Watercolor Beach Painting with a dramatic sunset by Emilie Taylor | Emilie Taylor | Skillshare

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Watercolor Beach Painting with a dramatic sunset by Emilie Taylor

teacher avatar Emilie Taylor, Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 28m)
    • 1. Sunset Beach intro

      0:43
    • 2. Sunset Beach Part 1 (Sky)

      14:53
    • 3. Sunset Beach part 2 (Sky2)

      12:37
    • 4. Sunset Beach Part 3 (Sky3)

      5:48
    • 5. Sunset Beach part 4 (Water)

      13:04
    • 6. Sunset Beach Part 5 (Water2)

      9:55
    • 7. Sunset Beach Part 6 (Water3)

      7:37
    • 8. Sunset Beach part 7 (Rocks)

      12:45
    • 9. Sunset Beach Part 8 (Final details)

      11:07
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About This Class

Want to learn how to give your watercolor landscapes a realistic touch? Then this is a class for you!

I spent years working on my botanical and object paintings always avoiding landscapes. Once I decided to grow and learn how to make my style work for landscapes, my painting world was forever changed. Join me in this class and I'll teach you my tips and techniques to take your landscapes to the next level.

Cartoon Realism is the word I use to describe my style, I love having enough detail that the scene can feel real and almost transport you there, but retain the artsy bit that reminds you its a painting.

In this class you'll learn:

- The art of layers in Landscapes like painting in highlights and slowly building the painting

- When to use different techniques like wet on wet and dry on dry

- The Patience it take to layer with watercolors

-The dramatic Sunset

And more!

I would suggest this class for anyone who has already done a little bit of painting and is looking to learn a new skill

You can find me on Instagram here https://www.instagram.com/emilietaylorart

Meet Your Teacher

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Emilie Taylor

Watercolor Artist

Teacher

My name is Emilie Taylor, I'm a Watercolor Artist. I started painting in 2016. I developed my style that I call cartoon realism while painting botanicals, fruit, and other things. I avoiding landscapes not knowing my style could work for them too. I took some courses and found not only does my style work for landscapes but landscapes are my favorite thing to paint! 

