Create Stunning Coastal Watercolor Paintings

1. Introduction: To the enchanting world of watercolor painting, whether you're just starting out or looking to refine your skills, the journey to mastering loose yet precise watercolor techniques can be both exciting and challenging. But where do you begin? Which techniques do you need to focus on? And how do you bring your creative vision to life on paper? Coastal landscapes offer a mesmerizing array of subjects from shimmering waters and bustling boats to majestic mountains and charming buildings. In my course, creating stunning coastal watercolor paintings, you'll uncover the essential techniques and processes needed to transform any coastal photograph into a captivating atmospheric painting. Under my guidance, you'll learn to create masterpieces that not only capture the essence of the scene, but also reflect your unique artistic style. Throughout this course, I'll walk you through my entire process in real time from the initial drawing and scene composition to the delicate layering of light and shadows. Finally, the intricate addition of details and highlights. Join me on this exciting adventure into the vibrant world of watercolors, you discover how to create stunning landscape paintings with confidence and precision. Whether you're an experienced artist or curious beginner, this class will equip you with the tools and techniques needed to unlock your full creative potential. I can't wait to get started. Let's unleash your inner artist together. 2. Materials Required: Okay, so before we get started, I wanted to go through some of the materials that we'll be using in this course, and this is going to give you a great little rundown, especially if you don't have any particular materials at the moment, you're looking to purchase some, or if you're just looking for an idea of what to use around your house. So over here and left, this is the paper that I'm using, so it is 100% cotton watercolor paper, and it does come with a bit of texture. So this is a kind of cold press texture. So you do see when you look at the paper, especially from the angle, there are little bits of groove and bits of paper pattern, I guess on the surface of the paper. So this actually helps a lot in terms of dispersing the paint, so you don't get kind of choppy areas or areas where the water pools. So I do recommend some textured paper. It doesn't have to be 100% cotton, but if you can get that 100% cotton paper, that's going to be the best option. And I do have one particular scene in this course that I've painted on hot press paper, which is completely smooth paper, and you can see the difference there. It's quite tricky to paint smoother areas. You do get more blotchiness and you do get, I guess, more sharper transitions at times. But it also allows you to get a lot more detailed in faster and easier. So yeah, it's difficult to work on, but something else that you can try out. But for a beginner, I would say probably stick with your cold press, somewhat textured paper compared to this stuff here hot press, but yeah, differ slightly different looks at the end when you finish with your paintings. These are a bunch of brushes that I use and a lot of people surprise when I show them, I only use a few brushes. In this course, there's only four brushes that we'll be really using, so this is the mot brush, and it's a squirrel mot brush, so it contains has a large belly here, which allows you to soak up a lot of water. And this is great for getting in large washes, things like skies, sand, water at the back without having to reload your brush constantly. And you've also got a sharp tip, and this sharp tip allows you to cut around shapes. So say, when I'm painting around these sort of cliffs in the background, I can cut around them without disturbing the wash here in the front and getting into that white. So really important to have something like that. Now, these brushes here are just a bunch of synthetic brushes. They look fancy, but it's just because they've got these copper handles. But essentially, you need a bunch of synthetic round brushes. If you've even got one or two of these, maybe a large one and a smaller one, you know, that's going to do completely fine, even if you've got maybe like a medium size one now, these are great for detailing. So as you can see here in the boats, a little bit of detail on the top of the boats, the bottom, you know, some of the line work as well, some of the figures. It's a lot more difficult to do that with the mop brush, so these are really important. So make sure you have some of those around. And here are some of the colors on my palette. Now I've got a lot of colors here. But for this particular course, you're only essentially going to need a few. Now, your primary colors are going to be yellow, blue and red. And you can see here on the left, you've got a crenacon gold. I've got a yellow ochre, which I use a lot in this course as well. A couple of oranges there, par orange, and I've got a pral red here as well. That's a nice primary red. I've got a bit of yellow here. This is Hansa yellow. So it's more of a vibrant yellow. Don't use this all too often. So essentially, if you've just got maybe like a dull yellow, a red and a blue, like an ultramarine blue here, you're going to be absolutely fine. I do have this color here, which is cerulu blue. This is a great sky blue that I do use. So you might want to get that one. Another color that I'd say is essential with landscapes, is some type of brown color. So, you know, either probably like a dark brown would be best, so that way you can lighten it with a bit of titanium white or a bit of yellow, as well, if you want to make a kind of redish reddish brown or a lighter earthen brown as well. So, yeah, that's a burnt sienna. But if you've got basically a few of those colors, you know, you can mix green yourself. You don't need that. But color here called neutral tint, which is just a pre mixed gray. But if you've got a brown, you've got a darker blue, you've got yourself a yellow, a red. You know, that's really all you need for this course. 3. Simple Boats: Drawing: All right, so let's go ahead and start off firstly with the drawing, and it's quite a simple horizon line, you can see, it cuts straight through the center of the page, and I'm using a mechanical pencil here just to draw a line running right down the center of the page like this. Separating the page in half. You can use a ruler. But I just tend to draw it free hand. Now, what we want to do is we just want to pencil in a little bit of these. You can see there's these kind of reads here. The yellowish reads here in the back, just a little indication of where they are, and sometimes also just like to get rid of a bit of that line that I drawn before, just to clean it up a little bit. Don't have to do that, though, but just a something like that. You can see in the background there is a tree line and I'm going to increase this tree line a touch. Make it go up a little bit further like that because I just thought it looks a little bit too flat down at the back. I just wanted to extend a little bit further up into the sky. Now here to the left, you can see there is also some mountains, some distant mountains out in the back section of the scene. I might also extend this one up a touch as well. There's another Just just give it a bit more prominence. Make it look a little bit more prominent. Now, starting out here in the back you can see, there is a yacht here just underneath. If you have a look at it, just underneath the horizon line. So I'm going to zoom in the reference picture a little bit. Let's just draw this one out. Remember this is going to be all pretty much white by the end of the scene. Just a little top of the boat. Now, always separate and try to draw things in by their shape. If you see here, it's just like a longish rectangular like shape like this. The front does jut out a little bit more, and you can see there's something hanging off over the side there, some little covers or shades. Here, we've got the masts and they just go up. I don't need to really do too much with those masts. I think we can safely get them in with some gouache afterwards, but just a something like that does help to position them for later. So you don't have to guess too much they are. Now there are a couple of little yachts here as well. Little boats think, so just going to make them smaller. It's always something to keep in mind when you're drawing shapes that are all the way in the back, you want to make sure that they are smaller. You don't want gigantic looking boats out the back. Otherwise, it's just going to make the perspective look a bit funny. That's all you need like a box or something like that. With the mast attached to the top. Here we have it. Couple of smaller boats out the back. You can see these little bits and pieces in the water. These little floating bits and pieces. I'm just going to draw a couple of those in like that. Now here comes the fun part, of course. We've got these four boats, and we're going to make sure we spread them out enough. But also, I want to potentially just make one of them like this one here. I want to make this one a little bit closer. I'm not worrying too much as well about the exact proportions. But I want to make this one a touch smaller just so that I can get a reflection that stretches out more to the front of the scene like this. Just just I just a different choice, I guess, because I thought that boat looked a little bit too far away. You can see inside the boat that there are some bits and pieces as well. You can see in here there's a what Mccall I don't know what this is. It looks like a seed or something. Maybe who knows. But just a little bit of the insides of the boat like that. That way I can darken down a little bit of detail in there once I get the chance to. That's one boat. Let's get in this other one at the back. Starting out at the back end of the boat and moving all the way to the front again like this to a smaller point up the top here. I'm making again this one a bit larger. I want this to to also be a bit more closer to the front of the scene. You can always alter and change things up depending on how you feel about the scene, whether it needs a bit of modification. For me, I really think it does it would look better with these closer up. I want to make the boats more of a subject, which means now this reflection is going to overlap a bit with this other one here. Can you see tiny bit? Actually not really. I got confused. That's the bit that's going into the water. It's just the bottom part of the boat there, the reflection of the bottom part of the boat. Good into the water like that. That can be a nice maybe like a white bit that goes in the water. Now inside the boat as well, just a little bit of detail for the insides like this. But most of it, we're just going to keep it pretty white. There's nothing in this boat. There's not really much to draw in there. Here we go down the back and this is where I'm going to decrease the size of these a bit more. This one is coming across here like that. There. Into the water like this. And this, maybe. Again, the reflection, and the reflection just mirrors the top of the boat, if you look at it. Just a mirror reflection. That's all you need to do like that. This boat, especially, it's pretty basic. There's not much I need to put in there. You glimpse a little bit of the insides of the boat from that section there. But apart from that, not really. No really much else to paint in there. There's another boat behind as well here, which I will also get in. You can't really see it, but it is hiding a little bit behind and a little bit of a reflection there as well. Touch the side, the top of the boat. You've got this one here all the way in the back and it's covered as well. I'm just going to at the bottom of that boat in like that, a bit of that reflection coming through at the base like this. And there is this kind of white cover tarp or whatever on the top of the boat like that. You even see another one here all the way at the back. Barely actually almost missed this one, just all the way out the back like that. That's it. For the drawing. We can pretty much start with the painting now. 4. Simple Boats: Light: And I'm going to pick myself up a bit of clean water, and I'm just going to wet part of the sky. And now the sky is looking a bit. It's mostly blue and areas, bluish in areas. I'm just dropping a bit of this serian blue in here. But also, notice it's also quite gray in some other spots as well. So I do have some neutral tint, which I'm just going to mix up here. Let's drop in some of these darker looking clouds, especially up here in the edge of the scene, a little bit of darker neutral tint sort of color up and you know, bit of ultramarine in there just to give it a bit more of a cooler look. But predominantly, you're going to want to use this cerulan blue for most of it. In some parts, you can just leave it white. That just for like the edges of clouds and stuff like that, see, a little bit of the edge of the clouds. But because we've wet the page already, you find that the water just spreads around a little bit, which is great. I really like that rather than having trying to control everything, letting it do letting it mix in itself and do that hard work for Okay. But one of the things I do notice is it does get a little bit darker here at the base as well. I'm going to pop in a touch of purple to this neutral tint. Let's see if I can just darken a little bit down. It's almost like there's a storm coming, a tiny bit of that grayish neutral tint color here at the back, but I still want to keep it still don't want to go too dark. Just being careful here. You know, you got these boats here. I'm just cutting around those boats to prepare for later. Bit of this darker color here, that's dark and this top bit here as well, a touch there. Remember this will all dry a little bit lighter as well. But I just wanted to get that section in nice and of fluid all in one go. Another thing you can do is also drop in some paint. If you've got some additional paint here and just leftover on the palette, I can just mix up a bit of gray, a bit of purple together and come up with some cloud color and do this thing as well, just feather in a bit of darker paint in areas. It looks a little bit more moody, little bit more moody now, but I don't want to overdo it. And now we are going to go into we're going to go into the water. Firstly, let's think about what we want to do here. Firstly, what I'm going to do is just mimic the sky. I'm going to pick up more of this seran blue here, drop in that seran blue into the back end, and I'm going to this mix a touch with the sky. The sky wash. See how I'm just letting the sky wash come down a little bit into the water here. I want