down in the sand. We do text dries the sand as if there were footprints and shadows over it from the tree. So we wanna get it pretty smooth. And we're done with the sand because we still are going to do the underpinning of our land that's out in the distance. So I'm gonna go down a brush size. I'm using my teeny tiny bright brush, my little small baby, who I love. And I'm going to add some blue and some burnt sienna together. The blue here is very strong. When it comes to mixing. The two together are so dark it almost makes a black. So I'm gonna do a flat line at the bottom of that land and then come in up top and you kinda jagged line down. And it's just like a little hump. Then I'm going to fill it in. So here you want nice crisp lines. They don't have to be perfect, but it's very different than doing the gradient. I am going to switch brushes at this point and use my teeny tiny round brush. And I'm gonna use my pinky fingers for support and put in my palm trees, which are just little curved sticks for the trunks and then a little burst at the top for the fronds. So these are very simple. It only takes a couple different types of movements. And it's basically just line work. A little starburst at the top and a trunk down below. And let's do a third. So this one, I am doing that but there was some underbrush, so I don't see the whole trunk ASL I'm just filling in a little bit of like vegetation under that. And that looks great. Very simple. Okay. Now I'm going to continue with this darker color, this mix of the blue and the burnt sienna. But I'm going to add some white to it. Because the further away things are when it comes to landscapes and distant mountains or points on the coast, they're gonna get lighter. So right under that horizon line, I'm just coming down a little bit. And I do just this little jetting area. So I'm covering up the line of the horizon on the top and the bottom just with this little tiny blip. Just to give the hint of it. Okay, so that's looking great. We're ready for the next lesson where we're going to do the sky texture. So I will see you there. 6. Sky Texture: Hello and welcome back to the sky texture part of this tropical class. And you can see that in this lesson, we are going to be adding this swooping movement to the sky with some very, very loose brush strokes. So I'm, I'm taking away that straight across vibe and we're going to add this movement now. So it's kinda like a, it's not as deep of a shape as like a view or a bowl. It's it's just sli only bowed. So slightly swooping down. Okay, so let's have a look at what that technique is like. I'm gonna grab my Filburn brush. I like this first guys because it is a softer edge on the brush, that rounded edge. And it's gonna give me softer brush strokes. So I need more white on my palette. And I'm just gonna go right over where I had it before. And I'm going to pick up some white and some blue and a bit more white. So I'm going for the blue that I'm getting a little bit further down. Not the very darkest blue, but one or two shades lighter than that. And I'm going to begin that right around here. And you can see that it's lighter than the blue that's behind it. I'm just doing these really soft Back and forth brushstrokes. And then on the other side coming in from the other direction. So it's lifted up on the edges. And then as I bring it down, it looks darker because it's painted over a lighter colors. So it's a fun way to see how the different shades that are around it affect one paint color. So just leaving some of that base color exposed. And now we have a nice texture in the sky, giving the impression that there's some wind and some soft clouds. Okay, so I'm gonna go a little bit darker for that top portion and I'm going to cross over where I already painted and bring that color up. So the same movement, same brushstroke. You can use a good amount of pressure. But when I touch down on the canvas and when I lift up, its gradual, so I'm not just plunking my rush down really harshly. I'm kind of swooping in, then I apply more pressure and then I sweep out so that there's less pressure when I pick up. And that's gonna give me those tapered edges on the brush stroke. Okay, so now I'm adding more white and I'm gonna come down. So I'm using that over the area that it is kind of the same color, mixing in with the area above, and then also bringing it down until it gets a little bit darker than the color behind it. This one, see, this is very similar at this point, so I'm just kind of texture arising now. And as we get closer to the horizon, I'm not gonna make as large of brushstrokes. Actually. We'll see, I think I kind of keep it just a little bit softer. Not quite as dense of the brush strokes because the further away things get, the less detailed they are. So I just kind of did a a a bigger you're just kind of kept it. Really lose out there. Okay. So that's looking great. I think I'm going to touch up that top area because I left out that the edge of the canvas. So I just want to go a little bit lighter than that dark blue and bring it all the way up. But also there's going to be a tree over the sky and it's going to hide a lot of that areas. So it doesn't it doesn't need to be absolutely perfect. Okay, that's looking great. In the next lesson, we're going to work on the See details just like we did with the sky. We're going to texture arise the seat. So I will see you there. 