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Transcripts

1. Sunset Beach intro: Hello. My name is Emily Taylor, and welcome to this watercolor skill share class in this class will be learning to paint this dramatic Sunset Beach. You'll learn how layering with watercolors gives you more control. You'll learn my techniques of one to paint. What on what and dry on dry. I keep my paint palette visible on the side of the screen while letting you know what colors I'm working with and what brushes I'll be using. The videos Air broke down into segments so you can take breaks and work at your own pace joined my class today, and we'll paint this beautiful, vivid sunset together in real time. 2. Sunset Beach Part 1 (Sky): Hello and welcome to another skill share class. Today we are working on this dramatic Sunset Beach scene. Um, the sky is going to be the main focus of this painting, but we're gonna get started with our color palette. I have all my natural landscape colors that I use here, and then I have a couple of mike. Your tech Sambi colors have ah, purple A light blue, very vivid orange in a dark pink in light pink. So for this lesson, I am painting on a nine by 12 watercolor block. So watercolor blocks mean that the paper is basically gum taped or gum glued all around the edges, except about a one inch slot, where you are able to pull off the paper, the sheet, and then there's more underneath. Um, this keeps it so that it drives flat again. You can take down your paper or work with whatever method you would like. But watercolor blocks are, um, a nice, easy solution that I like to use when I'm painting smaller paintings, got a couple brushes laid out on the side over here, and I've got a big wash brush that I'm going to get started with right away in wedding, the sky. So it's mostly just about covering the whole upper part. Going to be a little bit careful around the bit of hills or mountains over there. And the water line, obviously. But the lowest, um, sky color being a lighter color. I'm not too worried about the water line. So jumping right in, I'm gonna grab this lightest blue. It's kind of ah, periwinkle color and just gonna start putting it down. You can see just how what my paper is as the blue just kind of separates out onto it. So with how watery we are, this blue is just a bit too light. I'm going to go for my natural blue, which is over on my palette. I describe some new stuff from the tube, so it's wet, describing that delicately and clopping it in can see the way I'm creating these blotting motions so that it spreads out. But not just all lines. That's going to help us get just different areas that are bigger and smaller of spaces that air the blue sky coming through the clouds. Uh, so I have the rough base of what I want where I want all the blue to go, and I'm going to start and grab my like pink in a bit of that vibrant orange, mix them together and dropping it in. It just was way too vibrant. For the start of this painting, I was gonna take a 16 brush and water down a little bit. Add a little more pink to it because that was a bit to read. Looking for this painting? I end up doing three layers on the sky, so if your colors air turning out a lot darker, you may not need to. But I keep mine a lot lighter in the case that I want to work in layers. It's a process of slowly building, and it's how I get my style in a little more control over everything. So I am working in these lighter colors and layers purposefully for control. Skies are a part of my paintings that I feel like I was harder to control, but I've learned that in working in layers there little butter to control over on the palate and grabbing some yellow. You can see I have this pallet over here this whole time for you to see, I'm just grabbing bits of different colors, always working in the ones that I showed right in the beginning, I'm gonna take that yellow and start to bring it into the bottom of the painting. This orange I have on my palette is a very muted orange. Um, it's a part of all these on my palate, er part of Matthew Palmer's natural landscapes. So their colors that you see naturally in nature just working nice and careful around those mountains and I'm grabbing a bit of blue, just Dapple it over on the right side. Here. This is going to be clouds, but it's okay to just they're gonna be dark cloud. So getting that layer to know it's going to be taken up over there, just trying to make sure I feel in every bit of white space before the paper gets to dry. So describing a little more pink over to my pink orange mixture using a little bit of yellow in it, I just was experimenting just with lots of different mixes, trying to get these colors that I see in my source image into my Scott. So I don't know the technique. Technical name or anything, but you can see that. Well, I'm working on these clouds. I'm not just drawing lines that I'm just kind of lightly bouncing stippling my brush in to create these, um, puffy, airy bits and anywhere that the color gets too dramatic. I'm able to kind of run back over it with the brush, Push it out, Farther water down, pull it up whatever I need to be doing. So now that we have the full base, most color early down, I can definitely see the blue is not going to be dark enough Gonna mix up a little bit of the two blues that I have And just start to kind of step will it into all the places where I laid down the first light layer of blue And I'm just gonna give the video a bit of a speed up So you're not so the sky doesn't actually take 15 minutes to paint Like it did take me The painting was starting to get a bit dry on the bottom, so I just had that damp brush I was running over. Not in to heart of motion. You don't want to pull up paint when you're starting to dry. But if it's still what enough, you can kind of keep it. What? Getting a darker version of my, ah, vibrant orange getting that pop that's