Watercolor Landscape: Watercolor Painting of El Matador Beach by Emilie Taylor | Emilie Taylor | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Watercolor Landscape: Watercolor Painting of El Matador Beach by Emilie Taylor

teacher avatar Emilie Taylor, Watercolor Artist

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

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

15 Lessons (2h 28m)
    • 1. Intro to El Matador Beach

    • 2. Part 1: Masking

    • 3. Part 2: Sky

    • 4. Part 3: Ocean

    • 5. Part 4: Land Highlights

    • 6. Part 5: Land Shadows

    • 7. Part 6: Ocean Shadows

    • 8. Part 7: Land Midtones

    • 9. Part 8: Rocks

    • 10. Part 9: Foliage part 1

    • 11. Part 10: Detailing

    • 12. Part 11: Waves

    • 13. Part 12: Defining

    • 14. Part 13: Wrapping up

    • 15. Part 14: Final Details

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





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

How to blend sky colors without making the colors muddy

How to texture rocks

And even how to fix a mistake that I felt was really taking this painting down

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

Head over to the project tab to get my sketch and the reference image.

Meet Your Teacher

Teacher Profile Image

Emilie Taylor

Watercolor Artist


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! 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Intro to El Matador Beach: Hello and welcome to my class. My name is Emily, and I'm a watercolor artist. I paint with the style that I call cartoon realism. I developed this style because as beautiful as loose artist to me, I couldn't paint that way. I needed more control over my breast strokes. I started using my style on botanicals and objects, not really knowing how to make it work in a landscape. But after a lot of growing landscapes are now my favorite thing to paint. So I love being able to share what I've learned in this class. You'll paint along with me in real time and will use brush techniques from what, On what to dry brushing and glazing. I'll show you tips on how to create depth and give my painting the realistic touch through constantly layering. You can see my paint palette throughout, and I'll give you brush advice for the different parts. I also broke down these videos into short segments so you can really work it out part by part and don't have to paint it all in one day. Joined my class today. I'd love to see how you make this your own and what you come up with 2. Part 1: Masking: welcome to my painting of El Matador Beach in California. I've provided my sketch for you, so you have better clarity on what to do for your sketch. The sketching is a very important part of a painting, as this helps you create your bit of three D and places where you know paint is going to be . If you have tracing paper, you can always flip my image in photo shop and trace it out if you'd like. But I'm starting this video with the sketch done up, and we're starting with masking fluid. If you don't have any masking fluid, you can go ahead and skip this video entirely and Duke wash later in your waves. Or maybe wait until you have some masking fluid. So starting in, I use a brush that I always used her master food. It's a bit of an older one, and I'm okay with the fact that the masking fluid does kind of stick to it. So don't use a brand new brush because of my pencil sketch. I know where I want the main base of wave that's coming in. It's a whole line of white that I'm going to be painting, so I'm just kind of stippling in masking fluid. This is quite a process, but it works a lot better than just painting big white lines that later wouldn't have the right shape. So I'll zoom in a bit to try to show you my brushing techniques. The stippling is just dotting down in places and letting there be some white space in between of the paper. Still, I am being careful of any rocks that I've drawn in on the shoreline. I want to make sure that I go under them in a straight line to create that view of them going over the rock, but not completely. As I start getting to that back right, I'm getting the wave line thinner, and this is gonna help create that view of that. It's getting farther away, and here I'm going to be painting a little bit over the rocks out in the ocean, just along the edge of them in the bottom to help create that waves crashing up against them. Look, and down in the left front. Here I have, um, this rock that's kind of got to open caves, and I do want the waves to kind of be coming up through it. So I'm just being careful that I don't go all the way across, but making sure I get that masking fluid in there. So later, when I pull it all up, I will have the fresh white that is the neighbor. And I'm just going back over part of this year and just kind of stippling in as the masking fluid is still wet. And this is pulling up some. And I'm okay with that because it's going to help make all of these waves a little more broken up and then out here in the ocean. I don't have this pencilled in, but I am going to be doing some waves that are kind of coming in. So these I want to be doing kind of in a bit of an angle, not completely horizontal, but kind of coming with the water line. I go a bit thicker on one side and thinner on the other, helping create that bit of, um, what you see from a wave. Words got that leading line for some of these. I'm kind of just brushing in the line and then someone just getting a little more of a stippling motion to create those dots that you see in a way you can place yours wherever you feel is good or however many you want to dio. I just creating quite a few to help kind of look like a bunch of crashing waves that it was nice and windy out that day or something. As I get towards the back, it's farther back, and I'm making the wave smaller, and I'm also getting a little more horizontal with them as it's would to have that depth line coming onto the shore. Here I have a couple rocks that I made me want to have some maybe wave or phone that is just at the tip of them and maybe still in the sand. So I'm just stippling in a little more of the masking fluid here. All right, I'm happy with the way the waves are going to be looking, and I'm going to move on to this guy. I'll see you in the next video 3. Part 2: Sky: Welcome back. Um, since we're going to be up in the sky for this next part, I don't need to wait till my masking fluid is completely dry. But if you feel like your hand is going to be brushing it, you might want to wait until the masking fluid is dry. Before starting this, I'm going to mix up my colors first. So I work a lot with Matthew Palmer landscape colors, and I have the blue here. It's just a natural blue just adding a bit of water and mixing it up. And then I have the natural yellow down here. I also have the light natural yellow and a natural orange. I think I'm also going to be adding a little bit of red. That is a part of the cure Tech Sambi natural. If I pronounce that right, um, it's just a bright red color through them, and I'm just getting that mixed up. I'm all set with that, and I'm going to start wedding this guy. So I just have a big round 12 brush, and I'm just working with water. I am working on hot press paper, so it's pretty smooth. Um, but you can do this painting all the same on cold press paper. I've just come to prefer hot press paper for duplicating my images in the future, just being a little careful of the horizon line. But I am okay with the sky bleeding down into the water a little. So I've got that nice and wet, and I'm just going to start with my brightest light yellow moving across in horizontal lines. And when this is all said and dried, it's going Teoh help give that depth of the horizon line going back. So here was my brush being clean. I'm just blotting out this circle for the sun, and I wanted to be a zweiten as possible. So just drying it a couple times and pulling out that meat, grabbing the natural yellow. That's a little darker, splashing and orange, making sure to kind of be on the outside and rub in versus starting too far in and mixing the colors. When I rub in, I'm working with a very light hand, just gently moving it in here. I'm gonna add some read to the very bottom horizon, just once again, working with a very light hand, keeping all the brush strokes very horizontal on with a clean brush. I'm just pulling that red down and up through again, but not having any more red on the brush. When I do this, I think I'm ready to grab some my blue all along. I know my paper is still nice and wet up on the top and throughout once again, starting that up on the top and then grabbing my brush. That's cleaner with just water and pulling it down a little more. Working with the clean Web brushes, helping you have a lot more control over the paint that's mixing in so that you don't go too dark too soon. And I'm gently pulling that blew down on the side and right on that bottom water line and into the red a bit to create a teeny bit of purple clean brush again as I'm reaching into that yellow and orange and got a bit of blue in there. But that's okay. We want to mix the blue in that I'm just gonna grab clean brush to kind of wipe it through and just a watery brush here on the bottom. I want to make sure I don't get any hard lines in the waters. I could just pull that down and then adding a little more darkness to the top and the blue . I want this to mix a little better back to the orange for a little more color pop. Oops, adding this all horizontal and just very light handed still, and you can see that the blue and everything is still beat it up. I'm still working with very wet paper. Otherwise, this wouldn't be mixing well. If your paper has dried off at all, you're going to want Teoh. Let it sit and completely dry, and then you can re what it with just a wet brush and start mixing in your colors again. Back to that very bright yellow heading pops of that here, a little more of the red. If you're looking at my reference image, you'll notice the skies a little bit more blown out, and I'm choosing to paint the sky more off my memory of the place and how the colors all looked when I was there and with a clean Web rash. Once again, I'm just finding that son shape, making sure it's just popping out white and I wasn't, like, quite help write this yellow was so I've just gotta clean my brush and I'm just smoothing it a little. A little more dark blue on the very top You can see the lines are starting to get a little harsher My point is probably trying a little so I'm just smoothing