Transcripts
1. Introduction To The Course: Hi, Evon. This is Watmasf. In this course, we'll be
exploring texture painting and how can create textured
beach painting white sand? To create a hyper
realistic painting. You might have watched
the short from videos on my YouTube channel, and there are thousands of
comments about the possess, pigments, materials, and
mediums being used in it. It is such a fun
loving activity, and the results you get
in the end are fabulous. Following this course,
you can create your own little
tropical wag painting with less efforts and
less waste of materials. As you'll be getting my
experience hand in hand, that I earned from a lot
of trials, hard work, and often wasting time
and resources many, many times in trials and error and finding
way that works best. Take this opportunity to
enhance your knowledge, to engage with artist community, and to share knowledge with
each other to go together. Good luck in seeing
the next one.
2. 1. Choose the Colors: So we are going to use these
tools for the texturing. These are pale knives and the clay texture tools that are used to mold the clay
in differ forms. You will be using
these fibrical paints. These are acrylic paints, and I'm choosing ultramarine
blue, cobalt blue, move titanium white
for this salt project. This is basically a sand texture painting
that looks like.
3. 2. Study the Reference: Once you have gathered
your materials, then start focusing on the
reference image that you have selected before and focus on the light
and dark ears, the direction of the light, and the dark and light
color hues and the complexities in
the painting to get an idea of how you will lay out this painting
onto a white canvas.
4. 3. Amount of colors and color mixing: Okay, we are now choosing
colors for our beach painting. I'm using bad ultra
Mine mopintniu white. But the associate
right interest. So I'm not using too
much water paint, and I'll be taking more
paint if I need it later. But as gris dry fast, I'm taking out on the paint
that is needed instantly. Too much paint can obscure the process of restic paintings, and I want this painting to
be very restic and beautiful. Well the color looks so
yummy and delicious. Let's move on to the next six.
5. 4. SKETCHING OUT THE Composition: Now we have clear idea of
what we want to paint. And we had chosen our colors. Now we are going to start the composition by sketching
out the paint brushes. As you can see, I started with the blue color of cob blue. And we'll start sketching
out the ocean area. I'm not using too
much archic paint because I want this painting
to be very realistic, very realistic we seen tropical scene with realistic
sand and TD objects. So I don't want
to be girted with paint or so that it may not get painted because too much paint sometimes obscures
realistic painting styles. So using less paint value
and building the retails step by step will make your
printing, more realistic. Although it takes a bit
of time in practice, but this is a rewarding effort, and it keeps things
in control to know. I'm sketching out the views, the darker ones
with the mop and, ultramarine blue and
the lighter ones with the avalue The views that are closer will be larger and that are not close
will be smaller. As I want this picture to
be almost photorealistic, so I am taking inspiration from a real life beach
picture so that it may look as much reality
as much as possible. I have decided not to cut
the details or not to make the video faster with
the speed duration so that if any of you want
to follow the process, it may become easier
for them to know how much effort or time is
invested in this painting, and they can follow it
easily without being misled by less time
and effort ideas. No one at YouTube or any other platform I
have seen will upload their complete video
without making it fast forward or cutting the important areas
except the pattern, but that's, again,
a paid platform. Because I want this course to be tutorial for those who
want to follow this, so I don't want to
trim any section, so that it will be
honest guideline to recreate this composition. Such a lovely experience
to go in this ocean. I have uploaded the easier version of this
painting on YouTube, but it has almost
1 million views, and most of them keep
asking me about Edited dia. So I hope many of you from YouTube will be
seeing this process now. It's a detailed version because this is not for the people
who are just starting. No, if you follow this
step by step process, you can actually
easily follow this. But even those who don't
know the painting, but this is not a style that is a pinners one that
is of a Binger style. Because it has a lot of
detail and otherwise, it could have been easier, but with less
realistic approach, so this style and this suits for both people who are
beginner and who are at pro level and want to bring some change in their style
and to bring some texture in their painting to
know how to implement the texture techniques into
our painting on canvas. I'll be explaining everything
about whether they are long lasting or not. They do last. In my experience. As
this is a basic step, so now we will be moving forward in the
next step by blocking out the areas and creating
more value and depth to the weaves by
adding shadows and lights. Stay west. Stay safe.