7. Sea Details: Hello and welcome back to the See details lesson. And you can see in this lesson we get a lot of texture out in the water. There's gonna be a lot of reflection from the sky hitting those little waves and the movement and the water giving it a lot of texture. And then as we come in, there's this gorgeous sea foam which I always love because it just brings everything together so beautifully. And I also want you to notice that it does taper, so the brushstrokes are larger on the Sea Foam and in the reflections and ripples in the water. So the closer it is to us, the larger it is. And especially with the sea foam as it goes back, it tapers and the brush strokes get very small. And finally, there's just a tiny bit of Sea Foam out where the waves are hitting that landmass in the background. So I've got my small bright brush and I'm going to just pop it in to the teal. And I'm gonna use this back and forth brushstroke, kind of like I did in the sky, but it's very flat. I'm using less pressure and I'm using my brush horizontally, so I'm using the thinner side of that bright brush. And this is going to give it flatter brushstrokes. And so when the brushes fully loaded, I'm working on more areas that I want more covered which is kind of in the middle of the water. And I just want the water to be brighter. I want more of that turquoise teal color to give this that true tropical essence, that, that beautiful color. And as I'm working further away, off in the distance, so close to the land that's out in the Justin's closer to the horizon. I'm using software brushstrokes because it is further away. Now I have green and white on my brush. I don't want too much contrast here. I just want to give it a color variation. So I'm adding just this soft, light green to the water. And this is really going to give it the sense that it has depth. Okay, so that's drawing. I'm going for a sky color now because we're gonna do some reflection and it is the sky color that's reflected on the surface of the water. So it was actually still wet on my palette from when I did my sky. But if you want to re-mix it, it's just the yellow, blue, and the white. And I'm using all of this line work as it tapers in between the shoreline and the horizon line. And I am using a a flat brush stroke, so it is horizontal, but they're all converging down by that little land point. So in the background, the brushstrokes are going to be much shorter, much, much smaller. And I'm going to just carry that through in a very faint brushstroke. And then as we come closer to land, they are going to be bigger because we are seeing more detail. And because they're closer to us, they are larger. So carrying that all the way down and you can start to approach that Sam that still covered up by the water. But you can cover that a bit too. So we have reflection over that. Anything that you paint over is going to be underwater so you don't wanna go all the way into the sand that's on the shore. It's just where the water is covering, which is that darker sand color. So I'm softening what is going on out in the distance. And then I'm going to wash my brush. And I think I'll add more white, that sky color. I didn't need to wash my brush after all because the same colors are in this mix. Just more white. And I'm just going to take it up a notch so that it picks up an even lighter blue. Letting those colors in the ocean show through and using an even amount of brushstrokes. So you can see now that reflection really coming over that, that shallow water. But you can still see a little bit of that green coming through. You can still definitely see the teal. And I'm not covering up any of the dark blue in the horizon line because back there, we can't even see these reflections. It all just blends together. And okay, so just kind of working with any gaps that I want to give more coverage too. You want what's showing through to be fairly even. And that looks really good. So now I'm gonna, I'm gonna wash my brush, dry it off. We want we want no drips at this point. And I'm pulling some white or to the side and preparing for my sea foam. So right about here, I'm going to bring in a horizontal brush, but I'm going back at a diagonal and I'm using this wavy line. It's not a perfect wave. It's not like a snake, but it, it's a little irregular organic line as I get all the way back, it's very small. So bigger and the front, smaller in the back. And that's all going to be from the pressure that you use on the brush. Now I'm bringing in more white behind that line going out to sea. And I'm tapping in the foam. It's going to be denser the closer to the line it is. And as we move back, it kind of trails off. So that trail is very much on a diagonal, is the angle of it is almost horizontal, but there's a little bit of a diagonal to it. And I'm just tapping in the foam as it breaks apart on the surface of the water. Lots of coverage towards the line and it breaks apart as it trails away. And as we get into the middle of this line, the coverage is going to be much less. And until out at the distance, it's just gonna be a couple little marks. Okay. Loading the brush again and putting more white into the front of that area. Just layering the white where you want it more opaque. And I want a halfway loaded brush at this point and I'm ever so gently going to run my brush across and tap in some little tiny sea foams out at that point. Now, I also have a lightly loaded brush and I'm gonna bring some smaller and smaller the further away it is just some break, broken up foam on the water. And it's just so much fun to see it come together. And then maybe a little bit of a break here in there. As little waves break out in the distance. Really fun. And we're almost there. If you wanted to make this more simple on yourself, you could just do the foam, you don't have to get fancy. You could just do a fun little line where the, the water breaks. But you want to have a kind of go in and out so it's exposing some of that what sand. Okay, up next we're going to start on our tree, that beautiful tree that we're missing. So let's get into the tree lesson. See you there. 