them with that web brush . The sky is always part of the painting that I try to get finished all in one swoop. I tryto what at once and get all the colors funded Doesn't always happen that way. Sometimes you have to let it dry off and remix in. So if yours gets that way, don't feel bad. It definitely happens to me a lot. One other thing I really love about skies is they always turn out different. No matter what you have in mind. And the way you mix the colors on the way they go on, it's always different. So I'm excited to see your guys as class projects and how your guys the skies turn out doing this. What? On what method? And here at the end, I just wanted to make that son pop a little more, so I'm adding some orange just right around the edges to it. Make sure before you do this that you're still working with what paint and just kind of splotch it in and then smooth it out with that bit of what clean brush. I probably will do a little bit of pulling out with a brush later for the sun. But I'm pretty happy with this, and I think I'm gonna call it good and see in the next part. 4. Part 3: Ocean: I've got my round 12 brush again. And just with clean water, I'm going to start wedding the whole ocean. Typically, when I'm doing a big body of water, I will do these. What? On what technique? Just like the sky. But most of my other painting is done with the wet on dry or a lot of dry on dry technique . You just want to make sure that your sky has stride off before you start this part. I'm just trying to be careful along this rock top down here, not wanting to get too much water because I don't want that rock to turn blue. It'll and then the edges. You're pretty safe with the masking fluid and these rocks along the coastal line. I know we're going to be pretty dark, so I'm okay with getting them a little wet as well. I did forget to mix up my colors before I wanted the paint, but I just have three blues that I'm going to be using for starting. So I just got that, um, natural blue. It's kind of a sky blue. I have this, um, more teal aqua blue that I'm putting down here and then I have a Payne's gray. That's Ah, very dark blue. So starting in with that natural blue is going in the horizontal lines. My paper is still nice. And what you can re what? Yours. If it's not being careful that horizon line there, then I've still got my 12 brush. But I've got the nice point on the end. So it's helping with the rise in line, keeping it sharp. So I'm just smoothing down the one, um, bit of paint that I put on, and I'm just going to keep running that down and not grab any more pain till I've decided what colors I want to add. Uh, so it is going to be a bit lighter down here, and I am looking for that being careful of these rocks again. I am working with light pain, so it's not too big of a bother, but I also don't want them to color blue Too much bit of ocean, right in between those rocks There your rocks may look a little different, and that is OK, so just reaching into the darker part to pull down to the bottom. A little more of that blue I think I'm going to start adding some of my dark blue grab a smaller I haven't eight brush now. Actually, I think it's my four brush so very small and it's a very dark layer. I'm adding. I want to make sure that paint underneath. It's very what? Just being super careful of that horizon line. If you go up, you wanna make sure you go off a little bit with all of it. And then I'm going to just start pulling that layer down a bit, swooping in those horizontal lines, but even leaving little breaks of lighter blue. Once you're about halfway down with that, I'm going to switch to this more aqua blue and starting lower to the bottom. I kind of do that same technique, and you want to make sure you're getting right against and into those, um, masking fluid bits way I'm taking that blue just right up to the other line of blue kind of mixing in right along those top of the rocks was trying to be careful still, once again, just keeping all these breast strokes as horizontal as possible and pulling a little more of that natural blew down a little farther, and I've noticed that I don't want to leave out these, um, rock holes down here when I get a little blue in there, because even though we will make it a bit shadowed, you will see the ocean kind of popping through. One of the things about my style is that we built layers and start something like this and move on. And later, when we come back to this, the darkness will help us know how doctor takes something else. It's all about just those layers of the highlights and knowing what to do next, getting something and helps us decide. So I've started to blend in a little here on the top, and you can tell that my paint is drying because it's starting to pull up paint. And I decided to leave that just mixing in a little more where I know it's still a bit more wet and then right along this whole edge of sand. I'm just creating these lines that are going to help build the wave formation later. Pretty good with how it's looking. But I see that this bottom part just needs to get darker again, just adding a little more of the blue, even though it's mostly dried off down there. So I'm going to call my ocean good from here. Once you get yours to a nice, soft kind of blended, three toned look, you can call yours and we will be adding detail to it a little later when it's fully dried and we know how dark we want to take it. We'll keep working at that, and I'll see you in the next part. 5. Part 4: Land Highlights: So I've let my ocean dry off and we're going to start mixing up some of this land color. I am going to start all of this land in a pretty based light color highlight. So I'm using natural yellow and my natural brown a little more of the yellow than the brown . And then I'm just mixing it into a very watery consistency down here. And this watery consistency is just going to help how light it is and also help us read it . More getting you down here. I'm getting a couple cat hairs, the perks of being a cat owner. They're everywhere, but I'm being careful here around the sun and on the edge of the rocks. I just want to as much as it's watery, still create those defended lines way along these back cliffs here and just feeling it completely in not worrying too much about the direction of the strokes because it's a very watery consistency. Can't hear, hear I was gonna pull right into these front cliffs on Keep up with this color because it's Justin under no underneath highlight color. I'm not too worried about making them look too different, so I believe I was working with my four brush here and probably could have been working with a bigger brush the way I'm filling in all this land. But sometimes I work a little smaller so that when I'm working on those edges, it stays tighter. And I'm just trying to get all the way down to the bottom of the paper. I work on watercolor blocks if you didn't notice. So your papers probably take down if you're just a regular water paper sheet. I like the watercolor blocks because they're kind of glued down with that black sticky around the outside. And they're really nice just to peel off later. And it kind of puts the paper down, Just kind of filling in This'll, um, cavernous rock over here. But I'm not too worried about the shapes and the three d nous of this yet because I know I'm going to be working darker layers over it. So this picture, the scene that I'm painting as I mentioned before, is Al Matador Beach in California. I got to go here on a trip in 2000 and 18. Yes, in the summer I was visiting a dear friend. I have that lives out there. So California has kind of become one of my favorite vacation place is one to visit her and to because a za Minnesotan getting to see the ocean and the mountains also close is just incredible to me. I love the West Coast speeches. E. Do you want to just go back to those cliffs and kind of take a light color over those pencil lines? It's going to help me know where they are for later. Just going to color in a couple of those rocks that were going to be down here in the water , sticking out. I don't want to go too far into the water because I know later when I go over it with the darker colors, I'm going to glaze with water so I don't want to makes too much brown out there. So at the top of my paint palette, you can't really see I have a very light blue. It's kind of ah, a bit of a peri winkle mixed with sky blue, and I'm just grabbing that with a pretty watery consistency and just touching it to my natural blue, and I'm going to start painting in that bit of pencil line that I have this really faint on this is going to be right by the waves. This is going to create kind of, ah, glassy sheen of maybe a little bit of water that's left here in the sand that's being pulled back into the ocean. Or, um, a bit of reflection, kind of whatever. In my reference picture, you can see it's very colored with the sky because I went for a lighter version of this. I wanted this just to be kind of more blue and glossy instead. So trying to follow my pencil line, but also kind of just making it my own and building bits that look like pulled up water, adding a bit of darker blue in places I want this to really, um, visually read is blue. Don't forget about under these rocks Here have that, um, same color and just going right against the rocks and against the masking fluid you can see after I get that base color and I just adding a bit more of the darker blue to it, keeping that color very thin towards the back so that it creates step mixing up a bit more of the rock sand color just going even more watery. But I'm also going to mix up a darker part that's got maybe a bit more of the brown in it. And now that it's dried off up there, I'm just going to kind of re go over some of those lines and create a couple of new ones, just showing the direction of how these cliffs air sweeping down things. Color is very dark against it, but we're going to kind of glaze it together. So it's OK for your sister. You'll notice. I skipped over a bit out there, and that's because it's supposed to be that there's one more rock further out there, so you can do the same if you like that. And then I've just got my Web brush and I'm just going right into that paint and pulling it and helping kind of glaze it so that it's all darkening. But I still have those lines. So if some of this is kind of dried off, I'm just kind of scrubbing it so that it pulls the paint up just lightly. Coloring in that rock out there still wanted Teoh read lighter so that you notice that it's distant. Then I