gonna be right around where the sun will be and it's going on really dark. But I'm just wiping my brush and smoothing out those dark streaks. So hopefully you get a good idea of what I'm doing with this light color, stippling it down and then wiping my brush. What stamp and colorless and then being able to pull out those strokes so they're not so defined and stuck in one place. I'm just going to keep that technique going as we get up higher into the sky. Then I'm going to switch the color to that pink and continue that same technique. And while you are working on yours at any time, if you were, painting is starting to get to dry and you're starting to get hard lines and things that you aren't liking. You should probably, um, pause and wait for your painting to completely dry and then give it us a wet water wash very lightly over the top, and then you can rework into it. Um, we are going to do this with this painting, but mine is not to that point yet. So I'm going to keep working on mine, - um , extreme to mix up a cloud color. This is going to be that violet purple I have in the pan and then down on my palette, I have a Matthew Palmer natural grey, which is kind of like, um, a Payne's gray. It's ah, it's a blueish color brain sort of mix the two of them. My first initial color is a bit more purple, but we're gonna be reworking into this, so I know it's not too dramatic, and it will work. You can definitely see that down in the lower part of these clouds that I'm getting the dried off more hard lines. But because I know I'm gonna be reworking into this, I'm not too afraid of bomb. I'm gonna be able to put a wash layer over and another layer over the clouds. So I just want to get, um all, um, in the lightest layer where they're going to be before I end this lesson and forgetting the clouds. And I'm just stippling this brush continuing using this 16 that I have down here. I'm just getting these clouds nice and light and very small. Um, if you want to really create dynamic, um, dimension in your photo, your paintings, it's that's a good trick is to make your clouds nice and big towards the middle and top of your painting and then towards the horizon line. You want to create them nice and small, and that's going to help, um, the help with the illusion that that's often the distance and that you really have dimension so nearing the end here, This is how I'm going to leave the painting. It is just getting far too dry for me to keep reworking it, but it is still too wet for me to add a whole layer of water. It's a funny thing about watercolor is has to be the right right What? So if you touch your paper and it feels cold, it's still what? So I'm going to let this dry. I'm gonna go eat lunch and we'll come back a little later and get started on the next layer of sky 3. Sunset Beach part 2 (Sky2): Well, welcome back to video number two, touching my sky here. It's completely dry and you can see even that my paper has flattened back out. So I'm gonna grab my wash brush again. Just gonna get it nice and full of water and, well, I create the wash. One thing Teoh pay attention to with yours is not to scrub too hard. You're just gently laying a what? A layer of water over the top. You're obviously gonna get a little bit of scrawled and pull up a little pain, But it's not gonna be too dramatic or hard. So I am gonna once again start with my blue. And since we're still pretty light on that, I'm just going to focus on using just the one color the natural blue I have on my palette. I'm just going to add it in and how we were before. But obviously, with another layer on top, it's going to be coming in just a bit darker working around these clouds here. I'm just getting it all in between them because they're dark color the way it is. I don't mind filling those white gaps with the nice blue to fill in this bottom part, I am grabbing that later blue I have again and just getting it nice, too. Watery consistency Just needed a little bit. It's gonna mix up some of my pink on my palette where I've kind of already got the mixture of a little bit of orange and yellow. But it's going to be mostly pink there and to start plotting in the clouds again, darkening, not putting it all over them, but just in places where I wanted to pop. Yeah, just kind of going in haste, emotions. I had a lot on my brush, and I decided to just start to lay it in and know that well, it's also what I can mix it a little better after it sits and you can see as I'm going, there's no exact framework for how to create the perfect sky or how to do this, that your sky is going to have your own take on it. For that, um, it is possible to keep reworking in this guy the way we are. So as this guy was getting a little too overrun with the pink just grabbed some more of that natural orange and mixed in with the bit of the pink. I had but kept it to the more natural orange sign, sort of clocking that in. Then you want to take that yellow layer to the next level, making more vibrant. I'm gonna be blotting that in and back to the orange in paintings. It's always at least with me a bit of going back and forth between colors to find the right balance. What need more. Oh, so at this point, I want to get more of these clouds and before we dry off too much again. So I'm gonna mix up that violet and natural grey a little more of the natural gray on it this time. Um, upon this further, at part of this painting, I could tell it was starting to dry offs just a little. So I just added a bit of water before head up there. I switched to my eight round, have a little more bit of control, great, smaller incisions. So I was definitely having issues down with that bottle, Maria, and started to what it off in people's pulling up. So I just decided to Dapple out that bit and know that I can come back over it instead of having all the colors be buddy and bleeding together. I used a paper towel to take those