to do just get it to mix in a touch. With the water. Bring that all through this entire scene. You basically just want seran blue mainly throughout this back and maybe a bit of gray in areas, but you can see already some of that gray has already carried down from that previous wash in the sky. I'm connecting that wash up using this same mop brush. Doesn't really require, a few little strokes like that and you can get in most of what you need to. Now one thing I've noticed as you move down the front is that the water gets a little bit less vibrant and it also gets darker. We really want to make sure we are implying this. I'm going to mix in a bit of browny color here, just a warmer browny color mixed in maybe with a bit of neutral tint as well, and see how we can just get in a bit of this. It's like the rocks and stuff. Can me mix in a bit of green in here as well. But yeah, I don't want to overdo it. Just make it a little bit darker and almost warmer down at the base here. This is just a bit of burnt umber and a bit of burnt sienna mixed together. The lighter brown is burnt sienna. This darker brown here is burnt umber. This also reflects that cloud a touch in the sky a little bit. But I maybe want to put in a bit more a little bit more blue in here. This is just some ultramarine that I thought, I might just jumble a little bit, just scumble a little this color in here. Okay. The great thing as well, what you can do is, while the paint is still wet, I'd like to just drop in some indications of some slightly darker areas of water. Just these tiny little indications here of little waves in the distance on that. Here and there. You get some more of them near the bottom of the water here. It's not as apparent near the bottom, but as you can see, just a little something like that, while the paint is still wet because this just makes it blend in a bit better. You notice I'm using hot press paper so it's tricky to do this. I'm finding that it does refuse to work with me sometimes because it dries quickly. But I just want to make sure that I've got some of these little softer tiny little bits of waves or whatever here running through. Just like that. Fantastic. And I'm going to leave that to dry to go ahead and sort of do its own thing. Okay. And thinking, what else you should we put in for this particular scene. I'm thinking, you know, let's get in the bottom of the boats, a little sort of darker parts of the boats. But I do want to let this area dry a touch first before I actually go in and try to mess around with the bottom of the boats because you do need to make the boats quite significantly darker down at the base as well. So I'm thinking probably the best thing to do at the moment is just let it kind of dry off. And come back to it and we can finish off the rest. 5. Simple Boats: Shadows: Start getting in some additional bits and pieces. Now, one thing I really want to do is work a little bit on this back section here with the mountains in the back, just a bit of ultramarine blue mixed with gray, and I'm going to do this all in one kind of go, needs to be kind of dark. That. Yep. Yeah, just a bit of ultramarine blue. If I can just do this in one wash, that's going to be ideal. And we see where it just sort of touches the water like that. That's really all that I need. Goes behind this boat, goes a little bit down to the right hand side. But, you know, that's it there. Basically, that's all I need to really do. On the right hand side, this is where it gets a little bit interesting. I'm going to pick up some yellow bit of yellow ochre, and I'm just going to drop in a little bit of that yellow ochre here. Just to get in a bit of that grassy sort of effect in the front and up the top back to that ultramarine blue. And I do have some of this greenish paint leftover from before as well from one of my previous paintings, and I'm just going to get this darker sort of silhouette of the trees in at the back quickly and let it blend the touch with this yellow. Okay. This will do its thing like that. I'm just going to leave it for the time being. Okay. Now, let's go ahead and work on some of the effects of the water, and, of course, these reflections here at the front. And for that, I'm going to mix up kind of a mixture of burnt umber here, a bit of ultramarine blue together and burnt umber. All right. Now, I do notice some of the boats, they've got different colors in them. I'm not going to bother too much with that. I'm just going to try to get this all in and one go. But one thing that you can do is you can give it a quick load a little bit of this wash with some red or something on the side here, so you can pick up a bit of read that there, can pick up a bit of blue, put that there on the side of your palette like that. Just for later, if you want to cool or warm up that mix, then you've got your neutral tint there on the side. So for example, this first boat, maybe I want to get it in a little bit more reddish colored. I just dropped in a touch of red in there to do this wash, the bottom part of the boat, as you can see, pretty dark. It's pretty much the darkest section of the painting. Let's get in this bottom part of the boat, and if I can use as few brush rocks as possible, consciously use as few brush as possible. It's going to look better. Okay, so like that. And the reflection is a little bit lighter. I'll come back to that reflection in just a moment. I'm going to mix some of this ultramarine blue into into that grayish mix that I prepared. And here, just again, same sort of deal. Get that side of the boat in. Here we go. There The They're kind of touching the water like that. I want to get closer to the edge as well. Good. Got a couple more. Well, not a couple more, a few more up the back as well. Let's just do this one as well. You can see like that, and then we might have another one here. As well, at the back another boat there. And as you can see, they're all pretty much a very similar color, but you can load some other color in there like this blue. I've just cool down this boat a touch. You know, there's another one here at the back as well, loaded in a touch of color. Now, there's a little bit of detail inside the boat, and I'm just using this same little round brush to go in there and darken some parts of it in this section of the boat, just inside of it. It's not much, but just something like that to indicate the inner part of the boat without actually having to wait for this to all dry. I'm just letting it mix in like that to imply a touch of detail. In the boat itself. There's not much here. It's really just a bit of white. Then you've got some gray underneath the tarp or whatever. Now, underneath the boat, I'm going to just pick up that same kind of grayish mix, and let's get in this reflection. Okay. It's good that I kind of drew it out before. That really helps. Down below, just going to create like that a little bit of that connection here. And where did I draw it's kind of like this, isn't it? Let's try not to overthink it and do this in one go like that. Good. Then we've got this other one, of course, at the back here as well. Let's get this one in another quick wash. And of course, there's that reflection further down that I'd painted in before, drawn in before, s. So that helps a great deal as well. That connected on to the actual boat itself as well. Just remember, it's all just almost one shape. But the boat is a touch darker. I might have to darken that boat afterwards. More reflections here for this back one like that. Quick one reflection like that. This one here as well, this reflection of that boat in the water. K. That one you can't really see much anyway. Okay. I do notice there are some tiny little reflections just from this you see the back of the water there. So I'm going to bring some of this down. They're kind of like the little reflections of the darker trees and the reeds and stuff out the back and it comes down the front like that. Okay. Just a slightly diluted version of this paint. U Yep, yep. Yep. That's looking decent. Yeah, you do see some of these like tiny little that what you may call it, these little bits stick sticking out to the water to where the anchors are. You know, something like that, something simple like that, and actually connect on to the connect a bit on to the reflection, in fact, that as you can see. There. Now, while this is all pretty dark drying, I'm going to add in a bit of darkness to the bottom of this boat. See, I'm just adding in some pure paints. I'm like black paint. I just darken the base of the boats a little bit so that it just sticks out of the shadow here so the top of the boat just looks a little bit darker when compared to the reflection. That's quite important. That there is a slight distinction between the shadow and the actual boat itself. Okay. Even see the ones in the back could do with a tiny little it's too much, but a tiny little darkness at the base like that as well just to indicate where they are. Okay. Good, good, good. So we are o pretty much almost done in this scene. I'm going to use a bit of white guash to just bring out some of the sails and bits and pieces, mass of the background as well. So I'll give it a quick dry. 6. Simple Boats: Final Touches: A little bit of white gash. I've already got a little bit just dried up here in the palette. And I'm going to just drop some of it in in areas like this back end here. There's a mass that just goes directly up like that. K, and this one kind of crosses over a little bit there. There, there's maybe another one here and here. Kate. And of course, you can bring out bits of light on the boats as well like this, just little indications of that light touching the top of these boats, as you can see here. There you get a bit of reflection even under there like that, underneath the boat. I use the gouache to sharpen up some little areas of detail because when you finish painting pretty loosely like this, you find that you end up losing a touch of detail here and there. So this is a way to just bring a little bit of it back. Without much effort. Let's redo this part of the boat a little bit. The little edge of the boat here as well. Maybe just another a bit of a line running across the front like this. There. There's a bit of this detail as well for this rope that's going into the water. Let's see at the back there. A bit of that white bit running into the water like that. Okay. Good, these little boards here in the water as well, a touch of that tiny bit of tiny bards off in the distance. Do you see a bit of a reflection here of the boat? So I'm going to just get in a bit of that. Running down to the front cut runs all the way down, doesn't it? Like that? And that the sail, little indication of the sail as well seems to run through it and through the water a touch a bit more here at the front, perhaps that. The ones at the back bit. Kind of just downward brush strokes, really, not much there at all. Okay. Okay, I'm going to work on the sky just a tiny bit more and maybe put in some guash in some areas to just bring out some white clouds in some areas. I've just dropped in a bit of white guash here. And just because there's a bloom here, so I just want to I guess add in a bit of gash to cover up that bloom touch and add a kind of smokiness feeling of that heavy cloud running through like that. You know, you do get a bit of this over this side as well. So just a touch of that gas here and there, and you can really create an indication of these Yeah, kind of intermediary clouds that sort of join onto other ones like that. I think that just makes the painting look a little bit smoother than it did before. A bit of ultramarine and some of these cloud areas as well, not ultramarine, serian blue. Okay. And that's it. We're finished. 7. Boats Scene: Drawing: Okay, let's make a start on the drawing. I am going to start by just dividing the scene into half like this. All the way across the line running all the way across because that's essentially where the buildings in the background stop off, and in the front, we have basically the water and a bit of the walkway here to the left. So yes, let's just get that line in first. Now, the next thing, I think would be good to put in is basically all these little boats and features out in the front because obviously in the front, so we're going to have to just avoid drawing over the top of any of the buildings out in the back. I think this is the best way to do it. Now, this little pathway here in the foreground. I'm going to estimate that it comes in just underneath the midpoint of the page and finishes around about here. Okay. So it doesn't really go too far in. So I normally just do a couple of dots like that and just draw the dots. And that will save you a little bit of time. Now that will give you a good indication of where to put in the rest of these boats. We've got this boat, this large boat here in the front, which I'm going to just draw in connect it up. That's like a rounded front end of the boat like that. Side there comes in. There you go. I curves around the back down the front. We've got that bit of the boat there there and that comes all around curves curves all the way back and goes to the back of the boat here. Okay. It doesn't have to be 100% accurate, but just enough to indicate that the boat is there in the foreground. You know, there's a bit of some bits and pieces there. Okay. Also a fairly large shadow just underneath a reflection or shadow, I guess underneath the boat here, which extends all the way out to the front. Not left as much space as in the reference photo. Really this boat should be a little bit further behind, but no big deal. We've got a couple of bits and pieces in the boat as well. So in the back here, there's like a darker edge comes up joins there, and then we've got a couple of spaces in here as well. So that's like a seat and another seat here that's a little bit recessed hidden away. A right. And there we have it. We've got the boat in. Let's em besise the side of it ale. Okay. Good. I think that's enough. I think that's enough detail to get by with this boat. And probably next thing I'm going to draw in is this boat here to the right. So there looks like this is a sort of raft. I don't know whether I'm going to put that raft in. I don't quite like that. So I'm going to edit that out, and I'm just going to focus on the the actual boat here in the back. So roughly it lines up with the back of this boat, but it is further behind. Let's get in the front of it. This and you've got the bottom part here. That. Then you've got the side of the boat like this and the other side here. Touching the water. Got to get the shape of this take bit of time with the shape of that front of the boat and it goes all the way to the back like that. Then we've got the general features of the boat. You've got this window