Explore Underwater World with Watercolors for Beginners

1. Welcome to underwater world!: Ocean is a masterpiece of light, depth, and color. So let's bring this magic onto paper. Hi, everyone. I'm Swati Ji haiti, a watercolor artist by passion and a product manager by profession based out of Bangalore, India. I go by the handle tinted Toodles on Instagram, and I welcome you to my class of painting realistic underwater scenes in watercolurs. I'm brand educator for Silver Brush, as well as for Siram stationers in India. So the inspiration for this class is I went on to a snorkeling experience in Philippines last summer, and I was thrilled to see all those beautiful animals underwater and how light rays work along with the sea waves to create beautiful reflections, refractions and how I can see all these animals underwater. This inspired me to capture that magic in my paintings, and now I want to share that journey with you. Let's go through what all you will learn throughout this class. This class focuses on maintaining light and depth, the secrets to painting underwater scenes that feel alive and realistic. Water control, which is essential tips to master the balance of water and paint in your work. It also talks about reflections and refractions techniques to make your underwater animals look like they definitely belong in that environment. We will start the class with two practice sessions, which also covers all the techniques required, the basic techniques required to go along with this class. One of the practice session is underwater rays. We will learn how to paint those beautiful rays of light streaming through the water, and the other one is underwater seascapes. In here, we will understand how to depict the subtle textures and tone of the ocean floor. Once we are done with the practice lessons, we will extend onto it and paint two main class projects, one with a jellyfish, which is also a monochrome painting, and the other one with sting ray. Monochrome jellyfish would be a perfect way of practicing depth and the flow of underwater movement. Whereas with the sting ray, it is ideal for understanding how light changes as the animal approaches the land surface of the ocean. These projects are mainly structured in such a way to help you to paint any other watercolor scene with any animal in it, be it near by the ocean surface or in the middle of the ocean or nearing to the water surface. With this, by the end of the class, you should be able to paint any of the underwater scenes that you come across. Along with this, of course, I'll be covering all the supplies that I'm using for the painting and all the colors also that I'm using beforehand so that you can keep them ready and dive in right into the class. So what are you waiting for? Take up your snorkeling gear and your painting brushes and join me on the class. 2. All the supplies required: Before we get started with the practice class and also the class projects, let's go through all the supplies that I'll be using. For watercolor paper, I'm going to be using Saunders water food. This is cold press and finite green. It is also 300 GSM, which means it has a good capacity to hold good amount of layers of water. This is the texture, how this is looking. You can use any watercolor paper of 300 GSM size, and that should be good. Next up, with respect to brushes, I am mainly using silver brush, black velvet series brushes. One is oval wash brush, size three fourth, and two are round brushes, 3,000 as series, size eight and size four. This I'm using mainly four washes. So even with two round brushes, you should be able to complete the entire class. Along with this, I'm also using a lineup brush with which I'll be adding some details which is required. I'm also using a spray bottle in order to spray water onto the paper, but you can skip this and use just the brush and water directly from your tumbler. I'm also using a palette for mixing paints directly onto this. The colors that I'll be using for this entire class series is very limited, which I'll be showing next. So with just one palette, we should be able to mix everything properly. Terms of watercolor. We'll be using from different brands, but majorly one main shade of blue, which is cerulan blue. You can use any brand cerulean blue. I'm using from Mission gold. And for adding depth to the blue, I'm using white Knights cadmium red light. For the sand part within the underwater, I'm going to be using mainly these two shades. One is bled stone genuine. This is a granulating pigment from Daniel Smith. You can skip this and use any shade of brown that you have. And a lavender shade. This is also from Mission Gold. With these two, I'll be painting majorly the underground part of the paintings. Another shade of blue that I would be using is from Smike which is heloturquois shade. Of course, a jar of water and a masking tape for taping down your paper and a transparent board to tape on so that it doesn't soak up your water and it still stays intact. You have gone through all the supplies that are there. I'll be just fetching out all these colors that we are using and also go through some of the basic watercolor techniques and get started with the class. 