want to pull that sundown so I'm grabbing a lift out brush, um, minds. A Matthew Palmer brush. But really any straight edge fresh should work well for you Just want to make sure it's clean. And Dad bought most of the water and just kind of started straight lines, lifting that son in and with a clean paper towel dabbing out. You can make your sun rays, however sharp or soft you want them to be. I've kind of gone with the middle ground where you can tell it's rays, but it's also, um, pretty soft. And the reason I wanted Teoh start the lift out here is I just wanted to help create knowing that that rock is gonna be a bit lighter later when I'm adding more layers. So now that my water line is probably dried off, I can take that super watery layer. I started mixing up earlier and painting in my Sandline saw. This color is pretty similar to the color we were using on all the rocks. Maybe just a bit water here. It's the natural yellow in the natural brown, and you just want to be careful along that blue line. Any time you touch it, you're going to start creating, um, a bit of a color blend, and I do want to touch at a point because later you'll see that way. Go right along that edge to help create the lift build of it. But you just don't want to mix it too far in so pulling that sand color all the way back. It's OK if you hit the rocks on the right hand side here because we're going to be painting over them with darker colors way. So I'm just grabbing a brush that this is a five brush, but I have used it for stippling. A lot in the ends are a bit afraid. It's kind of, ah, brush that I use specifically for this. You might not want to use your nicest brush because it starts to get a bit afraid as the paint is still wet down here. I'm just taking that brush and stippling it down, creating these kind of dotted effects and then taking my four brush with water on it and just smoothing it, just trying to create Maybe what looks like footprints and sand that's been roughed up down here. I know it's not wet anymore, so I'm taking a wet brush first and then doing this stippling again and still smoothing, because I know this is the highlight. Later, I can do more over it later. I just wanted to keep it moderately smooth. Then all up here, it's definitely dried off. So gonna take my wet brush through first and stippling, brash. And for now, I've left a lighter layer of sand and we will work towards that later as we're painting more on what we want to do with that later. So once you come to this point, we are done and we're going to be moving on to getting some more of the shadowy and the details on the land in the next part. 6. Part 5: Land Shadows: are right. So I have my four brush and I'm going to mix up a a darker shadow line color. And I'm going to use my natural brown and my natural grey and start mixing them together. And this is going to give me just kind of a brown gray, and I'm going to keep it a little more brown than anything. So even though this is a dark color, I'm still working with it in a, um, water your consistency Not too watery, but just something that works for creating lines. So on these back cliffs, I'm just going to start creating those edge lines. I don't want to do too much to that back rock with the sun flares quite yet. So I'm going Teoh, keep moving up the coast and I'm just creating more lines as I go down. Then I even have with the pencil. But I'm just putting them in, um, very lightly and kind of scratchy. And this is just gonna help create that texture later. And when you're creating all these lines, you want to think in terms of three D and just the bits of just different turn here that helps it really pop and look three D new painting rocks. It's something that you can't really go wrong within this lighter stage, because you can always add texture over. So if you're feeling like you're painting too dark, maybe lighten your paint and we're gonna keep adding texture as we go and you'll see them come alive because I'm working with such a dark color. Sometimes I hesitate to know exactly where to put it, and it's okay to be slower to some things than rushing into it and slapping a downward doesn't need to be. But in that same hand, it's OK to, um, get a little I would say the word scraggly with it and let your brush kind of put down some strokes when you're working with rocks that, um, it helps us create texture that just, um, painting each one in one at a time wouldn't quite do so. You'll notice when we get to the front rock how much texture we build by random brush placements. So I'm moving on to this closer bit. I do have this bit of rock formation that's jutting out, and then a bit of it shows the cliff coming down We just want to be careful of that with the three D look and making sure that we're getting that right. And right here I have this kind of rock crevice that's in between the very front one in this other closer one. And in this painting, it was actually my biggest struggle. So you'll see throughout, um, the bits of struggle that I have with it. But if you like the end result from seeing that painting and you can just copy along and we'll find the way to fix the problem that I create as I'm doing it, it was carrying the rest of that line all the way to the front of the cliff here so sometimes and painting lines. They're just looking way too dark. And I'm gonna go through with my clean brush and do a glaze technique again. So it's just a clean, white brash, and I'm just scrubbing out that color and softening all these lines that I've just made. And this is just because those close we're just standing out way too much right now. And it was affecting kind of my vision for what the paintings going to dio. So just being really careful with the brown I have on that back one, once again wanting to keep that sun flare. So with that smooth, I feel better about moving on to creating the shape of this front rock. So I've just got that rock color mix need to make some some more. It looks like it's the brown and the natural grace. Still, And here I'm just trying in the main shapes that I see Tom. Some of them I had penciled in and some of it I'm just kind of loosely letting the brush decide. So here we go, mixing up more of that color and and just moving on to the top of this, going to get that defined line away from the water and just creating little staples and lines throughout the top. There help give um, shape to this rock and texture and coming down to the bottom Here. This is where we can really help with the three D effect. Um, you might have a different technique or idea, but what I do is create the main lines and and slowly build to how I feel like it creates that depth. It's something that I feel like it's kind of hard to explain. But over time in the more you paint, you kind of learn how to create that effect. One of the best ways I learned to create the dimension and rock texture. I was just watching tutorials and painting along. There were some failures along the way, but eventually I started learning and figuring things out. So I think you will, too. So, for instance, I have this bit of back, um, leg to this, uh, cave. And I knew it was going to be a bit tricky to make it look like it was really further back . I knew I needed to make it darker, but for starting, I was just kind of getting a colored in and getting a bit of flatness. It definitely doesn't look like much right now, but you want to just make sure your darkest line is that very bottom creating the other bit of cave and I didn't have much pencil line in for this, So I'm just kind of free rushing and also just creating that a bit of rounding nous on top bits of line that create so it looks like it's real rock and coming down to that base, just making sure it gets the bottom line as well. That's kind of popping out of the sand, so just pulling in a bit more of that darker color and then coming down to this bottom right leg. I know that I wanted to kind of have a straight bid on top and then come down and all these little markings and lines air helping try to create that bid, that showing that it's the way the rock is coming out. Once again, I feel like I'm probably doing a horrible job, really explaining what I mean by this. But hopefully watching my brush strokes, you can kind of see how this is creating a three D effect, and you started to kind of see the rock come off the page with every line here. I'm just trying to create structure. I hope that's making sense with zoomed in restaurants. So now that I've got that front leg done, I'm just going to create texture throughout the rock. My brush is, um, more on the dry side, and I'm just creating in all these Scrabble lines and letting paint be stronger at parts and lighted other parts. This is just giving a lot of texture in different shapes to the rock, that painting in each one free, um, free handed maybe wouldn't quite look as good. It's nicer, Justo, let the brush strokes do that. It also is a lot faster and just feels kind of fun to just scribbled and your brushes dry enough that these cook shapes come. So at this point, I don't want to take it to over the top. I like the texture. And, um, I can tell that I'm starting to create that three d look that I'm looking for. You know, it definitely still needs more work, but we are going to leave this part and go back to the ocean to really get the darkest colors in there. And then we can know how dark to take some of this land after 7. Part 6: Ocean Shadows: So I'm putting to the side here a couple brushes I might use. I have a four end in eight both rounds, and then I also have my five, the one I used earlier. That's a bit of the scraggly type, and this. I'm going to be doing a lot of dry brushing technique with. So I still have the blues I used on the palate there, and I'm just going to kind of mix up that Payne's gray again. And here is where I wouldn't show the dry brushing technique. So I filled the paintbrush with paint and use this paper towel here and actually wiped most of it out. So once my paintbrush is mostly dry, I'm just going to light Handley, especially at first try very light, um, to kind of scribble in that pink color. If you're finding that you're brushstrokes are really dark and too heavy, maybe you want to practice on another piece of paper. Um, but if you're fighting them to light, you can add a little more paint that I'm just going in kind of, um, horizontal lines, but not complete lines. I'm gently lifting the brush and dropping it down in random placements, and this is kind of this creating these small bits of horizontal lines that you're