8. Tree Underpainting: Hello and welcome back to the tree underpinning portion of this lesson. So in this lesson we are just going to use one paint color. Well, we're going to use two, but we're going to use one color of pain. It's a mix. And we're going to paint in the shape of these two trees. So you'll notice that it's flat at the, at the base of the tree and then it curves up and then comes up at that diagonal again. And then we have these palm fronds waving in the breeze. And there's a smaller palm tree to the right. And that doesn't have as much detail in it and it's smaller. So you wanna make sure that the smaller palm tree to the write comes up on the edge of the canvas. The trunk meets the edge of the canvas right above that point on the land, so they're not overlapping. You want space in between them so that the eye doesn't get confused. Why this weird palm, gigantic palm tree is growing out of that small little point of land in the distance. You wanna give it its own space. But we're not going to dive right into the paint first. We are going to work with chalk so that we can draw it over at this acrylic paints so you wanna make sure your paint is completely dry. And so we're going to draw that flat area of where the base of the treatments, the sand and the center of the top of the palm tree is going to be right about there. So a little left of center. And then we're going to curve up. And the great thing about this chalk is that if you make a mistake, you can just wipe it off with your finger. It comes off completely. So curving up. And then at this point, I'm going to come down from the top. And right about at the horizon line, it begins to really curve. So it's a straight diagonal and then it curves. And then it becomes flat on the sand. And then the other side, it's going to be those two lines are going to be closer together at the top and then they come apart and the trunk gets larger at the bottom. Okay. And then they meet again on the bottom, right at the edge of the canvas. Okay, and now I'm gonna do the lines for the palm fronds. And so they come out and they definitely have like a gentle curve at the bottom. The ones on top are little bit more free. They're waving in the wind and the ones that are coming down, it's like a straight line and then it curves at the bottom. And I really just want to mark where the spines are going to be. I'm getting a sense of how big this tree is going to be. Because we're gonna do the smaller tree off to the right. And I'm gonna start that right about here. Yeah. And then that's the trunk. And then we're just gonna do a smaller version of what we just did and give it its space. So I wipe away a little bit of the palm fronds around it so that it, it has its own space in the painting. Next, I'm going to use a smaller bright brush, not my various smallest one, but it's kinda like a medium small size. And I'm going to mix up some Thaler blue with the burnt sienna and get that nicely incorporated. This is gonna be our shadow color. It will be covered up. So it just needs to be dark. And I'm going to use my pinky as as like a crutch. It's first ability. And I'm using the brush, the narrow direction. And it's going to move along with the lines. So I'm curving it the brush around when the line curves as well. And the chalk essentially just gets absorbed into that paint. If you need to take a couple of passes, like I think on this line I get a little wobbly right there and I do another pass because you really want the outside of this tree to be smooth. It doesn't have to be perfect, but it needs to be, you know, it needs to be fairly straight. And then I'm just going to cover the interior of my lines. I'm going to fill it in. And you can use more pressure on the brush when you're trying to fill in more area. And you can use lighter pressure when you're when you need that precision against your line work. Such as filling in. And you can see how dark this mixture is. Okay. So almost there with the trunk and then I am going to just do any touch ups that I need. And that looks really good. So now I'm going to reload my brush, flipping it over, getting nice, nice amount of pain in there. And I'm going to do more pressure at the base of this trunk. So using light pressure and I don't have to do two lines, I just use the brush ones and I use more pressure to make it wider at the bottom. Taking a lot of care and not to have it touch those little baby palm trees on the land out in the distance. And now I'm gonna use my small bright brush for the palm fronds. So I'm going to re-mix this color, just make more of it blue and the burnt sienna. Get it nicely mixed up. So I'm sure that I have enough. And I'm using my pinky for stability at first until I have my bearings. I'm going to add a little bit of bulk to the top where the hub of all of the palm fronds are. And then I'm going to use the brush the narrow