colors out, and I will come back to it to fix it. Just mixing up a little more of my cloud color going in nice and watery to darken up the clouds that I have. - So with drying, I decided I wanted to get that bit of yellow area taken care of. At this point, I wasn't sure I was going to be doing one more layer. So I was trying hard to get everything to work within this layer of sky still. But if yours is not, fret not because they're gonna work in one last layer and you can work in this money as you need. But beware. The more layers you work on when you start to have a lot of different colors, when you create that wash, it can start to get kind of muddy and mixed together. So it is best with skies to keep it to a more minimum of around 23 maybe four layers mix, max. But in this one, we're going to be doing three. I'm taking that bottom area just a lot more vibrant. The yellow, the orange and even the pink. Getting a little bit of that mixture plopped right into those clouds because when you have clouds, obviously bits shine through. So I'm back with the pink, working on some of the upper clouds, just getting them bits darker. - And then we're just gonna head back to our cloud mixture one last time and get these a bit darker for the last bit of this video when I stumble into the clouds, since I already have a base bit of color, I'm not putting this purple cloud color. I'm not putting it all over the whole clouds. I'm putting it in missile areas, creating a couple of new clouds, but just trying to create just different. But, um, when you see clouds the formations, there's bits that are darker and then bits that are lighter. So so that is where mine is at for the end of this lesson, and I am going to rework it one more time. But once again, I need to make sure it completely dries off before I give it a water plays. So I will see you back in a little bit 4. Sunset Beach Part 3 (Sky3): Okay. Welcome back to part three. Um, where you were? Out with your sky. You might like it. You might not need to do this last lesson. I I was looking at the sky as it dried, and it was just a bit too harsh in areas I prefer. My skies have a bit more of a softer field. So I figured if I went with one more glaze over that, I could get exactly what I was looking for. So, um, just wetting down one more time. Just nice and light, trying not to scrub too hard because I don't want to be pulling up too much pains or, um, just getting anything too crazy. So with water, don, I'm gonna go right into the lower yellow part of the sky just lightly adding in some, um, nice break yellow. And I'm also going to take that yellow farther up into the sky as I work it into these clouds. It's nice and wet up there, and it's just beautifully kind of doing that watercolor bloom that I love moving on to the orange color. We're just gonna take this and color bright colors, getting it in there and taking this painting used a bit darker. A couple more streaks of yellow really want that centerpiece to pop like the sun would be trying to break through those clouds. Then, with that, that's looking pretty nice, and I'm gonna go back to the dark clouds, get a mix up of that and just kind of blotting in a bit of new clouds around the edges. Just it's more of the watercolor bloom so that the clouds air just doing that puffy thing that the bloom creates so right around all the edges of them. And at a point like this in this guy, I'm not really paying much attention to a reference of image anymore. I'm thinking more about what the way my sky has laid out where these called to look best, adding a few more, just giving it what I feel like this painting needs. So those are looking, particularly, that's the clouds, and I'm just gonna move back onto the pink bit of cloud and just get this last bit a bit more vibrant. Grab some more of the pink just laying it in. Then I wipe off the brush and can stippled around what I put down, then I just want to add in. Just feel more clouds to the top. It's gonna expect in that club color and just add the last bit. Speak to meets just a few more dark edges or spaces in the clouds. And I would say that completes this sky for me. Um, I'm not sure where yours is that, but mine definitely got a softer look on. Where the yellow comes through in makes me a lot happier with it getting that last layer on . So I hope you've reached a place with yours. If you need to do one more layer, go ahead. But the next video, we're going to start working on the water. 5. Sunset Beach part 4 (Water): and we're back. Back for the water. So where I'm at with this painting, the sky is slightly what it's still cold to the touch. But because, um, I know what we're going to be working with, and it's not going to be spreading. It's not soaking wet. We can go ahead and start working on the water. So grabbing that wash brush and just wedding pretty much this whole bottom half of the painting new. And because I know the hills were gonna be dark. I wasn't too worried about if I cover those with water, but I just want to be careful along the skyline and just make sure that waterline is nice and straight speeding up as I'm just getting this wet, I'm actually going to start with my pink that's going to show through. So if you've been looking at the final painting, this sky has great reflection coming through, and you just want to follow along in these nice light layers to see how we get that final product grabbing some of that vibrant orange blending it in. And I think that is a good um, idea of where the reflection is going to be so it's safe to start painting in the blue, grab my natural blue and my brushes super watery. So it's a very watery consistency, - describing a bit more paint on this fresh fruits of thicker consistency will pop through a bit more and to switch to my eight round and try to define where these bits of waves are going to be was My pencil sketch was super light. The