6. 5. BLOCKING OUT WAVES - COLOR SPOTTING: I'm switching now to
smaller size brush. As we have sketched
out the composition, and now we have a rough idea, but we are going to paint. It's a sea corner, a beach. Once you have completed
the sketching of the ase, then start blocking out
the paint print colours, including the blue
and ultramarine. Using small size brush, we'll give you more
prision about your work. Large size brushes for
the underpainting and the more intricate
details you have to use smaller size brushes and smaller tools to
get exact prision. For the reefs that are closer to the beach,
it should be smaller, zero size brush, and
for the farther waves, you can use sjocre brush. I'm using a small
round brush and adding light colour waves and
highlights in light blue colour, mixing titanium white
into cobi blue. Keep an eye on your inspiration
picture so that you may know the direction of the light and where the
shadows in the ese. According to your image, you can also go with
your imagination, but if you are seeking out a photorealistic effect
in the last stage, then you have to follow
a real life picture. It's your art. It's
here master is so you have the opportunity to feel it in the way you
want to proceed. Oh. Um, When looking out the paint between the two
dark and light color waves, make sure to merge the waves
from in between value. Don't over merge
because in this way, that will destroy the
ion of floating waves. You don't have to merge
from the tip of the wave, but from the bottom of the wave, you can merge the
two waves to give it a floating motion effect. Be patient with. Don't hurry up to finish the painting
and spoil the result. And in the meanwhile,
enjoy the process. Take a bit of writing
in white on the edge of the brush to add high lights
on the tip of the leaves. And wash ultramarine blue
mixed white a little more on the upper corner of
the ocean to make a coastline that will be
tossing the coast area. A little bit of altamine
flue and coal blue will be added medium
darker waves in the ocean. As you move nearer
to the host line, the ocean color will become lighter and the waves
will be bigger. So for those steps, you have to add titanium
Y and Coval flue and make larger waves. And as you move
farther to the ocean, add small stokes to farther
away waves in the ocean. But eating the strokes one by
one until you are satisfied with the progress and you
have blocked all the areas. Good luck with your process. Once this underlayer
is done and dry, then we will move forward
to the next step. Now we have almost drafted the whole waves and sketched
out the composition nicely. In the next step, we
will paint this more realistic and we'll
add sand to the beach. Oh.
7. 6. Fill the Sea Area: So I we blocked out the
composition by adding the aka waves first and basically read out a
guest composition. If you know what mean? Now, we will feeling
gas by adding lighter tones of flue
onto this canvas, and I'm using
different hues of flu. Also I mean cobalt blue, and ones that I
mentioned earlier, these hues of flow
will paint an alon of leaves onto this canvas. And we will be painting a beautiful mesmerizing three d tropical beach sand painting, and I'm very happy with
outcome. I'm getting out.
8. 7. Paint Waves Underlayer: I want to create a
realistic ocean painting. I could do it in an easy way, but I want it to be very
complicated looking beautiful, realistic sand painting,
a typical hand drawn textured painting that looks
unique in its own way. It's filled with stocks of
blue colour, blue paint. More we are working,
the more it is getting the legen of a sea, and now you are
getting some kind of idea that this half portion of the canvas is
basically a se painting, a laid out sea portion. So I'm actually not fast
pacing this video because I said earlier that
intention of uploading this course is basically
to teach the method. And to be an honest teacher, it's important to share
all the tricks and magic involved in creating a
beautiful texture painting, especially with a sand texture, which is kind of
unique in its own way. The colors I'm using are placed
with the site of canvas. I have uploaded
easier version of this painting
earlier on YouTube, and almost I get
millions of views daily, and people ask me
about the process and the pigments involved in creating the rexu
and the colors. And the time duration that is
involved in this painting. So this course is
for the people who are interested in my style
of texture painting. So I'm giving this videos at now pace so that you can
easily follow this and so that you can easily
follow it along and create your own magical tropical
Bachand view, and good luck. Don't miss any second because then you can miss
some important spots, some underpaintings,
or some strokes that may not make your painting
look similar like mine. And also, if you have some suggestions or any kind of questions, you
can easily ask me. And I wonder if you
know. Thank you so much. To find your dreams come true. To find a dreams come true. To find a dreams come true.