3. Colors used for the class: Let us swatch out all the colors that I'll be using for this class, starting with the shade of blue, which is cerulean blue, and I'm using from Mission Gold, but you can use from any brand. You can see how pigmented and beautiful this color is, and we are going to use the same for adding multiple layers on to our painting. Just with using one color, we'll be able to achieve many different shades with the help of depth effect and completing our painting. So this is our major blue for underwater, which is serlan blue. In order to add some darkness to the same, I'll be using cadmium red light. Okay. So when I mix blue with cadmium red light, let's see what's the color we're getting. We get a darker shade of blue. And this is the blue that we want. Okay, adding more. So this is the darker shade wherever we want of blue, that would be using. This is from the brand white Knights, but again, you can either use a darker shade of blue like Indigo, Persian blue, or you can use the same mix in order to get a darker shade. Next up is bled stone genuine. So this is a granulating pigment from Daniel Smith for a shade of brown. You can use Sepia or any other brown as a replacement for this as well. Next up is lavender. We won't be using lavender directly, but we'll be mixing that with blood stone genuine in order to get the underwater seabed color. So let me mix it here for you and show. And with the different variations of this color, we'll be using it in our painting. I'll be guiding the amount of paint to be added then in there itself. So this is the color we are looking for. Next up is helo turquoise. Again, this is from Schmiqe and you can use any shade of turquoise or even peacock green or any lighter shade than serlean for, um instead of this color as well. So that's totally fine if you do not have the same shade. Not worry, you can use cobol turquoise or any other lighter shade. Even you can mix this cerulean blue with more amount of water or a little bit of green or gradient as well and get to this shade. And, of course, in the end, we'll be using some paints gray or black for final detailing. We'll also be using white quash for adding all the details and as well as an effect for painting jellyfish. So let's explore that more in the class, and let's get started with the class project. First, we will go through all the practice lessons and learn how to paint any underwater scene, the basic background of it. And then in the class project, one by one, we'll be exploring with just one shade Cerlean blue, how to paint the entire painting with two jellyfishes in it. And the next one is a bit more detailed with all the other shades that we have used here. Okay, so let's get started. See you in the class project. 4. Practice project 1: Welcome to the first class lesson. This is a practice project, so I'll be showing you how to paint a very basic underground scene in watercolors. It's going to be on a ton wet technique, so I'm going to apply water. I'm using a silver black velvet series, oval brush. And I'm applying from top to bottom itself because that's how I'll be applying the strokes for the underwater as well. So it is better to have in one angle from top to bottom. Also, I'm not applying too much of water now itself because when I'm going to put the paint, it will be in a diluted form, so I do not want that to stretch or, um, dilute on paper a lot. This is the space where I'll be leaving some white spaces for the water reflection part. With my round brush, I have taken some cerulean blue. Now I'll start applying it in an angle till the middle of the paper, it's inclined towards right, and as soon as it goes towards the right, it is inclined towards left. Okay. And all this, I'm bringing the strokes until half of my paper itself so that I can paint it with another color from below to show depth in the painting. Light is reflecting from this angle where I have left white space. So if your white space is in another place on your paper, you can decide the rays similarly. Make sure to keep some white spaces on top because that's where we can show the maximum sunlight which is peeping in. I'll take the same cerulne blue and add some cadmium red light to it in order to get a darker shade of this color. I'll apply it in the same angle that we have done on top, extending it to the bottom of paper. I'm switching to size four brush and I'm going to lift off some of the paints. For this, you need to have absolutely less water in your brush, apply some pressure, lift off the paint, and dab your brush back on the tissue paper. Now that there is less water on top, I'll be applying one more layer of just diluted servian blue so that I get to see different shades of the blue happening there once the paper completely dries off. If your paper is too wet, it will disperse a lot. So make sure to soften the edges and remove excess of paint by lifting it again. Adding one more dark layer, extending it little bit here and there. I'm maintaining the angle in which the rays are coming in. This is what will help with the perspective of underwater and the light coming into the ocean or sea. So make sure to go in the same angle. You can practice a couple of times and also leave some spaces be the white space or the lightest shade of blue on your paper and not fill it up with one single shade everywhere. With the dark shade and applying some blobs here and there. This will be the second layer the reflection. Once it dries off, you can see the difference in colors and also depth in the reflection that comes in. This is completely dry, and this is how it is looking. You can see