seeing and bits of texture that are going Teoh look like waves and darkness pieces to the water. And any time you're coming up against that masking fluid, you can just go right over it and create those lines. The masking fluid is nice and solid now, and it won't matter. Uh, so just cleaning out my brush, I'm going to move on to the more neutral blue or it's more of a brighter blue. But it's my natural blue and this I want to put more throw. So just getting it mostly off the brush again and right back into that dry brush, I'm going back up over where I did already because I want this blue to kind of be throughout the whole ocean. But I'm also just moving farther down with it a swell. I use this technique with pretty much all the water ideo, and I actually really love it. I think it's really relaxing and just kind of fun. Hopefully, dry brushing doesn't scare you too much, and that you can have fun with it as well. If your lines are coming out a bit more harsher than you like. Just continue to wave off that paint, but also know that we will go back over this layer with a wet brush and do a glazing technique which will smooth it quite a bit. So, like I said, this blue is still the natural blue, and I'm just kind of working it throughout the whole ocean here. But I will be adding in that, um or Aqua Uncle Marine, whatever color that IHS. So grabbing that other blue and just wiping it off again and mixing it in this I'm going to like earlier. Just keep more to the bottom, slash middle not to get all the way to the back. And I come right to those waves and just pull straight back from them and creating those, um, lines that I'm looking for. You'll notice some of my scrubbing motion is not a slight handed, and that's because when I know that the brushes not so full of dark paint, I'm able to just kind of scrub it in a lot more thickly. So if you're in the same place, feel free toe, get a little more heavy handed with your brush. So I did wanna add in some of that light blue that we used earlier. You can see it a little better in this video, and I'm just going to continue to do the dry brushing technique with that. And I'm going to keep it towards the edge of the ocean, Just kind of swishing it in. Yeah. And even though the water is barely visible down here, I do want to make sure I hit that up. And there are just some places along the edge here that don't have a lot of blue, and I'm just gonna fill in there. So I'm pretty happy with the color and the spread here. Um, you can get yours to where you're happy with it, but I'm going to grab my eight brush and get it nice and full of water and work on the glazing. So this watery brush, I'm just taking it nice and straight along the top, warning about the horizon line and keeping that very straight. And I'm just lightly smoothing over. I don't want to scrub too hard because I want to keep these lines, but I do want him to be soft, so I like this glazing technique for that anywhere that you do have a line that is a bit too harsh. You can press down and scrub it a little more, and that's going to really help soften it. So I just keep adding more water to the brush and clean, making sure it's clean and continue to glaze. When you're doing this, you're just once again keeping everything horizontal, and this isn't going to give us any weird brush lines. Don't forget about that little bottom bit that's sticking out. And then I am going to take this. Since it's what and just slightly pull into that mirrored bit that we have on the other side of the masking fluid, you'll notice these really thin um, it's really light colored. But these lines that I'm creating and that's going toe kind of give us that effective it being pulled back into the ocean. So I'm trying to keep that mostly horizontal, but I also want to go with the wave line that we have, so it's maybe getting just a little bit turned, and we may when we pull off the masking fluid, do a bit more to the water. But I'm pretty happy with the way it's looking, so I'm going to call it good. And now that we have that dark horizon line back there kind of know where the darkest point in the water is going to be and can start doing a little more to the land. 8. Part 7: Land Midtones: Welcome back for this video. I can tell right away that what I have for our land highlights is much too bright and so gonna take most of that to a, um, more of a mid tone level. But it's still going to be probably the highlight of the rock. So you can see this area here and here are just way too, um, light. So when you're mixing up our brown yellow color again, um, and just heading right over the top of it light color this is kind of similar to the glazing technique, but when you have a color in it, it's more of a color plays, so you can see because of its watering nature, it is smoothing out a lot of the texture we added earlier. But it's also, um, leaving a lot of it, too, which I like. I'm just taking darker bits and just finding little areas to staple it in because this rock is very what it's just kind of blooming into it. And I want to make sure I get that, especially in these cavern parts, to kind of great that shadow, but also just other parts of the rock to give it more dimension so you can see I'm just working fast and just stippling and randomly toe whatever I see fit. So I like the way that is looking. We will definitely be adding in more detail when it's dry. But we are going to move on to these two ledges there definitely way too bright for adding any of the village. So we're just gonna makes up that brown and yellow, um, just a little bit darker than we had earlier and start spreading it. I'm kind of moving in just a fast scratching motion, and I kind of like the I'm doing this because I'm going to go back over with just a more wet brush and spread it, and you can see that those lines that were underneath are just kind of staying and creating just a bit of texture that's underneath, making sure I just go edge to edge. And I'm working with a six brush here. If I didn't mention that, and it's just a very pointed one that I like to use, so getting those colored in that way, I don't wanna go too much darker because I know once I start adding some of that plant life in a village that I wanted to build a pop out over to the brown. So I think that's looking pretty good there because I know a lot of plants are going to be going down, - so I'm just adding to my mix again of that brown and yellow. And I've decided that this highlight layer is just not what I wanted it to be. And I'm just going over right against this'll, um, blue glossy line, and I'm just going right up against it. If you run it over in anyway, just go ahead and, um, brush it in so that you mix in that blue and create just a new sharp line just going right up against it all the way to the back and here again in the front. Just creating a nice, um, sharp edge to all of that that I'm taking a more watery layer and just pulling it down all the way to the area that we were doing the stippling earlier. I know that we can still add back in texture, but I am still seeing some of that old texture show through. So it wasn't for not just smoothing out a little bit of this here in the front again, way and over here on the side. - And then here I want to take a darker mixture, just adding a lot more brown to it, switching to my four brush. And I'm just going right against that, um, wave or, um, that water pull back line. So it's just going to create this bit of, um, shadow. I'm just trying to be very careful here in the back, nascent thin and then back here in the front and you can see right away that this is adding that bit of it kind of raises up the water there, so you can believe that is truly crashing up onto the shore. And I'm just doing bit of pull back on the sand here with that layer. Uh, this brushes mostly just wet. Hardly any paint on it. And I'm just creating these lines to make it look like the sand has been pulled away as well. It's getting a bit dark here on the backs. I'm just adding a little water to the brush, don't want it to show up too much, and I don't want to go too far back. So I think this is about good. And in the next part, we will add in all those rocks that are hanging out in the ocean and along the beach back there. 9. Part 8: Rocks: So stepping into this with the rocks, I'm going to be mixing up a nice dark mixture. This is my brown and my natural gray. And I'm just keeping it nice and dark and just starting to kind of, um, box in these rock formations. I'm not painting them completely in going around the edges and maybe creating a little bit of texture on them with the dark color. But I don't want to paint, um, necessarily completely solid, especially these few big ones getting into some of the rocks that are actually here in the ocean. I am going to paint them completely a solid color. So they're just getting this right around the edges and then painted in because we've taken the ocean to about the darkest point. Some of these rocks have kind of gone missing their pencil lines, but you can just paint in some random ones that maybe you didn't have their pencil lines. If you've lost yours or find the pencil lines, if you can still see them, I can see a couple of mine. But I'm also going to just be painting and especially little ones that I never penciled in wherever I see fit, sometimes near the big ones, kind of in front or behind to create that view that there's land going back. It's funny as I voiceover to kind of watch my hands. Sometimes I can tell that I was deep in thought of where things should go and how how big they should be, because it all is part of what creates the depth of the image and the real believability that this is realistic looking. So I do want to have a couple rocks here in this kind of glossy area. I'm just painting in some small ones in a couple here on shore. I know I had a rock penciled here, but my masking fluid is pretty thick, so it's just a teeny top of rock, and you'll see, as I'm painting any of these that are a bit bigger, that I'm just drawing in the outlines. And then I'm going to go with a bigger color, a different color over them, because I don't want them to be a solid mass. Some of the rocks I'm creating down here are just the smallest little staple, and that's going to kind of give that texture. That was there on the beach, just all these little teeny rocks in the sand. So heading back out into the ocean, I know I do want to have a few more that they go out a little farther or a little closer here to the front, just anywhere with these rocks, I'm making sure that