Coastal Australian Landscapes Made Simple

1. Introduction: Welcome to coastal Australian landscapes made simple. In this class, we'll be painting some Australian landscapes from Eastern Victoria. Being able to capture an impression of a landscape in a quick, fun and loose manner is an essential skill that every artist should learn to master. Watercolour is the perfect medium that allows you to produce spontaneous and expressive paintings on the go. Each landscape in this class can be completed in approximately 30 min, including the drawing. I'll show you how to simplify shapes, an estimate and pencil in large shapes such as sky, water, and land. Getting those large components inaccurately is essential for your painting to make sense. So join me in this class. You'll see just how easy it is to create a beautiful landscape painting in no time at all. 2. Materials Required: Okay, I wanna do a quick video on the materials that you're going to need for this class and go through the basic ones first. So the paper I'm using is 100% cotton watercolor paper and it's in cold press or medium. And the reason why I use this paper is that it's got a little bit of texture to it. It just allows for much more interesting and easier mixing. Paper does take a little bit longer to dry as well because you've got all these little troughs in the paper. But if you don't have this sort of paper, the next best thing is smooth hot press paper. The main thing though is to try to get paper that's got that cotton content in it. That allows you to work with a little bit more ease. The effects which the wedding where the effects are going to work a lot better than if you use just the generic watercolor paper or cellulose paper. With that said, if you've only got cellulose or generic watercolor paper, make sure you use that. You still gonna be able to get similar effects. But one thing to remember that you're gonna have to work a lot quicker, does I find Dr much faster? So that's the paper that I'm using. So I'll go through some of the colors that I'm using. So this is hansa yellow, medium, yellow, ocher, pyrrole, orange, quinacridone, orange or red. I've got buff titanium. This is a nice beach sand color, which is kinda like an off-white color. Cerulean blue. I don't really use these two here. This one here is a ultramarine blue. This is burnt sienna, burnt umber. Here I've got a darker green. This is called undersea green, but you can use other greens as well. So if you've got a lot of green or if you've just got a darker green, use that. We've got a lot of green, just mixing a bit of blue into it to make it darker. Here I've got a bunch of purples and neutral tint. I've also got here a little bit of this color called lamp black. And lamp black is a granulating black color. I like to use that when I'm painting rocks and natural features, stuff like that. So those are your main ones. But the thing to keep in mind that you don't need all these colors if you've only got yourself a yellow, a red, even just a blue like an ultramarine blue. That's the basics that you're going to need because you're gonna be able to mix most of those other colors except maybe the browns and stuff like that. But yeah, the ones in-between, a more convenience colors. I've also got a tube of white gouache. This is really important at the end stages when we applying some highlights. Especially because I mixed these with some of the other watercolors to make some opaque, opaque yellows and stuff like that. So that's it in terms of colors. Now, with brushes, you'll find that the main brushes I use are basically these mop brushes here on the left. Now, these ones allow you to pick up a lot of color, a lot of paint, but still be able to cut around objects with the fine tips. These are what I use for most of the wet and wet painting at the beginning of the, beginning of the demonstrations. Later on, I tend to pick up something like this. This is a synthetic and number six and number eight round brush. This is good for doing figures, smaller details, things like that. Also use a bunch of these other brushes from time to time. So over here, I have a fan brush. This is a fan brush basically it's got these different splayed tips like that allows you to get in grass and things like that quite easily. This is a flat brush with a funny cut edge here you can see it sort of cut on an angle. And this just also allows me to get in a little bit more finer detail with the tip and also creates sharp edges for rocks. This is a really old round brush that I've gotten. I use this sometimes to just get in some trees or some branch shapes that just look a little bit more irregular. Also use this brush here from time to time. It's a rigger brush. Again, it just allows you getting smaller details. But really most of these brushes are not necessary if you've got a couple of mop brushes and a little round brush like this. You're going to be able to get by in this class. In terms of miscellaneous materials, hairdryer, in-between, washes does speed up the entire process. You'll see me using that. And this is a little spray bottle of water. I use this at times to just spray over my painting to soft enough some of the edges or give me a bit of extra time so that I can paint wet into wet if an area I noticed near is drying, you use a little pocket knife as well. And this is used to scratch off paint in areas to create highlights. And also you'll need a pencil. I use a mechanical pencil. This is a I think it's a one-point three millimeter lead pencils. It's pretty thick, but anything 0.50, 0.32, 0.5 and above is completely fine. I just prefer to use something that's a bit thicker so I'm not bogged down in all the details. And that's about it. And we'll see you in the next video. 3. Australian Bush: We're gonna be doing a painting of this bush photograph that I took in Wilson's pro-military. We've got a whole bunch of bushes off in the background, and then we've got some grass in the foreground, some mountains in the background. But I thought it would be a good, simple one to get started with. And it's gonna be interesting as well because we want to actually add in a bit of texture and some different colors and stuff and the bushes so that it's not just all one big shape. More so making sure that we've got some lights and darks in there. We've got some colors and some interesting wet and wet effects. So let's go ahead and get started. It's gonna be quite a simple drawing really. For this one, I'm going to probably just start off with this air in the back here where we've got some of these some of these bushes that go up and then we've got a mountain off here, sort of ends about halfway through the page, the mountain, the bottom of the mountain anyway, we've got this bushy on the right-hand side. Apart from that, this is not really a whole lot we need to draw in here. This is just a little indication of some grass in the foreground. I'll see if I can just make this huge mountain in the background a little darker. So you're able to see what I'm drawing, something like that. Okay, so long as you've got that mountain in and then some of these air, the bush here. I think you're gonna be completely fine. Okay, so that's about all we need for the drawing for this one. And what I wanna do firstly, is wet the page. Let's get some clean water. And I've actually got some water that's got some little bit of coloring it already, but I don't think you're gonna be able to tell me that grayish when a wet the entire sheet of paper. And I'm using a large mop brush for this. And the reason why we're doing this that we can get in all those wet and weird effects. This is all, or most of it anyway, is gonna be painted in wet and wet. So we just want to make sure that we've got that page completely saturated with water. And when I say completely saturated, you're going to be looking at that sheet of paper from an angle from the side and you're going to see this nice glistening effect on there. That's when, you know, you've got page quickly wet. Like to go back and forth a few different times just to make sure we've got enough water soaked into that paper goods. And let's go ahead. I'm going to start putting in little bits of color for the sky. And actually I'm gonna use a smaller mop brush, this one here. And I'm going to be going and picking up some cerulean blue. Cerulean blue, I'm going to drop that straight into the sky. Look at that just a quick little sporadic bit like that. Of course we do have some clouds in here and you can cut around the bit of that, just leave some whites in the sky. It's gonna be tricky because I think a lot of this blue is then going to creep into it. But we can try to just leave out a few little bits like that. I always like to make the top of the scene a little bit darker. So adding some little bit of ultramarine up the top like that. And then as we move downwards, just water it down, really just adding a bit more water. Okay, here we go. We're moving our way down the page and we've gotten all this blue. Okay. I've got the page, the paper slanted a little as well, and that just allows me to get a nice gradient as we move down the page. So we have a bit of a flow. More of that blew up the top there, okay, and hope that melts in nicely, soft enough that line in there that we're going to have a bit of a blend, very, very slight blend. Over here in the mountains. We're going to add in a little bit of green, bluish green color. Let's be better. Look bluish green, maybe a bit of brown in there as well. But just more cool than anything. Let's drop that in. Let's see how we go. We've got a bit of that off there. And I'm going to just shift this cross where I've drawn in that mountain in the background. And it's very important to make sure that the consistency of the paint we're using here is thicker than what we've used. The sky. This means, this will basically allow it to spread less. If you use too much water when you're going into this area is wet and wet area again. You're going to get a lot of blooms and funny little effects and we don't want that at all. So to keep it smooth, make sure you're using more paint in this mix. And I can go back and get in some purple, even bit of purple and see if I can drop a bit of that in like that. Just some green and purple here as well. And just to touch it that often the distance, just want to, just want to make sure I've got a bit more variation in those mountains. Once it's dry, it can be tricky to get in some of those details. So if I do it now, especially just adjusting the tone as well, making sure that we've got it dark enough in that background. Might look okay at the moment, but then when it dries, it always dries a lot lighter. So we've gotta be mindful of that and take that into consideration. Remember all this paper is completely wet. Okay, moving down, Let's go ahead and get some browns and some greens like that. We'll drop in a bit of green here. It's almost pure green. I'm picking this up off the pallet, straight off the pallet and a bit of brown as well, drop that in. And this will just allow me to get in some darker shapes in the front for these bushes. And always like to change around the green as well. I can mix in a bit of yellow into that green just to get a different, slightly different tone in there. Okay, Look at this. There's also little bits of yellow in there for the flowers and stuff like that too. Not going to worry too much about that for the time being mainly right now is just looking at getting in some soft little shapes. Can actually mix in a bit of purple into the green or a bit of blue into that green to create some darker greens as well. Something like this here. And just experiment around and drop it in. Because what we wanna do is have a few different, a few different greens in here. We don't want to have the same ones all the way through. Okay, so look at that just is going to be darker bit here, darker green here. And I can pick up some more of this more vibrant, yellowish green that I had before and try to drop in a bit of that here. Notice how it's all just starting to blend together like this. As we move down the page as well, you're going to find that it does start to seep into the foreground. And I'll show you how to handle that in a moment, but don't worry about it. Being all we wanna do is just getting some softness and very broad soft shapes in here. And I just augmented a bit by adding in some darkness here and there. But underneath this tree you can see this bush. There's a bit of darkness. There maybe be here. K is even some bushes off in the background which are pretty dark like over here. You can get in something like that, something like that here as well. Which just it's quite abstract. And there's even something that comes up here, like a bush that comes up over on the top section like that. Creating a bit of something like that over on the left-hand side. It's not the end as well. We'll go back into it later. But this is just to get in some quick colors. Then what I'll do is just watered down this green. Start putting in a lot of water in there, mostly water, probably 80% water to 90% water. And I'm going to get in the foreground over here as well. I've got a bit of yellow ocher that I'm going to use for some of these grasses here. Just dropping a bit of that yellow here, but a yellow ocher over in this side. Yellow ocher more here. The important thing is try to get some type of distinction between the shrubs and the background. And the foreground is quite light here in the foreground, so you don't want to overdo it and add too much paint, too much darkness in there. Okay. The grass is a greeny, yellowy color. So I want to preserve that. They just drop in that color. Keep it nice and light. You can see here. Nice and light. I'm referring to on the warmer, warmer side as well with the yellows in here. Because I can always add some more green and if I need to, but if I want to add in more yellow afterwards, it's gonna be tricky. So I always start with the yellows and work my way through to add in the darker bits and the greens afterwards. And at the moment I'm thinking I might pick up these, a couple of these little brushes here. I've got a few of them. I've got a fan brush, I've got a rigger brush and I've got a smaller, smaller round brush and a small mop brush because I want to get in. Especially in the background, I'm thinking perhaps a few bits and pieces in there. Some smaller shrubs, some darker shrubs and details because now that back area has started to dry off, you're gonna be able to do that. I'm just seeing if I can scratch in a few little tiny little bits and pieces like this. As you can see, some parts of already started to dry. So this is just a I'm using a little knife here just to see if I can scratch out some paint. Can be like a tree branch or something up here like that. And then just simple little something. It can be really make a huge difference. And especially you can see the grass here in the background where it just touches these darker areas. They have little bit of a contrast there. So I want to put some of that in it. You have to wait until that paper is almost dry, slightly damp, and then you're able to do stuff like this that might have been a little early. We'll go back into it a little later as well and try again. So little fan brush here and I'm gonna go pick up some darker paint, a bit of dark, darker paint here in the palette anyway, we can just drop in some like this. Okay, Let's have a look, a little bit of feathering, little bits of darker paints. I'm just having a look and seeing what else could we put in here? Maybe a bit more darkness near the basis of some of these shrubs. Notice how they all kind of blend and merge together. And the challenge is really to just draw out some details in here so that it looks like there's a few different shrubs, a few different details in this area. But really, we've just got one, almost one large shape going across the entire scene. This is kind of like a bit of that shrub here that I'm trying to indicate, this slightly darker green ones that runs through all the way to the back like that. This case it just adding that in where I can. In the foreground there's also some like shrub, like fix here. So I can just put in a bit of that darkness like that. So let's just drop that in here. It can be a shrub and a bit of brown in there as well. Here in the foreground. I'm just trying to get it to mix in a little bit as well. Here's another one Here. More green in this section, like that. Okay. Good. Bit more here. Here. Just getting some darker. Darker ones may be at the back. Just sharper looking like that one there, couple of leaves ones here. Okay. Okay. Good. You still see those mountains a little bit off in the distance. I'm good. It's feathering. Little bit of extra color here in the foreground. I'm going to put in a bit of brown just to keep things more. Just a little bit darker over in here, just so we don't have enough, I feel like we don't have enough texture in the foreground. Just a little bit of that little wet and wet work going on. See some of it start to expand out and we've got these pickup a bit of water and I'm dropped that water straight into some of these areas and you'll find you get this kind of bloom effect as well. And I always talk about blues being something you should try to avoid. But in this situation, you can actually use these to your advantage and create kind of like round shapes that appear to be shrubs. So she often the distance here where you want to indicate a bit of variation. I find it does actually help to do that. So you can see just a few of them starting to form. That's another nice little technique you can play around with. I'm just going to grab a bit of buff titanium and see if I can drop myself in a bit of this. Here in the foreground. These kind of bits of shrubs and things like that. And interesting thing is that they actually start to head up further into these bushes and shrubs in the back. A tiny bit of white gouache in there as well. That helps to just bring out a touch that opaque quality in here. It's really just a bit of gouache and a bit of buff titanium. If you've got one or the other. That's fine. Just use either one of them. I'd just like to combine them. Sometimes, maybe go just there's a bit of that. They're just get a bit more of it in bits of grass cutting through areas. And I find it's quite effective, especially when we're looking into these background areas where we're creating these joining parts. And it's while playing around with this little knife bit earlier as well, just to do this sort of thing. Because you can find enough, get some indication of grass and textures. Okay, we're running through this area. I prefer to scratch out actually where possible. But I think a combination of using a bit of gouache and a bit of scratching out. You can get this interesting misty effect in areas. So that's why I like to try to combine them. And having the grass sort of go off on these little tangents and things like that. It makes the scene look a bit more three-dimensional, as you can see already, it's starting to do this. Start to do something. You got larger bits here, maybe on the foreground, exaggerated. Of course this isn't in the scene, but I'm just trying to get in a bit of extra detail like e.g. here, we've got an overlap of some of this darker shrubs and things like that. We can actually scratch bits and pieces out to create details. Branches here in the background. The trees. I did one for that tree over to the left, but they might be bits and pieces in here as well. Just have a bit of a play around. I mean, the whole page is still basically wet. So you've got a lot of time to get in there and add in some tiny joining on effects. Like what I'm doing here. Getting in a bit of those grasses where they hit the bushes and scrub in the background. Just putting a little bit of yellow as well into the gouache in that area. Okay. Because that nicely melting in the background. I'm wondering if I should add in a tiny bit of what you call it vibrancy in the back as well. Just for some of the flowers, these wildflowers, even a yellow or something like that. Joining on. I can do that and just see if I can pick up bit of this really bright yellow, bright yellow. Mix that in with some wash. Wash in there. Get that extra vibrancy. And you can just drop in maybe a few little bits and pieces in here. Tiny little dots and they might indicate some flowers or just not too obvious. Just tiny little bits like that that hopefully spread out. Because that papers again, I keep saying it's still wet so you're you're gonna get softer effects like this. You're