there. You've got a Other window like here, a larger longer window. Then we've got this part of the boat that comes out towards the front end, which has a cabin window, a couple of windows here in the front of the boat, and of course, you've got the roof as well. There's a bit of detail there in the back. I'm not going to worry all too much about that. I put a couple of these just on top like that. But that's a basic boat. Let's get this one here in the back. Feeling a bit more confident now. I'm just holding the pen more towards the back and taking extra time to make sure every single line that I put in counts. Now, the top of this boat, it's difficult to de pencil and there's all types of stuff in there but it's really just a white shape. You've got sort a window there, a couple of spots there, and then we've got mast heading up that. That's all I need to imply for now. I mean, I could put in more afterwards, but that so be good for now. Remember the light source is coming from the back the top left hand corner, top or top left hand corner. You're going to get a bit of shadow on the right hand side and underneath the boats. Sun is still overhead. Let's put in this boat here behind. I just notice there is an e little indication of the engine here, which I will add in like that, a rectangular like shape on the back of this boat. Put in like that. Not much too much detail. Just show that it's attached onto the back, and then of course, we've got another boat here. And let's get in bottom of this boat like that. And again, just a few more bits of details here on the side for the boat, and you know a bit of Again, the sating space within the boat like that. Again, you don't have to really detail every single little thing in here, just enough to indicate that there is a smaller boat back there. There is one here as well. You can just see the front almost of the boat. It's very difficult to see, but just something like that is really enough a couple of shapes that are overlapping. There's even come to think of it another larger boat behind that's overlapping here. Top of it is not a large but kind of around this height, and you've got kind of like a white spot and a window there. When you get up to these shapes out in the back, there's really not a whole lot that you need to imply because they're just smaller shapes and we can kind of wing it. But there's another speed boat or something here. You've got another one here. Again, just simplifying that down. No, there is actually a bigger boat behind here. I might shift that boat. There is one already just down on this side. Let me just let's draw one in here first. Coming in. It's pretty small actually, so I don't want to overdo this, goes up, comes down like that, the front of the boat, and the side of it, what have we got? We've got this three dimensional shape like this. A couple of windows. You know, there we have it. We've got another boat like structure. Polish off that front of it a bit more because you just polls that off a little bit more. There we go. Looks a bit better. Okay. There we are. There's a few more bits and pieces here at the back. I want to change the location of that boat there because I don't have enough space. The one that's just directly behind there. I might move it here and use this again as a way to indicate another object further in the distance in this case, another boat further in the distance. Doesn't have to have too much detail, but just something like that. Okay? Great. So look, we have a whole bunch of different boats. There's even on in the background, can you see just tiny little shapes or indications of some boats and things as well, which I'm just implying, but not with too much effort. Okay. Bold, something here. Let's look. Yep. All right. So that's pretty good for the shapes of the boats. Let's go into the background. In the background, what I'm going to do is just simplify down this building. Touch all of these buildings, and the side of it here. Looks like a large building with the tower next to it. I'm going to make it a little bit bigger than what it appears to be in the reference. I quite like this building, actually, say, why not just sort of emphasize it a bit more. And top of it's just consisting of all these bunch of trapezoidal shapes like that. This right side comes down, like that. I can't like this. And we have another building. We have another building. Well, we've got the first building in. There. Okay. And now we just got to put in the tower on top, which is like a squareish rectangular type of shape like that. Okay. And on the top there is a triangle. There we have it. We have the building back there. So little architectural details. It's not that important, some windows there. We've got some trees here on the side. There's so much detail here that you really have to just think, what do you want to put in? What's the most important thing you want to apply? For me, I just want to make sure I've got a few little houses and stuff out in the distance. This is a road, obviously out or like the side of a a hilly sort of area, but the road there in front. You know, there's some buildings here in the back, you know, but a lot of that stuff is not a huge deal to me. There's people living in there. You know, there's some rooftops. You know, apart from that, it's no big deal, really, some kind of building over this side. These buildings to the left hand side are getting a little bit trickier. Again, there's a few things to put in there. You may or may not want to add in. For here, I notice it like this building here is triangular building. Again, rooftop like this, simplifying and I'm making them a little bit bigger because I quite like these buildings, and I just want to emphasize them even though they're not true to size. This can also help to indicate some light all the lights coming in from the left, and then you're going to get a going to get more darkness here on the right hand side of the buildings. As we move out to the back, it just becomes really, for me, a bunch of squareish rectangular shapes, that can be a roof top. This can be the side of a building. I don't really want to focus too much on this. You've got the side of the building here, you know, just more shapes. But one thing I should do is just make sure that these buildings or the shapes of these buildings kind of don't go up too high and they get a bit smaller in the distance that helps to imply this sense of depth in the scene, and we can just put some trees and stuff down the back. So there we have it. We've got you know, we've got a good little indication of what of this scene at the moment. I put in a bit of shadow on the right hand side of some of those buildings. But Last thing we want to do is make sure we get in some of these mountainous areas here in the back. Just going to go up like this rock here. Again, don't have to really follow too much of this reference, but I still think it's kind of important to make sure you have some areas of light and dark indicated in there. There we have it. And I think we are ready to get started with the painting. 8. Boats Scene: Light: Off with a mixture of Naples yellow, or you can just use a yellow oka. I'm going to just pop this straight in here. You have a little bit of this crenacodone gold as well. Drop it in there with a bit of the Naples yellow. I just want to get in really light wash of lighter color out in the back regions. Now, I'm cutting around the rooftops a little bit because the rooftops the rooftops are a different color. They like a reddish color orange color. I want to make sure I apply that for later. But for the time being, look, I'm just going to get in the bottom of the buildings. One Brush stroke as a few brush strokes as possible. Making sure it's a yellowish color. Yeah. Naples yellow is basically just a really light yellow with some gash in it some opaque white gash. And that just smooths it down, makes it look, gives it that kind of here, that sort of subdued like look. Sandstone kind of look. We've got those buildings out the back didn't take too much. I'm going to use this same Naples yellow for this boat here in the front. All right. And I think I can crew just color almost the entire thing in. To the front. You going to make sure that you're going light here, so I'm using about 55 to 10% paint, and the rest of it is just water. And the trick here is really just to go very easy on the paint. Don't put too much in here. I've got a bit of titanium white that I'm just dropping in at the bottom, buff titanium, which is like a very off white color. Drop that in there, no big deal. This boat, I don't really need to do all too much with it. But I will put in some grayish color. Usually I will mix up a bit of ultramarine blue, a bit of ultramarine blue with a little bit of a darker brown, and that will give you a simple gray color. That's my kind of hat to making a basic gray color. Because I just noticed, for example, underneath this boat, that there is a bit of color in there, but I'd say it's moly it's mostly just a grayish value. I can add a bit of this in. I'm just picking up really all the lighter values that I care to put in there. This window, that's a bit lighter, window on the side there. We've got window on the side there. Underneath this boat there's a bit of grayish color as well. Some of this stuff, you know, if you can get it in earlier, it's easier. You have to bother. Afterwards, bit underneath this boat as well. Let's look. Try to do this all at the same time and if it blends into each other, that's not too bad as well. Just let it do its thing. But I do want to maintain a lot of this Naples yellow, so I'll mop up a bit of this color if it's starting to blend in too much. H, bit here. What else do we have roof tops? I'm going to put in some orange really light orange color. Drop that in and it will potentially blend in some areas. Don't worry about that. Continue one. As as you've got a bit of orange on the roof tops, that's fine. I'm not concerned with it Mt mi in with the rest of it. We'll just deal with it. He another roof top or something here here. You know, pretty vibrant color off in the background, actually. There this roof top. You can also wait until later if you don't like the mixing of the colors. Some of this gray would be good if I can just drop that into the top of this tower as well, like that. That's a little bit of gray. There. And maybe a touch of that light color, a little bit of that yellow to the left. Good. I'll probably have to go over that again one more time. Fantastic. I reckon, what I'll do now is start working on the top of the scene and we'll pick up a really light blue color. You can use whatever blue you want. I do have a few different blues here. I'm going to use ultramarine and I will just really dilute this down as much as I can. Stop right start right from the top of the scene. So a light wash of color. That's here to cut around these rocks a little bit as well. I like this. I think while I'm at it, I will actually add a bit of lighter value into these rocks, so a bit of bath titanium. Just to lighten up this area or a touch. A bit of yellow even in there. Mainly, just like a mainly just some type of sandy sort of color in there. A lot of this will actually be green afterwards anyway, so it's no big deal at all, but just I thought I'd why to add in a bit of something Now. Same wash of ultramarine blue. I just want to carry this down the page. One thing I'd like to do is make the top of it a bit darker. That helps again to increase this sense of depth in you're painting. This will run down the page. I'm continuing to just add in more water as I move down because I want it to be really light as we move down the page. Almost white right at the base. The cutting around these yellowy buildings as well, like that. Some things will mix, that's not a problem. But yeah, you do want to make sure that there's a bit of a separation between the color so that not everything just turns blue. But hopefully these rooftops should be dry by now. But if there's a bit of mixing, it's not the end of the world. Okay, so there we have it. The lighter wash back there. Do you notice this area is not dark enough? I'm going to just feather in a bit more blue back in that section. By this point, some people like to put in clouds, that kind of thing, but I reckon I'm just going to leave it because I always tend to put in clouds. And as we move down into the water, I'm going to mix a bit of I'm going to mix a bit of green in here into the water so that we've got a kind of a greenish blue color. I've got a darker green. I'm going to mix that in there. So almost like a dark turquoise color. I would be good. A darker turquoise color. Y. Mixing the darker green in there. Doesn't matter what type of green, long as it's darker. Trying to just match this scene a bit. And same mop brush, again, in the back, you'll notice that there's a lot of a ton of light. The green out here is going to be quite light compared to the rest of it up the front. Here I am. I'm just using the tip of this brush tip of this mop brush and see how I'm just cutting around all these shapes of the boats and also connecting it onto the background as well. Right. But I'm trying to keep the background lighter, as you can see. Let's go around this boat. We've got this one, which is quite crucial to cut around here in the foreground. Good. That one underneath here. These ones here. Now, we starting to get into the darker areas, so we can start mixing a bit more of the darker green in there, less using less water. I'm just facilitating the paint to move down. That's all I'm doing. Facilitating it, not bothering too much about the accuracy, but more so cutting around these boats, especially this one in the front because it's right there in the front. It's going to be very obvious if there are any mistakes. Mixing up some more of this turquoise color. There we go it. We've got the bottom of that boat there. D. Okay. Going to just start getting in some of these areas under near the front of the scene. And go pretty dark actually around here. Bit darker. Still cutting around the boat. I will add in mix in the shadow of the boat, the reflection of the boat later on. But that should be good. Continue on. More blue and more green mixed together to create, again, just a turquoise color. And letting things mixed together on the top of the scene. You'll have some sharper bits as well. Use those sharp little highlights there to indicate some boats in the background. We can bring some more with a bit of white quash afterwards. But if you don't have you missed them out no big deal. Is just cutting around, just cutting around everything. Good. Right. So we are right at the bottom of the page now. I like to just add in a bit of extra darkness here in the bottom as well. Put a bit of brown and just mix that in with some blue. And this is just creating an extra darker spots at the bottom. Another thing you can do as well is just drop in some darker paints in areas, just feathering in a bit of darker paint. More blue, blue and brown, just to feather in some of this stuff with the tip of the brush. This will create an illusion of these softer waves running running through the sea. But again, you just got to make it be quite sparing with these brush strokes. 