way. And I lift off in this very I'm just gonna, you know, it's not an abrupt stop. I keep my hand kind of moving and I just lift up like that. Ok. So getting a sense of that movement as the breeze is pushing the palm fronds in with the ocean breeze. And there are being blown a little bit to the right. And also these palm fronds curve down. Okay, when they get further up in the sky. And on the tree, they have more structure. They have a little bit more of a curve to them. They're not just hanging there, they have more of a bounce. And I'm actually adding more in. I, I decided I wanted a little bit more going on up at the top. Because now I'm, I'm really starting to make decisions about the composition and the way the tree is structured a little bit more. And that one's really long because it was kind of coming at the viewer. So there was more bulk to it because of foreshortening. And foreshortening is an art concept that when things are closer to you, they're bigger and when they're further away they're smaller. So just filling in the rest of the spines of these palm fronds. And we'll do the same thing out in the distance. They really droop at the end. So the spine, the structure of the palm frond is thicker the closer it is to the tree. And then everything gets thinner and more floppy on the end of the fronds and they fall off the edge of the canvas. So it's not contained within the edge. They extend out, so they're cropped. Now we're going to start the individual leaves on these palm fronds. And it's really loose. So I'm just kinda going back and forth because they're being blown to the right. The left side of the palm frond is a little. The leaves or not, as long as there's a lot of drooping with bees, they're, they're falling down, but they're also being blown to the right. Sorry about my hand in the way there. And then just kinda back and forth, going in and out, loosey-goosey, mixing up more paint. And now I've sped up the speed of the video because this is all just filling in kind of repetitive busywork. So I just want space in between all of those leave. But if they cross each other, if they're not perfectly all going in the same exact direction. And that's encouraged because they, they move independently of each other. So we're just, you can really feel the breeze going over to the right and less on the left, more on the right, right. And up top. I'm just kinda scribbling in. There's a lot of overlap up there. Great. So just back and forth meeting at the spine of the pump run. Okay. And it looks wonderful and it's a lot of fun once you get the hang of it. I really like doing these. This one is just really exaggerated and I kinda like it. Lovely, coming down, drooping down, especially towards the bottom. Lots of curve and let's add one right there just because there was space. Spill that in, that looks good. And then I could just pop in some, some expressive brush strokes where I want there to be more coverage. And out here is just very scribbly. Things are not as in focus as much. You don't have to do each individual leaf. It's really just a scrubby, loose, expressive thing and people are going to get it lots of drooping on those bottom. Palm friends. They really get bent up a lot, have a lot of curve and movement. Okay, that's it. And then up next we're going to do the details on these trees. I'm super excited. I will see you there. 9. Tree Details: Hello and welcome back to the tree details lesson of our class. And you can see in this lesson, we add a lot of light and color to our palm trees. And also we do a little bit of work in the sand with the shadow of the tree and the texture and the sand. So it is also sand work that we're gonna do. I'm gonna grab my small bright brush. And let's start with the palm fronds. So I'm gonna go straight into the green. I'm going to load my brush pretty well. And I am going to do a same type of movement that I did with the under painting, but I'm gonna cover less. I don't wanna go right over all of the work that I just did. I want to allow those shadows to remain exposed in places. And I'm just adding a new layer of colour. And this color green is lighter than what we lay down at first. So it makes it seem like more light is covering these Panera palm fronds as well. So I carry out one brush stroke for the spine. And then I can pop in some of the side leaves. And we're gonna do more layers and more layers of light and color with this trees. So don't feel like you have to fill in all of the space. We want some of the sky color to show through. We want some of the shadow color to show through. And with each new paint color that we add to the top, we're going to see more light develop. So up top, I'm just kind of sprinkling in some of that green and allowing that to be thicker. And then on the bottom here I've sped up the video a little bit and we're just enhancing those individual palm fronds. And then out here it's very loose, very, very loose. Just kind of going with the essence of those. The tree and the pump runs. Great. So next I'm going to take some yellow ochre. I'm going to mix it into the Green. And I'm also gonna pop in some white. And this is gonna give us a lovely highlight, a light, warm green. And it's very loose, very loose. Some of the palm fronds I did quite a bit on the spine and some I just scribble in these loosey-goosey brushstrokes. And I want you to pay attention to the contour, the curve of the tree as it comes out from the center. I'm following along