not going to be stuck with all sharpness all over the place. But you can see that yellow to come out a little bit and it's quite nice actually, just simple bits like that. Maybe a few more on the left-hand side is not really in the scene, but I can put it in a bit here on that left-hand side. 4. Beach Scene: Orange Rocks: We're gonna be doing this interesting beach landscape. We've got these red, orangey colored rocks that are just scattered along the beach or large boulders. And then we've got a bit of the headland out the back. And of course to the left-hand side, a little bit of the view of the beach. And I'm going to try to actually extend that beach a little bit more, maybe move some of those smaller rocks that just looks more like water in the background. So firstly, we want to separate the sky from the ground. So measuring how far it comes down to, it's almost like maybe two-thirds takes about two-thirds of the page in terms of the sky, maybe a little bit less. So we estimate it somewhere around here. Because I do want enough of that yellow sand, white yellow sand here at the bottom in. So I'm going to draw a little guiding line roughly around here. And of course we've got the water which comes all the way up like that in the distance. Now the big deal here is these rocks, of course. So I'm gonna just getting a quick little sketch and I'm not even going to lift my pencil from the page. And this will give me a little indication of where I want to place those rocks are roughly. Okay. Something like that. Another bit of rock here and always do some little bit of this scribble. First. Helps me plan out where the shapes are gonna be. Okay, notice the rocks do overlap a fair bit as well. So that's the general shape of the rocks. There's actually some out here on the left-hand side as well, facing us and has a bit of darkness in here. Some sand underneath the rock as well. Often the distance in the background we have, of course, this bit of headland and I'll actually extend that a little bit so that it forms kind of maybe a negative shape behind the rocks. So something like that. So we can kinda color behind the rocks as you can see here. When we do the painting and it creates another shape. So let's have a look. Having, having interest to check to see the rough shapes and everything, we got a decent little indication of where the rocks lie. We can just shake them a bit more now and give them a bit more detail. That's the back-end of the rock as well. It kind of extends out to the front. There, there's a bit of shadow underneath the rocks. So the light source is coming, I would say almost directly from above. This would be like a midday shut. There's not gonna be too many shadows just in-between the cracks of the rocks and things like that. You will get some separation in darkness and at the base of the rocks as well. Look, here's more bits and pieces, smaller rocks and things here to the left-hand side. And this is where I was kinda talking about. I'm going to reduce down these ones so that they're just a little less obvious. And that will allow me to get in some of this water here in the background. Notice there are some little mountains as well often the distance, I'll just indicate them like that. Okay. But apart from that, I think we are good to go time to get into some indication of the sky. I'm going to pick up a bit of this water that I've got. It's a bit of dirty gray, grayish sort of water. And I'm putting some of that into the sky to start off with. And what I'll do from here is just pick up the cerulean blue that I've got and drop that straight in there. Okay, it's gonna be quite quick. I don't want to muck around too much with the sky. Just make sure that I've got some vibrant cerulean blue color in there. And the area that I'd wet before, as you can see, I'm just cutting around it, letting the blue touch the edges in places here and there. We go. That shift that over, bring that down all the way to here. That water starts are gonna have to make that water a bit darker. I'm just cutting around some of these rocks. As you can see. Just a brief little indication of where those rocks are. Good. There's actually some greenish colors in here, so I can just drop in a bit of this little bit of this undersea green. Make this headland of these mountains on the background just go up, reach up a bit further in the sky. There we go. Just a touch of that in here. While I can, I think it's always a good idea to do a lot of this wet-in-wet work. I'm like that it'd be those mountains off in the background. Just a touch of gray. Having a look here maybe for some of these rocks. And I think what I'll do actually, he's getting some of the orange first I've got this color called quinacridone, orange. And it's a very, very, very vibrant orangey color and granulate as well. Just perfect for rocks. You can use any kind of orange that you'd like. And I'm using it very lightly. Most of it's just water in here cutting around. You can see some of these rocks and I tend to leave a little bit, as you can see, this little bit of white in there to help separate out the rocks. No one from the other. Otherwise, I tend to forget. That's got some orange on it. He is maybe an orange on that rock as well, a little bit to the left of these other ones, the smaller clusters on the ground. And let's have a look will actually work on some of these little rocks here in the background, a little darkness. We read a gray in here and I'm leaving a touch of white on the edges of those rocks and the top of those rocks as well. Again, just to create a border so that we know where the rocks start and finish. This is where I'm getting in a bit of dark color. This is basically some black lunar black. Mix it in with a bit of brown lunar black and a bit of brown. Interesting thing about these rocks as well as that they have this sharp, sharp line at the bottom. Can you see that? Look, it's just kinda like cut off at the base of those rocks where they're just different color altogether. Sandy sandy color. I'm putting a bit of that here, the base that we like that. Or you have to go back into it later with some gouache. And here we can drop in some wet on wet colors to indicate the black bits on the rocks. Dark and black bits. As you can see here. And I'm going to let it all kind of blend in and meld into the the colors. Okay, That bit more here. You've got some here separating at that rock as well. Or even on the top like that. Here. A little bit of color there. Good time to pick up some of these other color. I've just got some of this whitish color that I think we can use for the ground. The sand, It's buff titanium. Okay. It's like a milky white color. Right? And we'll start joining this on a bit to the rocks like this. Some of it's going to flow, doesn't matter. Just let it do its thing. Okay, Good. Little bit back there now the water is around about here, so this is where I'm going to just stop and quickly getting the rest of this area on the foreground. Okay, bit of darkness here in the background. I'm going to pick up some ultramarine blue and drop that straight in for this area of water. Some of these mountains in the background, I'll just darken out of touch as well. Get going upwards. Near the water. I'll skip over some areas to t indicates some of the waves coming into the shore like that. I'm connecting it all up. Having some coolness here in the background. As you can see. It just be touching the shore like that. I think that certainly does the trick. Just mop up some of this paint like that. I'll also just pick up another brush and create a bit of texture here as well. So what we can do is pick up a bit of brown or whatever. Color, dark in color here and just tap that on like this. One to another brush close to the page. And you can get these kind of speckles of bits and pieces here and there. Not only that, just drag my brush over areas like this. I kinda want to create almost these undulations or guiding lines as opposed running through the scene like that. Give it a bit more dimensionality. This could be seaweed, this could be anything, but just something here in the foreground so that it doesn't look too plain. Okay. Good. I'll give this a try. Okay, that's turned out looking quite nice, dried off. And the challenge now is just to add in some tiny little details and structures, things like the shadows, extra rocks as well. I'm really thinking whether I want to emphasize those shadows more as well, maybe getting just something more. Something a little, a little more dramatic. When I say dramatic, I mean, rather than just have a shadow underneath, I might have it cut and go a little bit forwards more. Just kind of like coming towards the front of Moses. If the shadows are coming from the light source is coming from the back a little bit. So let's give this a go. I'm going to pick up again some of this dark color. It's just a bit of a little bit of lamp black. And I do like how these rocks have turned out. You can also do this sort of thing where you're just give that just a little bit of dry brush, picked up a bit of that darker paint. Dry brush that on. Likely to create extra darkness and bring that some of it down the rock. It'd be quite careful when you're doing this as well so that you're not overdoing it on when to soften up some of those some of those marks so they look kind of artificial carefully around and where you can see a little bit of darkness on the rock or a little bit of texture. This is what I do. I just pick up a touch of that black paint and I'm playing around with the cloth as well that I have them on the side, just a bit of tau. This here, then just allows me to a bit around that rock, give it more detail. Another thing I'm doing notice is perhaps they could do with a touch, more vibrancy. And some of these areas, I don't know, maybe like a it's hard to say but, you know, a little bit more orange. I've been just play around with this other orange that I've picked up. And I might see if I can get in the little almost as little line there at the base of that rock. Like that. More of an indication. I don't think it's a huge deal for me, but something like that. Okay. And maybe bringing bringing a bit of it upwards like that. Another it's almost like another layer of color on the layer of orange. Okay. Because I didn't feel like it was vibrant enough in that previous wash. So another layer might just do the trick. I have to make it look natural and very light as well. So I'm using so much water in this. And often what people think is that you just need to use more paint in a high concentration to make it look vibrant, but couldn't be further from the truth. You need to keep the watercolors just with a lot of, a lot of water in it. If you put the, the, the orange paint down straight away, it's going to look almost opaque if you're not careful. This is some more of the black. There's a lot of contrasts between this black of the paper, the paper that the rock, the black on the rock and the orangey color on it. So interesting. More, more orange or something around there, around the tip of that rock as well, maybe around here. Defining it more. Okay. Good. Bit more of it. Maybe. Yeah. Good. Good. I'm just not playing around this darker paint. This black color would be nice. Here. There we go, Just a few darkness behind that rock. And it helps to draw out that front rock just by doing this one at the back, like that. Here, a bit of darkness on that one. Good one. I really getting some more these striations and it's a dark color into the orange as well. I guess you can see here just little striations and things. Darker striations. That good. Dark and rocks here, the front as well that help. And also just damp and this one off. He has just looking a bit too sharp. Okay. Good. More color on this rock. Darkness like that. Funny enough, the ones at the back here veteran have too much orange in them, so it's not need to worry too much about those ones. It's more just the rocks in the front. And sometimes a spray of water over the top of all this can help even it out. A touch that I like this granulation effect that we can get here with this black. This black here. Okay? Little separations and things that are softer than that off. And it's part of Iraq again. And also while I'm here, why not just go into the background and getting some of these darker trees and things. This is like this, really just using a smaller brush. And I'm going to just use this to cut around the rocks. There. Maybe darker. Just to be darker like that. Okay. Some very sort of edges or slightly undefined edges with this one out. Round brush. Happy, I'd never throw this one away for this reason. It's always a purpose. Brush like this was a US. Good softness beyond those rocks like that. Okay. I'm going to work my way into the base of these rocks now and look at perhaps getting in those shadows. Again, like I was saying, I think having a bit of purple in the shadows might be nice. A bit of purple and black that's mixed together. We know that the shadow is roughly here underneath the rock like this. I'm going to just use this brush to get an indication of where it might be like that. Just the base of that rock and then there's a base of this one as well like that. It's marking out the general base of it. Another one here like that. There's a few others here as well, like this. And this is where I'm going to have to make something up. So if we want to have a shadow that's running a bit to the left, I'm going to have to just make it up like this. Shape, shadow shape that's branching out like that. Let's have a look, this one as well. We could just have a bit of that going out more than on a kind of angle base of those rocks. Another one here. And here, that we've got these rocks here on the beach. They might have also an indication of those same shadows. The same pattern of the shadow running towards that left hand, left hand side. Like that. Make up a few more as well. You could go in and add another rock or something like that here and just add the shadow in like this. It's quite simple to add different rocks in. Once you've got an idea where the other ones are, just put them in here. I just want to break up this shadow with a touching head in a few little rocks and things, but maybe like a brownie coloured rock use well would be nice. Okay. Yeah. The one here that you do it, That's how you add them in. Okay. Just looking around the rocks to see if there's anything else I can potentially add integer or add some extra details. I'm going to draw this off first. Nearly done. Few more bits of black I think would be useful to draw out extra contrasts like e.g. just here to the right side of that rock. I can notice there's a bit of shadow there and underneath these regions of the rock here, I think I'm having a little bit of darkness underneath extra darkness here. Emphasize the shadows more. As you can see, just a little extra darkness there. Give these rocks are a little more shape and also around the edges and I skip, as you can see, a sort of skip areas are outlined the entire rocket skip over bits and pieces as well. You can just outline some of these other rocks, put a bit more darkness on the left-hand side of them to this one here that just has a lot of darkness. They're here as well. That little section of that rock. I don't want to get rid of all the nice granulating effects on it. So also being mindful of that, they're a little bit of darkness off in the background. Sometimes a bit of this stuff here in the foreground is little tiny bits of seaweed and things that you can indicate in the ground does help. You knows what? That play around with some white gouache, maybe the trees in the distance. Little bit of this white gouache. It's more of like a like a grayish color now. Just tiny little trees or something here in the back. Leaves. Branches of them intersecting with the rocks. Something like that. You can also use this to bring back a bit of the gray on the rock as well. We've lost a bit of that or we just want to shape some of the rocks a little bit more as well. You can go ahead and do this. Try not to overdo it though. That one there. I could just bring that out and make it look a bit more like a rock. You've highlight maybe here, here, on the top of the rock. Here. Here. They're also in some of these rocks on the ground. Perhaps a touch of yellow right side of them as well. You look wash that. Make it look like this. Perhaps some other rocks here too. That can be another rock in their shadow. Shadow on these ones. If you birds flying around two. And we're finished. 5. Beach Scene: Overhead View: Alright, we're gonna be painting this beach scene near to Wilson's pro-military some of the drive through there. And the thing I like about this one is that there's so much to work with here. You've got a bit of the water coming in. You've got all these areas of elevated hills and mountains in the background. We've got these rocks here in the foreground. And you want to change up that water a bit and make it more bluish and also smoother as well. So we're gonna go, give this a go and see what happens. We firstly, what we'll do is go ahead and draw the bottom of those heels in the back. Now, looking at those hills, it's kinda where the water also starts. I'd say it's just a little bit further than a third of the way up. So if I sort of draw a line like this, it can be the bottom, roughly the bottom of those hills around here, just make it a bit darker. There's able to be seen better camera. And first thing I'll probably do is actually getting this error of water and see what we can do. Something like this. There are some rocks here in the water. You can see there's one might as well just start drawing a bunch of these in, while I'm actually here in the area like that, you can see the water sort of go around those rocks and then you've got that slightly darker bit of water over here in the front where it hits the sand and forms just a darker area of wet sand. So I'm just putting in the boundary of that there. And let's have a look. Now, the mountains off in the background, we can actually simplify it down to this big shape where it comes in like this. They're kind of like cliffs, aren't they on the right-hand side as well? Like that's kinda disappears out the same. You've also got a mountain right in the middle. I'll try to emphasize that a bit more actually like this. There we go. We've got a kind of a mountain off in the distance. But everything here in the front, I mean, we've got some of these trees and things up the top like this. And further down, It's more of these parts of the rock here. Okay, Let's have a look. It's a tree and yellow rock sticking out. As you can see, just playing along to that. And of course we've got these large rocks here on that left-hand side. I'm going to start drawing in a big chunk of it here and work my way down like that. And I'm having to also think at the moment, where will I put in the light source? Thinking? Because it's not so obvious in the actual scene, I'm thinking of actually putting the light source or running towards the, to the right-hand side. So we've got some shadows cast towards the right that where we might be able to get in some shadows of these cliffs surrounding the area. I think that would be quite nice. So also on the ground you can see uses. This takes a little bit of an aerial perspective slot, the aerial perspective, but it's more of like a high vantage point. You've got these rocks and they're quite small from the distance, you can just see them. Here's one on the beach and then you can just take out a few and then mark them out. Make up a few others. But you've got, of course, a whole bunch of these rocks here in the foreground that I think are important to draw out because they are close to us as well. So we want to make sure that there's enough detail in there, but at the same time, I don't want to fuss around too much with them. There's more rocks here. There's another rock perhaps here. Here. Yeah. Here. Swell. Quite like the scene. It's almost leading into the into the beach area like that. And whether I want to put a bunch of people in here and now that's the question. Yeah, I think I might leave out the people this time around. I'm usually tempted to put some in, but I think I'll leave this one out. So that looks to be a decent sketch. Of course, there's a few more rocks over on this side. And I'll just emphasize a bunch of these. And again, just pinpoint and drawing a few those shadows coming out for them as well. But I think we are ready to start. Firstly, we are going to do the sky. And I actually want to get a bit more blue in here then is portrayed