the bottom is pretty straight. And all of this always creates that illusion that they're either popping out of the water or sitting right on the sand. And that's the real trick to it is having that straight bottom? No. So here I'm just adding a little bit of that orange and yellow to my color that I've been mixing. And it's just a more watery consistency, and I'm gonna fill in all those outlines that we created. So I definitely want this color more orange, orange yellow than the backdrop you can see these rocks are standing out against the sand and everything that we have, because the color is more orange and I'm working with my four brush through all this. If you are working with a bigger brush and struggling, maybe you want to work with a smaller brush. If you're working with a really small brush and haven't been able to get as much paint on the brush. And you're wondering that's what I'm using, is it for So with this really light color, I'm just creating a couple more of those tiny rocks and then switching back to my dark color. I just want to put a few more rocks closer to the foreground. There were spots on the speech that were a lot more sandy and spots that the rocks kind of all even all piled together and you had to climb over, so I'm painting it a little bit off memory. You can't see as much of the beach in this picture because there's some people and the land it's it's very shadowed. So some of this is just more off memory or off of what I think will look good here. I thought it would be nice to put a rock in down here. I think it will help create a bit of that depth thing, kind of look like it's behind or further back then this other rock. So for now, I've just got the outline and the light color in it, and I will add some detail to it, later grabbing my darker color. I want to create some detail in with these bigger rocks back here, so but I do. A lot of times when I'm creating rock detail is draw a line that goes all the way down lightly, kind of shadow it in, and then just lines that go throughout. Some of them are more filled in. This just is all random, and as you can see, it's just kind of giving them texture. And it works for me. So sometimes it looks more like you just fill it in. But it's more with lines that I'm filling it in in leave little spots that are still brighter and with some of these ones that were painted more orange. I'm just creating that dark line underneath, keeping it nice and street, and I do notice that rock out there is very bright, so I'm just coloring that in a little bit. But going back into that main cliff line and creating a bit more dark going up and the line that it's the difference between the two rocks here, I'm just creating some texture on that background. You just want to make sure your brush is very dry and just a little bit of paint just creating these lines. You can see them showing up over that highlight that we created, but it still looks hazy. And then just taking a wet brush and just glazing a little bit of that that got just a bit too defined and touching up that bit there with the darker bid. And then I think at this point, we're gonna call this part good. All these rocks are looking pretty nice, and I think I want to move on to some of the full ege which is going to really help us know what to do with these boring from rocks. 10. Part 9: Foliage part 1: So I'm calling this video full ege part one because we are going to be working with, um, in some darker colors, But we are going to come back over them, so don't think that they're finished, but that yours have toe look finished. By the end of this video, I've wiped off my blue on my palette here because I don't plan on using too much more of it . So I've cleared some space is and I'm going to start mixing up my colors or the village. I have my Matthew Palmer color. So I have this natural dark green in a natural light green. I'm just getting, ah, watery base of both of those going to add a little bit of the dark green to my light green mixture keeping the dark green one just a plain dark green. And then I'm also going to mix up this, um, end of brown purple e plant that I saw in these pictures. And so I've got a bit of the natural brown, and then I'm going to reach out and grab some purple. I don't have the color on my palette, but you can see that that purple just went in and then I'm adding some of my dark green, just kind of making this color something that's multi toned looks very ugly on the palate. Then I'm also just wedding my light yellow down there because I'm going to add dots of that in as a flower. So I'm starting with that five kind of scraggly brush that I did for all the dry brushing in the water. And I'm just starting some dotted stippling because I kind of am wiping off the texture, the paint. I'm sorry on a paper towel. Uh, I'm not getting a dark enough consistency, so just keep grabbing a little more, but I don't want to take this too dark at all. The's are kind of some trees in the background. I can't remember if they were a type of pine tree that sounds wrong on the ocean, but I don't believe there were palm trees. They just kind of were, ah, bit of a village that build up over these cliffs back here, and they kind of popped up over above. So I just kind of lightly stippling in what I the shape of those and I know I will take them darker a little later, but I'm going to start going down the hill with this. And I'm just using this same brush instead of one of my tree brushes for now to, um, fill these ravines with the Green Village. So you'll notice in the reference image and in my painting that it kind of comes and hangs down over the cliff here. And I think this will help kind of create the bit of three d nous that we're looking forward to. So I'm just creating that tail end that goes flat there and then goes down. I remember when I had started this part of the painting. I wasn't too happy with the way the very start of this looking. So if you are thinking the same thing and looking at my final painting, know that we will work on these together and get him to a place that they're looking the way they look in the final painting. So with all this cliff back here, I do have some bits that I wanted to look like. It fell behind the cliff so you can see that third row in it kind of drops off. And that still look like it falls behind that bit of the ridge. And all along, every time I grab paint, I'm just wiping it off a bit on my brush because I want to keep this that dry brush Look, for now. So with those, um, that way, for now, we're going to move on to some of the other village, and I am grabbing my Matthew Palmer medium tree brush. And I like this brush because of the way it's very spaced out in all the bristles. If you don't have anything similar, um, scraggly round would probably still work, possibly a fan brush or, um, a flat brush that you're kind of holding out the bristles on. So I'm just pulling that into my brown purple e color, and I'm going to create a bit of thes bush type things. I'm doing some just kind of dotting down. But I'm also doing some straight lines that are creating the look of plant stems and stuff going down to that center bit. But I'm also just creating some doughnuts, too. Kind of make it look like dead flowers or something that was here. Here, you can see it a little better this closer one. If your color is more of the purple color, that is okay, because I do eventually add more to this. Um, probably in the next part is one ideal feeling pretty good about that color. And I'm just going to clean out the brush so I can use it for the lighter green. This color. I have a lot more of a watery consistency, and I'm just doing that same kind of stippling it down. I'm okay. With there being some spaces and some thicker paint parts, I also I'm okay with that going over the edge a little bit. The brown line is showing through for now, but we can scrub it out later for the edge of this plant. I'm just going with a very light hand and kind of stippling away the edges so that they just kind of lightly fade. Well, it's all still wet. I'm grabbing that light yellow, and I'm just touching it to my orange as well. And just starting in with a small I believe this is a to brush some flowers you could really use Any color you like. If you're green is darker, you might need a darker color, like a red to stand out. So grabbing that light green again still in a bit of a watery consistency, just creating these shit shapes. And I want them to kind of look like this hill is sloping downwards a bit on this back one , and I'm just kind of putting them in random places but trying to fill some of the ground they don't necessarily have to be exactly what plant is gonna be there yet. But I'm just filling it in with color and you can see the brush got a lot drier as we got further into that cause I didn't refill it with paint. And I'm just kind of went on the outsides of everything to create that illusion, grabbing that darker green, and I'm going to create more of us spiky Bush planned, maybe tall grass. And so I'm just taking kind of more what a fan brush would look like and just creating upward strokes, creating a little more of that on the back hill and with a very dry brush kind of in the mix of this front plant. I don't want to go too crazy because I don't want to lose my yellow flowers, but I like Teoh, create a little bit of look of stems or something a little more to that from Bush. And after I've got enough stems. I just do a little bit of stippling to create them. Bit of Bush, like look to it. And I got a lot of water down here. And whenever you have that, I just like toe white, my brush off on a paper towel, they in grabbing the darker mixture again. I know I'm gonna want to take these darker. So at a little bit of my natural grey to the dark green and just doing those same motions of sweeping the brush upwards in creating another plant back here along, just trying to pay attention to the curve of the hill in grabbing my lighter mixture, just doing a little more filling work. This mixture is also ah, lot more watery, but I am okay with that. Sometimes, along the edge of these plans, I'm just taking that mixture and pulling it sideways. This is going to kind of give that shadow orbit of texture underneath the plant that you would see it from grass or something So now I grabbed my smallest Matthew Palmer tree brush . Um, it's the same shape of brush. It's quite a bit smaller. And I'm just gonna go on top of this rock out here because it has a lot of grass or moss growing on it. Um, working with a pretty watery