with my brush. One long and several short brush strokes. Great. Let's do a few more out on the bacteria, not as many. The further away things are, the less details you can see. So we're not worried so much more yellow, more white. And now we have this very light, light green, like a yellow green. And I'm just gonna pop in the highest highlights. Very, very loose, not much coverage. With each new layer of light, we are going to cover less space on the canvas. Now i'm going to dabble some into the center. So it looks like some light is hitting the center of the tree a little up at the top. And that looks fantastic. I'm going to add some more yellow to my palette. I had run out a bit. And I'm gonna use my smallest brush, that round brush, and just add a little bit of extra yellow to give it that pop of sunlight. Yellow is a little bit more transparent. It's just kind of a weaker color. So a lot of color shows through this as well. I'm just kinda sprinkling in this yellow light, light and teta. Alright, you want to wash your next brush? I'm using the small flat or small bright brush. And oddly enough that color from my wet sand was still wet. But if you want to remix that, it is blue, yellow, ochre, White, and burnt sienna. I'm gonna add, we just wanna grey down like this brown a little bit. So I'm adding blew the white, the yellow, and the burnt sienna all and one to make this color for the trunk. And I'm I'm going to scribble it in, leaving some of that shadow exposed. Following the contour, the trunk. I want less of the shadow color to show through at the top of the trunk because the light is coming in from the right. So the, the top of the base of the tree is going to have less shadow in it, then the bottom. And then right about now, things start coming in in these rings around the trunk. So I'm scribbling in these rings and leaving some of the shadow color exposed. And then coming back and filling in some little dashes here in there, cuz it's rough. It's not perfect. Rings, there's a roughness to them. And then right around here they get thinner. They're not as tall, so there are big chunky rings down at the bottom. And then moving up they get thinner and thinner. So I'm using the brush horizontally. I'm covering more of the right side of the trunk. And you can just kinda smooth that out because it's getting a lot more light. And the left side of the trunk has lots more of that base Shadow Color and then are in it. So sorry about my hand covering that up. But I'm doing more of the same. I'm painting in the right side of the trunk more. And then using these little dashes going up and up and up. And then as I get to the thinnest part of the trunk, I tilt my brush a little bit so it'll fit. And texture eyes with just little taps. Tap, tap, tap, tap, tap, tap, tap. It's okay if some of your brush strokes meet, we're not keeping everything separate. It's just really rough. Okay, now we're gonna do more light, more white in the mix. We're adding it to that Brown, getting it all nicely mixed together. And we're going to do the same thing, kind of how we did in the leaves. We're doing more and more layers of light. We're, we're doing and similar brushstrokes. Actually here I start lower down because there's a shadow under the palm fronds. So the next layer of lights starts much further down on the tree. And I'm covering up that right-side because that's where the light is hitting the trunk. And now I'm starting to fill in those little sections of rings. And I'm just keeping it really ref. And the rings become a little bit more diagonal as the tree is slanted. So they, they curve around. And I'm just using this chopping motion now. Yes. Okay. And now it is really, really coming to life. And as we reach the base of the tree, I'm just kinda scribbling it in, in this normal old way. There's a break in it, so there's some areas that are more shadowed. Soil washed my brush, and now I'm adding more burnt sienna. A little bit of blue, but it was too much, so I am adding much more burnt sienna now to balance that out. And yellow. So I'm looking for a brown color and let's pop it into that bit of land out in the distance to give it just a little bit more warms with a warm brown. Just because I was on my brush and I needed to do that. Even though this is the the trunk lesson. Okay, so now I'm just bringing a little bit more of a warmth to the shadow underneath. This is not necessary, this is not required. This is just if you want to keep things. If you want to go deeper, if you want to introduce more colors and have it more dynamic. And I'm also going to use this color in the shadow. So I bring this shadow down at a, at a slant because the sand moves downhill. And I get a little bit out of frame, but I fix it really quickly, so don't, don't worry about that. And then as the shadow gets further away from the tree, it gets a little bit lighter. So I added some white. So it's like I have this dark sand color now because it's the sand essentially not getting as much light because it's in a shadow. So I am just tapering it off and bringing it downhill and then I break it up as the leaves of the tree dabble into that sand area. And now I'm bringing my canvas up for you. I promised. So I just kind of scribbled it around. So I'm not doing like a perfect outline of these palm fronds, again, mirrored onto the sand. I'm doing a broken up scribble of line, picking my brush up and just tapping in kind of haphazardly. And then I break that line up