in the scene. And I'm going to start off really with a lot of this blue, cerulean blue that I've got here. My putting a bit of this color here, which is a bit of ultramarine up the top as well. Just a touch of the ultramarine, very, very, very light wash of that. Okay. I'll move my way down and just grab some more of that. So cerulean blue and drop that straight in. I want to just make a nice blue sky. Scene like this. And work my way down towards the mountains. Got a fair bit covered really in that that one. And there are some mountains off in the background. I can drop in a bit of a bluish color or a cooler color here for where that mountain is just the market out off in the distance like that. I don't want it to be really a central thing in my scene, but something like that, I will do just fine. Just needs to be dark enough. This, okay. Here we go, something off there. And the Fourier edges will look like they're trees or something like that. And coming down further. What I wanna do is grab yellow, fair bit of yellow, and just drop that into the edges of these areas. Because we've really got a lot of yellowy sort of cliffs, this rock exposed out there. And I think making sure that I'm getting that stuff in first is important because it's gonna be very hard once everything starts. Once we start getting green inside this area, it actually starts to disappear. Yellows will turn into greens. So before that happens, I'm just trying to make sure I've got enough color in there. Just redoing those mountains a little bit off in the background. I didn't like how they spread too much before. I think that looks better, just slightly neater than what I had earlier. Some of that blue dot and you can even grab it a bit of color and drop that into the sky. Like a bit of, I'm just going to get a blue and a bit of brown mix that together to get a kind of a grayish color. Perhaps. You can do this sort of thing and just putting a bit of a cloud or something up there. Okay. Cloud, another one here, perhaps. That purplish color. Look soft, quick little cloud. Maybe another one up in the corner up here. Like that. Let me go. Purple in this one. Just cooler color for that cloud. Let it do its thing. Sink into the sink into the page. It's all it's all wet so we don't need to worry. Do its thing. Adding a bit more darker gray or something at the bottom of this cloud like that. Okay, good. This is all going to blend in nicely. And I'll just start again with this green four parts of this mountain. Or the cliffs should call it just going around the edges of the yellow. And of course, not worrying too much if we leave a bit of white in there as well. That's fine. So we just want to make sure it's all nice, wet and wet sort of work. And we're preserving that yellow, a fair bit of that yellow on there as well. But at the same time, just trying to get in nice transitions is some rocks here on the left and I'm going to mix in a bit of this darker black color. It's lamp black, but you can also use neutral tint. In here. You've got a few colors really. You've got warmer, kinda yellowish colors as well coming up around here. You've also got a lot of darker, darker colors and you can't really make out exactly what they are. The beach is also really warm. So we'll drop in some warmer color down here while I'm in the area. Again, I'm not fast about getting a painting in all of the bits and pieces. We can just leave out tiny rocks and stuff like that. We can get that in a bit later. And I've actually forgotten about those ones. It doesn't matter here. Yeah. I think the main thing is just having this sense of continuity so that it all just sort of blends together. Because we're at the moment just trying to get in details, we're just getting in colors. So coming up here, I'm going to start just getting into this area near the water where it turns into this bluish color. To plan to put in here just some cerulean blue and maybe some ultramarine here as well. It's cerulean and ultramarine. And I will try also to get into a bit of white in here to just indicate some waves and stuff like that. So what completely color it all in there or something like that. Okay. Maybe going up, combining. Great. And then here where we get the water, I'm just going to darken off a little bit where the sand is as well. So that it just melts nicely into the sand. Right? Just a bit of that blue in there. The moment we've just got colors in here, there's really not much at all in terms of details. It's very hard to make out what's going on. But the point is, is essentially just get that first washing. And let's have a look. What else do we want to potentially adding here? We can just look around them, I think, and I want another dark cloud or something up the top there so I can just fiddle around with that a touch. This it'd be more here, e.g. having a look at the mountains off in the background, I like how they look. I just need a lot of sharpness, a lot more sharpness in here when we go through the second wash. So let's go ahead and draw it off first. Okay, That's all. Dry it off. I'm going to go pick up this brush here, which is a small flat edge brush. And I'm gonna go and start picking up perhaps a bit of that darker green color, mixing it around some purple. Now, this mountain in the back, I want it to be more, a little more defined and perhaps almost work as a negative shape. When compared to some of these mountains here in the front. It's almost like cutting around it to achieve a bit of a little bit of negative painting. The light hitting the front of these cliffs. So once you cut around those mountains in the background, as you can see, it starts looking like the it's illuminating. This front part here is being illuminated, which is good. That's what I want. A little bit there. I think I want anything else there for those mountains in the background. I will leave that as it is. Let's have a look around here. There are some small trees and things up here in the mountains. On top of these little, little trees at the top here, just scrubbing away a little bit of dark green. And I'm using little water here. It's mostly just paint, maybe 70 to 80% paint. You can see it kind of just, you know, you've got the trees, but it's really just I'm just looking at it as but if dark color up the top there, I'm carrying this dark and dark and dairy downwards like this here. Okay. That's a rock. Again, just cutting around, leaving bits of this nicely cut out rock here. Make it look like there's detail on that area you can see just comes down. Then we've got here just some more bits and pieces like that. They're there. What have we got bit more mountainous area here that really just putting in some slight variations so that the rock looks like this. Some trees and stuff growing inside through the rock and bits of scrubbed and stuff like that. As you can see, little bits of scrub. And at the same time leaving out That's yellowy color for the rock that's so important. It's mostly just greens that I'm using. For this section. Let's have a look around here. Some more trees and things up the top, just scrubbing away but not the background. See them kinda come around here as well, just getting a bit of color like that. As you can see further down the line down here, you've got these little striations in the rock. It's hard to see, but there's just little bits and pieces where the rock has eroded in there. It's hard to really see what's going on, but I've indicated that a touch over this side. And just get around that by using the green again. Just cut around that nicely. There might want to use another brush just to get in some different variations of brushstrokes and stuff like that. Something like this would be good. Just this little little round brush, small signs of shrubs and things like that here. I can even go quiet dark as I get further down, I think this is preferable actually just to, I'd rather have more contrast in here. If possible. Darken up a bunch of this stuff. Okay? We've got a full range of tones in here. Here we go. This is just, again, more of these trees in here. I'll mix some purple and a bit of green together to do this. That just little strokes that indicate trees. They're pretty dark. So they do make sense in here. That of course a lot of them are just joining on what this stuff is just joining on with the everything else in the scene. Here coming down like that. Lift up here. These little things growing out that I want to just darken. Maybe this area in the back of little more than that, the mountains you can just stand out and touch in the foreground. That let's go ahead and work on some of these rocks now. And especially on that left-hand side. Kind of a brownie color, brown and yellow mixed together. Okay. I'm just going to give you a bit of color there and getting the shapes of some of these rocks like that. Okay, to leave a bit of white on that left side of the rocks as well, and even just make up a few yourself. Okay? Most important thing is to be confident with your brush strokes if you putting it in, Just Do It had in that rock quickly and then move on. Here's some in the water here. Here. There's probably more in here than I've actually in the reference. Even here, these foreground rocks as well with very, very tricky, There's a lot going on in here, but I'm just trying to look at the darkened areas of the rocks and I know that's pretty dark. There's some darkness here. I'm imagining that light source is coming from the left side of the scene as well. So we have to make sure that we are getting in a light source that makes sense. Okay, that could be casting a shadow. It could be beautiful light here on that rock. Okay, let's just see what else we can do that could be beautiful lights on top of this rock here like that. And some shadow underneath their bit of light here, some shadow here. So you just try to spot bit of light there. Shadow cost around. They're trying to imagine bit of that light hitting the left side of those rocks coming down. I'm just blow this fit together to do it here as well. Below that together, a touch there. I will get in some more shadows for these rocks. Brush out this one here. Little flat brush. And I'm going to just put in this indication of the shadow. Just one little mark running across like that. I'm just going to fix it up if it needs more. But as you can see, it's pretty pretty straightforward. It's just one line kind of connecting up the rock. And you can just connect them all onto each other a bit like this, as long as you make the shadows run in one direction as you can see here, it will make sense. You smaller ones like that. Another thing I want to do is also getting a bit of a shadow for these mountains in the distance. A bit of blue into it with a blue and black. But it was like a general grayish color. I'm thinking. What can we do this? There might be this, this could be again, another bit of shadow like that. Here. Bottom of these mountains or cliffs, just casting a large shadow like this. I want to make the shadows also a little bit lighter. I don't want them to be too dark. Compared to the shadows on the rocks. Little bit here at the base of some of these mountains like that. Good. Look. Over to the left. What else do we have? We can go just a bit darker. So some of these shadows here under the rocks, underneath like that, just picking out extra darkness. It's the darkness in here that I can emphasize. And to help create a sense of depth in your painting. Speak a big shadow or supplement that. Really trying to draw out these rocks to just come forward extra. Okay. Look at that, just some more rocks and things like that. You can see them all casting shadows on the beach. These shadows, the little details that will really make things come together. This so important. You can add some other ones here. Perhaps. This side doesn't take much to just put in a rock in there. Having a look around. Some little trees off in the distance would be good. Just up the top here, like some scrubby things up there. See, using the end of this fan brush helps kinda look like those trees at the top that a little bit. There. We can put one in here as well anywhere that you think would be beneficial. To just add in a bit of a bit of interest. Go ahead and do that. These mountains in the background, probably not gonna make much of it. Just something like that. More here. Up here there. Okay. I really like how that beaches turned out doesn't look like there's much in there. But I do have this lovely water, this smooth water that I want to preserve the look of that this rock is in the water. So I think one of the things I need to do is just imply a bit of this movement in the water like this. These little waves and stuff around the rock. That really for the rest of it, I'm happy with how that's turned out. I'm just looking at the moment for any additional dark dark areas that I want to emphasize out here because we have a lot of light. But I think making sure that we've got enough dark areas in here is going to help emphasize the contrast of the light as well. So you notice me just going backwards and backwards and forth, just trying to darken up errors. I've gone in before thinking, Hey, my idea here is that it needs to be dark and a little bit to bring out the light, which is what I'm trying to do in some of these spots. Okay. Even if they don't exist in the reference photo, exactly. It's still a good idea. The rocks and things, you can just don't want to overdo it. Again. Sometimes on the beach you do get these little bits and pieces, smaller rocks that don't quite match. They are still there. Little tiny bits in here. Just implying what's there. A lot of the time. There's nothing really there. But you're making it look like that. Here's a bit of texture. Even on the rock, I can just brush, put that brush over quickly and just indicates some little scuff marks or something like that. But I don't want to get rid of all the beautiful color on the rock as well. It's a bit of that. Good. Alright. And give this a quick dry. Alright. What I'll do to finish this one off now is start putting in some little highlights. And I'm going to go straight back into the rocks and the cliffs as well. So that I'll pick up a bit of white gouache and I'm mixing up the squash with a bit of yellow as well. And just to give it a bit of warmth to the light, a bit of warmth. And I can start say e.g. in this area, a bit more brighter, yellow in the table look like this. And you got to be quick with it as well. Kinda like just a quick little spontaneous thing like that. And there we go. We've got a bit of texture on that. Okay. Dark enough that bit on the right, a touch of gone over. Gone too far, something like that. You got a bit of gouache in there. Let's try it here. Okay, bit of, bit of it on the left-hand side of that rock here, here, here. And I'm using some, a few different yellows in here as well just to create some different colors. I've got like some vibrant yellow, I've got some not so vibrant yellow. Let's have a look more here. This is again creating extra texture. In these rocks. We can just bring back the light from some of them like this. They're there. And the dry brush rule works so well that we can get in this nice little, nice little bit of texture in here. Here. We drop that in here as well. And I just find a little bit of light that we can indicate this. Here. They're here as well. Here. Especially it looks quite good in the water because we've got so much of this, these blues here, right? So having some warmth in here is going to help bring out the blues. Let's have a look in these hills, cliffs. I want to bring back some of that yellow of the rock that I'd lost before. So a touch of the squash in here is going to help. Okay, quick little indications like that. Not too much effort and attention paid. I'm just really trying to get an a few little stroke that's all that. So starting to take come into play these yellows, especially where we've got a lot of these dark bits and pieces in here as well. It helps to bring out the light on them. Like that. They're here, e.g. here where the rock sort of finish off like that. Might make some pretend ones like that. A bit more yellow, a bit more like a more brighter yellow is what I'm trying to say. Okay. You can even start putting a bit here. I want to make sure I've got some nice, nice vibrant areas in parts of the rock like here. The vibrancy draws your attention because if we haven't used too much vibrant colors in the rest of the section may be here, but here. But here we can just draw attention back again because this area is quite vibrant, okay, for those rocks. Can do it here. It's a bit of a trick that you can use to draw attention two different areas. I'm just trying to get in a bit of light or something on these rocks at the front. Okay. No big deal. Okay. Quickly with some of these shadows underneath here as well, just blend the yellow with a bit of darkness underneath. Okay, and we are finished. 6. Cape Liptrack: This is a great photo that I took nearly cape lip track Lighthouse just overlooking some of the cliffs. You can see the water off in the distance hitting against some of those rocks as well as Little Rock pulls down at the bottom, believe it or not. But I do like the sort of sense of light coming from the right-hand side and Carson that shadow to the left and just, just the contrast with the water as well, that nice white water as it hits the rock. So, alright, so for this scene, what we're gonna do is firstly put in where the sky meets the water. This is pretty simple here. There's only a little slither of sky at the top. So I'm going to draw that in more or less like that. Normally with a lot of my scenes, we have a lot of sky, but this is the complete opposite. And looking down vantage point from above over, this is at the Cape lib track overlook near the lighthouse. And you can see that these cliffs and mountains, just these cliffs and mountains are just right next to the water. And what we can do, I think we'll just get in some of these foreground foliage first, little indication of the foliage here in the foreground, something like that. And then of course we've got all these mountains, these undulating mountains all the way across like this. This is all gonna be done quite, quite easily later, but don't just need to draw them in this one here. Now remember that the last mountain in the back, it doesn't go above that area of the line where the sky meets the water. So you just want to make sure you drawing that in. Kinda like that, looking at where it finishes as well, I'd say it finishes around the middle of the page like that. Okay. And of course we've got a few other bits and pieces here that just stick out of the water. Bits of rock and that kinda thing here as well. A bit of a kind of platform here with bits of rock, again sticking out. I've got this bit of the mountain as well. They're trying to just do a little bit of shading so I can get an idea of where to put in the shadows. This little platforms, like a little platform here, it's illuminated. This darkness here is going to be great to cut around it. So here there's little bits of little bits of darkness to that left side of that mountain. Here. We're going to go in and just put in a little bit more of this rock, rocky areas or I'll just emphasize that putting some larger rocks and things like that. But it's not a huge deal really. Even here in the water, you can see there's a few little rocks popping out here in there. This is important just to put in a few here like that so that when we get in that water, It's going to just look like there are some we've got the bits of white water as well. Just going to look like it makes sense. It's hitting against something. That's it. It's part of the drawing that you need to do. I'm going to start off firstly with the sky and just a nice clean wash of cerulean blue here. Nothing tricky at all. Just a bit of cerulean blue over here in the sky using a small mop brush. And bringing this down. Really just a nice even wash like that. Okay. Something like that. Right? Good. So what I'll do now is just go a little bit into the mountains and let that dry off slightly. And we've got just mainly these greenish tones in here, a little bit of brown as well. Darker tones with brownie, greenie colors. Let's bring this up like this. Here. Little bit of that color in there. Another thing we wanna do is just make sure we've got in a lot of the light. So we've got a lot of grayish tones, grayish colors. So I'm just gonna go in and add in a little bit of this gray here at the base. Over here as well, really light gray. And I've just used, used a combination