that there are different layers of blue that we can see even the white is retained at certain places, and we have the first layer of light blue that was there and the darkest layer also is visible below. Now, I'll take a smaller size brush size four and try to at or just enhance some of the places with darkest shade of blue so that we can emphasize on some of the waves that are forming on the upper surface of water through which the reflection of the light is happening. So I'll again take cerulean blue, mix it with cadmium red light to get this darker shade. We can also use any other dark shade of blue, even indigo or Iditrine blue, if you want, even Persian blue if you do not have these shades. Make sure to again, maintain the same direction in which, uh the waves will be applied. Applied in a zigzag manner because there are waves which are created, so there'll be ripples and it will not be a straight line. Diluting that a bit with water and continuing that or a layer below. Adding variations with the same sheet, but with different dilution ratios will always give that sense of a naturalistic painting because not everything is of same color or same sheet. We do not know how much the light is reflecting, so using different shades will help us get the visualization coming to life. Make sure to use a brush with a very thin tip for adding these manu details. Now, again, with a damp brush, I'm going to lift off the panes wherever possible. So this is mainly to achieve multiple layers of reflection happening, to make it look more three D and not just a two D view where only front, reflection is happening and the back there is nothing. So we have waves coming in all over, and the reflection is happening from each of it. I can see the direction in which I'm using my hand while painting. That helps me with maintaining this size. That helps me in maintaining the direction in which these waves are added. I'm happy with how this has turned out, so let's remove the tape. Here I'm able to see different layers of water and reflection. It is giving me a look of underwater sea or world. In our class project, we'll use the same technique and, along with different sea animals. See you in the next practice lesson where we'll also learn how to get water, along with the ground part of the sea. Okay. 5. Practice project 2: Thank you for continuing into our next practice lesson. This is also going to be a button bet technique. So I'm applying water for the entire part of paper. And in this, I'm not following any line or angle in which I apply water, this can be anything. This would be the underwater horizon line where sea needs the land. From there, I'll start again with Cerleneblue and add the line, separate to line. Next, I'm switching to a lighter shade of turquoise, Helius turquois from Schmiqe. You can either use that or also use cobalt turquoise or any other lighter shade of blue. Taking more of water and extending it up further. I've also added some zigzag lines on the land just so that this also forms the reflection of water on the land. What we learned in the first practice lesson, applying the same here as well, little bit maintaining the angle as we go towards the top. The first practice lesson can be something which we are seeing from nearby to the sea surface. And the second one which we are doing now is more from the land. So we are already sitting on the land, and this is what it is looking like. Creating some elevation here so that the paints all flow down and we'll continue applying the helourquois. Since we are far behind, we get to see a lot of white space, the reflection happening. So I'm trying to retain that with the help of white spaces on the paper. Switching back to Cerleanblue and working towards again for multiple layers. With a damp brush, I'm just smoothening these harsh edged curves so that when they dry, it looks very smooth and distant. Nearer the object, sharper we can see further the object, it will be a little bit trying to merge with the background. Retaining that property here as well. A I'm taking the mix here, mix of lavender and brown for the land part. Lavender because it's pastel shade. So it will be easy to merge with the um blue that we have. And it also creates a good disposes into good color which we really want for the actual meeting point of land and water. With a very dilute form. I'm just extending the same blue on to half of the land. Need to understand that um it looks blue whenever you're underwater and on the land. It looks blue, the further things always looks blue. So trying to depict that here. Mixing blue to our current shade in order to show some grooves in the sand. It is very similar to having a beach. Inside underwater as well when you land, it might not be a straight surface that can be sand with a lot of grooves in it, how you see on the beach. You're trying to depict that with shades of this dark tone here. Based on the dilution and the colour you have in your brush, you can continue to apply it multiple times. And once it starts to dry, you can see where else the depth is required and lift off some of the paints maybe to give us the exact view. Even in the distant, though we can see blue, we want to show reflection or some sort of white space on the paper. I'm lifting here as well. I'm doing this with a liner brush because it really helps with creating these lines, which we won. This is nothing but reflection from