around the trunk as well because it starts to spread out. And now we're just in some shadows on the sand from where the sand has moved, where people have walked through it, where maybe a coconut fell, you're there. Just just the shape of the surface of the sand, just Texture rising it. And you can deepen the shadow of the trunk and then break it up. And your brushes gonna really be following the contour of the sand. It's not a flat dotted line. It it's flowing with the topography, the the slope of this beach. Okay. And if you have some shadows that are a little bit cooler and some are warm or maybe some have a little bit more blue, some might have more unburned Santa is okay to have a few different colors mixed in here. And now that beach has really come to life. I'm loving how it just gave the whole space shape and it feels like you're walking down hill to the water. Ok, now I'm adding white. A lot of weight because I'm going to bring in a high, high highlight to the trunk. And so I'm just kind of coming in with a thin line, adding it to the highest points, the, the areas of the trunk that are getting the most sun and it's very slight. And you can tap some into the surface of the sand as well, just to give it some variation. Okay, so that's looking really fun. We're almost done, but I'm going to add a little bit more highlight to those palm fronds, giving them a lot more light and making them pop. Wonderful. So coming up next, we have the final details of this painting. And we're going to add some highlights and a little bit of vibrant color, some extra color. I'll see you there. 10. Final Touches: Hi and welcome back to the final lesson where we're gonna do our final details. And you can see in this lesson, we're going to add some unusual colors to places. So I add some teal to the trunk of the tree. For instance, I add some red or red burnt sienna to the shadow, and I add some white highlights. So I'm just kind of mixing in more of the pure colors straight from the tube into the composition to exchange some of those colors and circulate them around the canvas. So here I have some teal on my small bright brush. And I've sped this up just a little bit and I'm just popping in some teal. And remember there is a little bit of white in teal so you don't want to put it in your darkest shadows, but it's going to be more of a mid tone. So that gives it some of the color from the ocean just mixed into the tree. And now I'm adding a little bit of Teal to the trunk, just very, very lightly just following the structure of that trunk. And maybe a little bit in shadow just to give it some cool teal area. It's often in painting where we add cool tones like blues and purples, greens to shadows to give them more of that cool shadow color. Okay, now I have straight yellow ochre on my brush and I'm just going to pop it in, tap it in a little bit to give that trunk a little bit more, a little something more. And I want to make sure that it is feeling warm, like the sun is really hitting that and it's feeling the warmth of that tropical sun. And I actually add quite a bit of yellows. So, you know, if it, if it seems weird that I layer so many colors, it's because I just experiment. That's all an experiment. I don't know how it's all gonna turn out, but I have a pretty good idea. I okay. So I want to still make sure that there's a lot of shadow happening under that palm tree, under the palm fronds. Okay, now I've washed my brush and I'm adding some burnt sienna. And this is a fairly dark yet warm colors, so it has red tones in it, but it's dark. And so I'm popping that in towards the belly, the underside where there's more shadow on the trunk, but it is giving it more of a warm bark feeling. And I can put some on the sand as well. Just those little unexpected pops of color when they're the right value of light are going to really make a difference when people notice your colors. And it's one of the most common comments I get on my Instagram is like, wow, I really love your colors. And that's because I sneak in these more vibrant colors where you wouldn't expect them. Here's some in the shadow of the palm tree. So I because it's dark, I can sneak it into the shadow area because it it's going to fit in there. It doesn't matter what color things are, as much as how light or dark they are. K. So that went well. So I've got a teal, yellow, burnt sienna, which is essentially blue, yellow, and red in this case because it's more earthy and now ongoing for the highest highlights. One of the last things I do on every single painting is add white right out of the tube to make the highest highlights. And in this case I'm accentuating the trunk. It gives it a nice break between the trunk and the water. And then I bring a little teeny tiny bit into that front tree. I'm not so concerned about the battery because it's further away. It's not going to have as many details on it. It's darker a little bit more at the base of that Trump. And I'm using my smallest round brush at this point, so it's very, very delicate. And that is, it's my dear. We're done. I really love the way this came out. There's a lot of fun. Thank you so much for joining me for this class. I had such a great time creating this piece. And if you enjoyed this class, please consider following me for future updates on new classes that I offer. And remember, Art is meant to be fun. So if you show up and practice with an open mind, you'll learn something new every time. Happy painting, much less.