of colors from my palette, just mixed up my primaries to get this color. You can also just use black or something like that and just dilute it down. There's really not much vibrancy at all in any of these rocks. They're just a gray color, so I don't want to put in any yellows or anything like that in there, just something like that is perfectly fine. You can bring this up a little bit more like that. They're pretty simple. At this stage. We're not even putting in. Details or what have you. It's just basic colors here as well. I can just put in some more of this greenish color for the mountains and just drag this down. It's just getting in indications of that color. But notice how I'm also leaving some white in there as well. Here as we move forward to the front, bit more green here, lot more green actually here near the front. Just going to blend that in. Can I mix a bit of purple in there as well, a bit of green and purple. I think that would be nice. Just to darken off that green a touch. Just carry that down into the foreground like that. Okay, there we go. Dropping some more of the top like this. Okay. Good. I'm going to start working a bit on the water now I will pick up some cerulean blue. Not so really in blue, but Ultramarine blue. Okay, I'm adding a tiny bit of turquoise and they've done of turquoise just adding a little bit of yellow ocher that will give you that same sort of effect. And I'm looking at the back, just seeing how dark does this need to be? It's gotta be fairly dark, but near the back at ease, a little bit lighter. So I'm going to just try that out. Let's just dropping a bit of that off in the distance. Some of it will blend in the sky. Something like that. Just off in the distance is going to be enough of a line there to show the water is darker. So I just want to emphasize that enough. Moving downwards. Now, just using the same kind of mix. And I'm going to use this color also to cut around some of the rocks and the water. But I'll firstly do this bit there on the right-hand side of that mountain. Some of it will stick and blending. That doesn't matter. As I move further down, I'm, I'm getting more careful what I'm doing with these rocks and basically just cutting around some of them. Not only that, we're going to need to leave a little bit of white bits around the rock to indicate some of these waves and things like that hitting rocks. So it's just indications coming down. Same thing goes here just again, leaving the white of that paper exposed. And at the same time trying to indicate some of these smaller rocks in this area like that. Especially close to the shore line. You notice there is more white bits and pieces in here indicating these kinda crashing waves as oppose. Near the shore. Rocks and things. Again, just indications of them. More rocks here and white bits of water like that. Okay. And apart from that, we don't need to really do anything else. I'm just going to color in the rest of it all with this blue, leftover blue that I have left. The palette that I want to put in a few little ripples of color, some darker colors. I've picked up a bit of a darker black left on the palette. And I'm just going to do this sort of thing here where I'm getting these little ripples like this running in the distance. Some of them just going through the water. They get smaller and smaller as you go out towards the back. Okay. But something like that. I think that looks pretty good. I'm going to get this a little dry now. Alrighty, That's all dried now, I'm going to go straight into these mountains and start putting in the darker shadows that we've got. And I can just barely make out what I've drawn in here now, but I can see some of them off in the distance. Let's go ahead with this part of the mountains. So it just comes up like this, this darker section of it like that. There you can see bits of that sunlit area of the mountain to the right-hand side, these cliffs slash mountains bring this further down. War. So use this brush, a kind of a flat brush as well to get in more contrast and just a little bit more detail. Sharper edges. Here. Look, we can just put in this rock there like that. Okay, good. And indications of these small rocks further down on the water, notice that they have a darker look to them and maybe a bit of waves or water splashing against the sides of them. We use a bit of gouache probably later as well. To draw these out better. He's could be waves as well like that. This just indicating bits of this rocky coastline. There we go. Yeah. You can see just these little folds and the rock, these little cracks and things like that. You can just make, make them out and create the impression of them. Leave this big kind of sunlit over on this side. You can just go ahead and draw, paint up part of that cliff. But the same sort of thing goes here where I'm just picking out little details to quickly adding on the shore, rocky shoreline, look at that just tiny and broken lines that you notice they all run in the same direction, right? Check that out. We threw rocks at all, run in the same direction. So I'm just following that around to create this repeating effect. I suppose. Even on that side. Oops, that's a bit dark, but that's okay. I think it's actually pretty small round here. Everything possible to see what's going on. Okay. Small rocks here in the water and the bottoms of them and stuff like that here, here. Sort of bringing together everything. This could be one years. Well, here, important thing to remember is that we can always add some more Guassian laid off or the watts. Okay. So going back up here, we're gonna go get in some of these green and light. Maybe over in the side. Keep that little lighter on the right-hand side. But also at the same time, we do have some darker greens and things running through it. So a lot of that green mixed in will do well. That's another bit of that cliff that's going upwards like this. And this area is kinda lighter. Chile area here in the front is pretty light to just going to put in a light wash of green. Again at the front. We could put in some yellow as well, just to warm it up slightly. Notice all these shrubs and things are quite subtle. But where we put in, we get in detail is just through wet in wet layering. So we're picking up some bits of this other green and things like that and just dropping it in. That should create little bits of contrast in here, like here, or even you could do it here, you could do here, here. Even with the smaller brush, just pick up at smaller brush and have a play around in those little regions like that. Trying to find some connection between these hills. He called them hills, these cliffs, and the Rocky. Rocky shoreline as well. Define these the shoreline a little bit more as well, just through a bit of dry brush like that. Little big here I can just bring out the touch is indicating this undulating pattern on the hills is important as well. So she doing it wet into wet like this. Just looks like it's repeating folding of the hills. Some more darkness here in the corner, maybe like that. I'm going to need a bit more color, orange for the foreground as well, some of this green here. Okay. I won't go into here and just try to indicate with some gouache. I'll go in here to indicate with some gouache a bit all the waves and stuff as well. Some fresh wash, use that straight from the tube. Things like this where you can really just get this sense of like this. These waves crashing against the rocks. You can do it a bit better. Once you've got the rocks in there. You can see just little bits of white. Not only there but also here, closer to the shore line as well. You can just sort of do this thing, dry off that brush a bit and just feather it into these areas to make it look like waves hitting against the rocks and on the shoreline, that kinda thing. Okay. Here we go. Years well, here, here, maybe a few stray reports or something. Thinking about how I want to do this, just a few little stray one, so like that and maybe some off in the distance. Beauty of highlights here for the, for these hills, little bit of sunlight maybe going up to the top of these hills. And here as well. You can just bring out these little highlights which are so important. Doing some of these wet into wet as well. This is just a bit of gouache, bit of white gouache mixed with some yellow. You can see here it's sort of draw it off so you can't see it so well. But here you get this fluffy kind of effect that I quite like that actually I will soften that down with some water. That's better. Soften it down a touch. More that black in there as well. I'm dropping some more of that yellow. Even here in the foreground. Little bit of contrast in yellow. Like that kind of creates some softness. I quite like that. Fading in there. This area should really be, have some darkness in here as well. Tiny bit of darkness that will help me contrast that with the white and the yellowy sort of colors for the gouache. Here. It could be shrubs, just layering of shrubs. Here. You can see that there's another one. He is one. Okay. Alright. I'll call this one finished. 7. Maitland Beach: Lip track in Melbourne, it's a rocky beach. You've got a lot of these little pebbles and things that are washed down from the mountains and through the streams and rivers. Thought this would be a nice scene. I wanted to change this one up as well. Maybe add in a couple of figures on the left-hand side or maybe near to the rocks on the right-hand side. Let's have a look. Let's go and give this one a shot. So firstly, I am only going to be taking part of this scene. I'm going to be zooming in a little bit of the scene so that we've mainly got about the water starting halfway. So firstly, I do want to make sure there's a lot of sky. So I'm going to draw a line roughly around here, maybe just above a third of the way through the scene. And the left-hand side, you've got this bit of coastal area here would have shrubs and trees. And K that you can see off in the distance. Some of it extends out into the water. Here you've got some smallest shrubs here in the beach. Lighter colored shrubs that I'll preserve. You've actually got some little sand dunes further up the back, but normally you can't see them until you quiet the back of the beach. So really you've got a lot of debris and these are these are just rocks that have washed down from the mountains as whole bunch of them, lots of them in here. And you can actually walk along the beach and phosphate pickup some of these rocks and some of them are really quite beautiful. So I'd like to just draw in a few of these rocks you can see as well on the beach, they are larger rocks all the way to the front everywhere. There's just these large I'm not sure exactly what kind of rocks they are. There could be vessel or something like that, but they're slightly smoother, but they have a darker volcanic kind of look to them. And they go all the way out into the ocean. Over here, a little bit of that whitewater where it hits the rocks as well. But over here I'm just trying to put it in the background where we've got the water somewhere here. Okay. Remember this is, again, this is not water here, but it's really just an area. We've got darkness true to these pebbles and things. Darker rocks being scattered along the beach. But I'm going to put in the water roughly around here where the rocks are, the back. So we want to make sure I've preserved a bit of this area for the blue. Of course, along the beach, you've got all these little bits of seaweed. And often when you walk down, just seaweed and rocks really. And sometimes the footprints of previous people who have walked down this area day that I was there didn't really see too many people at all. I think I saw a few. A few along the way, but very few people. So you can see it's just quite pristine and you can see all the sediments and stuff just wash up in interesting formations here on the front so we can play around with that a little bit later. But the main thing is just to get in some of these nice rocks here near the water, like that, clouds and stuff. We're gonna do that later with the watercolors. And like I said before, we're thinking of maybe putting in some figures, some people in here remember walking around on the beach. I'm thinking whether I should put them in on the left-hand side or maybe I should put put someone in on that right-hand side. I think we might go with this is going to be a tricky one. Maybe here, Let's get them here walking along the beach. So putting a head of one person here and just get the body in kind of like this, like that, could be wearing just like a tee shirt or something. Arms here. There are a couple of legs like this. Figure walking along the beach, maybe with another person. Also next to that. One as well. Here, simplified two legs just joined up at the bottom like this. And I do want to get maybe a shadow running towards the right-hand side, but going towards the back a bit like that. So just getting that in slightly. Of course, I'm thinking whether I should put in another figure here as well. It's always such a, it's always such a thing. When you put in at one or two figures, you suddenly want to add in 100 more. But I think I will potentially just leave it as that if I add someone in here might just be one person, like for instance, just here, the very small, severe, very small figure. Just to give the scene a sense of scale. But I don't want it to be too focused on the figures. Just make this head a bit more obvious like that. Someone just walking along like this in the background. Okay. That shadow pattern as well, running so that right-hand side and keeping the heads roughly in the same position here in the distance as well makes a big, big difference. So that just keeps the keeps the same looking flat. So let's go ahead and get into some of the colors. I'm going to go straight into the sky. And for that I'll be picking up some cerulean blue. Always like to use cerulean blue for the sky. I'm going to go ahead and pick up some of this nice Louis color, and I'll drop that straight in here. Okay. Keep going slowly. In blue is a nice sky color. Works pretty much everything. A tune and getting some of these clouds as well. So that's why I'm just being a bit, little bit careful to cut around some of these areas where I can, just like that. Leaving in some bits of white. In those areas, I can go down and just can cut around and indicate perhaps some clouds in here. But of course, a lot of this stuff will just be implied. I don't want it to be too too obvious. Case a soft enough. Some of these edges, as you can see, some of the clouds have more sharper edges and some of the areas, but we can soften off, sometimes Lost and Found edges as well. Here we've got just a bit of this lighter area at the bottom. You find its lightest at the horizon, and then it gets a bit darker as you move up. So I can just put in a bit more darker, blue like that there. This is a really a bit of what you'd call negative painting where I'm cutting around this larger cloud shape here and extends all the way out to the back like this large cloud just cutting around. Of course, I've got to put in some more blue here on this side, I think there's mostly just sky and this region as well. Of course, you can change it up if you'd like. It's it is nature and constantly changing. So whatever you paint a fine at the time, he read, take a photograph. If you take it a few minutes later, it completely changes. So don't be bogged down by the reference. Use it as what it should be, which is just a guide. And I'm going to pick up a bit of this grayish color. It's just gray leftover on my palette from before. And I will drop a bit of it in for the bottom of this cloud. Perhaps just something here to indicate the edge of that cloud. There's a bit of darkness here under for these Cloud region like that, just tiny bit of gray that I can pinpoint and adding here and helped kind of mixing with the blue with touch. But don't want to get rid of all the white, just bits of it here and there. And as you can see, starting to take a bit more form, you find that underneath the clouds you're gonna get a bit more darkness like here, here. Underneath here, for instance, like that. That's in here. Let's see what else do we have in here a bit under here. For these other smaller clouds? Indications? Don't want to, don't want to overdo it soon as it starts looking like clouds, let's say just leave it and let it do its thing. Okay? What I'm doing in the clouds is that I'm just looking for the light and dark areas rather than painting the clouds as they are. I'm just looking which parts of it are darker, which parts of it are lighter? And I'm going to try and try to imply that essentially. Okay? And you do see bit of darker bits in the clouds there. Some of these paths, mostly at the bottom of them, tops or just have a little bit more light like that. I think that does does a thing that's a decent job for the clouds. They're not want to spend too much time on them. So what I've done here at the bottom is that I've put in a bit of ultramarine blue while the sky area is still wet, you can see some of that ultramarine scurry up to the sky could appear to be distant mountains. You can see further down as well. I've added in yellowish color, It's buff titanium all the way to the bottom of the beach there I've got a bit of this greenish area at the back. And once I've got an all those warmer colors and the greens, I've just picked up a bit of gray from my palettes and light gray and just mix it into indicates some of these rocks and things like that here on the beach. But apart from that, so just wet and wet work and making sure that it blends together. Adding a bit of blue here, but of yellow here, bit of green here, and this dropping in a bit of this grayish color. Okay, I've given this all dry now. And what I wanna do is start adding in some rocks and little details. The headland. The back and the figures, figures and shadows. So let's go ahead and get started. I'm gonna be using for the headlands back, gonna be using a small flat brush. It's a funny edge flat brush, as you can see. It's kinda cut at an angle, but it doesn't really matter. I just want something that's a bit more precise to use. And I've picked up bit of green and a bit of darker, neutral tint mixed together. And I can go ahead and start putting in the beginning of this area here, as you can see, just this bit, a headland. Quite quick brushstrokes view real quick brushstrokes. And trying to as well, if I can leave in some of the light that's on these bushes and things here in the front. Okay. So a bit more darker in here. Okay. Sometimes you get a bit a lot that cuts across as well areas in the back. So you can just leave some bits of white exposed to more brown and a bit of green in here, a lot of black. Okay, and just kinda get that air in the back-end like that. Try not to fuss around too much and just do it. Okay? Like this. As you start getting more into the closer, into the distance, further into the distance. So you just want to lighten off that color, a touch. Here on the beach. Start getting these these rocks appearing little rocks. And again, I'm just using this little brush to indicate some of these rocks that are quite dark. They'll mostly darkest rocks really on the beach. And you can see them extend out further into the, into the water. Okay. A few just here and they're scattered across the trick years just to drop them in quickly and not fuss around with them to much more you fuss around them. I find that the more out of place they can start to look. If you're not careful. There's a few there. You can see the ones off in the water. They're pretty dark. I'll just use neutral tint to get these ones in that. Okay, they're there. Of course there's a bit of whites I've left in and areas doesn't matter. I can just leave it in. Sometimes you can use that as a highlight or something. The left side of the rock we're making, making it seem as if that light source is coming from the left. You're just getting in these rocks. Larger ones, I think would be nice as well. We don't have any bigger ones like this. I've got a BB haphazard with these ones just so that they look too precious. Like that. Okay, bit more messier. And not only that, we've got all these little bits of rubble and rocks in the front. And what I wanna do is just pick up a little brush and pick up some darker paint. Whatever I've gotten the palate bit of brown but a black or whatever. You can do this kind of thing. This little, little tapping effect. And this helps to get in some tiny effects as if it looks like the sand bits of sand and