more color I get down, I'm not going to be able to see where I had them drawn in. So it's nice to kind of get a light bit of color down to show where they would be, uh, that I'm going to start mixing in some of my yellow to this bit of highlight area where the sky is reflecting, just brushing it in and strokes. It's a little bit of the natural yellow and the natural orange blue color. That's a nice combo between the natural blue and that light blue. Okay, I'm holding my brush, mostly horizontal us and painting these lines thistles going to help with showing water which way it's going in the direction of form up on the horizon line, keeping very horizontal keeping that point, um, tipped upwards and getting that nice straight line, - bringing bits of that blue color into my colorful. Suddenly, I'm just going to continue on getting more of that blew over on the left hand side, just going to speed up this fit, having the blue, - then down here on the left hand side, going to get some color in with sand. But I am gonna re what this little corner to make sure it's nice. And what then, since it's a nice start sunset. I'm just going to take my natural brown that's down at the bottom of my palette and mixing a little bit of natural orange. Keeping this a pretty watery consistency is we don't want to take it to dark yet. Yeah, new. I'm going to break out My five round this round has taken a beating to it, so it is very what I call my scraggly brush bristles. They are not in the best condition anymore, and it is great for a dry brush technique that I do with all my water. So I'm going to start with this brush on getting that horizon line to find a little more and darkened and I mixed up my blue with my natural grey to get nice and dark that I'm taking this color and just starting to create these for Zonta lines because the paper is not fully dry, it's not getting quite the drive Russian look that we do sometimes. But that is totally okay. We're just trying to create these streaks way to go over to the left hand side and get nice and dark around the base of the mountains. Just going to get around the base of this rock can create a little bit of more defining just lines that come horizontally to either side, showing a bit of reflection or ripple that you would have. And this is also helping remind me where that rock is. As we get darker in color, I'll have all those lines down. Most gonna take this color and get some swatches right into the middle of that reflection area and up to the spot where this other rock is kind of doing the same thing around it. Now I'm going to mix up some of my colors of the pink and orange and stuff again and be doing that same thing that I'm been doing with the blue, but take it in with the pink. Some discreet ing those horizontal lines. Um, down here in these waves, sort of the Horrell horizontal lines are a little more of, um, swoops back into the thick of it. You can see in places where this has really dried off its, um, kind of getting that chalky look separated paint, and that is totally okay. That's what I like about dry brushing is the different textures. Yet I'm just going to speed it up a bed as I add orange and continue on the same, um, idea. And I'm also going to add some of my yellow unless we don't want to go too crazy with. Because when you mix in the blue over I color like yellow, you're going to get Hughes green and stuff. And in this sky, where it's reflecting, their just wouldn't be as much yellow. So So just a couple plops down. Then we're gonna go back to our blue color, and I'm just working with that water, your consistency and spreading some of that. So if yours looks anything like mine, it's definitely a rough bit right now. But we will work on it and get it to have a beautiful finish, so I'll see in the next video. 6. Sunset Beach Part 5 (Water2): so my water has dried off pretty good. It's not completely dry, but it probably could use a glaze. But before we do any of that, I want to get a bit more down in the dark blue compartment. So be mixing up some more of that natural gray and my natural blue. I am still working with that scraggly brush, my five ground and just continuing this in, um, kind of crazed formations. It's water so it doesn't You don't want it to be completely smooth. This is more of an ocean beach. So we're definitely not looking for a glossy finish. We wanted to have waves out in the distance and what not. So it is okay that we're having a very rough look right now as we are going to glaze it. So I'm just going to continue to get a more even spread of this, um, medium to dark blue all around the blue area. Then, at this point of my painting, I think I'm ready to give it a good Glee's. So I'm going to grab my wash brush again. It filled with water and just head over this whole area, speeding up, making sure keeping that horizon Line Street. You can see it's just right away smoothing out some of the heart of the we had give me a nice watery field but we will be continuing to go over this now again into making sure I went that beach area with sand to because I'm gonna go back into their later. So gonna start with that vibrant orange start, adding that ended my horizontal strokes. I ended up getting my eight brush out for this. Have a little more of a widespread. So giving that glaze really helped clear out any areas that we're still having white paper shine through and gave, especially the edges full dark effect. But now we're gonna want to come back through, make all those strokes again, but more vibrant and defined. So switching onto the yellow color again, it's again just a few strokes of that, a nice horizontal fashion that I'm gonna make some of that natural orange in with the yellow. It helps toe have different a lot of different colors in with your son said, just like we did with sky. This is the reflections we want have lots of different colors Since what