9. 8. Using Light and Shadow Effect to create Depth and Realism to Ocean: So now to painting is done, and we have filled
the canvas with a lighter and darker hues of glue in order to create
an Asian painting. Now, let's add
hydrous light effect to create a
hyperrealistic painting. I'm adding titanium white to smaller amount in order to
add the bottole leaves. Just use a pinch of white
on the tip of the brush. To create some subtle
effect of waves. And titanium white
should be mixed either with the medium or
water to create a thinner effect to make
it a convugant Mx it to make it a bit thinner because I want to add a thicker form at the
last wave in the end, which will be created with a thicker consistency of paint. Basically, this layer will
be a translucent layer, and underpainting
of a foaming wave. Key writing strokes with white paint and follow
along the video to make your art similar painting or stunning brushwork will result
in a beautiful painting. If you don't want
to follow along, you can make your video fast. According to your
desired outcome. Nothing more to say. Just
follow the process. S by time. If you want to learn this
technique, thank you so much. I'll see you in the next
video. Keep watching. Oh.
10. 9. Adding smaller waves on the farther sea: Proceed with the
painting. Now you're getting idea of
what's being painted. Our subject is getting
clearer with every new stock. I'm keeping the
reference image with me, as you can see in our phone to keep an eye
of whether I'm closer to my desired final
reference image to know that final output is
replicating a reference image. It's not about replication. It's just about that I want to achieve that desired
particular scene to be painted on this canvas. You are free to choose
the reference image for your canvas to paint
it in the way like. No one else can define what you should paint
on your canvas. Whether it's your life,
or it's your painting. So once you decide what do
you want on your canvas, then focus and follow the
techniques because no matter whatever you choose for your texture painting,
the process is the same. Okay, let's come
back to the video. Use Kobal blue int
white and that is a brush to create a subtle
wave effect in the ocean. Again, I'm repeating don't
use too much paint or thicker paint because it gets harder to blind
thicker paint. Follow the direction
of use wall painting. From environment
perspective, keep an eye constantly on your reference
to follow the direction.
11. 10. Painting First Detailed Wave Layer - Adding Fine Details and Texture to Closer Sea Part 1: So all the large
brush work is done. Now, I'll use a
small brush to inte dies for small integrated dies. We find tiny brushes will
be used for painting. I'm using zero size brush to add white waves to
depict light and sunshine on top of the ocean already
painted with a fills. We will do some glazing
and some highlights this white blend a white waves from the end with
your fingertips or a clean brush to mold
it with the underpainting. Keep adding strokes
and plant the blue. You can see as we had strokes, based on opening the
cans with the seashore, these intricate lines will depict the flowing
waves in the deep sea. Don't use too much thick paint or too much amount of paint, as I repeatedly
said, that it will hinder the process of
hyperalistic painting. These defined strokes
will finalize our fine details and they
basically serve as one of the last steps of
ocean painting keeping so with light pressure and
minimal amount of paint. Keep adding strokes with
bar Blue, titanium white, and ultramn blue as
p requirement to enhance painting until you are satisfied with the
final outcome. And don't overdo the
strokes it one place. Otherwise, it will
damage effect. Just to add strokes
as much as added use SI pideline if you can't clarify the
amount of work needed. Now we have completely defined
tails in our front wave. Now we will focus on adding fine details
in the further waves, so let's move on
to the next step.
12. 11. Painting First Detailed Wave Layer - Adding Fine Details and Texture to Closer Sea Part 2: I'm just adding small
was tiny bit of leaves with a pinch of
paint on the tip of the brush just to add
a slight effect of waves with some tiny
movements of brush. These are the fine
tails that only artists see most of the time that only enhance their papo and create a hyperoismeffect
in their work. The more you do, the
better it'll look. But it doesn't mean that
you have to overdo it. There are some spots
where you have to stop avoid your work
from getting spoiled. I just love this reflection. White on the top of this
pinch of tetanium white. Using dest paint gives you more control on your work flow. And also, it helps you in finalizing the
direction of your work. And you can switch
whenever you want to. With a little bit of moth paint and a day white mixed with water and Water some
medium thin paint. We are painting
the transparent se alone I'm adding the layers with gimson blue to
paint some dark views. Because earlier we
painted white waves. Now we have to add some darker waves in
between of them to create some depth and
shadow with the colt.