9. Boats Scene: Shadows: Okay, so everything has dried off now. And before I begin with the next step, I just want to make sure that I get in this part here in the front of the path. Okay. Just a bit of this Naples yellow, really light yellow here. Okay like that. Also for this bad or whatever here in the water, I'm just putting a bit of brown in rusty color, light wash of that. Just indicating that maybe that it's getting hit by the sun, whatever that is there in the water. We can now get started on the buildings in the background, and of, on this rock face here. Again, I'm going to mix myself up some different colors. Firstly, I've got a bit of this green, which I'll just start dropping in here. I'm going to be really using more contrast than in the reference photo just to simplify this off and make the everything else stand out quite quite a lot as well. So starting out here, first, again, these like, little bits of green for the trees, stuff up here. I'm trying to just think to myself, how can I use as few brush strokes as possible? And I'm also cutting around the, you know, the shadows, the buildings here as well. Okay. That. And We use a bit of lighter green in some spots like here, you know, here underneath as well. It's like kind of very yellowy, kind of like yellowy green here underneath. Yeah, that. Just a few little brush strokes should do it. Okay. Cutting around again, these buildings, U You know, again, a lot of this stuff I've just kind of made up before because I couldn't really be bother drawing in all the buildings back here and if we drew them all in as well, that would really just take up too much too much space and attention. So there we go just making this bit of that green go up into the mountains. Now the rest of it, I'm going to just use a kind of grayish color. Do you have some leftover grays and stuff just on the palette. If you've got all your primaries just mixed up, you can use that really to, you really form the basis of your grays like that. Bit more light gray on the left side here. Good. Trying to get it with one big shape. If possible. Some more trees and stuff here at the base darker values here. One thing to keep in mind with the buildings is that they are a little bit darker on the right hand side. I'm get using a bit of this yellow and I'm mixing it with some brown. What I'll do is just add in this shadow, I guess, on the right hand side of these buildings here. Tip of my brush, just go in there and get in this shadow. It's like a warmer shadow. Right? This leaving out a bit of that previous wash to indicate some highlights as well. Here we have it. That. Top of the building, I'm going to just darken it down a bit of neutral tint to just darken the top of the tower that just a bit of darker paint really. Doesn't matter what color it is. Actually some windows in here. Well, I didn't quite pick up, but I'll paint them in. A couple of sharper windows on that side. Let's say, what else can we put in a couple of these windows here like that. Side of this building here, maybe a few little windows. You can even just start putting them in for this building here. And like, what I'll do is I think, I'll I'll just do that same shadow pattern. There. Little shadow pattern. Maybe there. It doesn't have to be much like that. Yeah. And a couple of windows and things windows there. The rest of this, you can feather it in. You can feather it in like this. Indications of these windows. I don't want to put too much emphasis on this side. Just want that to go into its thing. There are some darker shrubs and bits out here, so I can flick in a bit of this darker paint, increase sense of contrast and make these bits of these trees and things look a little more little more interesting. That. Times you get these little trees that stick up on top of the hills, something like that can work. I've noticed there's just a bit of something missing up here as well, just a bit of shadow, more of that gray. Just feather that in while the paint is still wet. Continuing on to this left hand side, we have more of these shadows. Again, just simplify this down and you see how now this forms the bases creates the side of this building. You've also got these buildings here. That I'm going to just create a bit of darkness, like that. You move out to the back, you don't want to use too much paint as well, start to lay lay off using too much paint so lighten it down a lot and really to a point, just want to leave some of them completely unclod as well. And goods. Some trees. Here to the left. Hoops too dark. Let's just lighten this off a bit. Here, lighten off some of these trees, so that you have some indication of, you know, something going on back there. So, while this is all drying and doing its thing, I'm going to work on the boats and some of the reflections, details of the boats, that kind of thing. So let's get in. Now, the reflection is just going to be like a darker darker sort of turquoise color. We'll start with this one. I'm going to just darken at the bottom of the boat like this. Some more brown. I just want to neutralize this blue a little bit so that it's more of a grayish color. Good. Now, this darker line underneath the boat will help to anchor the boat, make it look like it's sitting on top of the water. One thing you have to remember as well is to just make sure you're getting in these ripples in the water, which I will work on now. But you can see here this reflection comes out, and I'm trying to get this dark as well. Running down the page like this. Yep. Without really overdoing it. That's the front of the boat there. This one here has some darker bit there. I'm just going to put it in a bit of grayish color. This Okay. Bit of light hitting the side of the boat. I'm going to soften this edge down a touch like that and we will continue darkening further here. Let's have a look at this boat. This also needs to be darker. Underneath, I'm going to just darken like that. Remember, just to cut a bit around that engine of the boat in the front as well. A minute detail really minute detail, but could really help. H. You're really at this point where you can just start to imply the details inside the boat boats as well, dark area here. For example, you've got this darker spot in here in here, to with a few quick brush strokes, you can imply quite a lot. Don't spend too much time in there. Remember the darker spots in there, that's all you need to get in. There's bit of detail on the side of the boat like that. We've got the same deal here, these windows, let's get some of these in and I haven't drawn them in so well before. It's your chance to detail beta. Yeah, my go to is again, this ultramarine blue mixed with a bit of brown that will create you a nice dark value that you can use for these windows, shadows, reflections, I mean, underneath the boats. And this window up here as well, it's got like a kind of a bit of the frame or something like that. Y. Even this window back there. There, you've got that as well side of the boat, like that. Great. Underneath this one. Just a bit of darkness again. And you know, we've got that little reflection in the water blue and a bit of green and all mixed together for this reflection. Like this. The reflections only really occur with the boats that are closer to us. If the boats further away, you'll notice there's not really much of a reflection, though you do see a reflection of like things, for example, the masts and stuff like that, which we can imply later. Okay. We've got these ones here. Again, just simplify this down. Don't want to don't want to spend all day doing this. Again, in the water, like I mentioned, you want to put in some of these little marks in the water to indicate waves. The waves in the background are going to be very little, tinier compared to the ones in the front. Make them a bit varied as well, keep them all exactly the same. Some of this stuff here. Yep. Kind of blend them on a little bit with the reflections. Okay. Now, this reflection is pretty solid. It's just, it's just a really dark color. And I'm going to go all pretty dark with this, blending everything else onto it like that. Okay. That's all we need to do. Really dark reflection for that front boat. As dark as you can go and this one as well. So I'm kind of just joining up to the side of that boat, the reflection of that boat behind. Okay. All right. I'm just going to lighten the side of that boat a little bit lifting off a touch of paint. So just so that the reflection is darker. And maybe just feather in a few stray marks here and there. Maybe in here as well, just a few little stra marks. That and I've got these reflections of that boat there on the back. Maybe imply a bit of this one, tiny bit of that the base. Some of these other boats. Look, you can't really again see what exactly is going on, but you can imply there are a few maybe just bases of some of these boats. Later I'm going to go th and maybe add in a bit of white on top to just bring them out, bring them out better. Good. Bit of gray here, top of that roof as well. There we go, just a bit of that. Color tap that off. So tissue. I've put too much paint up there. You know, even you see sort of boats here to the left hand side, you can just indicate like a window like this, the base of the boat here. Because there is just so much going on back there, and I don't want to imply a great deal of detail. All you have to do is just just put in a touch of color here and there, emphasizing the shape of the boat, and you're good to go. Okay. What else do we have? I think we are most were almost sorted with some of these boats. I will just darken down this one as well, Attle bit to the right hand side there like that, perhaps pop on some windows, darker colored windows. Three windows. In fact, this one does also. Simplify down, of course. That. Fantastic. Now. Let's think about what else we can do here. So I will start putting on some colors, some really dark values again to bring out the windows of these buildings here in the back. So let's put in what else do we have here, me couple of windows here. Yeah. Because this area has already dried, so you can really get back into it. Now, the side of this building looks a little bit bare, I'm going to just imply some structure there. Maybe here, here. You don't have to do this. This is just something I'm deciding to do the sides of these buildings as well, a little bit there, but more of these ones as well that we had missed out before because we're waiting for that paint to dry, just to help them read more as buildings. Just a few vertical lines appearing. There. That is all you need. You don't need anything else really from to suggest that. The thing I like to do as well is just in areas that areas of focus like like this tower. I do like to just use the brush and just dry brush on a few more little bits of detail here and there. I can be like a shadow underneath that side of the building like that. Again, if you overdo this, it does. It will start to look artificial, so just as minimal as possible, as few brush strokes as possible for this. Here I'm just trying to bring out a bit more darkness around these buildings that when the water color dries, it just does this sometimes you lose that a bit of darkness ad. This is just going to help me to bring out the buildings It more. I think that's necessary. Maybe some more darks around the back like that. Okay. Good, good. All right. Let's put in some of these masts. Now, there's kind of one here for this boat. I'm going to just put a vertical running down this using the tip of my brush. Don't overdo it, use the tip of your brush and really hold the brush right at the end in order to imply this. We need just a few little verticals. This one here as well. There's some vertical of that boat there here, what else do we have? This one, I could potentially just add some bits and pieces up the top of that one as well. This one here could just again, Yeah. I always like to add in a touch of gash and stuff as well just to really bring things back. This pathway, I thought it would be good to get in a few little brush strokes like that just to indicate the directionality of the path. Difficult to work out unless you line here. All right. And what else do we have? Bits and pieces coming off the boats. And I reckon a bit of gah should help a little bit of white would you have a tiny bit leftover. So let's get a bit of this white quash mixed up. Tiny bit of white ah, which is more kind of grayish colored now, to be honest, but this should help just to add in a touch of this color running off cut and imply some light like that. For these bits of rope, rigging that kind of thing for some of these boats. I might just imply a bit here as well, and then there's not really anything there. Little board in the water. This one here. And maybe this top part of the boat here. Bit of white and stuff just to bring out maybe some details again of these boats off in the distance. You know, they're really just going to be quick bits like this. Okay, not much happening at all. You know, quick little impressions in the water as well, maybe some reflections in the water, little white reflections. That And. When you have these mixtures of light and dark colors running with each other, you'll find that it just looks kind of magical. You have to kind of preserve some of that stuff. Good. I might just actually go back into this this one here, this boat here I forgotten to get in a bit of the inside of it like that. Imply the inside of that section of that boat. Good. Thinking can I add some really dark bits right for the end. Blue and brown. Just the side of this boat as well, just some little tiny details outlining the edges of the of the boat. Let me finish. 