I'm working with is all still nice and wept is taking that wash brush and just, um, smearing right over the top of what the sunsets part on. I'm grabbing my five brush again and just heading back into where these ocean waves air coming up onto the sand really lost definition in that coming back through and really lightly getting those layers in trying to once again define where the big sets of waves will be in the water. Then, as I add some more blue throughout, I'm just going to speed up very similar work to what we were doing before. But like everything, I work in layers and this is just giving a buildup. And since we worked in layers, we have that bit of lightness that's gonna continue to come through from the bottom layer, and it just gives it a really cool effect, I think, - and I'm going to grab a thicker consistency of the start paint and start to work in more details. The paper is to a point that it's still damp, but it's drying off, so it's not gonna bloom as much. When I get this bit late in, then this is not in fast motion here. I'm just kind of going a bit crazy with the brush. Do these motions in its waves. You want it to be kind of crazed. Yeah, and I started to get some more dry brushing him with that dark blue and decided Before I go into that, I want to work on this beach area of sand. So I'm taking still with my five. Brush a mixture of the pink and orange color, and any time you see on the beach you usually have that bit of where the tides coming in or receiving. And there's bits of sand that are what from the tidy there hatin gone farther up or receding away. And this area, we're painting that pink color because when it's what, it's more reflective than the other sand. - So we're just getting that light layer of it in, and in the next video we will work on detailing further 7. Sunset Beach Part 6 (Water3): Welcome back to video number six. We are going to take this water to the next level. We're going to dark in in, add more detail and finally gets the wave detail in. So I'm going to mix up a bit of my natural blue, and I'm actually just taking this collar in a pretty watery consistency and just helping fill in some of this area Over here. It's basically doing the glaze technique, but with a light, watery bit of color on and just spilling it and get there was just too much gaps around that rock. So once I'm done with that, I'm going to start the detail ing process, and I'm still working with that five around. It's just starting the work on these waves. My color is pretty light right now, and I do have to end up taking a darker, But I am always hesitant and start with a lighter bit, so feel free to do the same. Or go ahead and take a darker If you're brave enough, just working on getting that outline and what I know will be the waves. Some were working with a very light color, but it's very dry as it goes on, and now I'm ready to take it darker. So I'm testing over here in the corner. You can see that it's nice and dark, and I'm going Teoh head into the waves, and I'm not fully just making half circles or anything. I'm getting this kind of rippled and in different shapes so that it reflects actual waves from water. And normally when I'm painting waves, I would have masked off the part that's going to be white. But in my source image, this was a very dark water area down here, and you couldn't really see the whites, the white caps of waves. So I decided to make these waves pop out dark like they do in the source image. And I thought it was also a good idea technique to show you don't have masking fluid, whatever that this is still a way you could make waves. So I've got that first wave in. That's not a part of the ones crashing on the shore. And as I'm putting it in, I'm just creating this bit of sweeping textures. Water kind of folds over the top, - so getting started on another for their back wave and another one over here, and I will come back through on these and give more detail. So I couldn't see from my erratic hand trying to decide what to work on on times with paintings. You just need Teoh, take a look back and figure out what needs to be darker before you can continue on with something. So I decided to go ahead and get that horizon line darker and all the bits of waves to just bring in more of that natural gray color and use my dry brushing technique. So for some of this, I'm not just making the street across motions, but I'm kind of creating a little swoop or triangle that creates that wave definition. And I did speed things up as this is, ah, longer process. So if you need to pause or whatever, you just work at your own pace. And in certain areas, like the back left inside left. I'm just working in those souping motions and scrubbing that dry texture on not as much of the because it's further back. You don't need to see the close up definition of the waves anymore, and moving into that sunlight reflection just getting more blue in there. The more we add, it's gonna help give that realistic vibe that it's really still. It's all blue water, but this reflection. So, unfortunately, I had an issue with my phone filling up with too much. The memory was two fold, so that video paused, and I missed out on the last bit that I did. But you can take a look from this pause screen that just filled in just a tiny bit more blue before the end there. And then I also worked on that bottom left hand sand area and took a darker. So if you just want toe, get yours. I used a dry brush and kept things very texture ful. I just want to get yours to this place before we move on to the next video. 