above, so it will be wavy patterns of lines. Lifting must be done when your paper is still wet. Once it is dry, it might take a lot of time to lift, but you could still be able to do it. Now that I'm using blue shade, it is very difficult to lift once the paper is dry. If you're using a blue shade which is less staining, you can also lift off once your paper is dry. Lifting off here and there gives us the illusion of bumpy areas, which is exactly what I'm looking for. Now taking that dark shade again and adding some splatters. Since this is a practice lesson, I'm doing it on a smaller piece of paper. I'll be switching to a line of brush for getting those tiny splatters. You can skip this part if you're not comfortable with adding splatters as well. The paper is almost dry, you can see, adding the final grouse with the darkest sheet. Having patience and working on multiple layers helps a lot when you're trying to paint something realistic. I'm happy with how this has turned out. The brown that I have used here is actually granulating pigment, so you might see even more granulation. But you can skip that and use any shade of brown that you have for this. I have skipped adding the waves with darker shade because my main highlight is the land. We'll work upon this in the class projects, but adding a sea animal here as well. You can see the granulation and white spaces coming up very beautifully creating the reflection lines on the land. I would say practice that bit more so that you can paint any underwater along with corals or fishes roaming around, et cetera. This would look really nice. Now that we are done with practice lessons, we can get started with our first class project. See you there. 6. Monochrome Jellyfish 01: Oh. Break down the paper as shown here for first class fratre and this would be, we are going to paint jellyfish underwater. So they have very free flow movement within water and um it's just having two main parts, that is the bell shaped body and tentacles. Let's capture it on the paper. First, I will draw a very rough sketch using a pencil. Easiest way to draw the bell shaped body is first drawing the circle. This decides the actual size of it. If you want much bigger one, welcome to do so. I'll be drawing two of them here. Now you can place the body anywhere within the circle. Based on the moment of the jellyfish, the bell shaped body will be changing. Either it will be collapsing to form a semisphere or it can also be forming almost a circle. Now with the kneadable eraser, I erase the excess of graphite from paper. Tentacles will flow from there until down. I have left that space there and we will paint the directly with watercolors. You see this. Here I'm giving a bit more curve to the body, which means it has expanded a bit more inside. That's why you can see not an entire semisphere but an umbrella or inverted bowel shape here. I'm good with this sketch, so let me apply water throughout the paper, and I have all the pressures required ready. Taking down some cerulean blue onto my palette. I'll be majorly using this color for today's class project. Activating that by applying some water onto the paint, and I'll continue to add water on to paper. Expand this quarter with the help of an oval brush. Applying some more water to the edges so that the paper can stay wet or moist for longer duration. I'll start with size eight brush and dilute some cradine blue with water. Start applying it from bottom of the paper. I'm leaving some white space there. We'll come back to it later. As I go up, the water is more and the paint is less, like how we have done in the practice lesson as well. This would be the darkest shade at the bottom and on top, it will be much lighter shades. Keep the bell shaped body that we have a bit white itself wherever possible, because like we have experienced, blue is not I mean, blue is a staining color, the shade and it'll be difficult to lift off later on. So if we want to show some reflection on the jellyfish, it would be difficult. So I'm keeping some white space now itself. Using the help of water itself, I'm moving around to make sure it becomes very fluid the moment, and there won't be any harsh edges once the paper dries. You can remove excess of water accumulating with the help of a paper cloth from the edges. Now, before it dries completely, I'm going to try and lift off some of the paints from the bell shaped body. Now I want to show the light reflection, how we had done in the practice lesson, but from just a side. The light source is way up here. These are not near the surface of the sea. It's coming from a virtual point on top. You can see from where I'm trying to bring this triangle cone sheets. You can also have your own virtual point and lift off some of these pans. Now, once the paper is still wet, squeezing out some fresh white wash. Using this now itself to paint oral arms and the tentacles. With size a wrong brush itself, I'm adding these oral arms here. Remove excess of blue again from your brush and continue. You can refer a jellyfish or refer to how the final tentacles looks in the painting before you start this step. I'm just taking white and going in a specific direction where I feel the oral arms and tentacles can be. Take good amount of white quash and dab it onto the paper. There is still water and blue on the paper, so it will mix with each other and form a very beautiful, um, And form a very