10. Coast Scene: Drawing: Okay, so, so let's get started with the drawing, and the first thing that I'm going to do is put in a bit of a line where the water meets with the land behind. And I'd say it's about a quarter of the way up the page, if not slightly further up about a quarter of the way out the page. You know, just drawing a line across. Like that. There we have it. We've got a bit of separation between the water and of course, the boats up in the front. Now, what I'm going to do is start working on this boat here in the front of the seam. We've got this sort of tarp that's going over the top of the boat, you know, very loosely just penciling in. Okay? And I'm actually trying to make this boat a tiny bit than it appears in the in the sea. Okay. Just a tiny, little bit larger. There's the bottom of it here. Okay. That, I just want to, you know, the reason why I'm doing this is just to make emphasize, hopefully, the the depth in this scene, so, you know, a bit of a reflection also here underneath the boat like that. And this little bard here in the water like that. We have so many different boats here. I'm going to get this one in behind first. So the front of it there. That. Okay. And we're going to get the side of the boat in like this. The back of the boat is roughly this sort of shape. We've got the little cabin, the front cabin of the boat as well coming up like this. Okay. There we go, got the back end and inside the boat there. Okay. And remember, you know, you've got the light source coming in from the left hand side, so we have darkness running on the back side of the boat like that. This one here again, we've got some darkness there on the underside of the boat like that. Good. Lo you've got a few more coming in, but I do like this boat here to the right. I'm going to work on this one first. It's pretty large and roughly around the same spot as that one. So it's the front of the boat. Let's just bring this one all across like this. Again, here's the back end of the boat like this. A little indication of that, and then connected up to the sign of the boat. There. There we have it. And on the side of the boat, you know, just over here, we have got the cabin. So, you know, it's really just a square squareish looking shape. Okay, here's the back end of it there. And actually, this bit should extend a bit a little bit further out, to be honest, like, about here. Just change that touch lengthen that boat. A little bit. Okay. Good. And let's put in some, you know, windows here. You know, just a quick quick little indication of some of the windows. A lot of this I'll get in with the water colors later on. That's up. Little darker section inside the boat here as well. This is all going to be pretty dark. There They we've got a mast, just going directly upwards like this. Okay, probably get that in afterwards. It's not a big deal. As well, we can put it in now, like I have, though. There's a boat here, and I'm just going to get this in. It's kind of like a barge. It's a, a people sort of carrier, maybe there on a tour or something like that. And just, you know, the bottom part of that boat there. They've got these round little guards or whatever. You know, even a boat here just in front in front of it there, sort of blocking out part of it. This is going to be interesting to put this one in. Okay? Something like that. Overlapping shapes always something I try to incorporate in all of my scenes. At the end of the day, you have to remember that, you know, you want to create a bit of, you know, a bit of a bit of interest in terms of these overlapping shapes gives the scene more depth, makes it look more interesting. And, you know, inside, as well, you can see inside this sort of The ship here, we've got a lot of dark areas and doors and that kind of stuff as well. You know, I'm not too fast, but behind it, you know, there's more boats. There's a lot of stuff going on here that I'm not bothered emphasizing at all, but just shapes, I suppose, like of other ships and things that could be docked. Larger ships that could be docked around in the background. Here's another another boat, perhaps, I'm going to indicate this here. It could be another boat. There's another one here as well. Again, the back end of the boat there, and we have got a cabin there like that. Gates. I'm just trying to find a few different ships and things to indicate here in the foreground. That one looks pretty good. I don't really need to do much to it. That one's just Again, more in the foreground, but it's covered. Okay. I could probably just re draw this one a little. Okay. Not a big deal, though. Now in the background, we have kind of a wall here. All right, just behind. And this is actually where the road starts just over here. We've got some cars, believe it or not. There's a bunch of cars here, so that you know, look at that's a car. I don't want to spend all day drawing these cars and stuff, but I certainly think that does make it look more interesting. That indicating a couple of those cars back there. And they all seem to be driving to the right hand sign, if you look at them as well. Another couple of wheels like that. The pencil I'm using is just a really, just like a really thick leaded pencil. So there's not a whole lot of detail that I can get in with this with this pen, which makes it with this pencil. So it actually makes it a lot more easy to put in the detail for some of this stuff. Okay. Simplifying this down a lot, Well, maybe a few cars just sort of parked facing directly forwards like this. Okay. Whatever they are, they just shapes, indications of these vehicles off in the distance. All right. I'm moving to the right. Great little indication. Now, starting to put in some of these buildings. Now, what I'm going to do first is maybe just work on a quick little silhouette of some of these buildings and roughly put in indications of how far up I want some of these, you know, I got this really large building here. Okay? And this needs to be kind of going up here, but not too far as well. I'm just thinking perhaps finishing off here because I want, I do want this this tower to finish roughly about here. So some of this stuff I will just quickly erase. Okay. And that will be the tip of the tower. Okay, just simplify this down. Again, we've got a triangle, this little triangle. The base of it, here, here. What else do we have the side of of the tower running down the side like this, here, a bit of light down the side of the tower as well. Okay. And yeah, from here, I can just actually start working in this side of the building like that. Not really concerned at all with the details, but definitely, I'd say this part of the building is quite important because Because again, we've just got, you know, that focal point there next to the tower. Okay? There we have it. And, you know, underneath, we've got rectangles. It's just think about it as little bits of indications of light. Okay, little rooftops on different angles, like that. Can you see just little slithers of light indicating the top of these houses and things that's the side of a house there disappears off into the distance, Okay, like that. I've kind of gone a bit too far with this one. But we have a house, actually. In the foreground. Here. That. That kind of like a building here. I extended out a little bit, as well. And another square shape there to the right. There is a shadow cast here. And, of course, this whole area of the building is in shadow. Good. And bring this line across like that and a line going downwards. So this is kind of like the side of the building. And we've got doors here, so let's just put in some of these doors like that, Windows, you know, simplify that down. Windows like that. Okay, I'm going to go back in here and just put in a few more shapes and things off in the back and not to mention, we've got some trees, you know, some little darker trees, and that's going to help to bring out the light on this building as well, so I might actually emphasize that more Yeah, actually more than is in the reference. Bringing these little buildings down us. Well, looking at them just as rectangular shapes, you know, there's some separations in some of these features here. You know, we've got some of this stuff. A lot of this, we'll have to put in the details afterwards. But the rest of it, you're just looking at these tiny little rectangles and things that are catching the light in areas. Catching the light in areas. This actually doesn't go up that far, goes up around about here. Which is why it's good to just go light with some of this planning work, and you will alter the altar as you go. Okay. Let's have a look. Good. I don't want to spend too long in this sort of scene. You know, that's another building like that. You know, I I can just put some simplified buildings, the rooftops there in the background, catching the light, that's going to be good enough for me. Then when you get to the foreground, this is where you can just emphasize some of these buildings a bit more here, like the rectangular, bits of the buildings that are overlapping with each other, the sides of them anyway like this. And, you know, there's a bigger feature sort of building here that has a kind of orangy roof. So that's going to be one large building that I can emphasize, and again, get a bit of that shadow effect on the right hand side. You know, you've got this sort of building here that I'm going to play around with as well. This can be a little bit of the side of a building here. There's another building there. And again, that sort of thing there. What else do we have? I mean, I think that's That is pretty good so far. Looking around, don't need to put anything else in? I don't think so. I reckon we can go ahead and get started now with the painting. 11. Coast Scene: Light: So, first things first, we want to put in the light. I've got some buff titanium starting off here on this building, and I'm going to go very, very, very, very light into some of these parts. So cutting around the cars like that. The rooftop does have a little bit of warmth to it, like a kind of like a grayish brown color. So I'm going to drop in some of this grayish brown. And the older color here is just is just about 5% color, and the rest of it 5% paint, and the rest of it is water, five to 10%, really. So this building is actually a really yellow color. I'm picking up some but yellow, straight from the palette. Hacking it straight onto that building to the right, does look very very saturated at the moment with color, but not to worry. And, you know, moving along to some of these buildings, they need some color in them. So just going one by one through them. I'm cutting around the cars a little bit, as well, just so that I can get in more color with the cars later on, change the color and still preserve the light on them. Bit of yellow ocher on is golden. This is just a bit of code gold mixed with Naples yellow. And these two just, you know, mixed together help subdue down the really bright color. And yeah, continuing on, really, a lot of the rooftops of these buildings, you're finding that they're just like a yellowy color. So mixing that same same sort of cnacdo and gold, and Naples yellow to just get in a bit of that light into some of these sections like this, top of this building. In fact, some of them are just like an orange color as well, so we can get in a bit of that orangy orangy sort of color parts. It's kind of just emphasizing or capturing the light. But for the most part of it, I look all I want to do is to just add in this sort of yellowy color. Okay. It's not a huge deal. I don't want it to be too saturated out the back. So just as long as you have yourself a bit of warmth back there and change around the warm colors as well. Don't use the same ones. You know? As you can see, I'm sort of alternating between highly saturated colors and just some duller ones. You know, as long as you got some of that coming through, you're going to be fine. Alright. Usually, I leave the most saturated colors on the rooftops, some of these buildings. Just to imply the light coming through to a greater degree like that building there, more buff titanium. You know, there's a ship in the distance and all kinds of details. But just cut around those cars, of course. And the road does have a bit of, like, this yellowy color to it. It's really, like the edge of where the water starts as well. It's a color, a bit of that in like that. Good. Now, moving down, we are going to work a bit on these boats. We're going to add in some color. So let's mix up a bit of brown and ultramarine. Brown and ultramarine. And hooks And this will create a kind of grayish color. But I do want some more coolness in it, so I'll make sure I've got more blue in there. And I'm just going to get in a bit of that bottom part of the boat like this. Okay? A. All the way to the back here. There. You know, the top of this boat, as well, does have some darkness as well. You know, on the top there, it's actually kind of like a brownish color, which I will get in afterwards. But the main thing I want to do is get in a bit of darkness at the bottom of these boats. So let's do that. And looking at the right hand side of the boats, as well, we see that the shadows are cast on some bits and pieces on the right side of the boat. So, you know, keep that in mind and preserve a bit of that white so that it does show through later on. What else do we have? We have got, this boat as well here, which is A little darker, especially compared to the, you know, this boat, smaller boat in front of it. So you're kind of having to cut around that one. And these little boards that are on the side of the boat. They're like this, again, just cutting around with this paint. We can simplify this down just with a bit of with one, a few little brush strokes like that. And noticing how some of the yellow is running into it. No a big deal, just let it do its thing. Good. Good, good, good. Even back there, it's just Yeah, it's pretty dark. There's not a whole lot of color we want to add in, but, I think later on, it will be easier once we put in some of the lighter values. But just a bit of darkness in here will be good. Indicate that ship. Okay. Now leaving a bit of light on top as well there in the distance, this boat here just going to have some darkness here in the back of it, like that. That Maybe a bit here. Okay. So really, the sun is just hitting the front left hand corner. Right. And this one here in the front, I'm going to use a bit more blue. And let's get this all in again with one shot. This really subdued grayish blue color. Goes up into the top of the boat as well here. There we have it. Okay. And in terms of the sail, I'm probably not sail the little cover. We put in just a little bit of this buff titanium in spots. But in other spots, I'll also just leave in leave the white to show through. Okay? More blue on this right hand side, to just signify that it's darker and more in shadow there. Okay. So a lot of the time, I'm not even really looking at the the actual reference photo, but when I am, I'm just looking at whether it's light or dark. Okay. So that's going to be darker on that right hand side, cooler as well. Okay. Dropping a bit of this darker paint in there to do its thing. And what else do we have? We've got this again, this little boat out at the back. More gray actually in there. A bit more gray. There we have it to the base of that boat, darkness behind there as well. This one here, I just made up, actually, I'll