8. Sunset Beach part 7 (Rocks): So welcome back again. We are going to start working on the Yeah Rock Cliffs in this video. I've got both my four and eight set aside. I think you get started with the Ford helps me have as much control as possible. But if I decide I need my eight, it's right there nice and handy, mixing up a little bit of natural brown. And I also have a gray color that fortunately it's at the very bottom of my palette and you can't see it's a charcoal gray. It's a new color to me, but I mixed that in with my brown getting a nice black color. It's like brown black, Um, but I'm taking this color, the first layer in the lighter consistency, because these rocks here are going to get darker as they get closer. That's going to help with the dynamic range and showing that this is further off in the distance. So I'm just being careful to create nice, precise lines, and I am coloring in the closer rock, so I don't have ah, harsh line that I will come over the comeback over that with a nice dark color. - So coming back to that you can see just a little bit of pull up paint there. And that is what happens when paint is drying fast. So I'm just gonna come back over the whole rock so that I don't run into weird hard lines. I want this to be pretty smooth. And if you just looked up from you're painting and saw that a couple things have happened, I am sorry. Once again, I had not deleted enough on my phone and ran into another issue both times. It was such a minor part that I got finished that I decided it was okay. Hopefully, you guys aren't too mad at me. But I just had finished that layer and waited for it to dry off on the rock we were working on and started on this rock in the foreground. And then I worked on the other two. Once I knew it was dry enough getting a little bit darker on that second left rock. And now that they're both dry, I'm going to mix up a little more. And don't worry, I don't lose any more video. So sorry about that. We will continue on once you're caught up working with the color a bit darker again and just being nice and careful in the bottom, getting a nice straight line, careful on the edges. But I'm going to take that a bit thicker. I want this to really show Oppa's darker, and then we're going to need to wait for that rock to dry off before we paint in the last one. So I'm going to start working on some of the little rocks that air hanging out in the ocean . This just once again. Well, it gives the painting more to look at, but it also helps show the size of things that the the one sticking out of the water is ultimately still a pretty big rock. And it's got these other little ones around. It just really gives, um, the bits of realistic nous that help our painting. So as I create these rocks, I'm just making sure they're pretty straight on the bottom. Helps them look like they're sticking right up out of the water, and then I give them any kind of top. It's that they all look a little bit different, gonna mix up a little more of my color and go over this rock that was in the front. As you can see, it went on pretty, um, sporadic with the textures. So I'm just It's a pretty watery consistency to help glaze over the top, and I do have my eight out now, so it's got a little bit can hold a little more water and paint. Still got a nice straight tip, though. Appointee Dip and just making it darkest right at the edge where it's coming out of the water and then giving it a little texture all over. Since this one is closest to us, it should be nice and dark. But I also wanted it to read a little more brown, so that is purposeful, also darkening the bottom of this rock out here. Then we'll test to make sure this cliff at the far edge is dry enough, and it is gonna mix up my color one last time. And now I'm just mixing in that natural grey instead of the charcoal gray had so the natural grain, the natural brown and because I had just worked on that rock, it's a bit wet, and I'm working at a weird angle so that my hand doesn't touch it when you're painting flat like this, you do under breast in your hand on your painting a lot. So you want to make sure that you're not resting it on a what part? And I got a smudge out there and decided just to turn it into a rock. One of the great things about landscapes is you can turn your mistakes into something. Usually, I just need to make sure that this edge is going to be nice and dark so that it pops out is the closest right, And that one is good for now, I'm just gonna have a little more texture to this rock that standing out in the water. Then I'm going to start working on the's rocks. Feel in a couple more, right in the foreground. Here on my one. This is gonna just once again create show like sizes and just different different ideas. I did have a lot of these sketched in once we worked in this many layers. My pencil sketch was so light that can't see him. So you can just kind of put him wherever you would like, So I definitely know I have more work to do in this sand area. I'm not quite ready. Teoh move into it. Next up, a little more off my natural blue and natural grey, and it's pretty watery consistency. So I'm wiping it off on the paper towel and coming through and just adding more of that into this reflection area. As I said earlier, when you see a reflection like that, definitely still see the dark colors coming through. So getting that in, and now that I've wiped off decent amount of that and my brushes and as what with water, I'm gonna take that blue and start to, um, scrub it in those horizontal kind of diagnose motion that's going to be showing the pullback of the waves under this reflective sand. That's what you just want to make sure your brush isn't too thick with paint years. You don't want this to show up to dark, so going back into the waves, it's my brush is full of paint again, the knees, like earlier to not doing exactly just horizontal lines. But I'm creating these bits of swoops and drang gal's to help create wave dimension as faras when I'm doing him closer when they go a little farther out, they can get a little more straight and horizontal and that is getting a lot better. We will come back in the next video and add the sailboats in and finish any last minute details. 