beautiful abstract tentacles that we are looking for. This is how in general, we see jellyfish as well. They're a bit slimy, so you will not get to see the harsh edges of their oral arms, and I want to retain that naturally. We'll add one for the jellyfish, which is behind as well. Here, there was a lot of water accumulated on the paper, so you can see it as disposing a lot. You can wait until some of it is dry and then continue. But I'm taking absolutely no water in my brush in order to control the water here. Switching to a smaller size brush in order to add smaller arms in the back. It is in its solid form itself. I'm not mixing a lot of water. So if it is having good amount of gosh on the paper also, not to worry, it is creating that feathery effect or the slimy effect that we want. And even if it dries with a harsh white edge, that's totally fine. Adding some tentacles now itself, but we will come back to it later. If your paper is dry by now, do not worry. And if you have too much water, you can lift off and add the tentacles there so that they stop mixing with the background. Now with blue, I'm going to add some depth here and there. This is to show the shadow or the dens of the oral arms and tentacles that are coming together. They still have some mass, and we want to show that and capture it on paper. Randomly add here and there where your brush strokes are ending to highlight that particular shape that you have. See blue, I'm going ahead and adding the bottom part of our bell shaped body. So there will still be all these oral arms and tentacles are attached to it coming in from the bell itself. So we want to show that in a three D form. As in when you paint, you can explore on how these are forming naturally. It may be completely different than what I have on paper and that's absolutely right. This is fluid and it can take any shape that you want it to. Just go with the flow and add depths wherever it is required. Now this is good. I'm happy with how these oral arms and tentacles have formed. I'll come back later to add the final details. Now, I let it completely dry so that I can start painting the bell part of it. 7. Monochrome Jellyfish 02: Now this is completely dry and also I have changed the water to make sure that there is no residue of the blue shade that we used before. Now to start with the bell portion of jellyfish, I'll be first applying water onto the bell part. So here also, we are going to do wet on wet itself. So for this reason, your paper should be completely dry before you start with the second layer. Taking Cerdean blue here again, and I'll draw an outline overall. Main aim would be to live some space in the middle of the bell to show some reflection as well as the curved nature of the bell. I'm doing this with round four size brush and with very limited amount of water in the brush and lots of paint. I switch to the bigger brush in order to smoothen this first layer. And bring it down slowly. I have very limited amount of water in the paper and on the brush as well. So that is why these lines are retaining and not spreading and mixing with the background. If you have too much of water, you can use a tissue paper to remove excess of water. These lines are just to show the variation and the curve nature of it. Now, I'll also go ahead and do the ending of these lines. Extending it to the back of the bell body as well. So tentacles and the oral arms is three D here. So we need to make sure that even though back part of it is covered in the painting. With whatever paint is there on the paper, I'll just bring it down and mix it slowly. This is forming our second layer on the jellyfish and third layer overall. This is not entirely layering, but still we do get difference in tonal values once it completely dries off. Making sure to keep that white space as much as white as possible to have that bright reflection which is coming from top of the surface of the sea. With these angles and curves, you can manage to show what is the bulge in the head. On top of the bell body, it's always dark, and as we come down, it can be translucent or transparent based on the jellyfish. So usually it will be translucent. So make sure to keep the top a bit more darker than the other parts of it. Starting with the second jellyfish as well. For this also applying water first. If this process is too slow, you can always use the speed icon in order to set the speed of the painting. I make sure to keep it completely at the live speed so that students can follow along and paint. For the second jellyfish, there is a curve or a bulge that is happening at one side because it's trying to move up. In order to retain that movement, I have given or added some paint blue with a darker shade onto the entire left part of it. Once it dries, we get to see the depth it has created because of the movement of jellyfish, and that's the reason it is having higher tonal values in there. No So the second layer of blue, there was a depression that has been created, and on top of it, you can continue to add all these details. Make sure there is not much water on paper, else they will again disperse and not be visible entirely. Either you can wait till the paper is dry semi dry or you can also lift off the water with the help of a paper cloth. Adding some cadmium red light to this to get a darkest tone. You can also continue with the same sheet if you want, or you can get a darker tone