consistency of my dark green and just doing all of this in the stippling motion. A little hard to see with my hand working here. But ah, little bit of it will hang down on the side of the rock and on the front side as well. I did switch to my four brush Just a great little bits of smaller and sharper Got it nice and dark as I'm creating this and once I'm happy with it just kind of stippling around, and that way it smooths out the dots that were working with. So at this point, I think I have enough of the foolish down to know that the rocks in the land here in front is going to need to be darker. So we're going to work back into that and come back to more of the village later 11. Part 10: Detailing: So in this video we are going to be doing just a lot of touch up to our highlights and shadows and textures. We're gonna jump right in on the sun. We're going to use the looked out brush and work on that of it. Basically, the art of lifting out is just having your brush. What? But not too wet. So a damp, clean brush. And you just want to work with something that has a straight edge and be working in a straight line whichever way on the paper you want. There are certain ways that work a little better, but you're just gonna be scrubbing in that motion. And then you take your clean as part of your paper towel in dabble what you're working with . I zoomed in because I want to show you how the rays are really looking. I'm creating liberals lines and raise straight out of the sun. As I said before with your son, that you could make it however sharp or soft, it's all kind of personal preference or how you feel about that image. Sometimes I like my raise to be very defined, and sometimes I like him to be very soft for this video. I really took a kind of middle ground approach. Some of them are a little more to find in some from her soft. So I'm good with my son and I'm going to mix up my Payne's gray for a really shadow color that I'm going to apply under this front rock. Here. I'm applying it directly to the water to give it just a darker hue that it would that you'd see from the cave, casting the hue on it. But I'm also adding that shadow to the base of the rock and onto that reflective area that we have to. Here I have that back leg and I just want to really define that by creating this shadow and here also on the middle leg, and I have just a very dry brush again. Some of this is appearing pretty dark and harsh, but I'm not too afraid, because I know I can always glaze over it. And I do want those dark lines so that later, when I come into the rock, I can continue to take that darker. You'll notice. With all these lines, I'm starting bigger at the base and just kind of getting thinner. That's just creating that natural look of a shadow. The lines are also creating a kind of cool ripple effects that makes it look like it really is a watery substance. It's on top of so mixing in a little more of the brown. I want to create that shadow for the Sandline and just applying right there at the base of that rock on the sand kind of doing the same technique. And I'm also taking this same mixture down to the shadows that I already have its very light, but just going right over on. So I have both the Paynes Grey that's more blue color and the brown color both going there . I also have this small rock in the front, and I just want to give that a little shadow. Then I want to take the same technique and color out to the rocks in the ocean, and I kind of drew a big line in there and decided that this one will also be a rock instead of a shadow. So I'm just going to the base of each rocket, drawing a couple of thin lines, and it's just really the dry brushing technique, and this is going to help create that bit of reflection and just show that they are indeed in the water, back onto the sand. I'm doing the same thing to all these rocks, just kind of grieving, that shadow, that if the sun really was coming from that direction, that would probably be some shadow from each rock going that way and just adding some texture and roughness to my sand down here. You can really just see how lightly my hand is moving, just adding little bits of color here and there. And then I'm just very, very lightly going along that pencil line that we had drawn earlier and more texture on those back ones and here in the front as well. And there you can see that pencil wine showing up a lot or tracing on it, grabbing my A brush and getting it a little wet. And I'm just going to smooth out what I was working on. Just keeping that all really balanced with the picture and back to my four brush. I'm mixing up the color we're working with earlier that natural, yellow and natural brown, and I'm gonna go back into the rocks. So here we are working on that front cliff. This is just the piece of it that's, um, visibly going downwards. And I'm just trying to create that shape and color to it and heading to those back cliffs, creating this defining line, showing where the sand is and where the rocks are meeting it and just kind of drawing some lines along just so long that it's creating texture. And then, well, I have this color and more of a yellowy base, just kind of splashing it in, and some random places give more color out there. But I'm also just going toe, mix it up a little more and adds more brown. This is a bit of a darker color, and I'm just adding it in kind of Stickley and blotchy. I remember I had a pretty interesting time not knowing how dark to take those clips back there. So let him rest for now, and I wanted to work on the texture of these front cliffs. So I do have a very dry brush here, and I am working with my nicer brush before you can go back. Teoh, an older brush if you'd like to, but I was okay, was working on my four brush here, and I'm just kind of dry brushing in texture. But I'm also paying attention to where the rock seems to be flat and where it's going downwards and anything that's the slope so that it's creating that illusion. And here's the point. I decided I was going to get a bit more scraggly with my brush, so I switched over to my five that I know is wrapped up. And I'm just taking that same technique to the front cliff here. And I've got that same brown color every time I'm wiping it off on my towel, and I'm just creating little bits of texture pulling away from this village Bush here it's just gonna create shadow. And I decided I wanted to kind of paint in this little ravine here just to give more, um, just more something for the idea. Look at. And so I'm going with line and then kind of the opposite way on the two sides, which is creating the illusion that it kind of goes inwards. Whenever you can tell your brushes getting really low on pain, it's OK to just get a couple of those rough, um, pushes in, and then you can see that it kind of fills in the color and gives you a nice texture that isn't the same as the normal, dry brushing texture and back to my eight brush. It's nice and clean and just full of water. And I'm just glazing over everything that I was just working on, just smoothing it in and trying to get those colors to where we want them, just really scrubbing on some of those spots back there that are just too harsh and just making them smooth. And even though I have the green there, I am okay with smoothing the two together. I'm not too afraid of the colors blending because what we have going on back there is very background. So it's OK for those college to blend a bit. All of this I'm still just working with a clean brush and the clean brush sometimes grab some paint, and in that case I add a little detail with that paint. So under these front cliffs, I'm just doing the same thing with the clean brush and smoothing out some of those details and lines we were making earlier, just adding in color. And it just really gives a nice shadow that I really like this effect. Perhaps if we had painted it, what on what we would have gotten this technique. But the way I painted. I have a little more control over where it's going and then can smooth later, and I prefer it that way. And onto the street. Did cracking between the two rocks? Um, I definitely started filling it in a lot darker. Then I wanted it as I'm working through this part and it continues to get darker, but we will fix it, so just follow along as best as you can. We're moving on to the fun part, the waves in the next part, so see there. 12. Part 11: Waves: So before we get started peeling up the masking fluid, there's a couple more details I wanted to do. While it's still there with a clean, wet brush, I am just smoothing out some of the shadow work. We're working earlier and upon the land to and advance with their two from rocks. And even though it may appear that we're kind of erasing, what we worked on were really just adding that underneath layer that later we can go over and add more over the top. But we have that layer that is providing a different kind of blur. That's really gonna be helpful. So grabbing my five, the one used for the dry brushing grabs my natural blue. Make sure wait it off, and I'm just gonna work on that, pulling out from the waves. So to the right, I'm just gonna be moving in that horizontal motion starting right in the masking fluid it cut. And this is just going to get that bit of what sand has been pulled back into the ocean the way that waves have that magic ability to do. If you've never been to a West coast as you're painting this scene, maybe just try to imagine the way these waves sounded and just the feeling you get being there. I myself have really fallen in love with the West Coast because of these type of beaches out here. So I'm just going all the way up with this pattern and bits of it, that it's darker and smaller or longer, and that's just like a texture. We're looking degree, all right, finally ready to remove the masking fluid and beautiful white paper underneath show. So I'm just going to take my pointer finger start rubbing at it in circular or sideways motions, just grabbing it all up. It comes up really easy this way. It's just a robbery. Substance kind of makes a mess in your paper for the time while you're doing it, but you just keep brushing it off to the side, and as long as you keep feeling your finger down on it, you can find out if there's more left over. You can see how messy this kind of convenience it's all pulled up on my paper. But just brushing it all off and his robberies with rules altogether just feeling over my paper, making sure there's not any left behind. And then I'm gonna pull up what I have and throw it away. So just a last double check