9. Sunset Beach Part 8 (Final details): All right. Welcome back into the final video. You've made it this far. Congratulations. We're almost done. Um, before I get started on the lighthouse, there was this area that somehow happened when I was doing the sky. I got this really hard line, some kind of spill or water that sat there, and I'm just showing you how to clean it up. So I've got a damp what brush? It was rubbing in those lines and then cleaning up what I have with my paper towel. I'm not just cleaned it up so that it's not this harsh spill line and they look better. I had another two dropped over here just doing the same thing, wanting them and cleaning. That's just an easy way to clean up a spill line. Or maybe really harsh waterline that got need. It's not always stuck. There is ways to fix it. So we are going to move in and work on those two sailboats we have. I have a triple zero, right, And I'm just using that charcoal gray color that I I told her I had and I did move my palate up so you can see that bottom layer But I'm also mixing a little bit of my brown and natural gray in with it, making it a little bit thicker of, Ah, consistency. You can see it showing up better now if you don't have a triple zero brush, Um, zero, even a one that's your smallest will work, but you want to be really light handed so that you can get a stone of a line as possible. So, just like with the rocks and other things, creating something that's further back and then something closer really is helping us in showing the dimension in this picture. So that sailboat is exactly on the horizon line, which means it could be back as faras. The I can see you don't I mean, you don't exactly know, but this sailboat on putting where it ends up in the water a little bit on that's going to show it as closer, and it's also going to be bigger to show that way, too. So the sailboats are far enough away that I'm not worrying about showing any of the tie lines or the fact that the sales were down a lot of times when you see sailboats, um, in paintings or even in pictures. The sales air tied down a mother. The boats are anchored or what? I don't know why they being could that far out at sea. It makes for an okay painting without having to paint in sales. And I usually like to have the natural whites of the paper. So if I were to have done sales, I would have wanted to mask off with sales, were going to be and pull off the masking fluid instead of painting and white describing my four to paint some detail in these rocks. So getting a little more of my brown color and creating a little bit of definition little Rocky Craig's on these cliffs so that they have a bit more detail. Um, what I had on this stand alone rock in the water. It's just a bit too harsh, so I took a damp brush and glazed over it, switching off brushes. I'm grabbing my five again on that scraggly, and I'm gonna work on this sand area again, putting a little bit off the natural grey blue color into the sand because shadows at night do tend to turned bluish, and I'm just dry brush scrubbing this rate across in these horizontal strokes, - and I'm gonna mix up some of that natural gray. It's a really, like dark blue for some shadow detail, and I pulled back out my four brush. And as you can see, as I was saying before, if you don't have, like, a triple zero, I'm still creating this really fine by doing really light handed work this fine, um, reflection of that, um, sail mast. And then just getting that shadow reflection going all around these rocks and of the cliff rocks scullers nice and dark. And I'm wanting it to go right up to the base of these cliffs, - going to keep continuing, working on that right along my foreground rocks not as, um thick because it's shadows and they're up close. So they're a little more detailed, but just kind of PC shadows along the water. Now, with this, uh, thick consistency, I want to go back over the waves that we have been working on a little bit at a time and just give them parts that really stand out in our defined working in little half circles and squiggles, just things so that they're not straight lines here, and I'm going to continue this process along the coast. And as we continue to dark in the waves, I want to be using a little more of this in the reflection. It just is not quite enough blue and darkness and there for me. So I'm working just with that natural grey, just working with a pretty dry consistency of it. And when I get thicker consistency and darker and head back into the waves and as it's drying out, I hadn't too more of just the water texture. Thats painting is really starting to shape up, and one thing I want to do before it's done is pull out a little bit of color so that the sand where the water, um, has been where it's supposed to be, what I want to pull out a little bit of color and give it a more reflective look. So I have a flat edge brush. Um, I used this for lifting out water technique, where you kind of scrub brush horizontally and then dab away with a paper towel. The brush is nice and damp but clean, and I'm just creating this bits off. Um, kind of the natural color of papers coming back through. And we're getting these in a pretty horizontal line a little bit diagnosed, because that's how the waves air going. But it's working towards showing the sand is reflective. So that is it. Um I hope that you enjoyed this glass and maybe learned some new things. I had fun. And I would love to see your class projects. You can share them here on skill share Or if you decide to share him on social media. Um, I will share them on my story on instagram. My handle is, uh, at Emily Taylor Art. Then I would love to see him. And if you have any questions, please feel free to start a discussion open to sharing any knowledge. I have any any tips to working on this class? Just let me know and I'll see you next time. Thanks for joining