like this, or you can even use indigo. This is for the darkest shades wherever required. I'm happy with how the oral hands and the well body has turned out. Now next step is adding tentacles and lots and lots of it. So for that, I'll be taking a liner brush and start with the darkest shade that we have here. So we have done those U shaped endings, right on the jellyfish. From there itself, you can start each of these tentacles and make sure to keep it wavy. If you want, you can practice these lines on a separate sheet of paper before trying it directly on here. If you do not have a liner brush, you can definitely go ahead and use a black pen or a dark blue pen, as well. Some of the tentacles, I'm making sure that it's not completely coming up here because they might be intertwined between the oral arms. So just the ones that are going through the arms, I'm not drawing them entirely. Now with white quash, I'm adding some reflection on these tentacles here and there. For these bulged tentacles, definitely, go ahead and add it because light is falling directly onto them. So there will be a reflection coming on top. These details and making sure of the light and movement of the object is what helps you make anything look realistic on paper. So take your time and you can definitely decide to stop wherever you feel like your painting is complete. So this is where I feel that this is complete and let me start to remove the tape. This can be called as a monochrome because we have used majorly one color throughout. In the next class project, we'll be using more than one color that is two colors and see what can be done there as well. So for now, this is a monochrome underwater painting with lots and lots of depth and realistic nature to it. Hope you enjoyed the class project. I would love to see all your work, so please make sure to post it in the project section. See you in the next class project. 8. Stingray sandscape 01: Oh welcome back to next class project. And in this, we are going to paint a sting ray, which is nearby to the surface of the ocean. So first up, let's draw a sting ray, and it is coming in from top to the bottom with a bit of force from this direction. So this would be our main object, and this is more like a portrait photograph of sting ray. So the background is a bit, I would say, blurred out, and that's what we will try to maintain it over there. Starting with two curved lines like a V shape and then completing the body of it. So this part is mouth, which is in this arc. And here we have fins. Again, in order to show movement within water, there is a angle or motion in which the curves are created here. So once we paint, we can maintain that, and with the help of depth, we can retain the motion. Now, I will erase those helper lines which I had. This looks good, and I'll be adding tail later directly in the end. We'll start this by applying water. This is again going to be a wet on wet technique. So applying lots of water onto the paper. And spreading water with the help of an oval brush. I have taken cerulean blue on the palette. Now, with size eight round brush, I'm going to start from top of the paper. So here we are almost near to the ground of ocean, so it's dark blue on the top, and on below, we want to show the ground. I'm keeping this spray bottle handy if and when I feel the water is less on my paper, You can skip this and just continue to use brush only to apply water as well. I'm tilting my paper onto the right side. The reason being I want that to flow to that direction because stingray is coming in to the ground from the top left corner. So that's the reason the waves or due to its motion, the water will also be flowing in to a particular direction, and we want to retain that. With the help of water and its fluidity, just make use of it and tilt your paper in order to get that done naturally. Now, for the second layer, make sure to add in this angle itself because it will dry in the same direction. Mixed up. I'm going to take some lavender and spread it across to the bottom of the paper. Like I have explained in the practice lesson, Lavender helps us mix the color with the brown easily, and that is the reason I'm using it. And since this is going to be a portrait kind of a painting, we do not have to focus much on how the ground is looking, et cetera. So imagine that it's being focused through camera and we just see that there is ground and there is water. And our main focus is the sting ray. Lifting of water from some parts of the sting ray. Now, again, with size eight brush, I'm going to apply one more layer in order to have the darkest tone in the top part of the paper. And second layer on the ground. So just adding some blobs of paint here and there because that's the reflection part. To this lavender, I'm going to add some blood stone genovein which is a granulating brown shed. If you don't have it, you can skip and just use any brown shed that you have. Even burnt umber works. And just randomly add it with the blobs here and there to give us the feel of the variations in the ground that we have done as part of our practice class. Mixing a little bit of serlene blue here in order to get a darker shade. Here, also, I'm trying to retain white spaces in an angle because this is, I assume you are on the seabed, and there are lines of the texture created for sand. So trying to depict that here. Taking a darker mix of the same and