rubble when things like that in here. Little bits and pieces, it's quick. And I think it's quite effective because you don't need to put in too much effort for this. So just go ahead and have a bit of a trial with this technique. Make sure you don't overdo it as well, but this makes, makes it look like there are some little bits and pieces and rocks in here. Okay. Saves time. Problems that you do get some of it goes into the sky, just got to be be careful with that. Okay. That looks like a rocky rocky beach at then fine. If you also use a smaller brush is fewer bristles. The bits and pieces that come off or just not as large blobs that appear. Wipe some of that away. I'm good. That's looking. All right. So let's again continue on. I'm going to pick up a bit of darker paint and I'm just going to pretend that there's some rocks here just getting in some darker rocks. These are just, this is just a bit of neutral tint I'm using here. Just a bit here to indicate some potential rocks or something like that on the beach. I wanted to keep it looking more interesting and as if there is more detail in here then is really implied by the photograph. This is might be another one there. This could be a large rock here and here. Leaving a bit of that white on that left-hand side helps. To indicate that bit there. Now of course here you've got these little shrubs and they want to make sure that they look a bit more views. The few of those in like that, that I think that looks better. Merged with the mountains a bit. Not Mountains. The dunes and shrubs off in the background would be better. Can go back into the background this error and just start dropping in a few extra detailing effects as well. This even out into the distance, you might have these little bits of rock that extend out further to the water like that. I think creating this sense of detail by layering is so important. Probably too high, but doesn't matter. Okay. While I'm here, I'll add in some shadows, like shadowy effects like this so that they appear like the rocks are casting a shadow to the right-hand side. Like that. Do them all at the same time. Actually, if it's possible, it just makes things easier for you. Look at that just kind of joining on. They don't have to be perfect as well. We can change some of the shadows around just to make them look a bit more. Jaggard or what have you. The rocks being different sizes and things they tend to cost slightly different shadows as well. So don't make them too perfect. But again, make sure that they all run in the same general direction, which for me, I've chosen this up to the back area. And of course we've got these figures here to the left-hand side, and I'm going to just get these in a lot darker paint like this. Here's another one. Okay. Legs in first like this. And you can just get the two legs in this yep. Bit of the shadow cast to the right-hand side towards the back because you can see like this and join that shadow up with the legs. Here we go. Kinda just forms part of that rock almost the shadows. And it's important to keep all the shadows in. Again, like I said, that same pattern. Okay, I don't want these figures to blend too much into the rocks. I'm trying to make them a touch darker, especially the bottom of where their feet their feet touch the ground. Just adding in an extra bit of paint here like that. K. There can have a bit of play around with the colors for the shirt. I'm just going to pick up say sum. Let me do a bit of red or something for this one. Always screws and throughly in for this one here. The light wash of Suilin. We go, this should be the one to the left. I'll go with me, go with it, would be nice. I want it to be too to read. Maybe like a pinkish color, like that. There we go. Of course, you can drop in other colors into it as well. Like that. The heads of the figures, I just tend to use a touch of red like that. There, there, there's a figure here. You can barely see that figure anymore. I might leave that one white and just see if I can get in some legs. But it's very, very, very subtle. This figure here, you can't quite see exactly what they're doing there, but something he'd bit of hair or something here. Just mark out the heads of the figures that touch like that. Okay. Can also just put in a few little birds off in the distance. Being a beach scene. And I think a few birds appropriate that some of the horizon, maybe some here. Maybe a couple here. One up there. If you've got a little white gouache as well or something, you can play around with it and use that to add in some highlights. On the shoulders of the figures. Little bit of white gouache perhaps on the head here, left side, the head here as well. I can just get a bit more water in there that would be good. The shoulder here. Okay. Maybe left side, the entire left side of the body. Another figure here with a bit of highlight there for the side of it. That person, not only that, you can also go into these, um, these rocks a little bit, do the same thing. We just dropping a bit of light on that left-hand side of the rocks. And it indicates indicates some details and light hitting those rocks. And that's why I love using gouache right at the end. It just gives you the opportunity to give adding some extra dimensionality to these rocks and details that normally would not be possible with pure watercolor. Look at that just tiny bits of this rock being illuminated by the Sun left. I mean, you can even drop the, some of it in there. Some of these rocks near to the water off in the distance as well. You might think to yourself, Hey, I'll put in a little bit more of this here to just bring out some of these shrubs and things in the distance. So pick up a bit of this on the little brush, fan brush. I got wash and yellow mixed together. And I can just do this. And it starts looking like there's a few little shrubs and things over in the distance which is good. Something like that. And we're done. 8. Norman Beach: We're gonna be doing a painting of Norman beach. And this is a photograph that I took when I was over there. And you can see the mountains off in the background. I think that would be Mount Oberon to the top left-hand corner. And you really set up the top there and you have a look over this beach and are sitting up the top then I was thinking I have to have a look, have to come down and have a look in. It's really quite beautiful. The sands just pristine and white. There's also these nice little sand dunes as well as the river behind. So let's go ahead and get in some of the details for this. So I'm looking at where the mountains finish and I'm looking to mark it out roughly on the page. And you can see the water, the beach at the back there. And I might actually make the beach more apparent because there's a lot of those sand dunes here to the left. But I still think that little slither of water here to the right-hand side could be emphasized little more. So I'm just trying to put in maybe the rough location of where that water is. Increased it a little bit. Then also you can see this little bit of the wet sand come in like that. So just marking out generally where I want everything to be. Here. You've got the sand dunes and I'm just marking out especially where these little bits of shrubs, things up the top here they can hold the sand together with the roots. And they go all the way down to the back here like that. And of course behind there we've got all these mountains. Mount Oberon here to the left. Draw a little outline of the mountains. Remember to leave enough sky in there as well. Notice I'm not really going quite dark. I'm just letting this just letting that pencil, the weight of that pencil really carry every thing forwards. What any of this pencil to show through. But I am drawing a little bit darker for your benefit. As you watching along. You can see inside the mountains as well as all these little bits of rock and stuff like that. We will get that in a little bit later. That's really all I want to get in. The other thing we may play around with is perhaps putting in some figures. And you can start playing around with things like this could be an umbrella. Someone's sitting here underneath an umbrella. I'm just making this up. That could be just sitting here, legs out towards the beach, off in the distance like that. Simplified figure, sitting down like that. We could have a couple of figures maybe walking along here on the beach. Sometimes you might have someone just could be running off this way. France and one arm at the back. Just trying to get some interesting poses for these, for these figures in maybe have someone sitting up here or even notice. This was a little bit later on in the day, but there were people just sitting up on the sand dunes over here with a few personal belongings, that kind of thing. You can even have a figure that's a little bit closer as well. When you've got a scene like this that looks a little bit more beer, you really have more of an opportunity. I see it as an opportunity anyway. To add in more details in just a little bit more interest. So you can see here a couple of figures. They might just be standing here talking to one another, maybe get some shorts on them or something else extended like that. Pretty basic scene. Could be a child or someone at the front. Too small. We just have a look, redo this figure that it wasn't, isn't looking so great. They're just get that body in a bit more bit better like that. Oops. I have to fix this up with the paint afterwards. Could be a child here, something here on the ground like that. They're just bending over, passing something to the child. Really just trying to create a bit of this atmospheric, atmospheric but this sense of life, things happening. I don't want it to be too busy as well, so just being careful, but that's about it. I think we can get ready and start painting. So I'm gonna be starting off with the sky and going with wash of cerulean blue. And for the top of the sky also tend to use viscerally in blue mixed in with a bit of Ultramarine blue and that just kind of darkens it touch. I find that just creating a little bit of darkness. A little bit. It's not super dark wished little bit of darker. Scott, the top helps to emphasize the light when we get down to the bottom. So it's a little bit like that. And as we move down, I'm just going to add water. I don't want any clouds and here, I'm thinking there is one over here on the horizon. But I don't think I'll bother putting that one in. Just getting noise. Flat wash. And what I do is essentially just keep adding water as we move down the page. More and more water and then just dilutes out that blue. Two. You get this really, really thin wash here. Using so little paint in this mix, very, very little paint. If you want, you can still go into the top section and darken off the top a little bit with some extra blue. Don't think it's so necessary, but that's something that you can do just like that. And it will blend in nicely as everything's, everything's still wet. You want to do this type of stuff or the paper's still wet. And as we move down through to the mountains, this is where I'm going to be picking up a few other colors. Mainly a bit of yellow, ochre, bit of Hansa yellow, and just drop that straight into these mountains. Now, this is really just a bit of backing color. We'll go over the top of these mountains later on with a bit more green and a bit more sharpness once the rest of the colors are in. But really it just looking at getting in maybe a bit of green, slightly lighter shade of green in here, but mostly just this. It's kinda yellow, ocher color. Might even want to drop in a bit of burnt sienna as well. I have a bit of black here that I just doubled down and that can become gray. And all this does is just creates a little extra detail here in the background. We've got this umbrella here as well. And we're going to have to decide on that light source where we want that light source to be. I'm thinking we'll have the light source coming in from the light source coming in from the right-hand side. Perhaps. We'll have to decide just yet, mainly just getting in these nice soft washes. Okay. Just a combination, as you can see, of yellow and brown and a little bit of black. Let's just double down so that becomes watered down so that it becomes this grayish looking color. And I drop that in, just let it mix and do its thing. And the good thing with this black, especially it's a lunar black, which is a granulating black. And I can also pick up other granulating colors. I've got this color code. Go thought, GO fight, which is like a granulating brown. And playing around with this stuff is great because it will granulate off in the background and create some interesting textures. Okay, I do want to create extra darkness, perhaps here the base of these mountains as well. Remember a lot of it at the base is just so, so light down here is mainly all those which you call them sand dunes and just the general beach sands. So you don't want to overdo it here, especially if you want to add in a little bit more green. At the top of these mountains. I'm picking up a bit of this green cold, undersea green and other granulating green color to just dropping a few little bits here and there. Okay, keep it interesting. Of course I'm preserving some of that, yellow as well. But predominantly in here, there are a lot of dark colors may appear that we've got a lot of yellow in them, which we do. But we've also got a lot of darkness as well. If I can have a play around with that and get good amount of adding. I'm going to be quite pleased. And as we get through here, you're going to notice as well that we've got this sand which is just so pale. Really. I'm just going to use a very light wash of this color, which is buff titanium, because it's so pale really that I could maybe use even a larger brush, this large mop brush. I've got just get it all lean in 11, big hit like that and I'm just going to go over the top of everything like that. Maybe just do the base of the grid. The foreground first here. Okay. This is an off-white color, buff titanium. It's like a milky white color. I'm trying to do all this stuff at the bottom first. So then I don't have to worry too much about going a bit more time to do all this other stuff, but it just allows me to get it in with more broader kind of brushstrokes, paying attention to also where the water is over there. So when they need to leave a bit of space there as well. And you can see just over here, starting to slowly come together and you get to a point where you join the mountain with the sand on the ground a little bit. Okay, let's join it up in areas like I'm doing here. Okay. Here, here. Sand dunes as well. I'm going to need to get in some of the scrub, the bush and things like that. They're okay. Of course, the water plays an important part here as well. We want to make sure that we've got enough of that blue here in the water. So a teeny bit of I'm gonna be using some cerulean blue mixed in with a little bit of green. You get this kind of turquoise see color. I want it to be fairly thick. This area of water, that's good. That's looking good. That some of it may mix into the mountains or some of it might not. But I just want to make sure there's a really significant area of blue in here. And not only that, you can see melts a bit into the sand, that just allowing it to melt into the sand. And it will form this section here on the ground, kind of where it meets and it looks a bit like the water coming in. We can darken a bit more. Here inside the actual water itself. I just put in a few little brushstrokes, darker brush strokes in there to give it an extra darkness. But where it hits the sand, I don't really want to touch, so I'm just going to leave that sometimes the more simple you, you make it, the better extra bit of darkness off in the distance like this. Cutting around the figures as well as you can see, literally starting to come together. And over here, I'm going to put in a little bit of detail for these shrubs, whatever you call them here, these little, tiny little shrubs that are holding the sand together. They normally grow just on top of the sand dunes. I'm going to be using smaller brushes, a little rigger brush, and I'm also going to be using a little I'm a fan brush. And I'm going to roughly go over some of these sections like this. You can see some of it just blend into the softness of the sand dunes. And I can use this one as well. This larger brush here, putting in a few bits and pieces. This is a fan brush. Okay, look at that and just moving that brush around and creating these shapes and it's just a bit of green that I'm picking up off the pallet and also remembering to use a lot more paint than water. Most of this is paint. I'd say about 60 to 70% of this mix that I'm using is paint, and the rest of it is water, which is the opposite from what we've done previously, where we've used mostly just water and only a little bit of paint. You can bring some of these little scrubbed down. Some of it kept growing here on the beaches. We'll look at that tiny little bits and pieces like that when you use wet and wet. Especially with these beach scenes, you really want to make it quite subtle. But at the same time, I know that these these shrubs are closer. So we at the center and we'd have to make some parts of it a little darker, like around here. Just drop it in and and little brush strokes like that. Some in here perhaps like that. I can put in an extra bit of light green in here to just give it a bit of slightly different color. A little bit more of that lighter green in there. Let that mix through. Um, I always try to dry off my brush a little bit to make sure that I'm not using too much to too much paint or too much water on there. That's going to disturb that mix. Okay. Look at that just a little bit there. Not only that, but we have some of these little shrubs when they start to dry up. And what have you, they actually, they actually have these kinda yellowish tinge to them here. And you can pick up some yellow ocher. Yellow ocher, maybe a bit of brown, mix that yellow ocher and brown together. And this then becomes a little little bits of shrub or something that has dried up. A little bit slack that just coming through some bits on the ground. As you can see. Another thing that you can do is also just pick up a bit of this paint, a bit of that brownish paint or whatever. Wet your brush a little bit, make sure that you've got enough of that paint on there as well. Do this kind of thing. Just tap that brush on the paper. And you're going to get these little dots and stuff like that. Although you might want to be careful to just potentially cover the top section of it, the sky here so that it doesn't go all over the place. Now, you can just sort of go go nuts. Like that. I don't want to overdo it though, so you have to just be careful with this. I will drop in a little bit more white and a bit more yellow. In here. There are some textures in the sand like footprints and stuff like that. So this is just a way to create a bit of that texture. Almost like mottled effect on some areas. Just quick little bits and pieces like that. When this paint dries up on it, It's gonna look lot more natural. Okay, maybe got a bit more here. Good. Okay, I think that should do the trick. Remove this now. And that top section is nice and clean. I tend to forget and I get bits and pieces in the sky. So for the most part, all of the wet and wet stuff is done. There is still a little bit perhaps a wet-in-wet that we can play around with at the back. That area of the mountains has already dried. So what I can do is actually just kinda get working on that bit. Essentially put in some just some details on the mountains. But before I do, I try to get in some kind of undulating area, the feeling of undulations or the movement of these would you call me sand genes just to kinda downward must feel like if I just draw a few bits and pieces going down like that, it will indicate a bit of a slope on these sand dunes. So I'm just playing around with that. Now, of course, can get dark and a little bit here as well, if you'd like. There are some, you notice just little bits of darkness in here that you can still play around with and adding a bit of extra detail there. Okay. And go and start working a bit on these mountains and stuff and background. I'm just using a bit of green here, mixed in with a bit of the black. I have left and just darken it down a little bit and let's just test it here. That's good. It is spreading around little I'm just using these little mountains as a guide. Like the little rocks in the mountains