put put in a bit of color for that one. Bit of a bit of something. Okay, so time to start working on the top of the scene, where we have the sky. And I'm going to be mixing up some blue bit of ultramarine blue. A little bit of vultramarne blue and lots of water drag that across the type like this. Okay. I want there to be a lighter value at the base. It would be good if I could mix in perhaps some orange into this blue to dull it down a little as well. I do find that that's just a bit too much. A little bit too much saturation. Moving down the page. But keeping the top, I like to keep the top a bit darker. So I drop in more paint up the top. I don't want to overdo it, but just more paint up the top, but continually moving this wash down and adding more water as we move down. This is going to carry this wash further and tre better gradation from white to dark. More water more water. He had H At we're almost using just pure water at the base. Okay. Good, more darkness somewhere out the top as well. That, Okay. Now, moving further down, I am going to start adding in some extra color. So in the water, we're going to mix up some darker blue Okay. Ultramarine with a bit of orange. And that's just to dull it down because the orange is a complimentary to the blue. Okay, so just mute that blue down a little bit. And I want to now start working on the water, adding in a bit of darkness here to the water. Okay? Look at that. Now, the water needs to be well, from, you know, still a little bit still a little bit lighter than the boats. There's touch lighter than the boats. And I'm gonna get this all in one go with this, you know, still using that same mop brush. Right. Let's work on the right hand side, left hand side, sorry. And you know, going through like this, cutting around with that tip of the brush. So crucial. Don't worry if it mixes upwards as well. But definitely cutting around these boats. The light and some of the boats is really crucial. Okay. Now, at the base, I do like to put in a bit more darker color, so some more of that blue, mixing up and darkening more along the base. And I'm mixing in some grays as well in here to just, again, increase the concentration of paint. Okay. Good. All right. So we're gonna let all this and come back to it in just a moment. 12. Coast Scene: Shadows: Everything is dried off. So what we can do is get straight in to business, start putting in some of the dark values, and we'll start off, I think, just looking at the shadows. Some of the shadows on the buildings. I'm going to mix up a bit of a gray color here. Now, if you've got yourself, your three primaries, red, blue, and yellow, just mix those three together. And you'll get this self grayish value, water it down. You should be able to get this nice sort of grayish color that I've got here. I might actually add in touch of this like purplish color as well. A little bit of this purplish color. As well to darken it off a little bit. And I reckon I'll start right at the tip of this building here. So this tower kind of got a figure on top there. And you know figure and some details up there. Just make sure you're doing this with a few little brush strokes. Don't spend too much time in here that side of the building, the tower. And, you know, we've got some shadow as well connecting on. For the most part, though, it's just As you can see, just that right hand side that has the shadow because we've got the light coming in from the left hand side. Okay. Let me have it. So that's the building. And of course, there are some smaller little details as well that I can add in, like these little windows, quick little windows like that. You know, there's a separation in the building like that up here. You know, you know, you can pick and choose certain things that you want to emphasize. Tip of that brush makes it really easy to get in little details. And continuing down the page, I'm really just working out ways to cut around this these shapes here. Buildings in there. The rooftops, as you can see that I'd left out before, notice how I'm just cutting around to create this sort of sense of shadow, light and shadow in here, especially this building here in the front right hand side, that needs to have a bit more needs to have a little bit more contrast. Okay like that. Alright. Okay, so here, maybe a bit more. I've got a bit more blue. I get a bit more blue in here. Darken this down a touch. Okay, good. Like that. I mean, a lot of these buildings, to be honest, have very little you have very little light inside. These little sections like this. So I'm just picking up some areas that I want to leave out. Here, especially there's actually a bit of a greenish greenish value. Drop that in a bit of green. Contrasting with the side of this building, and of course, the car down below as well. All right, that. Let's get some more of this in like that. And, you know, we've gotten more of these little bits and pieces of light showing the roof tops and things like that. And I'm just simplifying this down as much as I can. To make sure I've got that impression of light on the right hand side, left hand side of the building, and on the right hand side. We're just adding in more shadow, more darkness here. Okay? That building as well, this one here. But cutting around these cars. Good, then what have we got on this right hand side here? We do have a bit of a shadow as well. On this side of the building, lighting this one down a bit. Okay. It. There some windows the side of this building, just some darkness really to indicate some of this stuff. That Underneath the rooftops, like here, there's some darkness, just indicating that with a bit of darker color, dropping it in and letting it go. And then here as we, that this needs to be dark and a little Okay. Fantastic. Now, the cars, I think what we can also do is imply some darks in the car. So like, you know, just with the tip of the brush there and there on the right hand side of the car to just show that maybe there's a shadow on the right hand side, this one as well, we'll just do that. There. Okay. I'll leave the left hand side of the car in the light. But this side will be darker. What that. The little wheels to just get bit of darker paint and blue and brown, mix those two together. The wheels. L this can't use that to sort of mark out a bit of a bit of darkness underneath the cars or this. Maybe a little bit of darkness in there is. You've got objects that are close to each other, I like to paint them, you know, alongside each other. It's just going to make it a lot easier. You know, there's another car down there as well, so why not just work on that at exactly the same time? You know, it's going to save you a bit of effort. It's difficult to put in, but there is a bit of a shadow maybe that would run underneath some of these cars all the way in the back back side of that road. And this kind of wall as well, you know, I do need to emphasize that wall next to the water. So it looks like the cars are not just floating floating around, and they are part of, something there in the background. More of this work. Here, again, of the car. You know, there's some just facing us this way there. Okay. Now, moving all the way to the back again. I'm going to just start again, just simplifying some of this stuff down. There's all types of these roof types and details in here. I'm not concerned about getting in every little detail because we will be here forever. But just a little indication of this sort of stuff. You know, there's a structure there, like a kind of structure there behind this building that I just noticed, so just cover that in like that. What else do we have? You know, this could be a bit of darkness. I could emphasize more darkness around this side of the building as well. Yeah, anytime you see opportunity to put in a bit of light, emphasize a bit of light on the left side of the building, do so. This could be another side of the building here. Look at that. Again, just a few brush strokes, leave out more of this little fleeting bits of light running through the scene. And moving towards the left, same sort of deal that a lot of these buildings now have more light on them, being on the left hand side. Okay. Some little windows, you can just sort of pop in while we're while we're in that part of the scene as well. Why not just get them in all at once? This, there's a window here. I forgot to put in, on this building there. Maybe some like a entrance or something like that as well. Okay? Now, I want to put in more like a greenish darker green values behind here for the Dark green values. There, Oh, that's too blue. Let's get in some more green. It trying to mix blue and green to get in a really darker green. Ultramarine blue and a bit of darker green. Still too bluish, more green, needs to be added in there. This gets way more. In there. Good. Something like this. This kind of indicating the the sort of darker shapes and stuff behind the buildings for the trees, for that, just a quick indication, and it will as you can see, brings out the buildings more. I'm tempted to just overdo it, but you have to be careful, make sure you are being sparing with this. The top there. Some of them are a bit taller, so this is going to be good to just get couple them like that. Some of them are more like around as well like this. I can be tricky. There's trees in here as well. There's a tree in there. Another tree here. Just a few little brush strokes here and there, tree back there. You know, looking in here, even this really should be a little darker on this right hand side of that building. I hadn't noticed before, but it should be a little dark. I'm going to makes innovative brown. In this section, brown and blue, dark and off this shadow a touch. That. There's also some darker sections here as well, where the cars are below and a great opportunity to cut around the cars. And in these juicy darks, that. Where else do we have maybe some trees or whatever here? You know, at this point, I'm going to just making stuff up, but, you know, a little bit of that. And because the paint is still sort of wet, these will blend in the touch. Okay? So there's not doesn't look too obvious. Alright, so time to work a bit on the boats. And I'm going to mix up some ultramarine blue again with brown. Ultramarine with brown. And this is going to create a create a nice, subdued grayish value. Dark gray value, you guess. All right. So let's start this right side of the the boat does need to be darker. Like this. Underneath, we have a line like that. There is again, this sort of backward section of the boat that we can darken off a touch. Okay? No. Underneath here. Darken off a little bit more. Okay. It's kind of tricky because this is really the entire boat is pretty dark, except for the front side of it, which is like a brown. It's a bit of brown in here. I'll just indicate some of that. So look at this one. You know, a bit more darkness. The the back as well. This one here does need to be darker. Again, This one here, a bit darkness like that, and the boat there in the back as well. So yeah, in a nutshell, the boats just need to be overall darker, but un leaving some light on the left side of them. Okay. And we're going to go get in some little reflections. I might start off perhaps with a bunch of these here closer to the back. And there's not much with those reflections. I mean, at the end of the day with boats that are all the way in the back, you only get a little bit of an indication of those reflections there at the base like this. But for boats like this, you see that there's actually more of a deeper reflection. It's not so visible actually in this referenced photo, but I will I think I'll emphasize this more like that. You can see a bit of that reflection there in the water. Hold the brush near the back as well. And I'm going to just mix some of this paint up and move, you know, get that shadow, that reflection in the base, and then move some of this down to emphasize it even more. More blue, perhaps Okay. And notice how also, the waves, you just want to make sure you get some waves running in the front so that it's not just the reflection of the boats, but also general motion movement of the water that needs to be implied running through. The waves get tinier and tinier at the back. So see how I'm just feathering the brush. This is going to imply some smaller waves back there. This one here just has a pretty large reflection in the water. A like that. And this one here is a little bit of a reflection, but not too much, as well, same with this boat. A few of these, you know, tiny little waves running through the back, as you can see. The waves get bigger here in the front, so you just can, yeah, add some more some more in like that. Okay. Base of the boats just go to have some extra darkness as well. Blue and brown, just for this darker spot directly underneath the boats to anchor them a bit to to the water. All right. Do get, like I said, these little windows and things on the boat, so like this, just, you know, imply some of the details there that window, you got a window back here, that same little brush tip of the brush. You can indicate this. You know, here the outline, the structure of the boat, as well can be reemphasized, and, you know, there's some kind of board. You know, it's connected to some sort of ballard here in the water as well. You can get that in. The reflection of the ball ard that Don't be afraid to use your darts. Add on add on more contrast this way. Of course, there's some other details of the boats here. I just want to get in, emphasize. You know, this one I forgotten, but there is this sort of barge here that needs to be emphasized and put in a bit of orange. Thought I put in a bit of orange in there. Why not? Dude. Darkness on the edge of that boat. In the background, things have started to dry off, so I can start going in, see with this brush and emphasize windows as well and bring out little details that I thought, you know, might have missed out on. You know, for example, the cars, if you want to add in more darks and some of the cars like the wheels and that, it's not quite necessary, but if you want to do that, which is what I'm doing anyway, it does help. Okay. That that that whoops. Hay guy. You know, there are some verticals I've got to put in here, so there's a pole that just runs up this mast for this ship here. I'm going to do this in just one quick go like that. All right. And I do know it's not in the same spot as in the reference. Doesn't matter. Put it in where you think, if you've changed the position of the boat like I have, it's no big deal. Okay. There we have it. Another one here. As well, for this boat, just a vertical. It's all it is. And I thought maybe put in a few here as well, because because we're missing just some vertical action, I think, and would be looking better. That Okay. And some little finishing touches that I'm going to add on. This will just be really some guash to bring out the light on this scene, some extra little bits of light. So I've got some guash, just rewetting a bit of it here. And it's almost like a bit of a grayish color actually because it's just mixed in with some other paints. But as long as you've got a light color, really light opaque color that you can use. Even if you've just got a bottle of titanium watercolor titanium white. This can work. This stape isn't 100% necessary. It's just the finishing touch. And you're just picking out some areas that you think you want to bring out some high lights or extra details. So one thing I've figure is that see on this boat how they are these little, what you call them rails and things like that. See just catching the light slightly. So I can just emphasize this with a bit of guash, come out, bring it out of bring it out of the scene a touch like this, give it a give that boat a bit more of a presence, right? That some of this stuff here as well, noticing that this boat kind of lost out a bit of the light up there. So I'll just, you know, add a bit of gray up the top there, these boards on this boat. Se just bring some of that back and continue working on the, you know, these tiny little details, as you can see that, running from the left to the right. There, bit of the roof top, it's kind of tricky to to imply, but you get the idea. You know, even on these sails, you notice like, perhaps a bit of light on the mast, is what I mean, on the mast and on the left side of some of these boats like this. And the reflection in the water. Look at that, just a little bit of that reflection in the water. Even here for some of that Yep. And we are finished. 