13. 12. Painting Background Detailed Wave Layer, Adding Fine Details and Texture to Closer Sea: Keep adding as you
were adding on the front part of the ocean
with the titanium white and a pinch of cobalblue
and mauve Basically, I'm just riding the is because
there's the requirement of scursare, but actually, this course is about
a realistic painting that requires more of the focus, attention, dedication
towards your project. And a big interest. Because this is
not for everyone. This is for someone
who is really, really ambitious and eager about the painting and want
to make a masterpiece. So if you are very focused and want to
create a beautiful work, want to learn some techniques
of per realistic paintings, then this is for you. And I hope that every
artist will learn some better things in this course to enhance
their workflow. And I hope that we will grow together through
this process.
14. 13. Adding Sparkle to the Waves that aren't Closer : Now we are painting reflections in the back part of the sea. Earlier we painted the
front part of the ocean. Now we are going to paint the details in the second
portion of the sea. That will be
displayed as depth of the ocean away from
beach or coastal sand. I'm again using car size brush very gently with very
slight pressure. I'm painting reflections with
the help of tritanum white, slightly mixed with
cobalt blue occasionally. In this way, I'm
enhancing the detail of the waves in the front
was and back waves. Let's keep adding strokes
and enjoy the process. If you're ambitious, then
you enjoy the process. Nothing worthwhile is ever gained with no effort
or little effort. Now, I'm painting the
sloping class waves with a truthful floating assign, hitting the beach
area, the seline but I invite it a little bit of cobalt blue with
little consistency. I'm keeping the polar simple
to cup it a hole consistent with each other and look
blended as a complete picture. After adding a physics
sketch of our last layer, we send the seal line, I'll take a pinch of mauve
and add it in my mixture, paint, and paint it over the sketch of weave
I painted just now. This will enhance its
transparent look, make it look more
magical in nature. And again, blend blind blind. After adding reflections, now I'm adding some
dark spots to give shadow with ultramarine and barbel with very small strokes. Just follow the direction of s. So there's a ion of realistic ways
we are creating the scene may not
get misinterpreted. This is a creative process
refreshes on a mind, but for those only
who have the taste to love the art, have
greater minds, mottgs alty their
attitude and nature. Never let anything stop you from being creative and
nature loving. See you in the next video. Okay.
15. 14. Adding Front Coastal Skyline Wave: I'll give you doing
the layer that shows more of 20 feet
leaves and focus on breeding and smudging the paint where it is more highlighted
than it is needed. Just keep eating smaller
els with a tiny brush. Smudge the paint
around the corners on the leaves so that
they can blend nicely. This is almost the last stage of the painting where we are just
adding points of titanium white mixed with all of cobalt to depict
sunshine all the waves. As we go into the farther
corner of the sea, the waves are getting
smaller, smaller and smaller. But as you come close
to the sealine, there are bigger waves
to protect that. Now we are closer to the sand. I'm absolutely in love with
my work at this point. I'm very satisfied
with the results I'm getting and I'm
enjoying the process. I hope you to rule
out this process. It's not as difficult as it can be seen in
the initial stage. It's a very, very lovely pilding and with almost
little to no effort, you have to put in some time and some attention and
focus right on this way. It's a kind of meditation
which helps you real stress and depression
and good sequenting
16. 15. Adding Final Front Foamy Wave Detailing to give it Finished Look: Okay, so this is the
last step to complete. It's actually a C
part of the painting. Is it res for completing half of the
printing successfully. It looks fabulous. So now we
are going to ad ripples in the lataves if you do
with a zero size brush, now we interact ripples
a two as you add it in the pno again a
zero size brush. Just paint horizontal
and vertical strokes, tighten white on
more footed air, create an organ of warm water
and ripples in the ocean. A ripples and lengthen the
sea on the other side of the bow achieve a
blended glassy look so that they can look
much in the leaves. Noticing extra body
on top of the leaves. I just feel like the
sea needed to be darker from in between. I'm glazing. I'm greasing
it with a Aabaco. I a glaze of rain in the center of the seat to beta
it's a large ocean. And to make the des, let's from the far east
to get a distant look. For fees that are closer, have no more details
and are more prominent, compare your final option
with the reference image. They are now looking the same almost and I hope that you are satisfied
with the progress. I congratulate you for
completing your option and I thank you for being part of our journey
in this process. Now we will add sand to the beach and create a
lifetime model for usual.