that my paper is clean and free of the masking fluid. And then I am going to mix up my Payne's gray again that really dark, great, wiping it off on the napkin so that my brush is pretty dry. And I'm just going along the back of these waves and really respectfully doubting through them to create bits of the blue water that you see through all the wave caps. So just be careful when you're going behind the wave that you're just not painting a full line, that kind of going with what you have and then start creating these horizontal lines better . Kind of the leading line to it's the top of the wave, all with the dry brush technique you can see sometimes I know I'm just grabbing really dry paint, my dear brush, and you don't have to wipe it off then, So this is kind of a slow process, and you want to make sure that you're working with dry enough paint so that you're not putting down anything too harsh. And what in this water money that you don't use your water. What? Every once in a while, when I grabbed the Paynes grey, I grab a little bit of my natural blue as well. Just mix the colors of it, really Just going for getting this line right at the back of the waves Farther away, ones don't need quite as much detail in definitions. - Some of these waves over by the rocks. I just want to add that to the front of them and this front line A waves. I just want to go all the way along them and just that horizontal dry brushing pull back. So there's a couple of them that I just wanted to find very outer edge of. And sometimes if you turn your brush over, you have more paint on the other side that you didn't know about. So then with the dry brush, I'm just gonna begin stippling in these waves dotting This is a very light color that with this dry, we're just daddy, those bits of blue that are popping through that see through the waves. I just wanted to apply this in a very random information. That's or anything, just that stippling all around and just grabbing the natural blue here, having a little wet. So I want to make sure and just kind of doing the same thing to some of the back waves. I don't want to do too much Siplin because they are far off in the distance. But I do want to break them up a little for where the masking fluid was too thick. So just kind of working at your own pace to make sure you're getting a little bit every wave to just kind of break ups. Oh, wait. - And I'm just coming back through the front road at all. So one last thing I want to do to the water here is mixing up my natural brown, natural, great consistency. And I'm just going to go along that Can you please, Angela, just the very tip of it and kind of worked on this and an earlier. But now I'm adding a darker. You can see that this is really lifting that bit watery. This off. That's and as you get to the back, just don't need to do too much detail because it is further away, and that will close out this part in the next part, we're going to add some more full ege ends more shadows to our rocks. 13. Part 12: Defining : so jumping right into this part, I grabbed a teal kind of mint green color have about the top of my palette, and I'm going to mix this up for the succulent color. Kind of reminds me of what I'd see if I saw a wild, succulent growing in California, and I just thought it would be a nice pop of different color to go in with our full it here . So I'm grabbing my small Matthew Palmer brush and stippling dotting in thes new bushes. Well, I was working on the full ege. I wasn't really paying too much attention to my reference image and just making up my own Kelly plant life. So I'm just putting these in in random places. You can tell this one here is on the hill. So I'm just trying to create that where the base of it is that it does look sloped, and I just want to create one more down here on the bottom. Then I'm going to mix up my light green and dark ring together and work on some new bushes , this one on the very back hill. I kind of wanted to cover up that line so you can tell that there is a break between these two hills and maybe one in here as they get to the parts that I feel like our more of the outside of it. I'm just really lightly stippling in showing that the plant is may be spreading outwards, but it's got places that it breaks off. I started putting one in here in describing the bit of darker green, so that pops more and with different plants, ones like thes. I'm keeping definitely to a more bush texture where I'm just more stippling. The brush where some of the plants were working on earlier and I will continue to define are definitely more of a pull up and their lines. They look more like a tall grass or something back to the lighter green, filling in some off the area back here, keeping it to the more bush texture and then the darker green just want to make this pop a lot of times. If you have a light green and you just at the dark green right over the top, it really gives it more of ah bit of realistic look, especially if the light green is still visible in places. So here we are back to defining some of these tall grass looking pieces and just kind of adding a little more. Um, sometimes I add a little bit of my natural gray to the green to really help darken it. And just taking a moment to really view what's going on here, decided to keep adding to that front, told grass. And here my brush definitely had less paint on it. So I just came through and kind of added some stems and grass to this front village. And I'm just pulling in that bright green and watching it in in places to try toe. Just give that bit of really bright color pop. So with all of that really filling up in the colors really being defined, I definitely knew that the back dark green color needed to be taken to the next level. So describing that dark green mixture that has some of the natural grey. So it's nice and dark and taking that small tree brush and just stippling in to those bushes I have going down the cliff there because I'm generally working with the same color . I'm not really too worried about leaving any of it that's still visible. So I'm just kind of going over all of it and darkening so good with that for now. And I didn't want to take thes little bits of flowering in the front to the next level of color. And so I'm mixing up that bright yellow orange mix again and just popping the man right over some of the dots I've already made. And on the second hill, this plant was kind of looking similar. So I decided to put the flowers down on that. And I remember the top of this outer rock in the water also had that green and just want to take that darker. So, using my tree brush again, just kind of stippling on it, pulling some of that village just down to the front. That's gonna help create that lift, that there's an edge and it's coming downward. Thin. These back trees definitely needed some work, so I just have a smaller I have my four brush and I'm working with it, Um, very dry consistency, just kind of filling the bushes in. Well, I think they're trees and just making them more defined, so that they don't look like a mess up, but they actually look like trees up there. So I did put in speeded motion what I'm doing, What this front crack for a bit because, um, I did not like what's going on with it and what I was working on. So I darkened it and decided to leave it again. And you could maybe just leave yours and took my, um, natural yellow color. It's still mixed with a little bit of the brown, but it's definitely got more of the natural yellow. And I'm working on just that, um, crack that we were making in the front, continuing those directional strokes that are showing that it's going downwards and upwards again. You can see that. I just think about working on that crack again here. But the site against it as it was just really frustrating me set to work on it again a bit . And I'm going to move over to that rock that's out in the water and with my dark rock color . I'm just redefining some of those lines that we already have and also creating new ones. Uh, do you watch carefully? You can see that I am taking that sloped cave, and I'm just kind of rising it up, creating that, giving the darkest point at the furthest back and the lighter point further in the front. And this is just helping create that dimension of it, that it does slowly open up and go backwards, just mixing up more of the color. Once again, this rock dark color is just the natural. Brown and the natural pray together and working on that back leg that I just really felt needed, defining that it's actually back in the picture, not office close. So all of what I'm doing here is just helping with the three d effect that I've been talking about. And if you just kind of watch along and follow, I hope that you're able to really capture what I'm doing, as I'm probably still not doing a good job explaining exactly what's happening here. As I'm working on the second cave top can just see that all the lines that I'm building in are there just kind of squiggly, and, um, none of it is just the straight cut edges, because this rock didn't have that. It has a very rocklike texture that it just slowly goes back. There's no cut off parts. It's not a big slab of granite that, like Yosemite, the smooth sides, this is a very rocky texture. Or so every line I'm building in. I'm keeping that with my brush that it's more squiggly and whatnot up towards the front and top of this rock, just rebuilding in some of those texture marks that we may have smoothed out, starting with a nice dry brush and then grabbing a darker mix again in coming down and just building this line here that I think it's going to help show that this foot of the rock kind of jutted outwards down here. So helping to draw that kind of angle to it and onto this right leg, I just know what needed more texture and a shadowy nous. So I'm just filling it in with the light scrubbing of a dry brush and then working on the very top with this plant. Life up here just knew it needed some darkening, so I'm just rushing in, and even some of it can be on top, but it's kind of coming through the village in that way. So here I just wanted to continue to get the shadow effect in the water to really show that these air the mouths of, ah, cave that it goes underneath. And so I've just got that dark mixture and just kind of going in. I get some right on top of the waves, trying not to get too much. But I did get a little and feeling good with that part. For now, I'm going to move on to back close way to find that edge in the sand and this front edge. So here I'm just darkening, kind of redefining that ravine line that we have been working on just the main line and and here along the back, I just wanted to really be pulling it from that main, um, ravine in between the two. So it really shows that that's where it was directed from. And I finally got a little smarter about this back ravine and realized that the darkest point should be towards the bottom. So I started working in a darker color and with my breast drying out, I just wanted to continue to add texture to this deal, going down, creating that, but a slope there. Then it gets glad on its slopes again and just a little more texture to the front rock. And that will be the end of this part. In the next part, we will add some texture to those rocks in the ocean, a little bit of shadows throughout, and finally fix whatever's going on with this weird ravine here in the front two rocks, so I'll see you there. 