13. Simple Coast: Drawing: Let's go ahead and start with the drawing of this scene and the actual reference picture is a bit longer than the sheet of paper, but that's fine we can make do. Now I want a little slither of land here. This is the sand essentially, and you can see it creeping up a little bit down the back. But at the front, it's a little bit further down the page here. You do see a bit of the sand come in as well, so I'm going to just mark a bit out like that. Maybe there's a bit of sand coming in from that side. Now, in the back end, you have a little bit of water, and that's separated out as well. By this whole bunch of rocks and stuff out there. I'm just indicating roughly where the water is, so it's here. And then in the back of the scene, we have just basically the rocks and things up the top. Now we'll do that a little bit later. First thing I want to do is just put in some indications of these boats. Now, the boats, they just look at the general shapes of the bottom of the boat, so we can see this one looks a little bit almost rectangular, but Not exactly. So that's the bottom of the boat. You can see the top of it here, you've got bits of white spots, and then you've got these two large windows that we need to get in. These are kind of like darker sort of windows like that. Around the edge is a bit of white. Then, of course, on top, we have the roof of the boat and a little little antenna coming off the top like that. Okay, so that be yeah, I think that should be pretty good. Pretty good. That particular boat. You know, there's a little bollard there necked in the background, you know, as another boat that looks to be just sort of sitting in the middle of the water here. So we'll indicate that maybe a bit further off, actually, somewhere like here. It. There we are. Okay. And then here as well, there is a bottom part of this boat. There's another one here in the back, of course. And you can see it's kind of like, square there, and then it sticks out to the front like that, ok? And, you know, generally speaking, when we're looking at the light pattern, it's coming from above to the left. So, you might be able to just sort of imply a bit of shadow on the right hand side, definitely a bit of shadow underneath the boat. So here, that's going to be dark on top running to the left. And I might even be able to emphasize it more than actually is seen in that reference photo. Darken off the edges of this boat a little bit more so that I have a better indication of where it is later on. And some more over here, you know, this one There, maybe just simplify this one down as well that and it's all just kind of dark on the base, but we've got some windows here that bit of the roof that, and that just comes down. There, we've got another boat that sort of just overlaps with it. So I'll just rub this bit out actually, I've forgotten that there's a boat here that overlaps, something like this, and you can see it just sitting on the sand. Sitting kind of on the sand there bit of a side of the boat like that. Yep. Here the front of it and underneath, you've got a bit of darkness there as well and a shadow running to the right. This one sort of just covered up behind. There's not a whole lot of detail there, so we don't have to worry that really much about it. Okay. There we have it, sort of in the background there. What else do we have? We've got another one here. Re light this boat here. Sort of sitting on a bit of an angle and see just sort of the side of the top of it like that, looking kind of like a boxy like shape. Then the sides of the boat, see just coming up like that. Bit of darkness underneath as well. Maybe extend this one out a little bit further like this. Okay, a couple little antennas or things up there. Well, these windows darken those off a touch sides as well. Okay. Basic of basic structures. Now, I do notice there's a bunch of people walking here on the right, I've missed out and putting them in. I think I'll actually add them in here instead. Maybe just walking along here. Walking along beach like that. And they have a dog with them, I think, as well. Looks like a dog. Could be a big little indication of the dog. There. There's a couple of old there as well, something anchoring the boat in. Well, let's have a look. So I think that's pretty good for the boats. Let's put in some of this background stuff, and you know, I'm going to keep this really loose bit of rock like weathered away. These bits of stone. Then on this right hand side, you know, you've got all kind of the rock face that's exposed, and not only that, you've got this kind of look out there on the top that comes down, Okay? And then just disappears off almost to the right hand side. There. On this side, it just is more or less flat. I can just draw that in so that it's more or less flat. Then you've got some rock feature there in the background, let's just put that in. It doesn't have to be too complicated. Just keep it simple. And there's some stair You know, some stairs or whatever going up. There's something up there. Maybe it's a light. There's a bit of a lookout area here. You know, we can definitely put this in with a bit more detail later on. Not too worried about how it looks at the moment. And let's take a look, what else can we do? We've got some people up here as well walking around. Just make sure if you're putting them in, you keep them pretty small, given that they are all the way off in the distance. So it's going to kind of look funny unless you make them smaller just to scale. Everything in the background needs to be smaller. You've got people up here as well. Look tiny little heads and just standing up the top there. You know, compared to these people here, they're going to be smaller out in the back. Okay. Whoops. Good. So, I think that's all good. We should be ready to get on with the painting. 14. Simple Coast: Light: Okay. For the first part of this painting, all I want to do is start adding in some of the warmer colors first. Yellow cha is my go to sort of yellow, subdued yellow. I'm going to pick up some of this stuff. Let's drop that in in the background, here a bit of yellow ochre for that rock. Not only that, but I'm probably just going to paint most of the rock this color. It of cnacoe gold in there as well, if you want to just spruce it up, make it a little bit more vibrant, but yellow ochre is pretty much all that you need. Also, there's other things like there's some bit of brown here. This is a bit of what is it? It's burnt sienna and a bit of raw umber as well. This here is my way of just blending some of these colors together, but most of it is just going to be the yellow. And these rocks as well come out a bit grayish looking, so I can mix up a bit of ultramarine and a bit of brown to just create a more of a grayish value over here. Du that down a f bit. As we come down. Now, one of the things I really want to do in this scene is to make the background darker in order to get more contrast out of these boats. As you can see, I'm just doing a little bit of cutting around a little bit of cutting around work. But remember, this is just the first wash. We don't really need to have really dark colors in here. Though I have dropped in some darker values in here, we're just feathering them out a little bit. Because I reckon another wash over the top of that will be ideal. Yeah, just cutting around all these boats here, top of this little thing here, that little feature coming down all the way to the right. Here we go. Lots of light in there. Okay, now I'm going to just start putting in a bit of the water. And I reckon I'll use some turquoise color for the water. A bit of turquoise. Turquoise color. Drop that in, let's see how it looks. Yeah, not bad. And also, don't worry if it mixes a little bit into the background color into what's happening in the background. And you can leave little bits of white peeking through like this. Se every now and then, just let a bit of white show through. And sometimes that can help just indicate a bit of a bit of the light through. Good. That Yeah. Fantastic. Just moving this a bit further down and also cutting around these figures a little bit, as well, right? Os. Now, all this, I just want to blend in to the bottom the scene. I'm picking up a bit of yellow ochre. Let's drop that yellow ochre in here, but also will mix in a bit of titanium white. Such a titanium white. I just want to change this up, make it look a lot more lighter at the base and look how I'm just letting the water blend in a little bit as well. I'm not worried that you get a bit of mixing in here because that's just going to make it look more interesting at the end of the day. And more kind flowy. Let's bring this down here to the front of the scene. One thing that I will do, I tend to do as well as in a lot of my scenes. I'll add in a little bit of darker color right at the base, just a tiny bit, not too much, but this will just help to imply that perspective. Make it look a bit like this helps to push everything, bring this part of the scene forwards, then push everything back and doing it very lightly as well, not Too much paint in there at all, even actually a bit of purple could work because that's going to be a complimentary color to this lighter value. It's yellow. Okay. Now, into the sky, we're going to have to go into the sky now. Just dropping a few more big little strokes of this turquoise in here. While while the paint is still wet, it's a great time do this? Great time to do this. Now in the background, let's go. We have let's think about it. We have got some Seran, I think, we'll get some seran, but we'll make it really, really light light seran blue. The top, like that. Applying it straight to the top. We'll bring this wash down the page. Make it again just a little bit slightly darker at the top. It's still about 20% paint, and the rest of it is just water. I'm going to bring this wash down the page. Maybe tilt the paper as well. This can help and just continually adding water as you move down. This will create hopefully a nice little gradient. Some of this will blend in with the rocks and that type of stuff. I'm really worried about that. I just want it to look at the base. Right? Got that. Looks a little bit darker at the top. That's good. Some of this stuff is accidentally mixed in. I'm just going to mop up a little bit of this stuff. A bit more of that turquoise in there. And that turquoise in there. Good Mop some of this stuff up here. That's what happens with watercolors. Bits and pieces will mix together in ways. It's a good thing and in other ways. It can be a little bit annoying as well. So just trying to reste some of these areas out in the back that I think need a bit more warmth that the water is kind of washed out, maybe a bit more blue here. Good. Okay, I'm going to let this dry and we'll come back to it. 15. Simple Coast: Shadows: Okay, so the next step of this painting is to put in all the dark values. I think what I'll do is start off with the background and we'll work our way down into these boats. But yeah, let's go ahead with the background first. And we know that the background just needs to be darker than the boats. For sure, we just got to cut around them. So I'm going to mix myself up. Now, it's kind of tricky, but I'm going to mix myself up a bit of round and blue to create myself ultramarine blue and a bit of burnt umber or raw umber, either of those will do. But just that blue and brown, ultramarine blue and the brown will create a nice sometimes a lighter brown popped in there as well like this brown ocher will create a nice earthen grayish color. Okay? You see that really on the left hand side, there's a lot of light on some parts of the rock make up here. I'm going to cut around that a little bit and work my way through and holding the brush at the end as well to just intentionally create this looseness around here. And this is like a bit of the rock catching some light. We're going to have a bit of light on this rock here around here as well. Look, you've got a bit of in another bit of light the left hand side like this part here. I might have to just darken that a bit. A lot of this stuff, if I if I can just kind of dry brush a bit of it on as well, this will save me some time. You dry brush it on, it's going to look more like just a bit of the rock showing through. That's just around this. This like that. Maybe a bit of blue, tiny bit more blue running into the base here. If I can just simplify this background down, I think I'm going to be happy rather than try to get in all the little shadows and stuff like that. We can always bring some of that back later on as well, while the paint has dried off. So guash. Over here, it gets pretty dark, so I'm starting to just mix a bit more blue in here. Look at that, a really dark value. There's even dark values in here. You just not even looking at times at exactly what I'm painting, I'm just looking at the values. Here around this at the top of it. Be very careful, of course, just to cut around bits and pieces. Okay, sort of gets a bit lighter on the