adding some splatters below. Okay. And with the same shade, I'm going to add some depth to the grooves of the sand line. And here is, again, my feeble attempt to remove some of the water from stingray, but you can see sustaining pigment. So that is okay. We will see how that can be handled. But wherever you can, make sure you're removing some of the paint so that we can bring in a good curve. And now, when the paper is semi dry, I want to show the motion that we were talking about the other time. So sting ray is coming from top to bottom with high speed, and this is how the water follows it. And in order to show that motion, I'm just bringing in a paint which is already available with zero water in my brush from top to down. So this follows this brings paint from top. And again, I'm removing the paint and making the same motion again with a lighter sheet, which is lifting off the paint. Okay. So one movement up to down with your blue, which is already available on paper. And after removing the paint from your brush, one movement down to up in order to lift along the same line. If your paper is still wet, this might not work. So wait until it is semi dry and then do this. I let it completely dry and come back to add the details on our sting ray. 9. Stingray sandscape 02: Now, this is completely dry, and this is how we can see the motion that I wanted to depict with the help of aticular lifting is visible here on top. And the splatters are also come out very well with the dark spots that we did. So it's giving us the illusion of ground and as well as the sea part above. I have used a granulating pigment here for the spots, so they have also dispersed with the availability of water. If you do not have not to worry, you can mix some black, which is PV K 12 with brown in order to make it a bit more granulating. Now, let's start with painting our sting ray. I'll start with applying water on the sting ray also. This is to make sure that once I start painting, the paper is not dry fast. If you are painting on a smaller size of paper, then you can skip adding water and just dilute your pigments and start directly applying them on the paper. If I'm carefully applying water, that means when I'm applying paint, I do not have to be much careful because the water goes and settles in at the border of water itself. I've taken some paints gray on the palette, and with that, I'll start applying it on one side of the fin and also in the depression in the other side of the fin. There is some reflection which is coming and falling on top of stingray. So in order to depict that, we want to make sure some of the pieces are untouched, meaning it should not be filled with gray overall. These are the major regions where I want it to be dark. So once I'm done with this, I will let it slide and mix with water which is already available there and start back where I feel it is required more. What I'm trying to do here with the brush is controlling water and how much it spreads on the paper. Now, with a smaller size brush, I'm just mixing around so that extra excess of water which is there on the paper that comes back to the brush along with not forming any harsh edges once it dries off. If you have already added black overall, I would suggest just lifting off at certain places where you do not want to have the black and show reflection. Either way, it works. Now, with the damp brush, I'm lifting up at some places, mainly where there are curves within the initial layout that we had. I'm trying to maintain that outline here. The other side of stingray is usually white in color, so it will be either reflecting the ground or blue wherever it is going. Keeping that in mind, I have kept a very dull color for it. Now, in order to add its tail, it is going to be a long one, and it will be coming from that side of the paper and mating it here. Switching the brush to a liner brush, and with one swift motion, I want to make sure it comes. So checking the amount of paint in my brush by drawing one on the masking tape. Once I get confidence, you can also use a scale or a ruler and draw this with pen, as well. Coming back for the details on stingr because now it is almost dry, and this is when I can add the final darkest shades on the paper. This is good. I'm happy how this has turned out, so I'll start peeling off the tape. Tail of the sting ray is still not complete. I'm waiting for it to dry before I can connect them with white quash. Now, I'll come back here with white quash and slowly connect them. Adding some highlights on the other parts where there is curvature as well. So this is the final look of the painting. I hope you have enjoyed it and have learned a lot from this about the motion, retaining the motion in watercolors and lifting, et cetera. I cannot wait to see your works in the project and resources section, so make sure to post it there. A 10. Thankyou: Thank you for joining my class and going through all the class projects as well as practice sessions. I hope you had a lot of fun and also a lot of learning throughout this course, and hopefully you'll be able to paint any of the underwater watercolor scene. So make sure to post all your works in the project section so that I can see all your works and improve on how it can be done better. Also, make sure to leave feedback or a review which I can work upon for my upcoming classes. So until I come up with something new and exciting, Shaw.