is what I'm trying to say. Like kinda cutting around a few of them. But also just making sure I have enough of this green in here as well. Different greens, but mainly just a darker green is going to be helpful. Okay, and let it just mixing. Mixing, we need that area in the background to be dark. I just a little bit darker. Cross come down. It's a lot of it's just looking and skipping over some of the yellows that we've got in there. So some parts he just leave it. In some parts you paint over the top. And that way you get this kind of effect where the p is there are some lighter parts of the mountains and there's some darker parts. And it's one of the most important things with watercolors like you just having that control and being able to leave some areas unpainted. Super important. Now the other bit here as well. And as I get into the foreground as well, I'm just being mindful not to make the mountains to dark as well because they are a little bit more. Little bit lighter than the sand genes here. In a bit of that yellow in here where I just drop in a tiny bit of this buff titanium. I mean, there. Just to add in a little bit of light that section here, look at that, just bring this down. Notice that the bottom of those mountains pretty, fairly dark at the base. I don't want to exaggerate that as well. A little umbrella that I'd left out before may not be able to even tell that it's an umbrella, but it's Something there. Good. Continuing on. And same thing goes as before. We're just remembering to leave out bits and pieces of those mountains. Quick, sporadic bits here. I don't want to overdo it. Okay. I think that looks pretty good. Blur that top part of the mountains off a little bit. I feel that's too sharp in some areas of IT. Help bring it back. Touch this area again where we've got the sand dunes and stuff like that. I'm going to emphasize some of these sand dunes by just making them a little bit, a bunch of them darker on the tips like that. Okay, but keeping in mind as well that we're going to have a bit of sunlight perhaps running across the page. So it's running from the right to left. So having some light on there is gonna be fine, too. Good. Alright, so the people, I'm going to add in some colors that's put in some of these bluish green color for this figure. Here we go. We can go with a bit of orange or something orangey color for this one. Using that same brush. What can we do for this one? I'm just a combination of those colors or something just a bit darker like that. There. That figure sitting down here. Now I can just indicate something going on there, the legs outstretched like that. Okay. Some more figures here. This one just standing over here. The child and mother just make that warmer, perhaps. Top bending over to assist child doing something. Okay. Maybe in here is like a box or a toy or something on the ground. A lot of this stuff you really just implying gets more and more difficult to discern what's off in the distance, but just imply More than anything at this point. I don't want to put too much detail out there because then it's going to look, it's going to look to forced. That could be another figure there or another figure they're kinda thing. Okay. Just a flat brush that I'm using. Now I'll pick up a bit of darkness and put in the legs as well. Now with the pants and this is going to be interesting and you could have tiny bit of color for the legs. Okay, just a light wash of pink or something like that. You can mix in whatever color you want, really skin tones, I'm using a bit of pink, we can use some browns as well. Just drop that in here. List that you can go a bit of burnt sienna like that. Their legs there. These ones in the back and not so important, you can't quite see what's happening. You can even just go with a bit of darker color like a just a neutral tint or something like that. Which will really bring out. A bit more sharpness for the legs. You can see here. You can see those two at the back that looking a bit sharper. These two figures, That's just an example there. Tiny, just little strokes of paint really, I'm not I'm not trying to match it all here. And of course here's the umbrella. And I thought why not just start putting little bit of shade or something underneath that one? Might have a bit of shadow behind that, figuring going off into the back of the sand dunes, we can have a bit here as well. Look at that just a bit of shadow going to the left there. These shadows are quite dark as you can see, and they will really bring out this sense of sense of light that we have on the, on the sand shadow from that umbrella figure standing there could be someone there as well. Of course, these ones here, the shadows running to the left. Don't be afraid of Shadows. Be bold with them and let them just merge, especially with the legs, the feet, that kind of thing. You can get nice contrast in this way. I mean, I actually quite like that umbrella, how it looks at the moment. I'm tempted just to leave it as it is and just have it how it looks, really tiny bit of hair maybe for the figures, I'm just going to use a bit of this dark paint to put in roughly heads and maybe you can pop it into a bit of hair or something like that. For some of the figures, these ones in the front, they tend to make more of a difference. This could be the arm of that person like that. People could just be talking about something who knows. Again, that comes back to that storytelling aspect. We looking at ways to make things look more interesting or convey a message. I could put a bag on this person like that. Could put a bag on this person here like this as well. Put objects on the ground, could have another box. There are some kind of box here or something. It's all just interpretation, really. Having a look around, just thinking, what else can we do? I mean, it's looking fairly complete. A nice little, nice little scene so far. And the other thing I can think of is maybe a bit of seaweed or something here on the ground that we could imply. Just here, I've just dulled down but just watered down bit of that darker black color. And you can see I'm just tapping on to the paper quickly like that to indicate these little marks on the sand. They again just indicating who knows what the seaweed or something like that. Can you just make sure these marks becomes smaller as we move back as well? The largest marks closer to the scene. This just creates some interest. Essentially bit of texture, likely dotted fact that we have here from the splattering of the paint. But it could be footprints and things like that. Just moving through people previous footprints. And the paper is still slightly damp as well. So you're going to find that this, this darker paint here that we're sort of mottled effect here is going to nicely, nicely just blend in. For the fevers. Bit more darkness here it's hard when the painting the part of the painting is still wet. Like that umbrella. I'm probably just going to leave it. Or if you want, you can also pick up another brush. I'll just show you how to do it on, prefer to just leave it. But if you want to pick up like a bit of maybe like a bit of yellow, you can pick up a nice yellow double down, watered down a fair bit. Here you can just anybody to color three yellow like that. And that's area of focus because we've got all this dark and dairies and not much vibrancy, but then we've got this vibrant yellow here. And of course, same thing you can do with other, like the handbag of this lady or something like that. You can pick up a bit of orange. Just drop that in like this. Okay. And that just draws a bit more attention to that area of the painting. It's putting a few tiny little birds flying around in the distance. I'm gonna be using. Just a bit of grayish color that I've got here on the palette. It's a combination of all the colors mixed up. Put a few, maybe hear me. Yeah. Yeah. The few here. Let me just pick up a bit more paint that some of them you can put kinda coming through the mountains in the background as well. It's not a huge deal, but tiny ones you a few more like that. Good. Alright, and I'll call this one finished. 9. Simple Country Scene: Okay, so we're gonna start off with a nice little scene here of some rolling hills of foreground grasp tree and the right-hand side, some clouds, nice little Australian landscape. And this was a photograph that I took it down the east coast just on the way to Wilson's pulmonary. So it's quite an interesting little scene. I think it's a good place to start off where we can learn a little bit about wet and wet and wet on dry techniques, just adding in some small details and indications of some of the objects in here. So let's go ahead and get started. And firstly, I've got my pencil out. I'm using a mechanical pencil that just allows me to get a finer tip that I don't make too many marks on the paper. And what I'm gonna do is mark out where the sky hits the land. So I'm thinking around here, it's about halfway, just about a little bit above halfway here. So I'm just drawing a quick line going across like this. And I'm not going to worry about the clouds or anything like that that will come in later. I'm probably actually going to draw this line in a little heavier so that you can see where I'm actually drawing in. Okay, it's just a little guiding line that separates the sky from the ground. Over here we've got a mountain and you can see it's not a mountain, but basically a small hill. And now we've got some trees here off in the distance. Little trees. That one's probably a little bit big, but as you can see, I'm not paying too much attention to all the details in there more so just marking out the trees. You can see there's a little house or something in here as well. So I'm just putting in a rooftop and a little bit of this rectangular shape for the bottom part of that house. And you can see next to it as well, There's almost another one. I'm just making this bit up, but you've got a triangular shaped rooftop. And you can see it's sort of just flattens out a bit more near the bottom. So it's kinda like this overlapping house here go to triangular shaped roof and then here which could be a shared or a little and little other part of the house or something like that here next door. Okay. I'm not really taking too much time to do this, but I am making sure that they look a bit more squarish and triangular because when you've got these man-made shapes in here, you've got to exaggerate them a little bit so that they stick out. You can see here to the left side of the house. And even here there are some little trees that you can mark out. Okay, and there's one coming up around here, and that's quite a bit larger just around here. So we can just put in a bit of detail for that tree, really just to mark out where it is. You can see larger one here as well. And one next door. And the little hills here you can see they're just rolling upwards is a slight incline. Ok, and there's a road, as you can see, just sort of leading out of that house and going out of the frame wherever it is, somewhere down there. But the trees that line the road actually give it a sense of basically make out that road. So having these trees next to the road is helpful. Am I adding a few more than is necessary just to exaggerate that a little bit, something like that. You can see on that right-hand side now there is a large tree in here and I don't want to spend too much time drawing it in or anything like that. It's just putting in roughly where E is related with the watercolors. We can actually get in most of the detail there. Same goes for the foreground where we've got this grass. You can see just sort of goes up and this nice yellowish grass here. And in the background you can see there are some little trees like larger blocks of trees that just merge into one big shape at the back. You can see how it almost forms a negative shape here, where we've got the green, the lighter green with the sun's hitting this area of the hill. You can see the shadow of the tree is also cost everything sort of shadow just cost to the back like that. I'm just thinking about that light source at the moment as well. Where I'm going to put that light. I think that's looks that looks pretty good. Just having a little indication of those shadows running to that right-hand side. We have a bit of the sun which is hitting the left-hand side of that tree, of these trees anyway. And I'm looking over here, there are a few other areas of trees and things like that in here that you can indicate. Again, it's not necessary to put in all the details. We just want to wait until later so that we've got most of them in watercolors. In terms of the mountains in the back. There are some mountains in the back, but they're not so exaggerated, are they? I might at this point think to myself, Hey, I want to make them a little bigger. So why not? I'm just adding a few extra mountains back there. I know it's not quite so apparent in the in the reference photo, but it's just something I decided decided just then too. Add-on and you've got some artistic license here. To do that. I just wanted to make that look a little bit more interesting. There is a wooden pole here and you often get these as they just line the fence. And I don't know if I'll put another one in here or something like that. Perhaps just going out of the scene. You often get these wires, bits of wire that will overlap and join up. I always like to put these bits offense and a bit of an angle. Try not to make them look too perfect. Okay. Like that. This one I might just put down the bottom. If I if I actually add all these in or not, I might change this up a bit, get rid of this one, and just have this maybe going out of the scene indicating that it looks a little bit better. Okay, so that is the basic sketch. Let's go ahead and get started on the painting. So I've got a few mop brushes here. And as you can see, the two larger ones probably going to cover these bigger spaces. So if you look at the sky, he might look here at the grass. These larger ones are going to cover more space. A little one here might be better for detailing smaller trees, that kind of thing. I also like to use a small round brush, something like this that has a synthetic tip or even something like that, helps you to get in those smaller details on the trees a little bit later. Apart from that, these are the brushes that I'm going to use. A might also start playing around with this brush here, which is a small fan brush. And this brush is really good for adding textures of grasses and things like that, shrubs. So let's get started. I'm going to use probably the middle-sized mop brush. So something like this. People always ask what kind of brushes, what size brush you should use. I tend to use the brush that just picks up as much water as I can, but still allows me to get into details of what's going on. I will firstly have a look at these clouds. Now, on some of these clouds are a little bit sharper shaped. And I'm going to keep that in mind. I have a bit of gray here leftover from the previous painting that I did. And it's basically just all your primary colors, red, blue, and yellow mixed together. A bit of brown. I'm going to start off here just dropping in a bit of this sky color. Now it is kinda grayish at the top like that. And the case, I'm going to go ahead and drop in a little bit of that up the top there. And as I move down the page, I can also, I can pick up a little bit more, drop some more in here as well. You can get pickup a little bit of this same color but dilute it down. And notice how I will also leave some little sharper edges in there as well, so that it's not all just softness, but we've got a bit of sharpness, the little bit of these boundaries of each of the clouds, something like that. And you can see some of that go behind the tree. I'm not going to bother too much with that. Over here as you move down the page, a little bit of this blue, this cerulean blue is gonna be helpful just to get in this indication of the sky here. So I'm just dropping that blue in quite quickly. Okay, not thinking, overthinking it, just drop that in over here. And you see just the peak of that blue coming out. And we'll move our way down. And this is where we got to just be a little more careful again, with these clouds, you'll notice that there are just some that are sharper. So I will do a little bit of my part to cut around. Okay. Some of this white will move around it like this, okay? Indication of some white clouds off in the background. And of course, if you think that blue looks a little bit subdued, you can drop in a bit more like what I'm doing here. All that paper is still slightly wet and move over here. And I will pick up a bit more of this gray, dropping this gray. And again, look at these edges where we want to soften a little bit of that edge, but not too much, so that it's still forms a little boundary, I guess. As we move down as well, you will find that these clouds just get lighter so we don't need to add too much paint in there. Remember with the sky, it's gonna be the lightest section of this painting. So we have to make sure we going really light here. And again, let's pick up a bit more of this color and think to ourselves, Well, how can we potentially, how can we potentially add in some more shadows underneath the clouds? And you find with clouds underneath and like here, they'll just have a little bit more darkness and to hear the bottom parts of the clouds. So I'm going to just have a bit of a play around here will go into the white a little bit as well, just to drop in a bit of color. Like that almost was about to rain on the day and it did rain the next day. So you can see the clouds are just looking little bit menacing, little bit heavier. But I think this was good because it actually cost us interesting shadow here on the grass. So apart from that, I don't think there's much else I want to do with these clouds. We can go back into them later and add in a little bit more detail. But like I said, this is all I do just to add in a few more bits of wet-in-wet details into the clouds and makes it a lot easier. When the paper is still wet. We can soften off some of those shapes later. Here in the background. I will actually pick up a smaller brush. If I got here, I have a little flat brush, but you can of course just use the mop brush as well. I'm going to pick up a bit of a bluish color. And for that I'll just be using ultramarine. Little bit of ultramarine blue here may be mixed in ultra marine, and let's drop that in with some gray mixed in there as well. Needs to be a little bit more cooler. Adding a bit more ultramarine and a bit of cerulean blue. Okay, I'm just going to drop this little bit of color out in the background to indicate these mountains. And the blue really helps to just push those mountains in the background normally with these atmospheric type scenes, especially me looking into the distance with these landscapes and mountains, you'll find that a lot of the objects and features start to turn bluish. So I like to make sure that our imply that there we go. I think we have it. It's kind of a distant mountains. We don't want them to look too. We don't want them to be too obvious. So soften that down a bit. Here. As we get to the front. You can put in a little bit too much there, but that's okay. Looks like a large amounts in here to the left, isn't it? Even that out a bit like that? As we start moving down, what I'm gonna do is pick up some green. And again, I'm gonna get that brush. I'm going to have a couple of the smaller brushes here, which are this one here is just a small and mop brush. And I'm going to pick up a bit of undersea green. It's just a darker green that I've got. And I'm going to just start feathering in a beauty that green here. And also if you can leave out some bits of whites here and there. And I'm doing that just to imply some highlights so that it's not all the same stuff going on. Another thing to keep in mind as well is you want to make sure that you're cutting around these little houses or stuff that you've put in here. Here's a couple that one there. The roof of this one here as well. So just adding that, make sure you're cutting around it. And I use the tip of that brush very carefully to make sure that I can do that. Something like that. And here we are, just moving across the scene now. And notice how I'm letting everything kind of merging as well, like with the top part of the scene. We've got all the mountains just merging into this greenish area. And that's the heartbeat out the way it really now it's just looking at, I'm getting in a wash of green