17. 16. Create Texture Paste with Real Sand: Um, that is the most
requested part. Most questions are asked
about this section. Now let's take out
artery viticultor exhibited for the sand. I'm squeezing on the white
paint out of the tube. I'll add mode liter
if I need it, which I'll definitely need. We'll be using lots of sand and white paint the
reference to juice is a real lf beach
with white St.. So I've been eating
lots of white paint. I'm using white St., which is often
referred to as a court St. Or simply craft St.. It's amazing. It has a little
sparkling effect in it, and it gets nice without
adding white color, but I'm adding white to give
it even more pretty look. Also, I'm reading white because
it's the acrylic paint, and acrylic has a mid power. Am we go to get another
glue or adhesive to it to stick the canvas on
strike, it doesn't p off. So the question is
how much send you used and answer is
the best is to ratio. To reach your sand
and Marsh paint. It gives good
consistency as scent, but it depends on your criteria and how much testy
consistency you want. But Ip used this
one, and I never found any issues at the weights. But you have to be patient until it's dried out completely. Don't mess with it until
it's not dried out. In your emptre will be a lot
of mess during the process, so don't expect everything to be so cool and neat
during the process. Now, our texture paste is ready, and we'll be planning
it in the next episode. We washing.
18. 17. Spreading Sand Texture Paste on Canvas: So now we will be dilating
the paint with the sand. We will be dilating
the sand with the paint medium in
order and see it well. I'm using palette knife to mix the texture base until I get
the required consistency. I'll be reading paint, medium in order to get it
to the right consistency. If your texture paint
consistency isn't right, texture will fall off. First skillfully, you get a little trouble for the first time you're
preparing a texture paste, but as it is something
you're not used to but have fun seriously,
you'll enjoy it. This process is much more
fun than any other sort of painting because it's going to make my painting look cuter, ast and very very unique. I'm very excited now and
I want to see art a lot. Once the texture
paste is prepared, it's ready to use. I will take you paint knife that is normally used to
mix paint colors and vet. This is the number four
knives that is longer because it's easier to separate the texture paste on
the canvas with it. You can also use brush to mix the texture and separate it on canvas or the painting small. Your knife is always easier. But knife is always easier. Stick to fresh on
the ears where you fear to get your ocean
getting destroyed. Separate your tis
paint on the cans, just like you separate
the butter on the brand. Yeah, I think it's
relatively long. I'm using another
long petty knife. I have collection of plat
knives that I'm using here, and I think most of the artists, mostly the eagle viewers
have these collections. Just add all the paste because I don't want
it to be simple. As it sounds soring to me in art to have a
simple painting, I normally post
content with sand is just one no interesting
effect to it. This is the first unique
painting you'll find online. We will be using real sand
and add footprints in it. I'm just giving it
some signature style, so I'm painting the
footprints in the sand by carving the texture past
with the clear tools.
19. 18. Finalizing Texture Painting and tips to avoid Mistakes: So the tested past
should be pretty thick. So that I can a
footprints in it. I don't waste any of your paste. Just throw it out as and it will contribute to the
texture of the painting. Trust me, you will
not trig it at this. Clean A you sign on the parts of the painting,
you shouldn't be. If it can't be cleaned,
if it can't be cleaned, the paint it over glue or any other colour that
will make it visible. Oh, that's beautiful, Dilo. It's such a common activity, stressful mgical
for me, at least. And for all other
art loves of his f. Have fun, enjoy your opinion, enjoy your process, Susan.
Fatima Saif