right hand side or just a simple brush stroke a couple of brush strokes like that. Okay over here, we got, we've got this bit of land there, this rock. It touches the water. Okay. And up here, we have got kind of grayish color, but not all the way through, so I'm just coloring that in with a bit of same grayish color that I mixed up. Yeah. And notice how I'm just letting things kind of join together. Yeah. I don't want to spend too much time on all the little details of this because at the end of the day, it's not really that important. A we need is just a bit of cutting around work for some of these boats, just to make them appear more in the foreground. Often this a bit here. And this rock in the background, it's kind of like a bit more brownish. Drop in a bit of brown ocher here and lend that downwards a little bit. There we have it. That's A. Just picking up some darker paint and finding again, just some of those darker values I want to imply in here, because the last thing I want to do is to go in there later and try to bring some of this stuff out. I just want this to be a once off thing. Bit of darkness here. While the paint is wet, you can just drop paint in, continue on, and leave these impression, these fleeting impressions Wearing too much. Good. Good. Okay, so we've got a bit of that going on. I'm going to work a bit on the boats now. At the bottom of the boat just some grayish color. So yeah, of that grayish color for this boat. Notice, I'm just trying to blend this in a little bit so that it connects sometimes with the background like this. A bit of that grayish value. Dry off the brush so that you don't get too much paint on there. There we go. We see touch the beach sand here. All right. We've got this one here as well in the back. We need to imply. We have it. Of course, there is a boat directly behind that is kind of like a really dark blue color. I'm going to add in over here, just a bit more ultramarine, dark in this side of the boat out more. That There we have it. Indication of the boat. And also a bit here on the side because technically, you know, this boat is going to be getting a bit of light from the left hand side. Okay? Yeah, it's just sort of just mixing bits and pieces in here. On the windows. Let's just put in some indication of these windows here. Tip of the brush. Something simple like that. Okay. Good. Now, this boat here on the right hand side, I'm going to have to imply the bottom of this barge barge there. All I want to do is just make it a little bit darker at the base and this one as well. It is a boat and you can see it kind of on the shore. Pitching the shore there. And this one, I'll just move some of the paint over. That. What else do we have on top? We've got again, some of these darker sort of areas of windows and things on the top the boat. Really just picking out all the mid values. This boat actually has some blues in here like some darker blues. I'm just going to indicate that.'s mix that with some gray as well, but it mixed together. Good. And really at this stage, we are And really at this stage, what we are doing is Just putting a little bit of detail in, but not getting too bogged down in what's happening. Just a little bit of detail for these windows, see a bit of darkness there, sides like that. There. Re we still want to leave one wash right to the end and some little finishing touches. And what I'll do for this area as well, is where the boats are. I'm going to add a bit of darkness to the ground, the shadows. Bit of blue mixed in with the gray, give myself a nice dark value. And to the right hand side. And this is going to just melt in a little bit to the boat. I'm going to make these shadows just a little bit more a little bit more coming towards the front on a slight angle. So I guess more dramatic the right way to describe it, O looks pretty good, actually. Others need to just be darkened more. Blue in there. Good. I sort of goes up into the boats a little bit as well. It just kind of helps to almost anchor the boats in a weird way. The shore. Now we've got some people here. I'm going to switch to a smaller brush, smaller round brush. This is going to help me get the details of these people in. So, you know, there's people up there as well that we're going to be able to put in. But might as well just with this hole. A Something simple like that. And some people in the background we've got. They're going to be pretty dark as well, with some blue black mixed together. Actually you got too much, way too much paint on there. Just a little bit so that when I get in with that tip, that's all I need to do just kind of in the sh, head and the shoulders like that. They are quite dark, actually, these figures out in the background. It's more of like just a silhouette of them and less really little detail. Be really decisive as to, you know, the legs, if this one didn't look so great, I'd have to redo it. I like that. These could be a couple of people, maybe a person that's climbing up the stairs or something here out the back. No. What else do we have? You know, I do notice that there are these little which you Mc call them railings and things like that, which I'll get in afterwards. Get in a bit afterwards with some guash. But these people here. They're also going to be great for just detailing, maybe some darker blue for this figure. But this one darker blue, and maybe let's match this one a bit, but I'll add in a bit of yellow in there as well to change it up. So we've got a couple of people here in the front. And legs just a bit of darker value in there. Okay, as well. Standing around. We've got also that dog implying the dog, not much at all. And again, the shadow, which is I'm going to just do in one go, hopefully. The right. That's Yeah. Dog is a bit of something. Right? Asic. I know, whose legs are O and I connect on with the body. Bit of red or something for the faces. Sort of play around with the hair a bit as well, put a bit of brown or something in there. It's difficult to really do much because they're quite small, on pretty small bits of paper. Right. Another thing I want to do is add in some kinds of stuff here in the foreground, so just a bit of, you know, sort of, muck and stuff, you know, seaweed and things maybe just washed up on the shore. It doesn't have to be much, but just some little little bits and pieces here, just to kind of break up this wash because as you can see, it's pretty That's pretty stark here in the front, and you can even just tap in a bit of color like that. And to do this from time to time. Helps to make things look a bit more interesting. It over this one a bit, so I'll just mop that up. If you get any splatter in the sky, you can just turn those into some birds or something later. Let's give this a quick dry. Okay, so some little finishing touches on everything now, and it's really just picking up some darker paint. I've got blue and a bit of black mixed together. And we'll just drive off the brush a touch, and let's look, say, for example, here. I think this boat could do with a bit more detailing just around here, for example. There. Even the bottom of it, there seems to be a line that maybe runs towards back there, the windows, we can just tidy up some of the windows, a little bit holding the brush further down, as you can see. This allows me to just detail better. Even something on top there. Look, what else can we put in? Not really a whole lot. Just got to be quite sparing with this stuff. Over here, again, this boat could do with maybe a bit of detailing here. Back one line. That's all you need to do just one little line. Don't overdo it. The bottom of the boat as well, does look a bit bare, and I thought to myself, well, you know, it's actually darker, and there are some more details in there, so you can esually add in and wash such, you know, like this, for example. And then you can see, there's actually these little lines that kind of run down the side of the boats like this. Why some of that, not super necessary. Just go to darken this shadow or touch. E to that. What have I got up here? Yeah, I think I might add turn this into a window. These be just a couple of windows there or something. Yep. It's better. And picking up a touch of gray too, darkened down perhaps the right hand side of the boat like in there to indicate some shadow bit of shadow. The right side, here as well. Little bit of shadow on the right hand side. Very light gray. Let see. Just look at that tiny bit of that right side there. Yet the others, you don't really need to do much on this one. That. Then again, you've got these again, these sort of darker marks and things here as well for the larger kind of barge, which I will imply the structure of it. That Even underneath, you notice there's actually some darker spots, some little darker spots in there, which I will imply. Okay. Fy bits of this detailing work can really help your paintings, just look more interesting and more detailed, right at the end, especially. Remember to leave out that white These windows, again, I just I sort of went through them before, but I will sharpen them up a little bit, add a bit of darkness in the windows. You know, maybe a bit of sharpness around the front of the boat like that as well. Underneath the boat, like I was showing you before, just out a little bit of blue and I just darken underneath here. And of course, again, I'll have to darken the shadow a little bit due to that. Hey, it do we have? Can we detail? These boats here in the background, like the bottom of that boat? I can just put in a bit better side of it as well. This boat here in the background, you know, I know it comes out like that. And and out there sort of I have to play around with a bit of titanium white or white gash. And this is just to bring out the highlights, lighter bits of color. So there are some spots, for example, the masts. I really want to bring out wet a bit of this white. Corner of my palette. Okay. And what I can do is just start going into say, the tops of these like that. This little Boat here go a bit of detail like that. A few little bits and pieces sticking out from the top of this boat that I can imply. It's really just pure white in there, and you can also go over some other bits in there that you might have lost out, so I've just put in a little bit more white there there, perhaps here. Sometimes you just lose a bit of it, to add it back in there. There's this bit of rope or something here. You can see that it's electing some of that light and connected to a ballad or something on the ground. This boat here, this is kind of lost. I've lost a bit of that light, so I can just bring it back as you can see here with this vertical, this one here as well. I'm sing really the tip of this little round brush for this so that it doesn't overwhelm. Here you get these bits hanging off the boat like that. Yeah. Let's catch some of that light. Mm top of the boat. Lost I've lost some of that white. I'm just just bringing it back carefully. Tricky because some of this white. If you're not careful, it already starts turning into like a gray or something. Is due to the it mixing with other colors on the page. There, here, that there's a bit of white high light on the edge of the boat like that. So I'm just going to imply some of this. There might even get a bit side the these people bit of a bit of light on the left side of them like this dog as well. This one here, this boat to the left desperately needs a bit of rejuvenating. So I'm just going to re dig this top part of the boat a little and put in a mast up there like that. There we go. And it looks like there's something here for that boat in the distance as well. I might as well just add another one in on this one too. But again, yeah, you can sort of just bring back a little bit of a high light or something like that on these boats. Window light there as well. Okay. Good. Mastic old here as well. And yeah, in the background, like I was mentioning before, there were these little kind of theirs that people walking up the railing. So I will just maybe imply this. Yep. Color for this one bit of blue in there. Bigger. Change it up. Tu colors. Sometimes, you've just got all these warm values and changing, adding a little bit of blue or something in there helps to bring those figures out. I'm going to mix a bit of yellow, bit of yellow ochre actually into this white. And this is what I'm going to do basically, just bring out some of these highlights by dry brushing onto the page like this. It's almost like getting some of the texture of the rocks back in the distance. There's some of this stuff here that I've lost out in a bit of detail. So just carry that along parts. Even on this rock, you notice there's just some little highlights and things that I haven't managed to get in and I'll just bring some of that back. Okay. At the same time, what I will also do is try to draw out a little more contrast in the boats. So check this out. I'm just going to pick up a bit of this darker value. It's basically just black, and I'm going to continue working on this section. But see how I'm just cutting around that boat a bit more, including the mast, don't go over the mast. Otherwise, you'd have to do it again. Be very careful. And I am just darkening around boat, and this is going to help to bring it out better. Even in this boat here, do a bit more there. Carry along so it looks natural, but then over here as well, extra darkness in the background and around these bits of white I'd put in before. I's got to be so careful with this. And Notice how the boat is really start to stick out now. Just due to that extra contrast. One thing I remember is well, just to dull off the edges of that black or that dark color there just so that it doesn't end abruptly and it appears as it's part of the rock. That. Putting around stuff can can even keep continuing to put in a bit of darker spots and areas to the rights of some of these rocks and things just to increase the contrast on the cliffs, just to make it look like the light is hitting the left hand side of these rocks, Okay? Which it is Yeah, extra darkness here. Well, I just really got to be careful not to overdo it. Otherwise, this becomes like a whole painting about the background, which is not what we want. You know, here as well, picking up a bit of extra paint and just cutting around these boats. Again, that that I want to draw out more. E. And why not put in a bunch of sea gulls. I'm just going to get some gray, a little bit of gray and some birds in the background. Just a few of these sort of birds, as you can see, I'm just putting in a bunch of them just kind of like these little s in the sky, really. Sometimes they hang up near these like holes and things there. But again, it helps to just break up the sky a touch. Overdo it, though, just got to be careful. All right. And we are finished.