here. Sometimes I like to add in a bit of yellow on some parts of it to warm it up. Especially right over here where we've maybe got some lighter bits of green from the sunlight there. But for the most part I'm just going to use this undersea green and spread this around the page just to get it in like that. Notice I've left a bit of white fur that road as well over there. Okay. Here we go. These little lines as well. It's just, I'm just using a bit of wet and wet again. Just to add in kind of like some interests going up these hills. Like you just imply those undulations as opposed of the mountains like that. I've also made sure to leave a lot of these lighter sections in here because that's going to be kind of indication of a just little bits of lights in there. And what I like to do as well for the shadows, sometimes I like to mix in a tiny bit of purple. Just adding Adenine in here. That could look like a large cloud or something just moving across the scene. Maybe it goes across the road even like that. Something like that because we've got all these clouds on top, we need to have a shadow underneath, some shadowy shape underneath to indicate the darkness in there. Now, let's move a little bit more into the foreground. And again, it's a lot of just making sure we've got some of these greens in here, but also preserving some of these lovely yellows. And how am I going to do that? Well, let's firstly, it's firstly, get some brownie sort of colors in here. I've got a bit of this bit of this burnt sienna. A bit of burnt sienna in here. I just wanted to change it up a little bit there. And I'm going to put in a bit of yellow. So this is just some yellow ocher. Yellow ocher here in the foreground. Sometimes if you want to make sure that it's just a bit more, bit more vibrant. I'm mixed some of the hansa yellow in it. And it just increases the vibrancy, but I don't want it to be too vibrant. Doing this nicely, nice and slow as you can see here, to allow it to just try mix it in with the green above. Okay, so that you've got nice little transition between the grass and all this stuff here in the foreground. And another thing I like to do is it's even just adding a bit of darkness in here afterwards, after we get in some of these yellow. But I want to make sure that this yellow is really nice and juicy. Lot of that paint in there. All the paint that I'm using at the moment, very, very diluted down. So probably be using less than 50 per cent paint. Probably more than 20 to 30% paint. The rest of it is just water. So there we have it. We've got a little bit of that yellow there. Of course, I've got some of this buff titanium, which is more of like an off-white color. This can also be helpful in here just to add in a bit more of this sexual individual strands of grass, they look more, more of that off-white color, really the thereof quite warm, but they're not too vibrant. Change that around a little bit in a little bit of that and see what happens. Drop it in. Good. So while that's doing its thing, what I'm going to work on now is just some of these trees here, maybe the ones often the background. Pick up a bit of this green and make sure that it's quite thick as well. So in terms of the paint consistency, it's mostly paint about 70, 80 per cent paint just a bit of water in their dry off the brush. And here we can just start to do things like this. Can drop in a bit of paint, experiment and just see how much has it spread? Spreading. Okay, it is because this area is too wet. This gives you an opportunity to do stuff like this. Just adding little tiny trees off in the background like that. Holding the brush at the end as I am here. And it really makes it a lot easier as well if you do it this way because you're not you're not being too precious with what's in there. If in some shapes that are a bit sharper, a fine too, we can smooth them out of it. But mainly I just want to make sure that we've got in some softer shapes, especially here where we've got the this row of mountains tree, sorry, that's separate out from the mountain. Here. In the foreground, midground, the heel will keep calling it a mountain. Different ones, some smaller ones here. It's very important to have a mixture of small and large trees in here. And I do find with these Australian trees as well, they are kind of a brownie green color. They're not quite the saturated green that you do see. In some other scenes. We do have a lot of these desaturated looking trees and leaves and stuff like that. So a bit of that here as well. Look around the the houses. You can see there's a bit of this area here where I just play around and adding these indications of trees can just cutting around the houses like that. Let's drop in a bit more here. That here is even a tree or something here. Larger one, another one here. Here. You can see them just lining this little road as well that we had put in a bit earlier. So I'm just trying to indicate that like this, adding in these little details and try and also move them. This whole row of trees that we have in here. I'm trying to make sure that I've brought them all the way through the scene. So it's not just a layer of it and at the back, but little smaller ones, as you can see, tiny little ones that just crop up here and there in the center. You still have time also to add in some of these little lines That's almost like undulations in the sea. Just tiny little bits such as run-up like this. Especially because this paper is still wet. So you've just got a lot of, a lot of freedom to add in some of this stuff. The paper is still wet. Adding a little more darkness and some of these clouds. This for this top one here, soften it off a bit like that. Okay. That it's another layer of clouds up there. Yeah. You can also go back in and doing some of that. The bottom parts of these clouds that we were looking at before, like that. Tiny bits of these bottom parts of their software that down as well. You can also do this sort of stuff here with the little pocket knife or a car. You can just scratch out bits of paint and that will indicate some of the white of the paper. Which again will just serve to create this effect. Of all the little bits of grasses and stuff like that here in the foreground. Now that that's dry it off a little bit. The final thing that we wanna do is basically just adding some small details with the trees. I'm sharper looking trees and shapes. So I'm going to be using a round brush. This one's kind of tattered. But what I'm going to be doing is just adding in some darker trees, e.g. behind this one here. And another round brushes in little better condition. But here just a little bit of that like this. The good thing with these brushes is that round brushes, a lot of the time. They're going to resemble a tree. So there's not really all that much that we need to do to actually paint it in. We just need to drop it into the right place. I try not to get them to sharp looking as well. As you can see there's one, that's one. Then we need to just dab a bit of paint on the paper and you gotta, you gotta tree there, don't you like that? Around there? Here there is a tree and it goes up. Actually it is covered little branches that just go up into the tree kinda like that. Basic. I'm just adding a little more darkness to hear the right-hand side of that tree. The branches are in there. As you can see, this is like little bush, but there may be a branch or something coming up like that and then go to another tree or something here as well. That a darker one. The sharpness in here with these other bits and pieces we're adding in really starts to bring out the details and just adds in a little bit of, a little bit of contrast so that it's not all the same color. Of course, we've got rid of brown that we can play around with as well. I like to do this sort of thing here, like I was telling you before, just the trees off in the distance. They help to separate, separate them. This mountain here, this hill going into mountain, but here as you can see, it's a little bit of this sharpness. Suddenly we've got a little boundary. Don't we? Be careful with this. I don't want to overdo it. Put another couple of trees off here as well. In the front. Here, just some sharper ones in there, in other ones in here. And make sure that you're keeping them smaller as you move into the background as well. We don't want to make them too big or too detailed off into the background. It's mainly just to imply that there are some trees and things back there. Here in the foreground is all you can see every now and then is like a tiny shrub or something. So you can just look at that, just moved that round brush through these tiny little points here. We'll just add in extra detail. As if there is something there, little shrubs and whatever you look here, a bit of that tree trunk like that. Maybe another one here, ten that to a tree trunk as well. Okay. And not only that, you will find that there is a little shadow underneath some of these trees like here, there's a bit of a shadow. So I will indicate that with a bit of brown and a bit of neutral tint mixed together. This doesn't have to be too detailed, just something like that. On the ground. Indicate that there is a little shadow. Might be bit dark. I'm just going to try to lift off some of that paint. There we go. Okay. There's more here, a bit of a shadow here here that maybe underneath the house to the right-hand side. That could be a little bit of that as well. Okay. What else do we have? So just following the same shadow pattern and I'm connecting that up with the trees. Touch like this. Okay, here we go. Maybe another one like that. They're tiny ones that might leave a shadow to the right-hand side. As you move into the background, it becomes less apparent. It's more just the shadows underneath the trees like that. Okay. But see how important is just to leave some of that light in there because it really makes it look like there is a light source coming from that left-hand side. Now underneath these houses, you might want to just add in a little bit of darkness. I find that a touch of darkness on the here helps to ground them a little bit. Not only that, but just also near the roof, underneath the roof area like this tiny bit of that darkness or here as well. Does help who add, potentially add some more color into this house later. There are some windows and not just the cake, like a window or something there. Another one here on the right-hand side, just a couple of tiny little marks in there like that. Okay. This could be something as well. We didn't even know what that is. It could be a house. It could be something that you could turn it into, something off in the distance like that. That's why it's good to just leave in some of these bits of white on here. I can make out shapes and create things that aren't really there. We're continuing on, as you can see, getting a little more detailed. And of course, we've still got a few more things to add in here, e.g. this poll here in the front, I might just look at adding in some brown so that to just darken it down a touch like this. Here's, Well, it a brown on the right-hand side. These polls. You can see there's a little these little, or you call them connectors. But I'm not going to connect them all up really. There just be some of them that you can see like that. Something like that. Just make it a little darker, touch darker in the foreground. I always tend to make objects in the foreground. Darker, helps create depth in your painting. Okay? Of course, we've got this big tree here and there's candy tree. And I'm going to start off with a bit of green. And I'm not going to be shy about it at all. Look at that, just drop in. Using this little round brush and having a play around with just getting in some leaves. And you just kinda have to fiddle around with it and stumble your paintbrush around. I've got a bit of brown, I've got a bit of green. I'm trying to just mix them together, a touch to create some combinations almost like they look like branches and leaves joined together. And it's a very thick mix of brown that I'm using here as well. So that the, the, we call them the branches look more dark. And move this down again, we've got more green movie, the yellow, we can just drop it in here as well. Something like that. Proof that down here, just start moving some of these, these branches around as well like this. Really important to make it look like the branches are in front of all the houses and stuff and things in the background. And the way you do that is just to make sure you've got a fairly dark mix of paint here. It's mostly almost all paint, especially for the branches. I'm just using a very thick mix of paint and only a tiny little bit of water. Scramble this brush feathered around to create some indications of branches and stuff like that. Maybe this little touching paper comes down and we can't even really see where the tree goes, but it disappears a bit around the right-hand side of the scene here. Okay. Before it gets into all these yellowy stuff in the foreground, I can just play along with that, that bit more green in here too. Just a lot of bit of light showing through that. I don't want necessarily to be part of the scene. And of course in here as well. You can have some other dark bits, like it's not just yellow. If you can look into it a little bit closer, it's combinations of just the grass underneath is greens and some flowers, some browns in there as well. So I think it's really important to make sure that you've got a mix of mix of that in there as well. The darkness, funny enough, brings out the light and makes the grass look more yellowy and warm. If we have a little bit of that. Just a little bit of that darkness in here. So maybe more green in here of not putting enough green. And it's also going to help just obscure these skill, these polls a bit more. I don't want them to be too obvious in here. That maybe a bit more here, just flicking that brush around that fairly lightly. There we have it, a pretty simple little scene, but we've used a few different techniques here and practice using some wet on wet techniques. We've used some wet on dry techniques. For all the sharper shapes, went away. It was just basically that first wash that we were doing to make sure that we've got the sky in. We've got all these softwares looking shapes before we put in things like that tree on the right as well. 10. Tidal River: This is a really lovely seeing here that we've got a tidal river also in Wilson's promises tree, and it's right next to Normandy Beach. And one thing I really love about this scene as the reflection of the rocks on the water and some of the colors in the rocks as well. So we're gonna go ahead and do a sketch of this and we'll get through and do the painting after. So first thing I wanna do is separate the sky from the ground. But what I wanna do is look essentially at where the sand finishes off in the horizon line. You see the mountains off in the distance. And then you've got these closer mountains and hills down here, this greenish tint to it. But basically, you've got a little bit of land here at the base where you've got the kind of yellowish sand. Interesting thing about the waters that I found that it had this strange orangey tint to it. And I think it could be due to maybe the algae or the minerals that were further up stream, but wasn't quite sure why, but it's interesting, sort of interesting color. So I'm thinking in order to, I don't know how to offset that color, that orangey color, and maybe create something really interesting as well, just to make that sky more bluish and then have that contrast between blue and orange, which are complimentary colors. So again, I'm just putting in a quick line here and I'll actually draw it in a bit darker so you're able to see where this line is, roughly here on the horizon line. Now, it's actually a little bit lower than the reference picture, but I don't mind. We can change it up a little bit and just go go with it. You can see the water I've just made that sort of come out on the edges here. That water come out the edges. This is the area of the sand over here, but this is this the little bit of where the water hits the sand. And I think probably the next easiest thing to do is to get into, firstly, we'll just quickly draw that line in on that left-hand side. Well, during this mountain here in the foreground, this larger mountain, the basic outline of it as I'm doing here. Okay? And get thick, they come down and then go back up again here near the edge of the scene. We do have some mountains off in the distance as well that I can just go ahead and try to indicate a paper that mountain is actually obscured by some clouds. I'm going to make it a bit sharper than it is actually something like that. Should do Something like that. It's erase this bit of line. So you can see here, we've got this big shape of the mountain coming in from the left. And the main big thing you want to make sure it was getting that shape of that mountain and also separating the sky from the Earth here. Once we've done with all that, really the rest of it is just getting in the rocks. So I want to have a look over on this side and I want to use these rocks more as a little guy. There is actually a rock nearby called What? Is actually a rock nearby called Whale rock. And it has a pretty distinct shape, but these ones, you can improvise and you don't have to get them in exact. But here I'm just starting off with a couple. And then we've got this larger rock here. Let's put an indication of that sort of dips down like that. There's rocks that go in front of it as well. And that's important aspect of when you drawing these landscapes to make sure that there's a lot of overlapping shapes and just makes it look a lot more interesting. You've got overlapping areas. Just some more rocks on that left-hand side. There. There's that big one. Here as well is another rock that just comes out. Another funny-looking, funny shaped rock here that has a, a sharper edge to it and another rock in front of it like that. So I'm just improvising, just having a bit of fun here, trying to use these shapes to create some kind of seen with these rocks. Okay? And of course, I'll probably change them a bit around later on. Here's another one here. This one's kinda go to like a crack in-between it. They just connect up and join on with each other like this. Try to let the watercolors do most of the work as well so that I'm not sitting here trying to draw every single bit of detail in this rock here that's sort of in the water a little bit closer like this. I can draw that BD and there's also another rock next to it like that. I can draw in there as well. Okay. I don't want to get that water to go in a bit further. What else do we have? Just another bits and pieces of rocks off. I've missed out a few here and there, but that's fine. I don't want to put them all in there. Just want to make sure that they they look like rocks and they are kind of overlapping. There's a bit of detail in these larger rocks as well to make sure that you've, you've got some in the foreground areas closer by. Extra detail in there. So there we go. Just this rock in the front. I'm just creating a detailed Lu bit more. And you notice that I'm also shading with the pencil to make some of them bit darker. And that is basically me trying to figure out a specific light source. The light source here is not to parent. I mean, everything is lit quiet. Well, I'd say mostly that the light is coming from above, maybe two from the top right-hand corner. So you're getting a bit of shadow here. You might get a bit of shadow here on the left side of that rock. Left side of the rock and underneath mainly is where you want to indicates some of these shadows. Of course, more rocks and things here near the water having a bit of that reflection, that orangey reflection in the water is also going to be important. I might change the color of the water slightly as well, just to make it make it a little more bluish or cooler than it actually looks here. And that's, I think will be good because it will help me to draw out some of these orangey colors on the rocks a bit better. I'm not too happy with how this looks. I want it to just be a touch larger and more round on the top like this. Okay, that looks better. There we go. So yes again, just a lot of this improvisation where we are just finding little shadow is perhaps underneath to the left-hand side of some of these rocks as well. I think it was a good good, good place to start. Okay. And we've got maybe I've already drawn this one in, but there is another rock here. It's