14. Part 13: Wrapping up: welcome back, and I'm starting right in. I wanted to darken the beach line here where the cliffs would maybe have been casting a shadow so you can see what the color and working with I just kind of dragging down the brush and kind of smearing. And then I'm also going to add this effect, too. The front, um, rock that we've been working on. I definitely pulled a little too much color into one of those waves down there, and I will have to use a Palau brush to fix it. Then I'm going to be doing the same kind of brushing and pull down technique from all the rocks. This is just going to help create that shadow, the rock being reflected on the water but kind of casting. It's shadow because it's sticking up way just starting into finding that back Juan and yes, still avoiding that ravine. Well, I work on other things, taking my Payne's gray, and I'm just going to define these rocks that I'm working on, just really getting those horizontal lines that we're working on earlier. You can go right over the vertical ones that we were just painting in and I'm working this just with the color of the pains. Grades nice and dark and you can see it's just a line under the rock and then a couple more that kind of come out and fade a bit. I found that this technique, really especially on water, gives the cartoon realistic effect. It's one of the main things that I feel like gives my style what it has, because it just gives it something that's different and thes lines. They do stand out there not completely realistic. And that's why I call it cartoon real. Uh, keeping that same color just working on some of these ones here on the lab. And I decided to try for those vertical lines straight from this hill here to give it a little more shadow on the back in the sand and once again working at this front, one just continuing to dark in all those shadows, both vertical and horizontal e. Any time I'm getting those vertical lines in, I want them to be a little more faded and lighter and the horizontal ones nice and close. They'll be the darker of them, so you can see the base of this whole rock that it's really starting to get that effect that, um, it is, Ah, three d item or something that it goes. There's more depth to it than just a flat rock. So just taking probably a damp brush and smearing out that effective it and mixing up the Paynes Grey Here is where I want to work on the ravine and really get the bottom of it dark to really show that when you're looking at ah Ravine right on the edge of a cliff, it gets darkest right there on the edge, and then it slowly lightens up. So I think I finally understood what needed to be done that I wanted to get the darkest layer in. And then we're going to actually fix what's going on on the top. So adding some brown to my mixture, I'm going to start creating these kind of crazily lines that are more of this hill leading down into the ravine. So it's not such a straight edged, um, drop off like we were talking earlier with the rock that's out in the water. How it doesn't just have a street edge. I wanted to give this that effect so I kind of started working at it, wondering if I could fix it. And eventually I grabbed my lift out brush and with a nice watery consistency, I started lifting out the color, pulling upwards and even just kind of scribbling it out completely. I believe it was at this point where I finally felt that this tutorial could actually happen. I have been so mad at this weird ravine that wasn't sure I was even going. Teoh go about finishing this tutorial because I wasn't happy with it. But this point, I realized I really could fix the mistake in that it could be a good teaching moment. So sometimes with lift out brash, I'm just taking the color that's already on it and moving upwards with it. And I believe I'm going to come back and work on that a little more. But I was feeling a lot better about it, so I wanted to work on some of the village, so I'm mixing up my purple and the brown and added a little bit of red to it this time. And just kind of fixing these two Bush is that look more dead or whatever, adding more layer to them and more color in for the freshman that I'm doing a mix between the lines pulling up in stippling of the dots. And then I added a bit of yellow to my green mixture in just kind of taking that brighter pop of color and adding it to a couple of the bushes and this from Bush. I just wanted to spread out a little on every side. And then I decided to take the color and added a bit to the succulents or whatever they are . It's just kind of popping it in a little bit everywhere but letting the other colors still come through, then grabbing my really dark green mixture again, just continuing on those tall grass bushes. And here at the very edge of this woman flowers. I just kind of wanted to get those nice tall strands. And once again, once I was getting this village a lot more full. Those back hills were just standing out to me, has not full enough, not colorful enough, and so just kind of was taking the brush in more of an aggressive motion and just going at them. So back with my rock color the yellow and brown here, I decided to defined, define the edge of this cliff. It's kind of going downwards. So I'm creating those very scrambled, curvy brush marks that are creating the rock texture. And you can see that I'm doing this all on emotion that looks like it's coming and pulling downwards. And now that I'm a lot more happy with that, just redefining that ravine a bit, just adding a hint of the dark green to those brown bushes and then once again just stippling on the top of this, um, cave rock with a nice dark green coming down on that front edge a little. And working back into those shadows, I decided that this front area from the view of the person standing would maybe have some shadows as well from this cliff that were on reflecting onto the sand. So just kind of grabbing those shadowy colors and putting them in. And this is all something as we're getting very close to the end of the painting kind of personal preference. But it's just the little details that I find that, um, help bring the whole painting together, and I find them fun So , looking at the painting as a whole, I decided to grab my lift out brush one more time and just continue to redefine the sun here. And I even decided I wanted to pull those raise a little farther along the clips. So just continuing that motion, the clean brush straight lines and dabbing it out. So these rays were a bit more to find, and these ones closer orbits after. So just gonna finish that up and we'll move on to the very last video where we just kind of find, too, in a couple of things, and then we'll be done. 15. Part 14: Final Details: so starting right in, I have my lift out brush. This area of shadows was getting a bit too dark for me. So I'm just dropping you some of that scrubbing lift out in pulling up some of the paint. The color is still definitely there. I'm not lifting out white, but it's just helping Britain. The area bit for me and applying that same thing right to these shadows that got pretty dark, just kind of scrubbing them in blood and get out on then. I also wanted to try the lift out technique in the water here. Sometimes it really gives a kind of look that the sun is shining. So I'm just applying that. And it's kind of hard to see, I think, on this video, but it did add some cool of dimension, so just going in that motion and lifting out just a couple of places here in there just to get a nice, lighter bit of color, grab my really dark blue and just redefining that very back horizon line. I want to really give that illusion that it's fading off into the distance and you really see that with water and just also adding in a couple more of those dry brush strokes towards the back line and everything going up against a couple of the waves back there with this color and as the brushes drying. Just using this to continue to go on some of those closer rocks waves again here listers, adding a bit more darkness to it all that maybe it wasn't dark enough before. So this little spot looks like a spot that didn't have enough texture. So I'm just feeling that in this is all just your last minute. Anything that is standing out to you as not dark enough or not textured anything that you see is now is the time to kind of catch it and fix it with paint just a bit more watery here. I'm just adding kind of some watching nous to this cave part, just really creating that darkest part in the back and on that back leg and slowly kind of coming up with it all instantly emotions creating those bits of little Craig's in the Rock and doing the same thing to the other one. That one doesn't have a back leg and just back over to this routine again adding spit, more texture and everything now that it's come a long ways. Just want to give that riel effect of the rocks sloping down into the ravine, keeping my brush nice and dry and just continuing on these squiggly lines. Rock texture, making sure I have some nice dark bits that pop out little bits, more of detailing on those back hills, more filling in. And then just with my brush a little bit What? I'm just taking this right over the edge and pulling the color down kind of creating this shadow line and then with damp brush, just kind of smoothing it out. And there you have it. My painting has come a very long way. I hope yours has as well. And I would love to see your final image in the Project gallery. If you feel comfortable sharing. I'd love any feedback or advice. I'm still new to teaching and still growing in that as well. So I hope that you enjoyed this in that you have a fun painting to remember it by. See you next time