obscured with some of these scrub here, this little bush or tree that's overhanging over the top of these top of these rocks. And we can also just indicates some of those like that, but not a big deal. Question is, do we want to put in another figure over here? We could put in some people walking by and just to add some interests to the scene. So why not? Let's just put in a couple of people walking through this. Maybe this person could be standing, standing up, looking over the left-hand side or something like that gives the scene a sense of scale. Okay, time to get started now with the painting. And I'll firstly pick up a medium-sized brush. This is a three slashes, zero mop brush. And I'm gonna go with probably some blue in the sky. It'd be the throughly in blue. Okay. Drop that in. I do have other colors as well like this lavender. Lilac color can always play around with some different colors, but mainly cerulean blue. What I want to use up here. I think it could also be an idea to add in some clouds into this mix. And when I say Clouds, I mean just some darker bits of paint that I can drop it in there. Okay. Two indicates some soft, wet and wet clouds. I always like to make the top of the scene look a bit, little bit darker as well. So here I've got some ultramarine blue. And as you can see, you've just dropped in a bit of that to the top part of the scene. This makes it look a little bit more of a gradient. As you can see a little bit more of this gradient like effect like that. And then as I move down, of course, really just looking at some other, maybe a little bit of brown, little bit of blue in here to create channel kind of grayish color for the clouds. I'm just looking to see something like that. Just a little cloud. Maybe another one here. I don't want to overdo it, but a few little cloud shapes would be nice. That softer little clouds running through trying to be quiet, sporadic with them as well. We don't want to spend too much time as you get down further towards the horizon line, the clouds just become smaller. So there's not much effort you need to put in with those. Okay, I think that looks nice. And here we go. I might just move this down a touch and we can work straight into the mountains. Ultra marine, I've got here a little bit of ultramarine blue, and I'll drop that here in for the mountain in the background, I might go darker for that actually bit of purple in there, too. Little bit of this purple is whatever color it really I mean, for me it's just looking at a cool color. Get that mountain to fade in a little bit at the back there. Try to go a little darker like that because I know what's going to dry darker. Make some of these edges of the mountains a bit more undefined and I'm sticking out a bit. K and I'll pick up a bit of green, touch of green now it's on the sea green, which is a darker green color. I've got and I can just go ahead and drop in some of this color for the mountains here to the left. And just leaving, leaving a bit of white as well. Don't have to color every single thing. Because sometimes these little bits of white in there, you can turn into tree trunks and things later. Because I can see in there there are some kind of tree trunks and things off in the distance. Sometimes it's good to mix in a bit of brown in there as well. Just like this with Australian landscapes, with what you find is that a lot of times we don't get really vibrant green landscapes. I've mentioned this already, but you have to keep that in mind and make sure that you're not overdoing it. The coloring, getting chairmanship vibrancy in there. Okay, so over here, just again working away, working away at some of these trees. What else can we use in here? Maybe a bit of this yellow ocher, a little bit of yellow ocher. And they are noticing the trees here closer to the front. Little more vibrant. You've got a bit more vibrancy in them. So I'm putting in a tiny bit of Hansa Yellow. Hansa yellow. And this is going to just help create a bit of that color. Vibrant seen some of these trees like that. I'm cutting around some of these rocks as well. I don't want to call them all in green. There we go. More vibrant, see more of that yellow, tiny bit of that yellow in there, and mixing it around with the green. And you're going to get this effect. There we go, cutting around that rock. That's so crucial that you have a mop brush that has a small tip like this one that allows you to do what I'm doing here without going into the rocks. Okay. Just go around like this, just cutting around these rocks because we need to get the mean with a few other colors a bit more warmer than what they appear here. Maybe cutting around still. Using some browns here. We can drop in a bit of greens, do it up here as well. If you feel like there's just not enough strength up in the top section, we can drop in a bit of green, even a tiny bit of purple if you want up there. Okay, So similarly sections. Let's move across here. And I'm going to just get this straight in at the front, like a darker green here. That's gotta be darker than this background. Mountains for sure. Just moves it forwards. Off to that right-hand side there. As you can see, you've got these figures as well, which you want to leave a bit of a cut out there for them like that. Okay. So that's looking pretty good so far. Again, I'm just looking to see if I can put in some dark bits in here to indicate the bottom parts of these, the bottom parts of these trees. Okay, they just create extra shadow and stuff in here. And there's bits up the top here as well. But again, I don't want to overdo it. But having enough contrast in here is important. Whoops, I think I got that a bit too before, just a little bit too sharp. So I've gone in with the brush and try to smooth it out a bit. Soft and offer touch of those trees. Good. So now what I wanna do is, um, well, I think we're going to have to go straight into the rocks. Okay. I'm gonna use a smaller mop brush, perhaps this one as well. And I'm going to mix up a few colors. This is some gray. I just don't know, pick a bit of this gray color that I've found. It's really just black that's diluted down if you've got neutral tint. Also mixing your primary colors and get the same effect. And it might be a little bit early, but it doesn't matter so much. I think we can make do sometimes what I do is I just leave a little white edge. There's you can see so that the tree layer and staff doesn't mix into it too much. The colors from the greens and things like that I really wanna do is get enough light, little shade of, of Gray. And of course I'm using this granulating black color, which is called lunar black. And that kind of, it's interesting because it dries and it has this nice granulating effect that makes it look quite realistic in terms of the textures of the rock, which I like. Of course, you've got things like this stuff as well, which is kinda like a brownish color. So you can drop in bits and pieces to create these indications and most of these striations of the rock. Here we've got a lot of darkness in this section of the rock. I can already see that being a thing. So I can just putting extra darkness in here while we can like that. And some of this hopefully will bleed into the rock to the left there. Where else can we go? Around here? Even we can go in here. Just anywhere that you see potential for there being some shadows and stuff like that. I think it's a good place to experiment and just adding those dark shadows like that. Let's put in a bit of color for the rocks again, or maybe a bit of yellow, a bit of a lot of this grayish color all over the place like that, just a bit of grayish color. Notice how all this a lot of it is really being painted wet into wet. I'm letting all the colors run together, but where I create some separations is where you see, just see these little bits of white and things on the rock. And that helps to just separate the rock, add a little bit so that it looks like it's assortment of rocks rather than just all the same thing. But again, don't worry too much about it. You just want to make sure that there is a nice even and, and flat wash over the top of all these rocks. And then on top of that, I'm just adding fuel, the colors and bits and pieces. Here on this rock. You will notice things like this, orange, very fine. It's interesting. I think this was some kind of moss or whatever growing on the rock. But it's such a vibrant orange color, we can't miss that out. So I'm going to leave some of these sudden drop it, drop a bit of it in there. It's almost too vibrant. Orangey color. Tiny bit here as well. Little bit there. And the rest of it, it doesn't matter. I'm just going to go over it like that. Withdraw. And then what we can do is get in some more details afterwards. Bit of darkness here, the base of that rock as well like that. Here. Here. Little bit of grayish colored stuff here at the top like that. And here as well, It's not just orange, you've just you've got other colors mixed in there as well. Some darker colors and grayish rock color. Okay. Here we go. Bits and pieces of things in there, the base of the rock. So just quite important to indicate if you're finding you're having some trouble painting the details in switch to a smaller brush. Just switch now to this little flat brush. Go in like this. Let's look here. Maybe, maybe there's a bit of darkness in there on here. Here like that. The left sides are underneath some of these rocks like that. More gray, a little bit of gray that I can mix up here in drop-in like that. Okay. Good. Okay. So having a look around and just seeing what else can we potentially add in here? I think with the water, a little bit of the orangey reflections of some of these rocks is going to be helpful. So I'm going to drop in a little bit of that while I can go back into it actually in a moment where we can actually get the water in which I'll do probably in a more turquoise Sea blue color. I know the river is actually quite kind of reddish tinge to it, but I don't want to emphasize that all too much. Orangey sort of tinge. I mean, we can e.g. we might be able to get an a few streaks and things like that, but I do want to put in some cooler color hopefully to balance it out and touch. So little bits like this is gonna be fine. Even on the rocks you get tiny bits of orange light here, just drop it in. Just drop it in and let it do its thing. Like that. This is just a bit of orange paint that I've got. Very, very light mix as well. This is nicely, you're going to reflect down into the water so that we've got some software to reflections. I thought, Look at that. I'm just dropping in water in here as well to help it mixed downwards. And then we just get some different consistencies of paint. So it's not all just the same consistency. Okay. Before I forget, I'm gonna work on that right-hand side of the scene. Just get that sand in quickly and I'm just picking up a bit of this color which is buff titanium are really light white color and this is easy to paint in. It's quite soft and just looks mainly like a nice sandy color. Okay. So I can drop that in here because I do what I think I might stop forgetting about it later on in the blue or the oranges might mix in there and just throw things off. So touch of that will be good. And also maybe a few little splotches of bits and pieces in here so that it doesn't look too stuck on. Okay, let's go ahead. I'm going to pick up some turquoise see color. I'm just dull it down with a bit of green. This leftover green as well. Here on the left, turquoise see color with green. It is more on the cooler end, but not so vibrant. Let's try this out. That's looking. All right. So we're gonna go in and where we've got these, see here these little gaps in the orange. This is what I'm doing. I'm going through and I'm just filling in some of these gaps. But also it, I'm leaving a bit of the white on the paper as well, so that it's not all just just orange going through here, but we've got just kind of like reflections on the water or something like that. Okay. Little bits of white that you can live in and that do that. It sort of indicates reflections and lights and the water. Good. We go going further down and I go further down. I'm just adding more and more paint so that it just becomes darker here, the base. Just a darker wash there. Okay. The orange and the sand mix mix into it. A touch like that. Okay. I think that looks pretty good. Any other thing I can think of adding is perhaps a few little ripples on the surface or pick up a bit of darker color, a bit of black or something like that, with a bit of that green mixed together. And I will drop in a few little strokes of color like this. And this indicates essentially just some little ripples on the water. It needs a more neutral tint for that. You really using not much water in this, you just picking out a few little not much water at all. And that allows you to go straight in there in that paint doesn't mix around too much and create too much of a scene. Getting that balance right is hard. But yeah, I just dry off that brush also on the paper so that it doesn't sort of mix around too much. It doesn't bring over too much paint. The brushes is basically a bit of dry brush into an already wet area. And that's how you do it. Basically. You can see already that there are some shadows and things that we had put it on the rocks and we can go in and go in and emphasize that a bit more because you notice the bits of rock and things have already started to dry off a little bit. They're kind of damping here. But you can go in and adding a tiny bit of darkness. And it just looks nice because you've got more of this soft kind of feeling in it. I think we will need to put in some sharp shadows later on. But for the moment, I think having some softer shadows is also good. Contrasting the softer shadows with the darkest shadows in this rock is a split on it. I think got to know what this rock is as it's almost like I've accidentally drawn in another rock on top there, like that. But it doesn't matter. That can just be another pretend rock. That I've put in there. Okay. And there we go, looking at the shadows here that I like this one. I don't want to I don't want to stop that one up. Even here with the boundaries of the rock. The smaller rocks touch the big rock. There's potential cracks and stuff in there and we can just add in a little bit of darkness. The base of the rocks as well. You do find some of them got this little line or whatever at the bottom separating it out, touch like that there to say exactly where they hit the water. That's looking good. I might leave those rocks. Now. Work on the people and just a simple color for them really, I'm going to pick out a bit of blue for this person. Here is a bluish color like that. Lift off a bit of that paint. I think there's a bit too much on the spreading into the nearby area. What else do we have in here? Maybe a bit of this pinkish color or something here. Just like that. Blue looks too vibrant on a drop in a bit of a warmer color, something there as well. Good. So have a look. What else can we work on while the paint has now completely dried? Scratch out a little bit of paint. And I'll use a little pocket knife here to do that. I'm just over the top here and probably be late actually. It is a little bit too late, but some of these trees here you can still sort of do it. Is you notice that these little branches and trees that are stretching out like that, I might be able to just give it a quick spray and hopefully reactivate that area so that I can lift off, scratch out a bit of a little bit of paint. This saves me time, so they're not having to draw it all on later. Okay. There we go. Look some little branches, some trees going up into the distance. We can draw them on by just scratching off that paint. As you can see, little bits of paint like that. The best time to do this is when the painting has that area has almost dried, but it's still slightly damp. So say if I wanted to do it here, scratch out a bit. You can see it looks a bit more, little bit easier to scratch off here. I don't normally do this on rocks and stuff like that. It's more more just for tree branches that looks a bit better, something like that and see that. And trying to pick out a few bits and pieces to get lift off. Some here in the distance as well. We can just go ahead and scratch out of here as well. Tiny, There you go. That's what I mean, just over here, this is probably the best bit where it's working because that slightly damp. Okay. Lift off quite easily like that. Okay. Rest of it. How it is rarely, it's fine. We'll have to just deal with it. Okay? So we're gonna give this a really quick dry final touches. We're going to put on some little bit of foliage, indications of foliage for some of these trees in some shadows. Extra details and we're finished. So first thing I'll do is pick up some of these brushes. This is a little round brush that's really been abused a bit. And this is a flat brush with a slightly curved head. And what I'll do is, I'm just going to pick up some of this darker green paint and I'm going to mix it with a bit of black, bit of brown perhaps here as well. Dark a bit of this green. And what I'm gonna do is I'm just going to drop it in here to try to indicate some darker bits on the trees. Foliage and stuff like that here. Here. Here maybe. It's important to have your darks in here. It's going to draw more attention to the actual foliage itself and the shape of the sum of these trees and things in here. So you can see how it looks. Some of it I'm going to bring down like that near the rock. Bring back up again like this. Just a few little strokes. Like this. Could be indications of some little bits and pieces with watercolors. It's tricky as well because you don't want to overdo it. You only got one chance really to getting some of these shapes, these bits of tree and things like that. So I want to make sure that I indicate it effectively, but without too much hassle. Too much business as well. Here, look at that. There's just some type of rock or something here. So I can again just work on that one and I'll use the darkness to create a bit more shape around that rock. As you can see, that switch over to this other brush, it's becoming difficult to control. But you can see perhaps here, we can add in a bit more darkness around this rock like that. And remembering to create a bit of a blend as well. So it's not just dark over sudden, but you've got a bit of greeny mixed or whatever slightly above in here. I'm there. This is like an overhang or whatever where there's all these little bits of leaves and things that are okay. They're trying to create that shape of the leaves a bit better as well. Like the roundness, I suppose, like it's just moving across like that. That k bit more darkness in here section. Okay. Little extra sharpness in spots like this in here. One-on-one. So makes sure I'm leaving in some of the soft shadows. I don't want it all to be too sharp, harsh inside this areas so soft and this bit down like that. Just a soft shadow like that on the inside of that rock. Something on that. The feather it out of touch. This. The base of that rock. Beats of darkness on the left side. And also dry brush some texture onto the rocks as well like some of this. Just try this and vertical lines just indicates some of the striations on the rocks like this. Do it here as well. Bits and pieces. Texture, indications of texture like that. Good, good. Work on these figures a little more. I'm just gonna getting really dark colors for their legs. Let's see if I can drop some legs. And he quickly like this. There we go. Just standing together perhaps. And maybe a shadow forming to the left like that. One looks a bit funny. The legs have to just deal with it. Okay. Red. Just pop that into the few little bits of touch ups, touching up bits in here. Thought I'd get that shadow in over here a bit better, some more, somewhat over here as well. It's just using a touch of negative painting to dry out the shapes of these rocks. Little bit like that. Okay. All right. And I'll call that one finished. 11. Class Project: Your class project is to draw and paint your own coastal landscape. This can be a St. featured in this class are based on one of your own photographs or since you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawing if you choose to do so. I recommend during each scene, free hand. Drawing is an important step in improving your painting skills. This provides you with an opportunity to compose and plan your painting. Once you've finished the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting.